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Posts Tagged ‘buying gear’

Question: Why Do You Have So Much Gear?

Posted in Guitars, tagged , , on August 26, 2013| 2 Comments »

Possible Answers:

  1. 5 Years Ago – 10 Years Ago: I’m obsessed and have no self-control.
    It wasn’t a pretty sight during that time. I was spending pretty much everything on gear in my lust for finding the right tone. This coincided with my move from solid-state to tube amps.
  2. 3 Years Ago: I’ve purchased all this gear, and I’m a pack-rat and don’t want to get rid of it.
    Yeah, I sold off a couple of things, but for the most part kept pretty much everything I purchased.
  3. 1 Year Ago: Same as 3 years ago, but I’ve refined my use of different gear to different venues/situations. Instead of buying more gear to satisfy a sound that I’m hearing in my head, I look at the gear I have and see if I can get it. More often than not, I’ve found that I have gear that will meet my particular needs.

Answer 3 is how I now answer the wife… 🙂

But seriously, after buying all that gear, what I found is that some gear just works better with some rigs or venues than others – even set lists. For instance, I’m glad I have duplicates of several of my modulation pedals because some work better in a live situation, while others work better in the studio. Furthermore, some work much better with my acoustic rig, while others work better with my electric rig. As a result, I have three pedal boards. One is dedicated to acoustic and two I use for my electric rig.

On my acoustic board, I use an MXR Carbon Copy Delay, Homebrew THC Chorus and a TC Electronic Hall of Fame Reverb for modulation pedals. I also have a simple BOSS LoopStation RC-2 looper along with a TC Helicon VoiceLive Play GTX vocal processor.

For my electric rig, what board I use is really dependent upon how I’m feeling that day, and the amp that I’m playing. I have 10- and a 4-pedal boards. I normally only use my 4 pedal board which will include a tuner, an overdrive, a chorus, and a reverb for pretty much any amp. Occasionally, I’ll swap the reverb or chorus out for a delay pedal, or switch the overdrive out for a distortion pedal.

But occasionally I need a lot of versatility, so I’ll break out the “big” board and load it up as follows:

Lower Level – These go straight into the amp

  • BOSS TU-2 Tuner (I’ve had this forever and it still serves me well)
  • Timmy Overdrive for transparent OD
  • Another overdrive that will work the guitar/amp I’m playing that day (Could be a Tube Screamer-like, or whatever I might be in the mood for color-wise)
  • EWS Little Brute Drive (I might even have yet one more overdrive here that will be used for stacking with the Timmy)
  • VOX Big Bad Wah

Upper Level – These go into my effects loop (and all these work with any amp or guitar I have)

  • TC Electronic Corona Chorus
  • Mad Professor Deep Blue Delay
  • Hardwire Reverb
  • Creation Audio Labs Mk.4.23 Booster

Some might be wondering why I put a booster in the last position. I actually learned this from Mean Gene Baker. It doesn’t necessarily add much volume, but it does ensure that my power tubes get saturated.

As for guitars, I have a bunch, but really only play five of them regularly at this point. I have my trusty Yamaha APX900 acoustic, then for electrics, I use my ’58 Re-issue, ’59 Replica Les Pauls, my custom Slash L Guitars “Katie May,” and an American Deluxe Strat. I’ll occasionally take out my others, but they’re kind of in a dormant state right now…

The cool thing about having so much gear is that I have options. I’ve acquired enough that as I mentioned above, I can almost always find what I need with what I have. The net result is that even though I still dig new gear, I’m now less compelled to go out and even try it because I’ve got all I need right now. Of course, that will probably change as I explore other genres of music. But for now, I’m going to be digging into my “grab bag.”

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For Me, Having All this Gear Is about Gigging with It!

Posted in Guitars, tagged , , on December 18, 2012| 2 Comments »

Yesterday, I finished the last gig of a five-day run of gigs – mostly solo – and after I finished the last one, I was driving in the car and thought about the different gear I used for each gig. For the last couple, I used a bare bones rig: Just my guitar plugged into my VoiceLive GTX vocal processor plugged into my Fishman SoloAmp. I didn’t want to bother with lugging my pedal board, so I just loaded a few cords, my VoiceLive GTX and my mic in a bag. I didn’t even use my gig seat – just used a couple of regular chairs to sit on.

The thought that struck me last night was that I have all this gear to have the freedom to add or subtract what I need from gig to gig. When I’m playing with my church band, my rig can change drastically from week to week. Sometimes I bring a combo, sometimes a head and cab; sometimes I bring multiple guitars. The idea to give myself choices. 🙂 He he… sounds a lot like I’m figuring out a way to justify to the wifey why our garage is half-full of my gear. But that’s not really the case. I like having the choices I have so I can adapt to whatever venue I might play. I use practically all my gear throughout the year (I’m bound to with a 100+ gigs a year).

But in my ruminating over my gear, it also got me thinking about several people I’ve encountered over the years who hoard gear but never gig. Hey man, if that’s your thing, that’s fine with me. But I don’t see the point of getting performance gear and not using it to perform. There was one guy I know of who had a bunch of high-end gear. He died tragically a couple of years ago, but my buddy bought all his gear from his wife – it took up two big, enclosed car trailers! I asked my buddy if the dude gigged, but he said never. He just bought up a bunch of gear, and played it at home. Included were several high-end amps from VOX, Marshall, HiWatt, /13, and others. There were several Strats, a couple of Les Pauls, and a nice collection of Gretsch guitars. I just couldn’t believe how much stuff there was, and that didn’t include all the pedals and accessories! I thought I was a gear slut! This dude’s collection made me look like a freakin’ prude!

I personally can’t fathom not gigging my gear. I have a lot, but pretty much everything gets used at least three or four times a year. I have my “go-to” amps and axes for sure; especially now that I feel that I’ve got my sound. But still, from time to time, I break out a little-used guitar or amp. For instance, my guitar of choice is a Les Paul. But there are some sounds that a Les Paul just can’t do; which is why I have a couple of Strats and a Gretsch and other guitars when I need certain tones. Same goes for pedals. Baseline I always have a chorus, a delay and a reverb. But sometimes I need a vibe. For front-of-amp stuff, I always have a Timmy and my EWS Little Brute Drive distortion, plus my Big Bad Wah. But I’ll add other drive pedals, or even change out my wah for “something else.”

I suppose I just can’t justify buying gear if I don’t use it. I don’t have a lot of disposable income, so when I do buy something it’s with the intention of gigging. But that’s just me…

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Tips for Buying Your First Electric Guitar

Posted in amplifiers, amps, Amps/Amplification, effect pedals, Effects, guitar gear, Guitars, tagged , , , , , on March 30, 2010| 9 Comments »

So you’re thinking about taking the leap and buying your first electric guitar? Choosing a guitar, amp, and pedals doesn’t have to be as intimidating as it might seem. There are a few things you’ll want to consider and keep in mind though.

What are your goals?

In other words, what types of music do you want to play? The type of guitar and amp you get will largely depend on the type of music you want to play. If you can identify, the types of music you’ll be playing, this can help you narrow down what types of guitars you might buy.

For example, if country is your thing, you might want to get a more twangy type of sound, so you would look at something like a Telecaster. If you’re a rocker, to get a really fat and dark type of sound, you’ll want to look at a Les Paul or an SG with some humbucker pickups. If you’re into metal, you’re going to want to be focusing more on your amp and effects pedals to get a hi-gain distorted sound. And then, if jazz is more your thing, you might want to look at a semi-hollow body guitar like an Epiphone Dot to get that darker, warmer sound you’d except from jazz.

In all reality, one electric guitar is not just limited to play one style of music, but guitars generally have different tonal characteristics, so identifying the sound you’re going for can help narrow down your options too.

What’s your budget?

Before you even start looking at buying guitars, it’s really important you set some sort of budget. What can you afford? When it comes to buying guitar gear, the sky is the limit, so having a budget gives you a bit more focus in what you’re looking at and eliminates a bunch of options.

It’s been my experience with guitars that more often than not, like most things, you generally get what you pay for when you consider the quality (there are always exceptions). A $100 dollar guitar is most likely going to play, sound, and feel much different than a $500 guitar. Generally, the cheaper you go, the quality tends to be poorer (e.g. doesn’t stay in tune, poor action, fret buzz, poor electronics, etc.). You don’t need to shell out a ton for your first electric guitar, but you also want something that will be inspiring to play and won’t give a lot of trouble down the road either.

You’ll not only want to consider the guitar in your budget, but you’ll also want to consider your amp and effects pedals (e.g. distortion, delay, reverb, etc.) as well.

It’s important that you see your first electric guitar purchase as an investment. I think one of the fears is, “What if I shell out all this money and then end up not sticking to it?” Even if you do end up finding out that guitar is not really for you, if you’ve made a good investment, you can always make a good part of that money back in resale. You might want to consider buying used too. Check eBay, Craigslist, and your local newspaper’s classifieds.

All to say, what can you afford? Set your budget and stick with it.

Gear Recommendations

So you’ve thought about your goals and have set a budget. Now what? It’s time to start looking at some gear. You have to keep in mind there are literally hundreds of options for a beginner’s set up, so recommendations are going to vary person to person. For my recommendations, I hesitate to suggest you something so dirt cheap that it’s going to cause you grief later down the road, but I also realize you don’t need to break the bank either.

I’ve divided these recommendations up into three categories depending on the type of music you want to play: country/pop/blues, rock/metal, and jazz. And then, within those categories I’ve given a couple different price categories depending on your budget. Also, keep in mind that a lot of these guitars aren’t restricted to play only the music in their category. For example, I know a lot of guys who will play an Epiphone Dot in a rock setting.

Country/Pop/Blues

  • Epiphone Special-II GT ($199.99)
  • Epiphone Les Paul 100 ($299.99)
  • Fender Standard Telecaster ($499.99)
  • Fender Standard Stratocaster ($499.99)
  • Gretsch Electromatic ($699.99)

Rock/Metal

  • Dean Vendetta XMT ($159.00)
  • Epiphone Explorer-GT ($199.99)
  • Epiphone G-310 SG ($249.99)
  • B.C. Rich Metal Master Warlock ($299.99)
  • Epiphone Les Paul Studio Deluxe ($399.99)

Jazz

  • Epiphone Dot ($399.99)
  • Ibanez Artcore AF75 ($399.99)
  • Gretsch Electromatic ($699.99)

Now, choosing an electric guitar is only half the battle. You’re going to need an amp or a multi-effects processor. Some amps are “combo amps” which means they have some effects built in to them (e.g. distortion, reverb, chorus, delay, etc.). These are definitely worth looking at for a beginner.

Another thing to keep in mind is that a lot of country, blues, and rockers can often use a amps built in overdrive and gain channel to get a distorted sound, but if you are playing metal, you probably need to look at some sort of hi-gain distortion pedal in addition to your amp.

Amps

  • Fender 25R Frontman Series II Combo Amp ($99.99)
  • Vox Valvetronix VT15 Combo Amp ($169.99)
  • Line 6 Spider IV 75W Combo Amp ($299.99)
  • Vox Valvetronix VT50 Combo Amp ($379.99)
  • Peavey Classic 30 Tube Amp ($599.99)

Sometimes players will opt out of getting an amp and just getting a multi-effects processor unit that has amp models and effects built in to one box. This might be a great option for your first guitar.

Multi-effects Processor Units

  • DigiTech RP255 ($149.99)
  • Line 6 Floor POD Plus ($199.99)
  • DigiTech RP355 ($199.99)
  • Line 6 POD X3 ($399.99)

This is just a starting point. The best thing to do is to go into the store and play as many different guitars and play through as many different amps as you can, or if you can’t play very well, bring someone along who can or knows a lot about guitars so you can get their opinion and hear what it sounds like.

So let’s recap. It’s important to think through your goals and your budget. Thinking through these things really eliminates a lot of your options. You don’t have to spend a ton on your first guitar, but do think of it like an investment. Your guitar is only half of the equation so don’t forget about an amp or a multi-effects unit. And lastly, there’s nothing like going into a store with a friend and trying out as many different pieces of gear as you can.

All of you guitar veterans out there… what would you recommend to a beginner player getting their first electric guitar?

Brett McQueen is a full-time music student, guitar player, songwriter, and blogs in his spare time. Brett is passionate about teaching free guitar lessons for beginners so other guitar players can take their playing to the next level and reach their goals.

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Gear Review: BOSS RV-5 Digital Reverb

Posted in buying gear, effect pedals, Effects, GAS, gear, gear reviews, guitar, guitar effects, guitar gear, guitar gear reviews, guitar pedals, guitarists, Guitars, Music, musicians, pedals, reverb, tagged , , , , , , , , , , , , , , , , on March 21, 2010| 2 Comments »


Click on the picture to see an enlarged view.

 BOSS RV-5 Digital Reverb

Summary: No, it isn’t the be-all end-all in reverb pedals, but for what it offers as a nice, subtle reverb to add some spaciousness to your sound, then the RV-5 really excels.

Pros: Plate reverb is excellent on this pedal – especially with an acoustic guitar. Amazingly enough, the RV-5 is transparent to my ears and doesn’t suck tone. The RV-5 is also super-quiet, and makes no line noise at all; pleasantly surprising qualities.

Cons: The Spring reverb is a little funky on this pedal. At higher Decay settings, there’s a bit of an intended artifact in the tail of the signal. Not too pleasing to my ears.

Features (from the BOSS web site):

  • Stereo input/output for compatibility with other stereo pedals
  • 6 high-quality reverb modes on par with rackmount processors
  • First-of-its-kind Modulate mode detunes the reverb sound for added spaciousness
  • New spring reverb emulation offers realistic spring reverb sounds
  • New gate reverb taken from high-end Roland studio gear

Price: $149 street

Tone Bone Score: 4.5 ~ As I mentioned above, for what this pedal offers, it’s great! To me, its strong suit is to use it as a subtle effect to add some spaciousness to your sound. As long as you don’t overdo it, this pedal will work great. The Plate reverb is particularly fantastic with acoustic.

With all the great boutique pedals out there, BOSS tends to be a bit too run-of-the-mill for many tone connoisseurs. Even I’ve thought of BOSS as somewhat of an afterthought considering some of the great boutique pedals I have, and from my participation in various online forums. Like, “Oh yeah… BOSS has “xxx” pedal. But it’s BOSS, and that means cheap, production line stuff.” But after I purchased the BOSS RV-5, one of my first thoughts was: “Have I become such a boutique gear snob that I can so easily dismiss production line pedals like BOSS because they’re not hand-made, boutique, and cost far less than boutique stuff that’s SUPPOSED to be better. ‘Cause here I am walking out the store with a BOSS pedal!”

Admittedly, it was a sobering thought. It wasn’t that I was experiencing buyer’s remorse. I truly like this pedal. But I founded this blog to share gear I’ve either purchased or come across, and most importantly, with the premise that it’s tone that matters and not the price or who made it; that is, if it sounds good, who the hell cares who made it or how much it costs? The BOSS RV-5 is a perfect example of this. Yeah, it’s made by a company that is generally equated with “cheap” pedals. But who the hell cares? I like how it sounds. If it wasn’t for the Spring Reverb, which I don’t particularly like on this pedal, it would’ve gotten a higher rating.

My intent with getting yet another reverb pedal was to get a journeyman pedal that would just do the job for my solo acoustic gigs. I wasn’t looking for a reverb where I’d layer on tons of the effect; just something subtle. After all, I was plugging into a PA board, and just wanted a touch of spaciousness, not have the reverb be the primary tone. In my experience, at low levels, even “cheap” stuff works pretty well, so I took the RV-5 for a spin, and was rewarded with a very nice-sounding reverb. As with any digital reverb that I’ve used, using them judiciously and in moderation is the key, and that was how I did my evaluation in the shop.

The net result is that I purchased the pedal. It does the job of providing a subtle, background reverb VERY well. Someone commented in my Gig Report that they’d take the RV-3 over this. I think this was motivated by the fact that the RV-3 is great for ambient stuff, as it is both reverb AND delay. But the RV-5 is really a different animal. Heavy, ambient reverb is not its strong suit. But for adding a slight spacious texture to your tone, it clearly excels in my opinion.

How It Sounds

For what it provides for me, I think this reverb sounds great. It’s not the be-all, end-all in reverbs, and it’s definitely not something I’d use for ambient stuff, but frankly, I never use a reverb pedal for that anyway, which is why I have a delay pedal. I put together samples of the same chord progression to give you an idea of what it sounds like in its various modes. The pedal is set with Level and Tone at noon, and Decay at 2pm. All clips were played with my Gibson Nighthawk, and running into the reverb pedal and into my Aracom VRX22.

Modulate

This mode adds an ever-so-slight slight chorus modulation to the tone. It’s nice.

Gate

Gate is interesting. Both pre-delay and decay are very short. This is actually kind of cool when you want a reverb tone that doesn’t tail.

Room

This setting really started growing on me when I was doing my tests. This is really a small-room type of reverb.

Hall

Nice, expansive tone with this mode.

Plate

Probably the most subtle of the modes, it really shines with acoustic guitar, but is very useful with electric.

Spring

BOSS claims to have added real spring reverb effects to this mode. Well, it didn’t succeed. The little motes of slightly buzzing spring are absolutely annoying to me, and I would never use this mode. You can hear it a little in the clip. I wasn’t expecting it at all, so it’s out as far as I’m concerned.

Overall Impressions

Sans the Spring mode, I like the reverb this produces. Plate and Room are definitely my favorite modes on this pedal, and Modulate comes in a close third. All in all, if you’re looking for journeyman reverb where you just want to lay on some spacious texture, this is a great pedal to consider!

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Gear Review: Dunlop Ultex Sharp 2.0mm

Posted in accessories, buying gear, GAS, gear, gear reviews, guitar, guitar accessories, guitar gear, guitar gear reviews, guitar picks, Guitars, Music, musicians, Red Bear Trading, Tone, Tuff-Tone, V-Picks, tagged , , , , , , , , , , , , , , , on January 13, 2010| 4 Comments »

Dunlop Ultex Sharp 2.0 mm

Summary: It’s sharp alright; nice and pointy, and it feels great in your hand!

Pros: Like any sharp pick, this pick is accurate. It’s super lightweight, and made of a material takes a lot of pressure to even slightly bend. The pointy end makes pick harmonics a breeze!

Cons: It’s a small nit, but I wish the butt-end were just a bit wider.

Features (from the web site):

Based off of a coveted vintage tortoiseshell pick in our collection, the Ultex Sharp delivers a pick with a rigid body tapering into a thinner and sculpted tip for intense control and speed. The seamless contoured edge surrounds the pick for more playing surfaces and tones. Engineered of Ultex—the Ultex Sharp is virtually indestructible and delivers a crisp tone and quick release attack. Available in .73, .90, 1.0, 1.14, 1.40, and 2.0mm gauges.Price: 50 cents street

Tone Bone Score: 4.75 – Real nice-sounding and nice-playing pick. If you want to step up to a thicker, more rigid pick, but don’t want to shell out for high-end picks, this is a winner!

Okay, I’ll admit it: I’m a bit of pick snob. Ever since I started playing with V-Picks and Red Bear picks, I’ve mildly eschewed mainstream picks in favor of the insanely awesome picks those two companies produce. But I have to tell you that I was taken by complete surprise by the Dunlop Ultex Sharp pick! I wasn’t really looking to explore new picks, but a buddy of mine was looking for some Ultex picks at a local store, and offered to buy me a couple. Hell! They were only 50 cents apiece! I carried them around for a couple of days before I actually got to try them; not because I was dubious of them, I just couldn’t find time until this evening to sit down with an axe. Life happens, you know?

Anyway, I slung “Blondie” my trusty Squier Classic Vibe Tele, dug an Ultex out of my pocket, and started to play. Admittedly, I had a bit of trouble playing with the pick at first. Even though it’s slightly thicker than the thinnest pick I play – a Red Bear Tuff-Tone – it’s decidedly narrower in shape; something to which I’m no longer accustomed. But being the hard-headed type, and because I wanted to give the pick a fair shake, as it were, I kept at it, playing scales and riffs to get used to it.

I have to say that I’m really impressed by this pick! First of all, the material feels great in your hand, and like any real good pick, you forget about it. I love the rigidity of the material as well. Contrary to what you might think, a rigid pick actually makes you relax your hand. I know, it’s counterinuitive, but any player that plays a rigid pick will attest to this.

I spent quite a bit of time playing with this pick, and it’s a fast pick, though what I really missed was how my high-end picks really glide over the strings, like they’re lubricated. The Ultex material is pretty smooth, but there is a difference. Mind you, I’m not saying it’s bad in the slightest; it just has a different feel on the strings.

Most importantly though, the Ultex Sharp produces a nice, bright tone. That’s what I really dig about this pick! Part of it is due to it being rigid, but the other part is because of the pointy end. It really makes the strings snap in a very nice way!

Will the Ultex supplant my V-Picks and Red Bear picks? Probably not, but I will be using it for sure. It’s not even a small wonder why these picks are so popular among guitarists. They’re great playing and sounding picks at an insanely cheap price. I’m sold! Buy a few, and you’ll see for yourself!

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Considering buying an attenuator? Don’t just look at the absolute price…

Posted in amps, aracom amps, attenuator, GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, guitarists, Guitars, Music, musicians, tagged , , , , , , , , , , , , , , , , on December 18, 2009| 12 Comments »

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.

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Gear Review: GeekDriver by The Original Geek

Posted in booster, buying gear, clean boost, distortion, effect pedals, Effects, fuzz, GAS, gear, gear reviews, guitar, guitar effects, guitar gear, guitar pedals, guitarists, Guitars, Music, musicians, new gear, overdrive, pedals, Tone, tagged , , , , , , , , , , , , , , , , , , , , on August 18, 2009| 5 Comments »

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!

GeekDriver by the Original Geek

 The GeekDriver by the Original Geek

Summary: Is it a booster? Is it an overdrive? No! It’s the GeekDriver.

Pros: From gorgeous, slightly fat boost to searing, face peeling overdrive with tons of overtones and harmonics, this pedal does it!

Cons: None.

Features:

  • Hand-wired and soldered in the US
  • Volume, Treble, Bass and Gain Controls
  • Neutrik and Switchcraft jacks
  • True Bypass

Price: $205 direct

Tone Bone Score: 5.0. I’m absolutely blown away by this pedal! I can’t say for sure, but this is a pedal that I’d almost always have on.

I don’t give 5 Tone Bones away lightly. I have to be so totally blown away by some gear that I have to give it my highest rating. When I first heard the GeekDriver on Geek’s Premier Guitar Video, I immediately became intrigued. Then when I finally met the Geek himself at the shop he shares with Tonic Amps, and he demonstrated the GeekDriver in person, I knew I had to have one, so I told him I wanted one, and tonight I picked it up.

What exactly is the GeekDriver?

As the Geek will tell you, the GeekDriver is based upon the ColorSound Overdriver that was popularized by Jeff Beck. At its core, it’s a clean booster, but the Gain knob changes the game significantly, giving you anywhere from mild breakup to ugly, snarling dog overdrive, replete with tons of overtones and harmonics. At high gain levels, it’s like the ugly dog that’s so ugly you can’t help but love it, if you catch my drift.

One thing’s for sure, it’s not transparent, nor is it meant to be. When active it adds a slight compressive fat boost at all volume levels. The effect is incredibly subtle, almost visceral, in that  you “feel” that coloration more than you hear it. This aspect alone made me give this pedal the 5 Tone Bones. The effect is so sensual and appealing. I know I’m using a lot of flowery adjectives here, but it’s because it’s so hard to articulate the emotional effect that compressive boost has on me. When I get that feeling, I know I’m onto something good.

Then you turn the gain up, and in addition to that colored boost, you get layers of overdrive which become this ugly fuzz as you increase the gain that’s total ear candy. But despite the cacophony of distorted signals, the tone is still incredibly defined and articulate. Unlike a pedal like the OCD which can get pretty muddy when you crank the gain, the GeekDriver just oozes thick fuzz, but never gets muddy. Nice.

How it sounds…

In a word, it sounds awesome. It is very hard to describe what it actually sounds like. It’s like a colored overdrive with fuzz attached. In any case here are a couple of clips (BTW, both clips were recorded at bedroom level using my Aracom PRX150-Pro attenuator. That thing ROCKS, retaining all my tone and dynamics):

In this first clip, I was just noodling, switching back and forth a couple times between the clean tone of my amp and the GeekDriver. Note that I set the Gain pretty high on the GeekDriver on the first section to show how ugly it can get – I love that sound!

In this next clip, I start the solo out only with the GeekDriver, with a very light pick attack. In the second part of the solo, I add my Abunai 2 to the chain to demonstrate how delicious the GeekDriver sounds when another overdrive pedal is stacked on top of it.

I believe the GeekDriver was meant to be stacked. I placed it first on my board, then ran my Tone Freak Effects Abunai 2, and my Creation Audio Labs Holy Fire after it. With both pedals, the GeekDriver just FREAKIN’ ROCKED THE HOUSE!!! Oh, it’s sounds f-in’ awesome by itself, but used as a “base” pedal in front of another OD or distortion pedal, and the mix is like nothing you’ve experienced!

Overall Impressions

As you can tell, I freakin’ love this pedal! I’m not surprise why Jeff Beck dug the original ColorSound Overdriver. This is definitely Geek’s unique take on that classic pedal, and what a unique take that is! It may not be for everyone, especially if you’re looking for a transparent boost. But if you’re looking for something totally different from your typical boost or drive pedal, the GeekDriver has a voice all its own. Like I said, it freakin’ rocks the house!

About the Original Geek

Meeting Geek was pure serendipity. I originally was going to Tonic Amps to meet Darin Elingson about his cabs and Fane speakers. I didn’t know the Original Geek shared a shop space with him. That’s serendipity for you.

For those who are familiar with Jeff and his creations, he is known as “GeekMacDaddy,” and for years, his pedals have been by GeekMacDaddy. But his company has gone through a recent name change, and is now known as the “The Original Geek.” But who cares about the name? I certainly don’t. I just know his pedals kick f-in’ ass!

For more information, and to order one, go to http://www.geekmacdaddy.com.

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Gear Review: Aracom Amps Power Rox PRX150-Pro Attenuator

Posted in amplifiers, amps, Amps/Amplification, announcements, aracom amps, attenuator, buying gear, GAS, gear, gear announcements, gear reviews, guitar, guitar gear, Guitars, Music, musicians, new gear, PRX150-Pro, tagged , , , , , , , , , , , , , , , , , , , , , , , , on August 18, 2009| 10 Comments »

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!
Aracom Amps PRX150-Pro Attenuator		 Aracom Power Rox PRX150-Pro Attenuator

Summary: This is hands-down the best attenuator on the market! I’ve played a lot of attenuators, and no other has been able to retain tone and dynamics at high attenuation levels as the Power Rox!

Pros: The Power Rox isn’t just an attenuator. It packs extra features that’ll just blow you away, making a it versatile part of your stage or studio rig!

Cons: None.

Features:

  • Rotary Switch provides (6) Step Attenuation Levels, plus
    the Variable Mode allows continuous variable control of “bedroom” level adjustment
  • 33dB attenuation range
    * Attenuates 100 watts down to well under 1 watt (0.05 watt).
  • 150 watt (continuous average) power rating
  • Independent Input Impedance Switch: 2, 4, 8, 16 ohm
  • Independent Output Impedance Switch: 2, 4, 8, 16 ohm
    * Uniquely allows mismatched amplifier and speaker impedances to be used.
  • Attenuator Bypass Switch
  • Load Mode
  • Line Out with Level Control
  • 2 Speaker Jacks (wired in parallel)
  • Passive design, does not require AC power
  • Rugged, black anodized aluminum housing
  • Heavy duty, steel reinforced handle
  • Handwired and Handcrafted in the USA.

Price: $649 direct

Tone Bone Score: 5.0. Jeff Aragaki of Aracom Amps never ceases to amaze me with the stuff he comes up with! This time, it’s an attenuator invention that blows away the competition in safety and tone and dynamics with its patent-pending Speaker Reactance Thru (SRT) technology, plus extra features that make it unmatched in versatility and usability.

I’ll admit it: As much of gear nut that I am, I’m also a huge techno-geek. I dig new technologies and the engineering behind them; and when someone comes up with some new approach to something, with completely awesome engineering, it’s hard to control my GAS. I just have to have it.

I recently took delivery of a brand new attenuator invented by Jeff Aragaki of Aracom Amps, called the Power Rox PRX150-Pro. This, by far, is the best attenuator I have ever used, and will be a fixture in my rig for years to come. That’s right. This will always be in my chain. But not just because of its ability to transparently attenuate an amp signal. This attenuator has features that no other attenuator has such as two speaker outs, and a Line Out that you can use to go direct into a DAW, or even another amp! Talk about versatility. Not only that, because you can match impedance in both the input AND the output, combined with Jeff’s patent-pending Speaker Reactance Thru (SRT) technology, you can squelch down the power of your amp and not worry about ever blowing our your tubes and ruining your amp. The SRT technology just kicks ass!

Talking the Talk AND Walking the Walk: Speaker Reactance Thru Technology

Jeff is a very humble man, so he’d never say anything like this, but I’m not nearly as humble, so I will say it: There’s not a better attenuator than the PRX150-Pro. Even if Jeff didn’t include all the extra features you get with the Power Rox, this attenuator simply kicks the shit out of all the attenuators I’ve ever tried – and I’ve tested several, including the Ultimate Attenuator that seems to be the most popular attenuator; and with respect to safety, tone and dynamics, all others simply pale by comparison.

Where other manufacturers make bold claims (read: brag) about their attenuators’ transparency, not only can Jeff Aragaki make the claim (in his quiet and humble way), he backs it up with detailed discussions of his SRT technology and the engineering behind it and what makes it so transparent. Jeff’s SRT technology is absolutely incredible. At any level of attenuation, the Power Rox retains your tone and dynamics. This is because instead of just dealing with amp power reduction through a series of resistors or a dummy load, which also have the added effect of flattening out the impedance curve and changing tone, the SRT technology ensures that reactance between the amp is maintained throughout the entire spectrum of attenuation; hence, the name “Speaker Reactance Thru.” This means that the impedance curve is kept intact so that the continuity of reactance between the speaker and the amp are maintained. Jeff discusses this in a detailed article about the advantages of the PRX150-Pro.

Let’s talk a bit about safety…

As I mentioned, the PRX150-Pro will not burn out your amp. You can crank your amp up all the way, getting that wonderful power tube drive, and not worry about your amp blowing a tube, or worse yet, frying some circuits from flyback voltage. We’ve all heard the horror stories about people using attenuators, cranking their amps, and blowing power tubes. A lot of this has to do with impedance mismatching. Some manufacturers have added options to match impedance from one direction, but the Power Rox has impedance matching in both the input and output jacks! But the point of this is that with impedance matching on both sides, you don’t have to deal with any type of mismatch. That is very comforting to know.

I’ve actually been playing with the Power Rox for the last couple of months regularly before it hit the shelves, and to date, I haven’t had any power tube problems. And we’re talking running my amps down to less than a watt for a few hours straight. I could never do that even with my Dr. Z, which is one of the more safe products out there. I’ve burned out power tubes using my Dr. Z by cranking power too much. It’s not pretty, and I’ve been lucky so far that only my tubes got burned out. It could’ve been a lot worse.

This ain’t yer Daddy’s Buick…

When Jeff first spoke to me about the Power Rox, I thought, “Okay, it’s another attenuator. I’m sure it’ll be great considering what a whiz Jeff is…” But when he delivered the unit, I couldn’t believe what he had added! I was already impressed that it had both input and output impedance matching. That was simply awesome. But he added some awesome features that I was not at all prepared for:

  • Bypass Switch – This is a mechanical bypass that completely bypasses the attenuation circuit.
  • Line Out – This one thing is just so cool! I used it to go both direct into my DAW, and also used it to re-amp into my Hot Rod Deluxe! Talk about versatility! For a test, I ran a cable to my 1 X 12 cab, then ran another cable to my Hot Rod. I could’ve easily just run direct into my Hot Rod without going out to another speaker as well, but you can see how useful this is. I could get my amp’s tone and combine it with the Hot Rod’s tone. So cool!
  • Two Speaker Outs – This is yet another cool thing. You have multiple cabs that you want to drive with a single amp? This makes it easy.
  • Input AND Output Impedance Matching – No other attenuator matches impedance in both input and output, but the Power Rox has it. It’s all part of the package to ensure continuous reactance between the amp and the speaker.

So as you can see, the added features make this oh so much more than just an attenuator, and it’s a testament to Jeff’s creativity!

The proof is in the pudding…

Unfortunately, doing sound clips of an attenuator’s effect is fruitless, because it is difficult to hear the changes, and moreover, it is difficult to describe the change in dynamics on a recording. However, the Power Rox was tested side-by-side to a number of popular attenuators, and even at low levels of attenuation, compared to Power Rox, all the other attenuators had an effect on tone and dynamics. To date, several people have performed head-to-head comparisons between different attenuators and the Power Rox, and they all come to the same conclusion: The Power Rox is truly transparent; not just the most transparent of the lot, but truly transparent. To me, this box sets the standard by which all others must be measured now.

I used my own transparency test procedure to compare attenuators, but Jeff has also provided a very detailed, and in-depth transparency test that you can view on his site.

I know, I must sound like a twitterpated schoolgirl with how I’m raving about this product, but for the very first time, I’ve been able to record my amps fully cranked without pissing off my family and neighbors, and more importantly, without having to worry that I’m going to blow a tube. Even with my Dr. Z, I’ve had to settle with less drive on my recordings for fear of burning out my amps. But with the Power Rox, I can crank my amps and get that wonderful power tube drive! And even better yet: I can trust that my tone and dynamics will not change, no matter the volume!

For more information on the Power Rox PRX150-Pro attenuator, go the Power Rox Product Page!

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GAS Blues

Posted in buying gear, GAS, gear, guitar, guitar lifestyle, guitarists, Guitars, Music, musicians, new song, tagged , , , , , , , , , on July 18, 2009| 4 Comments »

If you’re a visitor here, it’s more than likely that you suffer from an affliction commonly referred to as GAS or Gear Acquisition Syndrome, which is a uncontrollable urge to buy gear to affect your tone. Be honest, you know you have it. 🙂

This morning, in search of some new material to write about, I came across a new pedal from Elite Tone called the Smooth Boost. You can read the announcement here. What excited me about the pedal was that it’s a handmade pedal for $99! Damn! That got the GAS flowing. After I calmed down a bit, I sang to myself, “I feel some GAS a-comin’…” and that sparked off me humming Johnny Cash’s song “Folsom Prison Blues” playing in my head. Then I started laughing, and writing down some alternate lyrics to the song. After I was done I recorded the following tune:

This one was a lot of fun! I wanted to share it because I’m sure you can relate to the lyrics. By the way, here are the full set of lyrics:

The GAS Blues

I feel some gas a-comin’
It’s comin’ ’round the bend
I haven’t been GAS-less
Since I don’t know when…
I’d said that I am finished
My rig’s as full as it can be
But this new gear’s got me GAS-in’
The GAS keeps hauntin’ me…

When I was just a young man
I had just one guitar
Ole Betsy made me happy
She took me oh so far…
But then I went electric
and needed so much gear
to get that perfect tone now
that’s pleasin’ to my ears…

My wifey always asks me
Just how much do you need?
I look at her and tell her
just one more, don’t you see?
There’s nothing that’ll cure me
from this expensive disease
It’s a curse I’ll always carry
my GAS is never pleased…

I don’t know what to tell you
if you suffer from the same
affliction that I have now
My friends think I’m insane…
No one understands it
Look! There’s another axe!
And it just keeps on comin’
This thing we all know as GAS!

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New Gear: Elite Tone Smooth Boost

Posted in announcements, buying gear, distortion, effect pedals, Effects, GAS, gear, gear announcements, gear find, guitar effects, guitar gear, guitar pedals, guitarists, Guitars, Music, musicians, new gear, overdrive, pedals, tagged , , , , , , , , , , , , , , , , , , , on July 18, 2009| 1 Comment »

Elite Tone Smooth BoostIf I’ve said it once, I’ll say it again. The market cannot have too many overdrive pedals. 🙂 As you know if you read this blog with regularity, I just love ’em. I know… there’s nothing like the sound of a cranked amp, yada-yada-yada… But to get to the type of amp drive that I like; that is, with both pre-amp and power tubes contributing to the distorted sound, the volume levels will make your ears bleed. Enter the overdrive pedal, which gives you that breakup tone at any volume level! And the reason I love OD pedals so much is because I personally haven’t come across any two from different makers that sound exactly alike. Sure, many cop the tone of some original design – can you say Tube Screamer – but even the “clones” have voices all their own as their manufacturers add features or make the original circuits more efficient.

The brand-new Smooth Boost from Elite Tone promises to be a VERY interesting take on the overdrive pedal. Don’t let the name fool you: This is not a pure booster pedal. Even Elite Tone categorizes it as a distortion/overdrive pedal. Here’s the description from their site:

Brand new offering from Elite Tone a simple subtle unique boost effect pedal. The Smooth Boost features a circuit architecture that supports, enhances and optimizes your existing tone with delicate transparency. This simple yet multifaceted effect, achieves hi fidelity tube like signal boost, compression, sustain, overdrive and even mild distortion. The smooth boost can also be adjusted remotely with guitar volume and produce a lush twangy tube like sound as the volume is rolled back. With the signal maxed it adds mild harmonic overdrive and a touch of distortion.

What really intrigues me about the pedal from the description is the phrase “The smooth boost can also be adjusted remotely with guitar volume…” Wonder if that’s actual mechanical control through a specific input, or it’s functioning like other OD pedals that respond to input gain. I’m going to have to do more research.

Holy GAS Attack, Batman!!! This handmade pedal only costs $99 direct!!!

Dammit! I wish I hadn’t gotten wind of this pedal. It’s bad enough that my natural curiosity makes me want to check this pedal out, especially with that “remote adjustment” bit. But that combined with the price is giving me a serious case of GAS! Crap! 🙂

Anyway, the Smooth Boost includes the following features (from the Elite Tone site):

  • Engineered and constructed all by hand
  • True bypass
  • Battery Included
  • 2.1 mm diameter DC jack adapter (like boss style, etc…)
  • Extremely low ambient noise ( Not audible with effect full on and strings muted in many cases)
  • LED On/Off indicator

Okay… I’m sold. Sight unseen, sound unheard. Well… I am a bit more reasonable than that, but this is VERY COOL! At the very least, I need to find out more about this pedal!

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