There’s an unspoken battle raging on The Gear Page forum about which is the best “popular” attenuator on the market. Yeah, everyone claims theirs is the most transparent, and frankly, that’s true for very low levels of attenuation. But for really cranking down on the volume, my money, of course, is on the Aracom PRX150-Pro. To me, not only is it the most transparent attenuator based upon head-to-head comparisons of some of the popular attenuators done by me and others, and also being the safest with its input AND output impedance matching, it is also the most cost-effective attenuator out there. Don’t believe it? Well, the numbers don’t lie. When you consider the versatility of input/output impedance selections vs. cost of the unit that the PRX150-Pro offers, it’s simply no contest.
Let’s have a look at the numbers shall we?
Cost Per Impedance Selection Combination
Attenuator
Price
# Impedance Combos.
Cost/Imp. Combo
THD HotPlate
$329.00
1
$329.00
Alex’s Attenuator
$350.00
1
$350.00
Faustine Phantom
$799.00
3
$266.33
Aracom PRX150-Pro
$650.00
16
$40.56
Clearly, based upon the number of impedance matching selections, the PRX150-Pro is the clear winner in terms of value. Even if the Aracom unit only had three impedance matching selections, it still will have 9 different available input/output impedance selection combinations, and each combination would only cost $72.11; still far below the competition!
Furthermore, let’s say the PRX150-Pro didn’t have output impedance matching, reducing its impedance matching combinations to 4. It still outperforms the competition in terms of value at $162.25 per selection!
Let’s compare the PRX150-Pro with the Alex’s attenuator for example. People love the Alex’s attenuator, and I understand it works great. But you have to get 4 of those units to match the impedance matching capabilities of the PRX150-Pro. In absolute cost terms, yes, the PRX150-Pro costs more. But with respect to value, well, you can’t hide from the numbers. The same thing applies to the THD HotPlate (though I have other reasons not to like this product). As for the Faustine Phantom, it has more versatility than the Alex’s by far, but it’s also very expensive, and it is unclear whether or not you’ll get one in a timely fashion. Some people have been waiting for theirs for several months.
Sometimes you have to spend more to get much more, and in the case of the Aracom PRX150-Pro, you’re getting A LOT more!
Disclaimer: I will say this again that I am not an employee of Aracom – I’m a faithful customer because of the superior product Jeff produces.
I walked into my garage/studio this morning and looked over to my gear – there’s a lot (though probably not as much as I’ve seen from other gear sluts’ pictures). Peering over my collection, the thought struck me: What if I could only have one of each type of gear… What would I choose? What would be the basis for my decision?
After ruminating on this subject over breakfast and coffee, I decided that I’d choose the gear that gives me the most versatility with respect to tone and usability given the various types of music I play. So based upon that here are my choices:
Squier Classic Vibe Tele 50’s
Aracom VRX22 with 1 X 12 Cab
BOSS TU-2 Tuner
Aracom PRX150-Pro Attenuator
Those four things will get me through any gig or recording session. Not to say that they’re my favorite pieces of gear, but that combination will give me the most versatility with respect to versatility and usability.
What? No Goldie? Man, I love that guitar, don’t get me wrong. But that guitar is so heavy, I don’t gig with it unless I’m at a place where I have to sit down. The Tele, on the other hand, is super-light, and with its pine body, it’s very resonant, so I can get thick, almost humbucker-type sounds to nice trebly tones. Goldie offers that up and more, but she loses on usability in a variety of venues due to her weight.
The Aracom VRX22 happens to be my favorite amp in any case, but it’s my favorite because of its versatility. Once I had Jeff do the footswitch mod so I could switch between channels, and remove the clean channel from the master volume, there’s nary a tone – except for super heavy, high gain – that I can’t produce with that amp.
With respect to my TU-2 tuner, yeah, I know, there are much better ones out there, but it’s what I’ve got. But despite that, I’d rather be in tune than to have a cool effect, so that pedal would stay.
Finally, the Aracom PRX150-Pro attenuator will always be a part of any rig I put together because it allows me to set limits to my max volume in any venue. Since I play mostly small to medium venues, this box is essential for dialing in just the right amount of volume for the house. And even if I have to play at super low volumes where the Fletcher-Munson effect comes into play, I can rest assured that when my amp is miked, I’ll get my true tone.
I was actually surprised by my own choice of guitar primarily because Goldie is such a tone machine. But for as much as I move around when performing, lugging a heavy guitar is definitely not my cup of tea; especially if it makes me throw out my back, which I did a couple of weeks back. But it also says loads about that Squier Tele. I’ve got some great guitars, but that little $329 wonder creates such awesome tones and it plays so great, that it’s a clear winner. I might’ve gotten lucky with my particular guitar because I’ve read some user reviews that their tone is inconsistent. I’ll play a few more to see how that holds up.
When I first talked to a guy at a shop about this guitar (it’s someone whose word I’ve learned to trust over the years) about the Squier Classic Vibe Tele, one of the first things he said was, “For the guys who know tone, this is one of the best kept secrets in the industry.” That, from a guy who pedals high-end Fender custom shop axes. His only nit about the guitar was the same as mine: The frets seemed a little small. But other than that, the guitar was a player in his opinion; and so it was with my own estimation of this wonderful little guitar.
Squier is supposed to be the budget line for Fender, and traditionally have been tagged as beginner guitars. But the way this guitar looks, feels, plays and sounds, there’s nothing beginner or budget about it. The build quality is excellent. There are no split or jagged joints or uneven painting. This guitar looks and feels solid. And it’s light, weighing no more than 7 pounds with its pine body and maple neck.
I was excited about this guitar when I first played it, as evidenced by the high marks it got on my original review. I couldn’t believe that a guitar with a street price of $349 could actually be this good. But the one thing that struck me about it was not just its looks, but its tone. This ain’t your typical, thin Tele twang machine. This guitar has balls. The pine body resonates – a lot – and that adds a fatness to the tone that is completely unexpected! Even in the bridge pickup that really brings out the twang, the Classic Vibe Tele sounds like a bridge humbucker with just a touch of twang!
Since I was able to bring one into my studio, I decided to record a couple of clips to demonstrate how fat this guitar sounds…
The first clip features the Tele clean in the neck pickup for both rhythm and lead, though I dirtied up the lead part just a tad.
This next clip demonstrates how the guitar sounds through a fully cranked up amp (Aracom VRX22 with 6V6’s). The three parts feature the neck, middle, and bridge positions of the same chord progression, respectively:
Finally, here’s my new song Strutter again with the Tele played in the bridge position through my Aracom VRX22:
As you can tell from the clips, “thin” is just not part of this guitar’s modus operandi. It’s actually unsettling at first because when I’ve played Tele’s in the past, they were pretty bright and thin. But this guitar just sings and resonates all day long! Must be the pine body. But who cares! It’s a player, and for the money, you just can’t go wrong.
When I first reviewed the Fane Medusa 150, though I gave it a pretty good rating at 4.5 Tone Bones, I wasn’t really blown away by its tone because of its big bottom end, and recommended that the speaker be put into a 2 X 12 balanced out by a speaker with more top-end sparkle. What I didn’t consider was how it could be used to balance out the tone of a naturally bright amp.
Take, for instance, my review on the Aracom PLX18 BB Trem. One of the nits I had with the combo was that the Eminence Red Coat Red Fang was way too bright for the already naturally bright amp, causing me to bleed off highs when I was mixing the song. FYI, EQ’ing my guitars in my recordings is usually a real no-no with me because I like the pure sound of my guitars and amps on a recording. The only things I’ll add in production are reverb or a touch of delay if necessary. I love the tone of the PLX18, but that speaker just didn’t work for me.
Enter the Fane Medusa 150. That speaker is actually on loan from Tonic Amps. I’ve actually had it for a few months now, and I keep on forgetting to drop it off at Darin’s new place. Well, it looks like I’m probably going to buy it off him after all because I swapped out the Red Fang for the Medusa 150 in the PLX18, and suddenly the seas parted and a way was made clear! The PLX18 tone was completely transformed! Instead of being a purely bright amp, the PLX18’s tone became much more balanced. The highs and high-mids were still present but were much more tame. This resulted in a much richer tone.
As you may know, I’ve been working on a new song called “Strutter.” I actually had the song completely recorded, but I hadn’t finished it because I just haven’t been completely satisfied with the lead guitar tone. When I got the PLX18, I knew it would be the amp I’d use to record the song. But with the stock speaker, and even with my Jensen P12N, it still wasn’t cutting it for me. I even mentioned that the amp loves the Red Coat “The Governor,” and it does, but I still wasn’t completely satisfied. Now, with the Medusa 150 in the cabinet, I’ll be completing the song. Let’s compare, shall we?
Here’s the original, recorded with the PLX18 BB with the stock Red Coat. I’m playing my LP copy, Prestige Guitars Heritage Elite:
Now, here’s a clip of the song with the Fane Medusa 150. I’m playing Goldie in her bridge pickup:
Sorry for the differences in volume levels. But where the Red Fang has much more presence, and an in-your-face presentation, the Medusa’s tone is so much more three-dimensional and more refined. The mids and highs are still present and incredibly articulate, but they’re so much less piercing! And one thing that I noticed immediately with the Medusa is the clarity of the notes through the entire EQ spectrum, whereas the Red Fang seemed to lose a bit of clarity at high-gain settings – especially when I play those transition chords. Note that the amp and mix settings stayed completely the same between the two recordings, and both guitars were played through the Trem channel which was completely dimed. I also removed the wah from the second clip because I didn’t feel the need to mix it up. For that part, I did stack my KASHA Overdrive and Geek Driver overdrive pedals, but set to unity gain, and to add just a touch of compression and sustain. Not much, but just a touch.
So what’s the moral of the story? Simple: Amp and speaker combinations are critical to good tone. Some speakers, like my P12N work with a bunch of different amps. But some speakers, like the Medusa, work much better at balancing out certain amp characteristics. I’ve learned a good lesson here: You have to try out gear in different configurations and situations. Had I not tried to experiment with the Medusa, I probably would’ve just passed it off as a good speaker that belongs in a 2 X 12 cabinet with a bright speaker.
For more information on Fane speakers, talk to Darin at Tonic Amps! Tonic is the North American distributor for Fane speakers.
By the way, both clips were recorded at conversation levels using the fantastic Aracom PRX150-Pro attenuator, by far the best attenuator on the planet, from my perspective. I just couldn’t live without this device!
Summary: Reminiscent of John Mayall and the Bluesbreakers, the PLX18 BB is a tribute to the classic Marshall Plexi’s of yesteryear.
Pros: Looking for classic EL84 classic rock/blues tone? Look no further. This amp has tons of mojo that’s just waiting to be tapped, with two independent channels and a subtle, tube-driven tremolo that’s to die for!
Cons: Tiny nit, but the stock speaker – Eminence Red Coat Red Fang – is voiced way to brightly for this amp. For cleans, it’s great, but creates a bit of fizz when you’ve got it cranked.
Features:
General (from the Aracom site)
– On/Off Switch
– Standby Switch
– Indicator Lamp
– Custom Heavy Duty
Aluminum Chassis
– Impedance Switch:
4, 8, 16 ohm
– (2) Speaker Jacks
– Custom Handcrafted
Turret Board
– Handwired
– Gold Plexi Front and
Back Panels
Tremolo Channel
– Single Knob Tone Control
– Single Volume Control
– Tremolo Intensity Control
– Tremolo Speed Control
– High/Low Input Jacks
– Tremolo/Reverb Remote
– On/Off Footswitch Jack
– Reverb: Available with
optional Tube Driven
Reverb in the Combo 1×12
and 2×12 configurations.
Normal Channel
– Single Knob Tone Control
– Single Volume Control
– High/Low Input Jacks
Price: ~$1750 Direct
Tone Bone Score: 4.75 – If it weren’t for the speaker, this would get 5 Tone Bones, but I remedied that very easily by running it through either a Jensen P12N or a Red Coat “The Governor.” I dig that Governor speaker! It really brings out the best in that amp by taming the highs and adding a nice and smooth bottom end.
When you live less than half an hour from a boutique amp maker, you get to try out lots of GREAT gear. It’s so convenient to drop by Jeff’s shop or have Jeff over. He’s someone I love spending time with because we both share a passion for vintage and vintage style gear (Jeff is a passionate Les Paul collector), and we spend lots of time just talking about different kinds of gear, and especially his approach to amp building. As of late, Jeff Aragaki and Aracom Amps have gained a lot of attention in the guitar world for his incredible PRX150-Pro attenuator. And while I love what that attenuator does (it really has made my home recording late at night so much more convenient), it was his amps I fell in love with, and to date, I have three of them, having added the PLX BB 18 to my growing collection of low-wattage amps.
In Jeff’s words, the PLX BB 18 “…is our tribute to the Marshall 18 watt Tremolo amp that was originally introduced in 1967. The term “Bluesbreaker” originated from the Marshall JTM 45 Tremolo Combo amp that Eric Clapton made famous when he was with John Mayall and the Bluesbreakers. While the JTM 45 Tremolo is the original “Bluesbreaker”, many people also refer to the early 50 watt and 18 watt Marshall amps with Tremolo as Bluesbreaker amps.”
This amp is the elder statesman in the Aracom lineup, and while lots of attention has been paid to his latest VRX line, it was the PLX that gave Jeff his start. Unfortunately, because there are lots of classic Marshall Plexi 18 remakes on the market, the PLX BB 18 is probably his least known amp. That’s too bad because the tweaks Jeff made to the classic Marshall circuit has produced a very distinctive amp that has a mojo that’s almost visceral in its appeal.
Based upon a pair of EL84 power tubes, and an EZ81 rectifier, the PLX produces a very three-dimensional tone that’s at once in your face, but also fills the space you’re playing; and mind you, this is at fairly low levels – maybe loud conversation levels – due to squelching the output volume with the PRX150-Pro. Strike a chord or bend a note, and you can feel the tone! It’s that way with my VRX amps as well. There’s something that Jeff has discovered in building his amps that make them ooze a certain mojo.
Like all Aracom amps, the PLX18 BB is packed full of character. It’s amazing how it responds to volume knob changes and pick attack. But one thing that really strikes me about this amp is how smooth the distortion is when I crank the amp. When pushed hard, it has tons of gain and oodles of dynamics, but they’re very well-mannered. Notes are well-defined, and especially played with humbuckers, bloom nicely when you attack a string. F-in A!
How It Sounds
I got the amp this past Saturday, and I’ve been playing with it since. I spent Saturday evening and most of Sunday just getting used to it, and experimenting with different speakers. As I said, the stock speaker is a little bright (admittedly, I’m experimenting with it), but it’s also brand new, so that probably accounts for the abundance of highs. With time, that speaker will mellow out. But as I wanted to use the amp right away, I ran it through my custom 1 X 12 cab with a Jensen P12N and also my Fender Hot Rod’s cab that has the Governor in it. Amazingly enough, this amp LOVES the Governor. The P12N sounds awesome (and I’m a huge fan of Alinico speakers), but the Governor seems to bring out the best qualities of this amp. Anyway, here are some clips I recorded:
This clip features the stock Red Fang. I’m playing my Prestige Heritage Elite (an LP copy) for the lead with the Treble pickup engaged. This is a clip from a song I’m working on called “Strutter.” I normally don’t EQ my guitar parts, but I did bleed off some of the real high-frequencies to cut down on the natural fizz.
This next song is called “Plexi Lullaby” because it reminded me of a lullaby. The base rhythm track was recorded on the tremolo channel with my Heritage, then I created a second rhythm track with my Strat. The Lead is also played with my Strat. You’ll notice that you really have to listen for the trem. The tube-driven trem is killer. It’s very subtle and oh so smooth! Almost forgot! The base rhythm track was played through the stock speaker, while the Strat parts were recorded through a P12N, and no EQ was applied to any of the parts.
Finally, here’s a simple track I recorded just with my Strat for both parts, running the PLX18 BB through the Governor. This in the drive or “normal” channel of the amp with it cranked up to about 3pm, which is almost full out. To achieve the cleans, I just used a light touch, and played it finger style. I picked the Lead so I could get some occasional grind sneaking in:
I really love the tone on the last clip. The cleans it produces just make me close my eyes and play; which is pretty much what I did when recording the lead part. Just hearing how the chords just rang was so inspiring! The amp the entire time was just on the edge of breakup – it’s so expressive! I just added a touch of room reverb in the mix, but the guitars were all recorded completely raw. I didn’t do any adjustments.
Overall Impressions
I know, I say this quite a bit about Aracom amps, but I LOVE THIS AMP! As you can hear from the clips, it has an abundance of character. Jeff has recommended a few times that I try some NOS tubes with it, as all the pre-amp and power tubes are all JJ’s. But I’ve resisted because it just sounds great with the stock tubes. As I told him, “I know, I’ve got some NOS tubes on hand, but there’s no reason to put them in there. It sounds great with the JJ’s.” I may eventually do that, but for now, I won’t replace the tubes until they start getting dull.
The PLX18 BB yet another one hit out of the ballpark by the humble genius, Jeff Aragaki!
I just finished cooking my lunch of Potatoes O’Brien which consists of diced potato, onions and red and green peppers. You fry up the mixture in hot pan with a bit of oil, seasoning to taste until the potatoes turn golden brown. When they’re done, I like to sprinkle a bit of shredded cheese, and I also like to add some chopped bacon for a nice contrast. Very tasty indeed!
If you’ve ever cooked with potatoes in a regular frying pan (not the non-stick kind), it can be a painful process because potatoes have a proclivity to stick. But I have a great cast iron skillet that has been seasoned from years of frequent use, and sticking is not part of its modus operandi. It has taken years of care and cooking, and keeping the pan lubricated to where the oils and the fats from the food have worked into the pores of the metal. It is now a masterpiece of cooking utility, and I’d be heartbroken if it got ruined.
The same thing can be said of a guitar. When you first get it, it’s all shiny and new – though I suppose that doesn’t count for relicked guitars, as they’re supposed to already be broken in… But even if they’re vintage-ized, out of the box, they’re still new, the new gear “feels” new, and thus needs time to season through use. Woods take time to settle. Oils have to work into the neck and fretboard, etc., etc..
Especially with a fretboard, it takes time to work the oils from your fingers into the pores of the wood and fret metal. Ever wonder why new fretboards feel “sticky?” They need lubrication. I read in an interview with Neal Schon of Journey fame that he actually rubs a piece of salami on a fretboard to help break it in! Now THAT’S about seasoning! Ha!
Moreover, I just don’t feel a guitar will actually sound right until it has really broken in through regular use and exposure to all sorts of environments. When I first got my MIM Strat, “Pearl,” I loved her tone, but after playing her for over five years now, her tone to me is so much more mellow than when I first got her, and the frets and neck are nicely broken in from regular use. She’s just a dream to play.
One of my kids once asked me why I get so attached to my guitars that I give them names. I told them that I give my guitars names because I’ve spent so much time seasoning them, like I do with my “special” pan. They all know that my cast iron skillet is “Daddy’s special pan” so when I gave them the reason, they immediately understood.
It doesn’t end with just a guitar, though I focused on that. Amps – and especially speakers – take a long time to truly season. But that’s another discussion altogether. 🙂
As I’ve mentioned in the past, I purchased Chuck D’Aloia’s “Blues with Brains” series. After a month, I still haven’t moved past Volume 1, but that’s only because I’m going slowly and methodically with the process. Besides, the one thing that I found is that Chuck throws A LOT of stuff at you in a very short period of time, and I’m one of those types of learners that has to let information soak in before I can move on.
There aren’t any step-by-step lessons in this series. It’s very free-form, which I find is totally cool. But as I mentioned above, there are several places where Chuck throws in lots of material in a short span of time, so I’ve found myself going back and forth and listening and practicing for a couple of days before moving on. This is a real change of approach for me because I’ve operated by this little saying for quite awhile: “If patience were a virtue, I’d be a slut.” 🙂 But this time ’round, I made a conscious decision to not move on until I could execute on what the teacher was talking about proficiently.
What about the fruits of my labor? Well… I know I’ve used this clip before, but it’s a good example of applying what I’ve learned:
Excuse the obvious mistakes, the song’s not really in a finished state (can’t decide what guitar/amp combo I want to use). But here’s what I’ve learned so far that I’ve applied to this song:
I now pay lots of attention to the current chord being played and playing notes that “fit.” I used to be a real pattern player – especially the minor pentatonic – but I’m learning to break free of those patterns.
I’ve lately put a lot of emphasis on learning various triad shapes up and down the neck. This not only helps with getting the proper fingering at a particular place, but it also helps in coloring.
I’m also learning to let my solos breathe. One thing that I haven’t heard Chuck mention yet – though he’ll probably share it – is taking some time to let my idea sink in, then playing to build on it. Yeah, that song is somewhat composed, but it came about through playing over the rhythm track underneath. The themes you hear are ideas that I came up with while just playing around!
Regarding that last point, that is probably the salient point that I’m getting out of the lessons thus far, and that is taking an idea, then developing it and building upon it. It’s incredibly freeing!
A couple of months ago, I wrote an article entitled, “Where DOES TONE Really Reside?” where I discussed the equipment vs. fingers religious debate that seems to rage on the forums now and again. I meant to follow up on that article much earlier, but well, life happens and it’s easy to get sidetracked, so here’s my follow-up:
Tone is NOTHING without music.
Music gives tone a context. Here’s a good test of this statement:
Set your rig up to your sweet spot; that is, where you think it just sings to you, no matter what you play.
Start plucking out random notes, not trying to be musical at all. Could be some dissonant scale of some sort, or just randomly plucked notes. Do some bends and such. Ugly, right?
Now, without changing your settings, make music with that tone. You could comp some chords, or do some melodic lead.
For example, here’s a clip I quickly recorded that demonstrates the steps. In the clip, I’m playing my Strat through a Hardwire reverb, into a Reason Bambino on the Normal channel, at just the edge of breakup. The tone that this produces is silky smooth, but responds to attack and volume increases with just bit of grind. I’ve been using this setting quite a bit lately. It creates a very three-dimensional sound.
The first part – thankfully – is very short, and is just random plucking of notes. Without touching anything on my guitar or amp, in the second part, I do a little chord comping and create some music.
The point to that little exercise is that in both parts, the tone I’m producing – at least to my ears – is gorgeous. But flat-out tone with no context well… it just plain sucks!
So put everything together, where does tone reside? As I stated in the first article, it’s in both your gear and your fingers, but ultimately, you have to give it context, and that’s applying that tone to music. But keep in mind that beauty is in the eyes of the beholder. What is considered “great tone” is a purely subjective thing.
Some amps were just meant to be used with a certain kind of guitar. The Reason Bambino is one such amp. Mind you, it sounds great with any guitar, and I play it with a wide variety of guitars. But considering the amp designer, Obeid Kahn, and his love of vintage Strats, it’s no small wonder that the Bambino sound absolutely gorgeous with a Strat.
When I play a Strat, I like to play mostly clean with just a little bit of grit, and the Bambino does this oh-so-well! Here’s a clip of a song I’m working on that demonstrates the Bambino’s gorgeous voice with my MIM Strat with ’57 Tex Mex re-issue pups:
You may have already heard a version of this clip when I demonstrated the KASHA Overdrive pedal, but I thought I’d try the lead plugged straight into the Bambino, and adding just a bit of reverb during production. At least for my Strat in the Bambino, pedals? We don’t need no stinkin’ pedals!
I love my Strat. It’s a cheapo MIM version, but it has a great sound. But ever since I started using it with the KASHA Overdrive pedal, it sounds even more like a Strat to me! I know, that sounds a little cuckoo, but that Classic channel on the KASHA Overdrive really brings out that jangly tone that defines the Strat tone; that’s to my ears, at least…
The other day, I was messing around with a dominant seventh ditty in A as I was trying to pick up some improv techniques from Chuck D’Aloia’s Blues with Brains video. I originally just recorded my Strat running through a reverb, then into my amp. It sounded pretty good, but I wanted to get a bit more top-end bite, but not a lot of drive. So I switched my KASHA Overdrive on and my jaw dropped! Here’s what I came up with…
That pedal just brings out the best in a Strat. I swear, now that I’ve been using it with my Strat for the last couple of days, I think it’ll always be on when I perform with my Strat. It really sounds great!
BTW, both rhythm and lead parts were played with the Kasha overdrive pedal. For the rhythm part, I was in the Classic channel to get that jangly Strat sound from position 2, while I was in the Hot channel for the lead in the neck pickup. So sweet sounding!
When I first talked to a guy at a shop about this guitar (it’s someone whose word I’ve learned to trust over the years) about the Squier Classic Vibe Tele, one of the first things he said was, “For the guys who know tone, this is one of the best kept secrets in the industry.” That, from a guy who pedals high-end Fender custom shop axes. His only nit about the guitar was the same as mine: The frets seemed a little small. But other than that, the guitar was a player in his opinion; and so it was with my own estimation of this wonderful little guitar.
I just finished cooking my lunch of Potatoes O’Brien which consists of diced potato, onions and red and green peppers. You fry up the mixture in hot pan with a bit of oil, seasoning to taste until the potatoes turn golden brown. When they’re done, I like to sprinkle a bit of shredded cheese, and I also like to add some chopped bacon for a nice contrast. Very tasty indeed!
Guitar Gear 