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Electro-Harmonix #1 Echo

Electro-Harmonix #1 Echo

Over the years, I’ve had a love-hate relationship with delay pedals. My first taste of delay was an analog EchoPlex in the early 80’s. But focusing on acoustic guitar – actually only able to afford an acoustic guitar – at that time, I didn’t see the need for a contraption like that. Then U2 and The Edge entered my musical radar a couple of years later in the early eighties, and I of course had to get a rig where I could use a delay. So with what little money I had, I purchased a 25 Watt Roland amp, a Boss CE-2 Chorus, and a Boss DD-3 Digital Delay.

Little did I know that you had to have some technique to play like The Edge, and I quickly became disenchanted with trying to play like him. I just didn’t have the technique nor experience! So I held onto the amp, kept the CE-2, and sold the DD-3. I’m kicking myself now for getting rid of the DD-3 as it was a “Made in Japan” model that still had some hand-wired circuitry that makes it much-sought-after delay. Oh well…

Fast-forward to today, and I’ve owned several delay pedals. Again, the operative word is “owned,” because I don’t have one now. But I do have the technique, and I’m thinking that some of the stuff I’m writing could actually use some delay. Enter the Electro-Harmonix #1 Echo.

I’m normally a little leary of EH pedals, but this one seems promising, at least from the reviews I’ve read and the sound bites I’ve heard. Reviews are generally pretty good, but one thing’s for certain: All this thing does is delay. It doesn’t do any modulation or phasing. It just delays, and that’s exactly what I’m looking for! I’m going to have take one out for a spin, but it certainly seems like it will serve the purpose. And for a $99, it’s certainly not a huge investment. Let’s look at features:

  • True bypass (Yowza! that’s cool)
  • up to 2 second delay
  • Wet/Dry Blend for blending the amount of dry and wet signal – very cool
  • Feeback control – kind of like decay

Check out the videos

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I’ve spent the last 30 years or so learning how to play guitar – and I’m still learning. Over time, I’ve acquired, or I might say, stumbled upon various techniques that I made part of my playing, and I’ve recently started to share what I’ve learned; that is, I’ve started teaching guitar. I’ve been informally teaching guitar for a number of years, showing various folks how to do this and that, but just recently started doing formalized lessons (read: I’m getting paid now… 🙂 ). Admittedly, it has been a bit of a scary thing. Not having taken a single guitar lesson in my life, I didn’t know if my approach to teaching guitar was going to work. But to my overwhelming surprise, I’ve found that I’m not too bad at it, and my students seem to respond well to what I have to share.

Mind you, this isn’t a plug for taking me on as a teacher by no means; especially if you’re already an accomplished guitar player. I’m only taking on beginning to intermediate guitar players. Besides, my approach might seem a bit cockeyed as I focus less on technique and more on developing musicality. But I digress. The point of me sharing this is that I’m really jazzed at the prospect of teaching! To me, it’s incredible to see the progress people make and it makes me feel good that I can play a part in that. It’s not an ego thing: I truly want my students to develop the same kind of love (or some might call it obsession) I have for the guitar, and it’s very cool to see them gain that as they learn new things.

I can now understand why teachers love what they do. There really is nothing like the satisfaction of sharing what you know, and having people delight in that knowledge. If you’re an accomplished player, I highly recommend sharing your knowledge if you have it in you to teach!

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SAINT Guitar Company - Faded Blue Jean Benchmark Guitar

SAINT Guitar Company - Faded Blue Jean Benchmark Guitar

I’m honored. I’m awed. Completely dumbstruck. Adam Hernandez from Saint Guitar Company e-mailed me yesterday with the news that he finished the guitar that I spec’d out for him. It’s not my guitar, but most everything I specified is on there. I’ll have a full update on the guitar, replete with pictures in the next day or so, but I just couldn’t wait to talk about it!

In any case, look at the finish! It’s absolutely gorgeous. Real quick though, this is a solid walnut body with a flame maple top. It has a rosewood fretboard and a koa headstock. Like I said, I’ll have complete specs in the next day or so. I’d list them all out here, but I’ve only got a limited amount of time. For more info on Saint Guitar Company, visit the web site.

BTW, I’m working on a new look for the Saint Guitar Company site. I’d love your feedback!

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Jacques Overtube Vintage Pro Overdrive Effects Pedal

Jacques Overtube Vintage Pro Overdrive

The Dawg likes to sniff around for new and interesting gear all the time. Unfortunately, I don’t always have time to write or test stuff out. But I do love it when I come across some potentially awesome gear, and I take the time to share it here. The Jacques Overtube Vintage Pro Overdrive most definitely fits the bill in that department. By the way, think “Jacques Cousteau” when pronouncing the name… 🙂

The Overtube is supposedly a faithful reproduction of the original TS-808 Tube Screamer circuit. Now you might be thinking, as did I, that that is nothing special. But what is special about this pedal is that little toggle labeled “CASC” between the Tone and Drive knobs. “CASC” stands for “cascade” and it’s meant to simulate running two TS-808 pedals simultaneously ala SRV!

Check out this video on Guitar Player TV. I’ll be damned if that pedal doesn’t do a Tube Screamer exceptionally well! And with the cascade on, this pedal sounds sweet as can be with lots of thick mid-range wail!

As many of my readers know, I’m a big fan of the mid-rangy kind of drive distortion, so I’m gonna be hard-pressed not to give this pedal a whirl.

It’s a steal at $139!!! Check it out!

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Sorry, but sometimes I just have to vent. I know lots of dudes who call themselves guitar players who are just wankers in disguise. They’re wankers because they have some kickass and expensive gear, which they don’t hesitate to let you know how much they spent, but they couldn’t play it if their life depended on it! Sorry, but it kind of grates on my nerves because when I run across a wanker, I find myself thinking, “Damn! If I had that guitar, I could make that bad-boy SING!” Maybe I’m crossing the line here of being the supportive web site host, into a petulant and honory SOB, but even though I realize that I’m not the greatest guitar player in the world, at least I can play my friggin’ axes and make some decent sounding music!

To me, a great guitar or amp will just help inspire me to explore tonal landscapes I haven’t been to before; and help me express my music to an even greater degree. And a great piece of gear is like having an expensive screwdriver from Mac or Snap-on Tools. Functionally, it’s no different from the cheap one you can buy for a buck ninety-nine at the corner drugstore’s hardware department. But that good screwdriver makes work so much easier because so much care and consideration were put into making that tool work so much better for the job, with high-grade materials, and ergonomic design. But wankers really don’t know the difference. They just think that expensive must be better. But so many great players have proven you don’t need the expensive gear to create a good tone (think Eddie Van Halen, Willie Nelson, etc). With a wanker, it doesn’t matter what they play: They still sound bad!

I know, I’m being really harsh and probably incredibly arrogant, but I get sick and tired of wankers who insist on playing the “my dick is bigger than yours” game with their bankrolls. Show me you can play that thing, and maybe I’ll show you some respect. In the meantime, keep your mouth shut, and learn how to use your gear!

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I got so inspired by the Greg Howe video I posted here the other day, that I recorded a Jam Track to Sunny that I could jam to… I had A LOT of fun with this one… Check it out!

http://www.icompositions.com/music/song.php?sid=96867

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Ibanez Jemini Distortion Pedal

Ibanez Jemini Distortion Pedal

Does the guitar playing world need yet another distortion pedal? That’s almost like asking if your town needs another Starbucks. Hmmm… maybe that’s a bad analogy because while we could probably do without yet another coffee commodity, I for one don’t ever mind seeing another distortion pedal hit the market.

And just when I thought I’d heard all the variations of distortion around, and that not much else could be done, along comes Ibanez with yet another mind-blowing distortion box, designed by none other than one of my guitar heroes, Steve Vai. I gotta admit it: I’m really impressed with this latest offering from Ibanez – at least as much as I was impressed with the Vox Satchurator. Don’t get me wrong; it’s not because of Steve Vai, or because I’m a Vai wannabe. It’s because there’s something about a great distortion sound that evokes a visceral response inside of me. It’s hard to explain. So I’m more than pleasantly surprised about the Jemini because it produces a GREAT distortion sound; at least from what I could tell from this video starring Steve Vai and Steve Vai – you’ll get the joke once you watch it:

Leave it to Steve Vai to not only demonstrate his mastery over the guitar, but the eternal showman manages to make the video a joy to watch. I was laughing my ass off at his antics! He’s so likeable!

Okay… now for a reality check… I really would like to get this pedal, but at $199, it’s a bit out of my price range right now. But being two distortion pedals in one for that price, it’s a hundred bucks a pedal. That’s actually not bad at all. But I have to admit, I have my sights set on a Satchurator right now. I kind of go for the more mid-rangy type of distortion. But I’m not going to let that keep me from taking one out for a spin.

On a final note, what’s been really great as of late is that big-name gear manufacturers are finally producing what could be considered boutique-type pedals. Having played with the Satchurator, that thing is built like a tank, and it just kicks ass. The Jemini appears to follow suit of well-made, gig-worthy quality. That’s very pleasing to me, because I’m a big proponent of getting great sound without breaking the bank.

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I don’t plug other web sites often, mainly because there are so many out there, it’s difficult to keep up. But a new site, called TonePedia is so interesting in its concept, I just had to share it! The basis of the site is for members to share the tone of their rigs through sound bites they share with the community. Want to know what an LP sounds like through a Crate amp? It’s there on the site.

What a cool idea! Check it out! I’m going to post a few samples myself! Er… Once I find some time… 🙂

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The mags and rags of the guitar playing world seem to have forgotten about the absolutely amazing virtuosity of Greg Howe who, in my maybe not so humble opinion ranks among the best guitarists in the world, hands down. He’s as fast as Yngwie or Paul Gilbert, but in my opinion covers a lot broader musical territory. But the guy’s not only a speed demon, his solos are incredibly expressive, employing a lot of phrases that you’d expect to hear in jazz.

I’ve been amazed by Greg Howe’s mastery over the guitar for years, and I actually feel bad that I hadn’t acknowledged him here. Maybe it’s because he’s considered to be more of a fusion artist more than a rock and roll dude… Who knows? Actually, who cares? Greg Howe KICKS ASS!

Here’s a video that displays just some of that musicality and other-worldly technique. Please view it to the end. When he starts out, you’ll think it’s nothing special… Wait until he hits his stride! Aiyeeeeeee!

Click here to see more on YouTube!

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I was reading several interesting threads about technique and improv the other day. I have to admit that I was quietly embarassed by the fact that I don’t have a large library of techniques that I can tap into while I read the posts and articles. There are so many things to learn with respect to technique out there that it’s daunting!

But after reading those articles, I realized that a lot of the technique I have developed – especially over the past couple of years – has come from stumbling upon how to play a certain phrase through experimentation. I’ll be the first to admit that I’m not a disciplined improv dude that can instantly tap into a library of patterns and apply them. I’ve never taken guitar to that intellectual level. My approach to soloing tends to be fairly experimental; primarily because I don’t have a lot of techniques on which to fall back. But that doesn’t mean the process of experimentation isn’t cool in an of itself.

In fact, that process, at least for me, has been absolutely rewarding, and after I’m done with an “experimentation” session and play back the different takes, I often say to myself, “Did I actually play that?” It’s mildly amusing, but it’s also a bit scary because I’ll eventually have to play that or at least something similar to that when I play the song live. But that gets me to practice the technique until I have it down.

For instance, early on when I started my experimentation, I stumbled upon the minor pentatonic scale just by playing what fit. At the time, I didn’t know that it was the minor pentatonic scale. I just know that what I played fit with the song. I’ve since learned the other patterns of the minor pentatonic, and it’s something I tap into regularly. In another instance a few years ago, I was playing a solo, and one of the other musicians in my band asked, “Hey man, did you just do that in Mixolydian mode?” I replied, “Mixo-what? I don’t know, I just thought that it would be cool to start the lead a fifth above the root and play within that relative area.” Mind you, I still don’t know all the modes by heart – I think I stick to Dorian and Mixolydian a lot, or often start playing a minor pentatonic in the relative minor of the root chord (if it’s a major chord).

The point is that I don’t go out to specifically learn and practice a technique or mode or scale. Admittedly, that has probably slowed my technical advancement to a large degree, and I’ll have to admit that for the more organized and discplined among us, that approach is probably unacceptable, but it works for me, and I’ve learned a lot of things that I was later able to identify as formal techniques.

I know that there thousands of guitar players who are a whole lot better than me, but here’s a glimpse into my experimentation process:

  • GarageBand or some other package where you can easily set up loops and record rhythm parts is kind of essential. Having this is akin to having a basic chemistry set to mix chemicals.
  • Once you come up with a loop, play it continuously and jam to it to see what falls out of your experimentation. Never mind trying to be intellectual – just let it flow.

I’ve literally spent hours at a time practicing using this method, and a lot of these progressions have turned into songs.

To get you started, here’s a Jam Track that you can use. It’s a simple, 3 minute track in the key of A. I laid it down because I wanted to practice chord soloing… er… actually to see if I could do it. 🙂 In any case, have a go!

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