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Archive for the ‘gear’ Category

5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Jensen Jet Nighthawk (P-A-C12-75NH)

Summary: As described by Jensen, the Nighthawk features fat lows, firm mids, smooth highs, and smooth overdrive. My experience in a band setting is fairly similar, but I would characterize the lows as more “full” rather than “fat,” which seems to imply almost overbearing; and the lows are not at all overbearing. Played with an American Strat Deluxe with Kinman HX pickups and a ’59 Les Paul replica with Wolfetone Dr. Vintage pickups, through a DV Mark Little 40, this “new” Jet series speaker creates super-rich tones with a wide frequency-range of lows that provide a gorgeous texture without sounding boomy.

Pros: This baby pushes air! My little Aracom custom 1 X 12 cab hooked up to my DV Mark Little 40 completely stomped the rest of the band, and I had to really be aware of my volume. Loved playing my Strat through this speaker as it provided a nice bottom-end that gave incredible texture to the single coil sound. With my Les Paul, which has a real high-mid tone, the added bottom-end help balanced out its tone as well.

Cons: My band mates would probably complain that I’m too loud. 🙂 But from my perspective, that’s a good problem to have!

Price: ~ $109 Street

Features:

  • Rated Power ~ 75W
  • Sensitivity (@ 1W,1m) ~ 98.8 dB
  • Impedance (as tested) ~ 8 Ohm
  • Magnet ~ Ferrite
  • Voice Coil Winding ~ Aluminum
  • Voice Coil Former ~ Fiberglass
  • Cone Material ~ Paper
  • Surround Material ~ Integrated Paper
  • Dust Dome Material ~ Non-treated Cloth
  • Basket Material ~ Pressed Sheet Steel

nh-frc

Tone Bone Rating: 5.00 ~ Every time I try a new Jensen Jet speaker, I fall in love yet again! There hasn’t yet been a Jensen Jet I haven’t absolutely loved, and I will freely admit that all my cabs now sport some form of Jensen Jet speaker.

Yeah, yeah, yeah… I know… This speaker came out in July 2015 and I’m only now getting around to writing a review. But if you’ve followed this blog for awhile, most of my writing about gear has been within the context of being in a band or recording. I haven’t been recording at all in the last year, and it wasn’t until recently that I was in a band. But with joining a new band, I have new inspiration, so I’ll probably be more active here in the months to come. Okay… now on to the review!

Don’t be fooled by the demos…

When I wrote my original announcement of the speaker, I included the sound clips that Jensen provides. I’ll just say it: While the playing was good, the sound was not at all representative of what this speaker is capable, especially with the Jazz clip. Jensen bills this speaker as a “warm” speaker, but that Jazz clip sounded like someone threw a thick, wool blanked over it. I will emphatically state that this was NOT my experience with this speaker.

A lot of factors go into dialing in a sound. Who knows how they set up the chain for the Jensen demos. As for me, I used my DV Mark Little 40 set up in a slightly “scooped” EQ and from the first chord I hit, I was in love with tones this speaker produces. It just goes to show that recorded demos don’t necessarily give you a good picture of a device’s capabilities, and can sometimes be detrimental if you don’t do ’em right.

Since I had no other reference to go on with the speaker other than Jensen’s demos, I didn’t go into rehearsal with my expectations. But that all changed once I started playing.

How it sounds

Even though the speaker is billed as “warm,” I found that using a scooped EQ configuration on my amp produced the best sound. The most apt description I can give for the speaker is that it has balls. Even clean, the tone was rich and full, and with its sensitivity and power rating, I had no problem cutting through the sound of the band, and in no way did it sound muddy. I think this may be due to the pronounced high-mid to high hump in the frequency response chart. This makes me think that setting my amp to a scooped tone probably served to emphasize the frequency response of the speaker. And playing clean lines up and down the neck, well, the sound was inspiring. So subtly complex, like a vintage fine wine.

As far as overdrive sounds were concerned… Wow! Smooth as silk! Whether I was overdriving from my amp, or using my EWS Little Brute Drive distortion pedal, there was absolutely nothing harsh about the overdrive of this speaker. Admittedly, I was little concerned with using the LBD with the speaker as it emphasizes the bottom-end. But used with my Strat, the sound was absolutely heavenly, and I didn’t lose the highs as I originally suspected might happen. With my Les Paul and using only amp overdrive, the tone was nice and crunchy for rhythm, and pushed into full overdrive, I just experienced simply heavenly tones. With a warm speaker, I was expecting a little less note separation, but that was not at all an issue with this speaker, and I didn’t have to adjust my EQ on either my guitar or amp unless I wanted to do it for effect. For instance, I like to do “woman tone” leads for some songs (turning the EQ all the way down on my neck pickup), and the speaker didn’t muddy up at all.

Now all that said, a comment our front man said after a song was that my sound was a bit too metal – as I said, this speaker has BALLS. And that became apparent as I experimented with pushing the speaker to see what it would be like at band volume and a lot of drive. For sure, it really wasn’t appropriate for the song, but it sure did RAWK! We all laughed at the comment, and I said that this speaker has a pretty full bottom end, so I backed off on the overdrive and all was well. After that exchange, our bassist asked me how I liked the speaker, and I replied, “I’m smooth as silk today, baby. It’s a keeper!”

Overall Impression

I have a tough decision ahead of me. I absolutely adore the Jensen Jet Falcon, which is great to cover a wide variety of styles. But the Nighthawk is simply so kick-ass that I don’t think I’ll be taking it out of my cab any time soon. It can rock and it can also play some very deep, clean tones.

A big test for me about how good some gear might be is its ability to get me into what I call the “inspiration zone.” And the sound that comes out of this speaker gets me there – and quickly. It certainly is worth checking out!

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4.75 Tone Bones - Almost perfect but not quite

bohemian-guitars-21787167

Bohemian Guitars BOHO Series Motor Oil

Summary: Inexpensive but incredibly playable and most importantly, very nice sounding, the BOHO Motor Oil really took me by surprise. Yeah, it seems a bit gimmicky, but these guitars are inspired by the founder’s South African roots where people put instruments together from whatever they could find.

Pros: Super-easy and comfortable to play. Pickups are voiced such that there’s a clear distinction between the positions. Very response to volume knob variation.

Cons: These are nits at most: The tuners need to be tightened a bit, as the strings can go out of tune fairly easy. Tone knob almost acts like a volume knob, but it’s serviceable.

Price: $299.00 Direct

Features:

  • Model: Motor Oil!
  • Body: Recycled metal hollow body w/ removable back panel. Basswood frame for increased amplification and structural integrity
  • Neck Wood: Maple
  • Neck type: Bohemian Through-Body
  • Fretboard: Rosewood
  • Headstock: Red
  • Finish: Golden Glaze
  • Frets: 21
  • Nut Width: 1 3/4″
  • Width at 12th Fret: 2 1/8″
  • Width at 21st Fret: 2 3/8″
  • Neck Thickness: 7/8″
  • Scale Length: 25 1/2″
  • Hardware: Chrome
  • Tuners: 3R 3L screw in w/ removable keys
  • Bridge/Tailpiece: Tune-o-Matic
  • Pickups: Humbucker, Humbucker
  • Electronics: Volume, Tone
  • Switch: 3-way toggle
  • Self-standing: This model has a built in stand made from recycled rubber.
  • Inspired by South Africa. Designed in Atlanta. Produced in China.

Tone Bone Rating: 4.75 ~ The best word to describe this guitar is FUN. It plays as fun as it looks!

I’ll admit it right out of the gate: I really tried NOT to like this guitar. The moment I took it out of the box, my first reaction was literally, “Oh shit! HAHAHAHAHA!” and I chuckled about it for several minutes. In fact, I let the guitar stand in my living room for a few days before I even decided to play it because I didn’t think this was a very “serious” guitar. I imagined myself in a clown suit playing it. But since I asked for the review unit, my sense of obligation overcame my initial amused disdain for it. So I took it to my man-cave, plugged it into my amp, tuned up the guitar, then started to play. And play. And play.

A couple of hours passed by with me just tooling with the guitar, and I finally had to stop when my wife opened the kitchen door glaring at me because I hadn’t gotten to my honey-do projects for the day.

Did I really lose track of time? I asked myself, That ONLY happens when I’m getting lost in the sound and what I’m playing is pleasing to me. When something gets me in the “zone,” it’s special, and all my initial thoughts and bias about its appearance completely disappeared.

When I put the BOHO down, I resolved to do a sound test with it as soon as I could. I had a gig that night, so I couldn’t get to it until the next day, but I looked forward to playing that guitar throughout my gig.

Even still, this guitar reeks of “gimmick” when you look at it. But how it plays and sounds completely overshadows any gimmickry that its appearance may imply. It totally took me by surprise, and I have to say that hands-down I love it! And the fact that it’s made in China is actually a good thing. Chinese guitar construction has come a long, long way over the years, and labor is still cheap, which means these guitars are affordable, so you shouldn’t let price-bias get in your way.

Fit and Finish

I could see nothing wrong with the guitar’s appearance. Other people have reported dents in the past, but my review unit had none. Note that those reports were from earlier models, and I don’t think they had the bracing that the new models have that make them tougher. The only nit I really had was that bending the first string at around the 12th or 13th fret while really digging in would fret out the string. But I attributed that more to a setup problem, and it’s quite possible that the bridge settled a bit during shipping. Raising the bridge a millimeter or two would solve that issue. It certainly wasn’t a neck angle issue. Everything appeared to line up just fine.

As far as overall construction is concerned, amazingly enough, the guitar’s pretty solid-feeling. I was thinking that it might be a bit flimsy; after all, its body is a freakin’ gas can! But the internal bracing provides plenty of structural integrity, so fragility isn’t an issue at all.

But other than my little nit, the guitar actually looks pretty cool, and over time, as I played it, it grew on me. That had more to do with how it plays and sounds than its appearance.

Playability

Amazingly enough, moving around the neck is smooth as silk. I love that it has a rosewood fret board because it provides a tactile feel that makes it feel familiar (most of my many guitars have rosewood fret boards). I personally prefer fatter fret wire, but that’s just personal preference, and doesn’t take away from how well the guitar feels and plays. And surprisingly enough, even with my belly, the guitar’s very comfortable to play despite the obviously fatter body from the can.

How It Sounds

Okay, so this is where the rubber hits the road, and where, most importantly, the guitar impacted me the most. Once I got past the guitar’s appearance, it was its voice that really struck me. While the folks at Bohemian Guitars tout this as the “rock” model, and it certainly has a great voicing for rock, I actually loved its voicing clean or just slightly dirty. For comparison, the voicing has elements of a later model Les Paul with sort of deep voice, but also has the “woody” elements of a semi-hollow body like a 335. It’s a cool voice. I would’ve liked to have a better EQ response with the tone knob because changes in the tone knob affected volume, but I found a good spot that worked for all three pickups and kept it there.

The first three clips you’ll hear are the same phrase played through each of the pickup positions, starting with neck pickup and moving to the bridge. With the first two, I just made up stuff off the top of my head, but with the third clip, I used the main riff from Oasis’ Wonderwall. No matter what I’m playing, the one thing I always look for is note separation, especially when played dirty. I didn’t play any lead lines because frankly, 97% of the time I’m playing rhythm. So it’s important to get a sense of how well the guitar articulates. The amp I used for this was my trusty Aracom VRX18 with EL84’s, played in the drive channel. The amp was set to the very edge of breakup so I could get it to overdrive with volume knob changes and attack.

All clips were recorded raw with the exception of the last clip where I added some hall reverb.

Clean, all three pickups

Dirty, all three pickups

Edge of breakup, all three pickups

Jazzy Blues w/reverb, middle pickup

Admittedly, the clean and edgy tones were the ones that got me to lose myself for those couple of hours when I first played the guitar. And to be completely honest, I love the sound this guitar produces clean and at the edge of breakup best. This probably has to do with my Les Paul bias with respect to a “rock” sound. It’s not that I don’t like the overdriven sound of the guitar, it’s just that I have a preference for the sound I want to produce when playing with overdrive.

Overall Impression

Once I got over my initial doubts about the guitar, I discovered a very nice-playing and nice-sounding guitar under the covers. And at $299, this an incredibly approachable guitar that won’t break the bank in the process. Would I gig with it? To be honest, I’m not sure. But I have no doubts with its solid construction that it would be able to stand the rigors of gigs. But for its gorgeous clean tones, I’d certainly use it in the studio, especially for the new reggae-style tunes I’m working on.

And truth be told, its appearance has actually grown on me. I still don’t know if I’d gig with it regularly, but that has nothing to do with how it looks. With a gigging guitar, I typically look for versatility. I’d have to bring it to band rehearsal to see how it would perform. But other than that, I love this guitar. For what it is, it’s the ultimate in “cool.”

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Hughes & Kettner TubeMeister 18 Head

Summary: This amp is truly a tone chameleon, capable of delivering vintage to modern tones in one 18 Watt package. I daresay that it is pretty much the most versatile amp I’ve ever owned; not only from a tone standpoint, but also from a power standpoint. 18 Watts too loud in your space? Bring it down to 5W or 1W or even 0W! The on-board RedBox DI is absolutely killer, and provides for truly silent recording, which is a huge for late-night recording when the kids are asleep (or roommates, etc.).  Super-responsive EQ makes for tons of tone shaping possibilities.

Pros:Where do I begin? This amp has it all for me; especially in the recording department.

Cons: This is a very minor nit, but even with a Strat, the lead channel can really compress at high gain settings.

Price: $599 Street ($50 for the optional footswitch)

Features:

  • Channels: Clean, Lead + Lead Boost
  • Power Soak: 5W, 1W, Silent
  • Preamp: 2 X 12AX7
  • Power Amp: 2 X EL84
  • Effects Loop (Serial)
  • Speaker Output: 8 & 16 Ohm (will automatically detect – no switch)
  • Tube Safety Control (TSC) – keeps power tubes biased properly for optimal performance.
  • Padded, protective cover included
  • Optional channel switching footswitch.

Tone Bone Rating: 5.00 ~ I have to admit, I really lucked out with this amp. I bought it used from a good buddy who had only gigged with it once, and to be honest, didn’t know too much about it. But after I researched it, what originally attracted me to the amp was the on-board RedBox DI. But after playing with it for several hours since I picked it up, I simply love all the tones I can get from this amp – and I’ve only played one guitar through it! It’s a winner!

I’m such a gear slut. When I got this amp, my buddy, who’s also a fellow gear slut chuckled and said, “As if you need another amp…” I also laughed, and almost got buyer’s remorse. BUT what I didn’t have was an amp that had an on-board DI. But the RedBox is a special DI in that it has speaker simulation, which means you’re going to get the reactance of an amp connected to a speaker. It’s one thing to DI into a DAW, but it sounds like an amp plugged directly into a speaker. Add speaker simulation and there’s something special that happens when you add reactance into the mix. You get the dynamics you expect when plugged into a cabinet.

Fit and Finish

This amp is built like a tank. I’m sure H&K had the gigging musician in mind when they built the amp because it’s very solid. The only nit I’d have with respect to it’s physical appearance is that the level dots on the knobs can be a bit difficult to see from certain angles because of the chrome finish. It’s a small nit, and when I gig with the amp, I’ll probably either paint dark lines or stick some thin pieces of colored tape to the top of the knobs so I know where I’m setting things.

Also, when switched on, that blue LED glow is pretty cool. To be honest, I don’t really care about how the thing looks and focus much more on the sounds it can produce. But hey! If it sounds good and looks great in the process, I’m not going to complain.

How It Sounds

To start off, whether plugged into a cab or outputting directly from the DI into an audio interface, this amp is dead quiet when idle, except at high gain settings where the power amp will hum just a tiny bit. But that humming also has a lot to do with my Strat’s single coils. Haven’t tried it with any of my Les Pauls just yet, and I’m anticipating that they’d be quieter. But any amp fully cranked is going to make some noise.

Now to be completely honest, none of the clips I’m supplying here are with the amp hooked up to a cabinet and me miking the cab. My focus was on using the DI to capture my guitar sounds to see if I could get a usable recording that I could then tweak in production. Circling back a little with the DI, one thing that having a speaker simulation is that you get the subtle overtones and dynamics in the signal that you wouldn’t get with a direct signal. It’s typically a little dead when using a regular DI with no speaker simulation, thus no reactance. Truth be told, it’s not perfect, and it doesn’t sound nearly as good as the amp plugged into a cabinet. But it’s close. Real close, and though it doesn’t sound as good as a speaker moving air, it doesn’t suck tone. Dynamics are all retained. My thought behind getting this amp was to get a usable signal that I could then process in Logic and add the texturing there. So without further ado, let’s take a look (BTW, for these clips, I used my Strat plugged directly into the amp, with an XLR going direct to my MBox 2):

Raw signal, clean

My first test was to record a simple clean clip raw to see how it sounded. This clip has absolutely no plug-ins employed in neither the guitar tracks nor the output track.

When I finished the “rhythm” track for this, I immediately smiled. Not only did I have a usable signal, it sounded like my amp was plugged into a cabinet because the dynamics that I was expecting were all there, but with the added plus of no ambient room noise.

Clean, slightly processed

Since I had a usable signal, I wanted to fatten it up a bit and add some reverb to give the sound more space. Here’s the same clip as above, but slight processed (Note: I didn’t do any EQ on the either track).

After doing just those simple tweaks, I knew I had a winner with respect to a recording amp.

Dirty

I wasn’t going to originally include this clip because if there’s one nit I had with the amp while recording this last night, was that at real cranked up settings, the signal compresses – a lot. I guess I’m used to using vintage-style amps that never get that far. But with this amp, I have to be careful about cranking the amp too high. It’s a little hard to hear in the clip itself, but while playing, I noticed a reduction in note separation. But granted, I had the Master wide open, and the gain knob at 3pm. I’ve learned to set the Gain to around 10am, and I still get plenty of sustain, but much less compression.

Sustain test

Finally, I wanted to experience that noted H & K tube sag, and see how well the amp would sustain my guitar signal. In a nutshell, it sustains incredibly well.

The most impressive thing about this clip was at the end where the amp is picking up the overtones of the guitar. OMG! I couldn’t believe that when I was playing last night!

Final Impression

I don’t know what it is, but I’m running across a lot of game-changers for me. While I love my vintage-style amps, and will continue to gig with them, I have a feeling that I’ll be getting a of mileage from the TubeMeister 18. As a bonus, check out this video review from Guitar World. Paul’s a killer player, and he really brings out the gorgeous tones the TubeMeister 18 can produce. There are actually two videos, and the second video where he starts playing the lead channel, had me swooning over the gorgeous overdrive this amp can produce.

 

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4.75 Tone Bones - Almost perfect but not quite

play_electric

TC-Helicon Play Electric

Summary: Sporting the fantastic TC Helicon vocal engine and upgraded guitar pedal effects, including several TonePrint patches – Corona Chorus, Hall of Fame Reverb, Flashback Delay – plus a very nice compressor. Play Electric adds amp emulation from its big brother, the Voicelive 3, and with the right tweaks, it’s entirely possible to plug this right into a PA and leave the amp at home.

Cons: The only little nit that I have is that the loop length is extremely short – around 15 seconds. That’s enough to capture a few bars to solo over, but there are times when you want to loop an entire verse or chorus. For that, you’ll have to use another looper. A bit of a bummer, but not enough to dismiss the power behind this unit.

Price: $349.00 Street

Features (from web site):

  • Professional Vocal Effects and Tone with natural sounding Vocal Harmonies guided by your guitar  and/or Room Sense which captures the ambient sound and can be used with piano.
  • Guitar FX styles from TC Electronic’s award-winning range of TonePrint pedals
  • Powerful amp emulations from VoiceLive 3 with a dedicated guitar output
  • User-friendly design with per-preset Vocal and Guitar FX combinations for easy performance control

Tone Bone Rating: 4.75 ~ If it weren’t for the short loop length, I’d be giving this unit a 5. I got a Switch-3 switch box to control the looping, and if you’re going to use the looper, this is a must-have.

I’ve had this unit a few months, but actually didn’t start using it until a couple of weeks ago when I had holiday gigs at various venues where space was at a premium, and lugging my pedal board along with my PA was impractical. I wish I had started using it sooner… the on-board modulation effects combined with amp simulation provide a super-rich tone; equivalent to the quality of tone that I’ve come to expect. But I’m getting a little ahead of myself.

The first holiday gig I had was for the staff party at an assisted living facility. To get to the place I was to play, I’d have to park my car in a loading zone then carry my stuff through a couple of halls. Now normally, my load out would take two trips, but this wasn’t really an option. Conceivably, I could take my entire rig (pedalboard, gig bag, cord bag, and SoloAmp PA) in one trip, but the stuff is a bit unwieldy, and I’ve dropped my pedal board, actually ruining a couple of pedals once. So a single trip was in order.

While I was trying to figure out how to configure my rig, I remembered that I had the Play Electric unit that had everything that I needed on board. So the morning of the gig, I did a quick tweak of the guitar settings (setting them to global so they’d be the same for every vocal patch, which is a godsend of a feature, by the way), packed up my cord bag with the cords I needed plus the Play Electric, and set off to my gig.

I didn’t use the looping feature at that gig because after seeing another dude play with a VoiceLive 2 and the Switch-3 switching unit, I knew that was the way to go, and besides, I didn’t have the Switch-3 yet. But that was okay. It was only a two-hour gig, and I could do all my songs – even the ones where I normally loop – without a looper.

Setup was an absolutely breeze. I had the VoiceLive 2, so setting up wasn’t anything new. Once I was all set up, I remembered the RoomSense feature, which is an on-board mic that picks up the ambient sound in a room, and can be used to harmonize for instruments that don’t plug in; like a piano for instance…. The facility where I played had a beautiful Kawai baby grand, so I upped the sensitivity of the RoomSense mic, and tested it out. OMG!!!!! I wish I had used that with my VoiceLive 2 when I had it. I could’ve been doing harmony while playing piano all this time! Oh well… lesson learned, and where there was a piano at my holiday gigs, which was everywhere except for two places, I used the RoomSense to harmonize while playing piano.

Note that since the unit uses the same vocal processing algorithms found in all the high-end TC Helicon vocal processors, I won’t be covering harmony here, just the guitar stuff.

Packed with Features

I thought the VoiceLive 2 had tons of stuff packed into it, but the Play Electric has so much more. Here are the amp models that are offered in the unit:

Clean Brit, Cali Clean, UK Clean, Deep Clean, Bright Switch, Warm, Little Thing, Chicken Picker, Brit OD, AC Crunch, Chunky Brit, Lil Champion, Chime Drive, 2×12 Combo, 4×12 Crunch, Swamptone, Nasaltone, Brown, Scooped, Metallic, TC Electronic Dark Matter Pedal, OD Pedal, Dark OD Pedal, Distortion Pedal, Acoustic (Flat), Acoustic (Shaped/BodyRez)

On top of that, you have full EQ control in the unit to adjust the EQ settings for what every guitar you’re playing. One nice feature of the EQ is that you can “move” the midpoint frequency of the mids. This is something that you typically find on good PA boards, but I can see the sense in including a feature like that with the Play Electric. You could move it higher for a naturally warm-sounding guitar, or lower to take the edge off a bright guitar, then adjust the high, mid and low around the midpoint. Very cool feature.

On top of that, the same algorithms that power the TonePrint pedals are also in the unit. I use two of the pedals on my electric board: the Corona Chorus and Hall of Fame reverb. These are mainstays on my pedal board, and to have those pedals in the Play Electric is awesome. The delay and compression models are also quite nice. I totally dig the compressor, and even though it’s fairly simplistic, it’s adjustable enough to achieve a very rich tone.

How It Sounds

Sorry, I don’t have any sound clips to share at this time, but after using it several times, I can confidently say that both the vocal and guitar tones are awesome. But as with anything, it takes spending a bit of time dialing in the settings. Luckily this is not at all difficult with the Play Electric. The brightly lit LCD screen is super-easy to read, and frankly, you can adjust practically everything without having to refer to the manual (though admittedly, I had to refer to the manual to adjust amp EQ settings).

As far as guitar tone is concerned, though I probably should’ve tested this with an electric guitar, the plain fact of the matter is that I would use this almost exclusively in my acoustic gigs (I’m actually in between bands right now). And for that, this unit produces incredible sound; so incredible, in fact, that I will be leaving my pedal board at home going forward. Here’s a little more discussion on the pedal models:

Though the unit includes TonePrint models, it’s not exclusively limited to those. Each model includes several other non-TonePrint models that you can use (I believe these are the same found on the VoiceLive 2), which have been traditionally pretty high-quality. Personally, I didn’t use them when I had the VoiceLive 2 because I had dedicated pedals that were much better than the on-board models. But with the TonePrint models, as these are my pedals of choice for modulation effects (specifically, chorus and reverb), using them is another no-brainer.

Corona Chorus

This is not nearly as adjustable as the standalone pedal; actually none of the models are, but it’s very easy to dial in the right level and speed to get a subtle (which I prefer) to a super-wet, drippy chorus tone.

Hall of Fame Reverb

When I got this pedal a couple of years back, it soon became my go-to reverb. The spring reverb is magnificent, but it’s the plate and hall reverbs where this pedal shines. I use the hall reverb to add a subtle expanse to my guitar tone without it sounding like I’m in a simulated all. It’s just a touch to “grease” as Doug Doppler says.

Delay

I don’t know if the Flashback model is used here, but the delay is quite nice on this unit. Again, I use it very subtly to provide just a touch of slapback, with a low mix level.

Compressor

This is actually my favorite “pedal” in the unit. There are five presets available that provide either more attack, sustain, pop or pump, and you can adjust the amount and makeup gain as necessary. I use the Subtle Sustain setting, and it works great with my acoustic.

Looping

As I mentioned, my only nit about the Play Electric is the short loop length, but after playing through several of the songs I play with looping, I found that for the most part, I can live with the short loop length because the sound that the Play Electric produces completely meets my needs; moreover, the prospect of carrying one less bag makes using this an absolute no-brainer.

Wrapping It Up

Getting to the point, I dig Play Electric. I wish it had longer looping, but to get that, plus a finer control over the guitar and vocal settings, I’d have to go to the VoiceLive 3 which is more than twice the price of this unit. Could it be worth it? Possibly… probably… but it’s not expense that I can make right now (especially since I’m saving up for a Gretsch Brian Setzer) 🙂 But for what the Play Electric provides besides looping, it’s a unit that will serve me well for a long time.

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4.75 Tone Bones - Almost perfect but not quite

NineBuzz Software: Modal BuddySummary: Whether you’re a rank beginner who wants to learn about modes or a seasoned player looking for a quick refresher and reference tool, Modal Buddy provides a fresh, easy-to-understand reference that demystifies much of the hub-bub behind modes.Pros: Made for the iPhone, but easily viewable on the iPad (which is what I have the app on). Clear, step-by-step method of introducing modes. Touches on the fundamental theory behind modes, but doesn’t get bogged down in all the intricacies. Also has great backing tracks to practice.

Cons: My only nit with product is that it would be helpful to have examples of all the modes so users can hear what all the modes sound like. I suppose it’s easy enough to just discover that while playing against one of the backing tracks. But it would be a nice touch to hear an example to know what to expect.

Price: $4.99

Tone Bone Rating: 4.75 ~ As simple and straight-forward as this app is, over the months that I’ve had it, I’ve returned to it several times to brush up. I’m definitely not an academic as far as playing guitar is concerned, and Modal Buddy is a great way to both learn and practice the fundamentals of modes without having to do a deep-dive into theory.

UPDATE: The app is made for the iPhone, but I run Modal Buddy on my iPad. According to Ron at NineBuzz, Modal Buddy does include example solos of all the modes. So please base my rating on running the app on an iPad.

For the better part of my performing career, I’ve played solos purely by feel. And in the past, I’ve done some leads where I ask myself, “Where the hell did I pull that out from?” What I didn’t know at those times was that unconsciously, I was applying a mode over the chord progression. But being as busy as I have been over the last several years, I didn’t – or perhaps couldn’t – take the time to investigate and analyze what I had done.

But a couple of years ago during the holiday season, I was coming up with a more contemporary arrangement of the carol, “Do You See What I See.” In the middle of tooling around with the arrangement, which I recorded so that my church band could get a feel for the arrangement, I started playing a lead that really intrigued me. I figured it was a mode, so I stopped what I was doing, then went to YouTube to find some instructional videos and possibly find out about what I was playing.

The very first video I found pretty much changed everything for me with respect to improvisation. This was by Rob “Chappers” Chapman, and I often return to it to review modes (plus Chappers is pretty funny). From that video, I realized that I was playing an F Lydian mode over a C-Bb chord progression, which gave it this really cool sustained feel. From that point on, I started investigating and learning about modes in earnest.

But to be totally honest, once you figure out how modes work; especially from such clear explanations such as those that Chappers gives, they’re really not all that mystical. But as with anything, you have to practice, and especially for someone like me who has never really taken an academic approach to music, what you need are good references. This is where Modal Buddy has become a extremely handy for me.

I took the advice of Joe Satriani in a video he did on modes and learned just a couple of modes at first; specifically, Dorian and Lyrdian. I don’t recall Joe specifically mentioning these on the video, but those were the two that made sense to me to start out with; especially Dorian because it was so easy to get to – at least for me – from a tonic, and I could easily combine it with minor pentatonic in the relative major for a minor chord progression. For me, that was totally cool to discover because for a chord progression in Am as the root chord, I could do a G Dorian, then switch to the minor pentatonic in C if I got lost, and believe me, I got lost a lot at first. 🙂 But I still use that combination just because it sounds great to me!

Sorry for the minor detour, but with respect to Modal Buddy, having a reference for the modes (it focuses on the key of G), has been invaluable for me because as opposed to going into all the deep theory (especially interval spelling, which I hate), Modal Buddy presents a mode in such a way that it’s easy to just pick up.

Granted, my only nit is that Modal Buddy only provides an example lead for the Dorian mode, and I’d like to be able to hear all of them. But with the practice tool, you can play the G scale yourself over the backing tracks. Come to think of it, that’s probably what the intent was in the first place: Rather than provide audio examples, they make you practice. Oh well… 🙂 And here’s an important point about modes that the practice tool gives you: You learn to hear what a mode sounds like given a particular chord sequence. To me, being able to hear the mode is far more important than having the intellectual knowledge of it. When you can hear a mode, you can play it. That doesn’t necessarily apply when you just learn the theory.

Now some people who get the app may say, “There’s really not much to it.” But that’s the beauty of Modal Buddy. It gives you a quick reference on modes and doesn’t bog you down in the deep theory. If you want that, you can read a book, or go on YouTube for that stuff. For me, having the most important fundamentals of modes available to me is a lot more important than having an academic understanding. After all, I gig 3-4 times a week, and I just don’t have the time to spend studying.

Modal Buddy is by no means the do-all and end-all to modes. But as the name implies, it’s a great companion app to have around when you need to quickly brush up.

ROCK ON!

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

 deacci_greenfaze

deacci_greenfaze_logo

Deacci Pure Legend “Green Faze” Humbuckers

Summary: This is a set of PAF-style ‘buckers with a reverse-wound neck pickup that captures that Peter Green out-of-phase sound. Whether or not they’re true to the original, these are game changers for me! They’re so clear and articulate – even with that “woman” tone in the neck position, I’m like… “Hey baby! Where ya been all my life?”

Pros: Absolutely articulate in any pickup position. Neck pickup is warm and deep-textured without losing that top-end bite. Bridge is bright and expressive, and that middle position… OMG! It’s going to give me countless tone-shaping possibilities!

Cons: None.

Price: $275.00 – $300.00 direct

Features:

  • Reverse-wound neck pickup to get that out-of-phase tone in the middle position.
  • Super responsive with an aggressive attack
  • Un-waxed potting
  • Available with nickel, chrome or gold plated covers – or unplated (all black, all creme, zebra-striped).

Tone Bone Rating: 5.0 ~ As I said, this is a game-changer for me. With my Les Pauls, I use either the Treble or the Rhythm pickup; rarely do I use the middle pickup. But the tonal possibilities this particular set of ‘pups offers in the middle position will ensure I’ll be using that position – A LOT. Rex Kroff, the luthier I had install the pickups and do my yearly setup, said the pickups made “Amber” suddenly wake up. To him – and me – the difference in tone between the Burst Buckers and these pickups was like night and day. Where the Burst Buckers sounded a little subdued and “wooly,” the Green Faze pickups made my guitar come to life!

At the end of May, I got contacted out of the blue by Declan Larkin, founder and builder of Deacci pickups. He asked me if I’d fancy a set of “the best humbuckers ever made.” He’d send me a set to review, and I could do with them as I pleased. I’m used to reviewing gear then eventually returning it after I’m done. As I’ve mentioned in my about page, I don’t like to be beholden to any manufacturer or appear that I’m doing a review because someone comped me some gear. So admittedly, I was a bit wary of this seemingly blind giveaway.

So I started doing a little research on Deacci. I found some forum posts in a couple of UK forums (Deacci is based in Norther Ireland) discussing the pickups, and I found some sound samples. The sound samples turned me on my ear! They sounded absolutely marvelous! Needless to say, I was intrigued. Plus, as an amusing aside, I found that the pickups are in a “Patent Applied For” state, and that Deacci pickups are PAF-style pickups, so PAF-PAF’s. 🙂

But seriously though, Declan also caught me at a good time, as I was considering swapping out the stock pickups in “Amber,” my ’58 Historic Les Paul. I was only using the bridge pickup on her because the neck pickup to me was just not clear enough. Even the neck didn’t have the “bite” that I was wanting. She had a gorgeous clean tone in the neck, but driven, the neck pickup was practically unusable; just way too muffled for my tastes. And having moved from a bluesy to a more straight-up rock sound, I needed brighter pickups.

So I looked at the various models that Declan builds and found that the Green Faze pickups had the slightly lower impedance ratings that I felt would brighten up Amber just right. And it must’ve been kismet because as I was doing my research on Deacci, I was listening to “Oh well, ” so perhaps there was some subliminal stuff going on because I just love that song! In any case, I contacted Declan and asked if it would be okay to evaluate the Green Faze set, as I was sensitive to the fact that his was a brand-new company, and I didn’t want to take advantage. But he said it was all good, and he’d send them over once he’d wind up a new set. Frankly, I was blown away by this, and absolutely humbled. All Declan asked for was a honest review, and if I didn’t like them, I could return them.

Well they’re not going back. They’re staying in my guitar – forever! I’m not saying this because of the freebie, I’m saying this from the root of my heart. The sound my guitar now makes with the Green Faze pickups installed in it moves me practically beyond words.

What’s so special about them? I think a lot of that has to do with how they constructed and especially, how they’re wound. Declan uses a Fibonacci number to determine the number of winds of wire to apply to the pickups. He has also established what he says is a much more efficient and consistent way to hand wind the pickups as well. As far as the Fibonacci stuff is concerned, that could all be just techno-voodoo. But Fibonacci numbers are extremely important because they exist in nature. So applying them to a man-made artifact – at least to me – makes sense as the Fibonacci numbers represent balance.

How They Sound

I’m not going to spend much time singing the pickups’ praises. Suffice it to say that to me, these pickups sound so good, they leave me short of words to describe them. In lieu of that, I recorded several clips. All clips were recorded with my Aracom VRX22 into a custom Aracom 1 X 12 with a Jensen Jet Falcon speaker in it. I also recorded the clips at bedroom level by running my amp into the wonderful Aracom DRX attenuator. Note also that absolutely no EQ was added in production, and I turned off all compression. So what you’ll be hearing, save for the lead break for “The Hit” is the guitar’s natural tone as picked up by my microphone.

Bloom

I played my guitar clean in the shop and was taken by the gorgeous overtones the pickups were producing, so I couldn’t wait to get home to see if I could get that classic Les Paul bloom. For this clip, I played the neck pickup, with the tone control turned all the way down to get that “woman” tone. I’m just picking single notes in an Am pentatonic.

Slow Blues – Fingerpicked – Neck Pickup

Putting the Bloom to Work

The next clip uses the fingerpicked clip above with a simple lead using the woman tone. Oh my…

After recording that, I wanted to see what the guitar would sound like on one of my more engineered songs. This is the lead break from my song “The Hit.” The first half features the “woman” tone, then I switch over to the bridge pickup to finish the solo.

Crunchy Tones

Here I’m playing the same riff for all three positions. The volume knobs are dimed, and my amp is set at the edge of breakup. These pickups through a lot of signal at the front-end of the amp forcing my pre-amp tubes to compress. It’s most evident with the Neck pickup.

Neck

Middle

Bridge

Clean Funk

I just love the fast attack of these pickups. The clean tones are right in your face, but not off-putting at all.

Neck

Middle

Bridge

Clean – Fingerpicked

The overtones that the pickups produce combined with the natural sustain of a solid body Les Paul, make for a rich, complex tone that makes me want squeeze every bit of tonal goodness out of what I’m playing.

Neck

Middle

Bridge

Oh Well…

Of course, I couldn’t do a review of Peter Green-style pickups without doing at least one Peter Green riff. Here’s “Oh well” (at least as close to what my ham-handedness could produce):

Overall Impression

Need I say more? I love these pickups. It’s past midnight and I’ve been writing this review since 8pm. It has been a stop and go affair as I’ve taken breaks to play my guitar. 🙂 I don’t give 5 Tone Bones often. What I do give 5 Tone Bones are game-changers. The Deacci Green Faze pickups are game-changers for me without a doubt!

For more information on Deacci pickups, go to the Deacci site!

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

voicetone

TC-Helicon VoiceTone harmony-G XT
Summary: This could be considered the little brother of the VoiceLive Play GTX, as they both use the same harmony algorithm. Great, automatic vocal tone-shaping, with five different settings (I just used the default which has presence bump and bit of compression). The doubling on this unit is VERY nice; very human-like.Pros: Simple and straight-forward setup, and super-easy to use. Great audio quality. Very human-like harmony voices. Internal vocal tone-shaping is fantastic.

Cons: Reverbs are good, but a little on the subtle side. This could be due to my inexperience with the pedal. But this doesn’t in any way reduce its usability or quaity.

Price: $224.00 – $275.00 Street

Features:

  • Listens to guitar and voice to create correct harmony parts automatically
  • Tone switch smooths vocals with adaptive Live Engineer Effects
  • 18 combinations of reverb, delay and µmod shared by vocal and guitar input
  • 10 presets available, each with A/B options
  • Harmony interval selection includes 3rds and 5ths above and below, octave up and down, and the unique Bass interval
  • Stereo or mono configurable output
  • Clean, studio quality mic preamp with phantom power and XLR input
  • Guitar signal can be mixed in and share reverb or passed through to separate amplifier
  • Fast, accurate guitar tuner

Tone Bone Rating: 5.00 ~ After my VoiceLive Play GTX went kaput, I wanted to find a suitable replacement without all the GTX’s bells and whistles. After just a single gig with this pedal, the harmony-G XT more than fits the bill!

I’ve had a harmonizer/vocal processor in my acoustic chain for over ten years. The difference that it has made in my solo performances has been immense; adding a dimension to my performances that make a pure solo performance seem bland in comparison. I originally started with the DigiTech Vocalist Live 4, but when that went south, I got the TC-Helicon VoiceLive Play GTX. Now THAT was a game-changer. The harmony algorithm made the voices so much more human-like than the Vocalist Live.

But alas, nothing works forever, and after around 500 or so gigs, my VoiceLive Play GTX finally went kaput a few weeks back. Due to finances, I couldn’t just go out and get a replacement. But that turned out to be a blessing in disguise because it gave me some time to check out other harmony/vocal processor solutions, but more importantly, to re-evaluate what my needs actually were.

With the VocalistLive and VoiceLive units, I enjoyed a lot of fine-tuned control over vocal processing and harmony parameters. But to tell you the truth, I rarely set the parameters much different from their defaults. And there were definitely times where I just wanted something much more simple. So I took a good look at both the DigiTech Vocalist Live 3 and the harmony-G XT. Both units had simple, straight-forward setups. Both were absolutely easy to use. But knowing how great the audio quality was with the TC-Helicon stuff, it was a pretty easy decision to go with the harmony-G.

So I purchased it yesterday a couple of hours before I had to leave for my gig. When I got home, I opened up the box, hooked up the unit, then went through the quick start procedure in the manual (yes, I read the manuals). What amazed me was just how easy it was to dial in the settings I needed. Granted, the first preset was voiced just how I wanted it with respect to the harmony voicings, so all I had to do was get the level right. I played around with it for about 10-15 minutes, then packed everything up for my gig, where the real test would take place.

How did it perform? Well, it was like I had my VoiceLive Play back in my chain. The harmonies were excellent. But more importantly, the compression and presence really made my voice jump out. Having been without vocal processing for the past few weeks, I can tell you that just a little compression can make all the difference in the world. And amazingly enough, even though I don’t have fine control over the amount of compression, I’m actually not missing being able to set it. The harmony-G seems to be set at the sweet spot. EQ-wise with respect to vocals, I just set the EQ on my PA to flat, and let the harmony-G drive my EQ. My vocals last night were clear and present without being mid-rangy.

With a simpler solution, there are trade-offs. For instance, I don’t have the kinds of effects like chorus that I could apply to the vocals, and mid-song switching between the A and B settings of a preset has a bit of delay. But that’s just going to take some practice to overcome. But considering my basic needs, I’ve basically everything I need to take me through a solo gig. I couldn’t be happier!

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