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

ElectroHarmonix Soul Food Overdrive

Summary: Billed as a clone of a Klon Centaur (or “klone” as some put it), this overdrive purports to offer the same tone capabilities as that pedal but at five times less the original cost, and twenty times less than what they’re going for on eBay.

Pros: The Soul Food falls into my “ideal” category of overdrives: Pushing my front-end, but enhancing my tone. Super-usable Treble Boost; very touch-sensitive and expressive. Lots of boost on tap.

Cons: None.

Price: ~$62.00 – $65.00 Street

Features (from EHX site):

  • Transparent overdrive
  • Boosted power rails for extended headroom and definition
  • Super responsive
  • Compact, rugged design
  • Selectable true bypass or buffered bypass modes
  • 9.6DC-200 power supply included. Also runs on 9 Volt battery

Tone Bone Rating: 5.0 ~ Some people have billed this as a one-trick-pony in that it is best used to boost the front end of an amp at the edge of breakup, then add just a bit of grind. To be honest, that really is the pedal’s sweet spot. But what it does to my tone with just that makes it highly expansive with respect to sustain, overtones, and harmonics, giving me an enhanced palate of drive and nuance. That’s no one-trick-pony to me.

I’m going to just get this out of the way right now: The Soul Food is NOT a transparent overdrive, no matter how it’s touted. As an aside, I think this whole transparency thing in the gear world is a little overblown. Yeah, I know, I’ve been on the transparency wagon for a long time, but I’ve started reconsidering my whole notion of transparency. I’ve been working on an article that discusses this that I’ll release some time. But everything you add to your signal chain is going to alter your tone in some way. Granted, if you ONLY use the pedal as a boost, with neutral EQ, and zero gain, then I suppose you could call it transparent. But let’s be realistic; I don’t know of any overdrive pedal that I’d use where I didn’t adjust the EQ to fit the gear I’m playing and also add varying levels of grit. With respect to the Soul Food, it may not be transparent, but WHO CARES? 🙂

I’ll also say this: This pedal is the shit! I’ve never played a Klon, but if this pedal does anything near what the Klon does, then I’m not surprised why people are paying upwards of $1000 to $1500 for that pedal, but I’ll pay $62 all day! But that said, don’t mistake my enthusiasm for getting great tone for so cheap. I’m excited about the tone, period! If this pedal cost $200, I’d buy it for its wonderful sound.

I realize there are folks who say this sounds nothing like a Klon. I’ve viewed and listened to several demos head-to-head demos, and yes, there are differences; though I have to admit that the differences I observed were fairly subtle, at least recorded. But to me, based upon playing it for several hours over the last couple of days, I couldn’t care less how close or far away it is from a Klon. This pedal stands on its own as a great overdrive pedal.

EHX Is Classy

I mentioned this in my first impressions article, but EHX definitely went the extra mile with the Soul Food. Not only do you get the pedal, they include a 9V power supply as well! You might say ho-hum but to me it says a lot that a company would be willing to throw in some extra stuff for such an inexpensive pedal.

How It Sounds

In a word, awesome! I’m not excited about this pedal just because it cost me less than $70. That’s certainly something to be excited about. But to get the tone and performance that the Soul Food delivers at this price-point just blows me away. EHX has totally hit the ball out of the park with this pedal irrespective of it being a “klone.” Plain and simple, this is just a great overdrive pedal! Ancestry aside, the Soul Food stands on its own.

I’ve created some clips, but as opposed to saving the discussion till after, I’ll discuss it now. When I first hooked up the pedal, I did the usual thing I do with overdrives and set the volume to unity gain (about 10am), zeroed out the drive, and placed the treble boost at neutral (noon) – all through a totally clean amp. The first thing I noticed when I switched it on was how the Soul Food brought out subtle harmonics and overtones. My tone was also a little fatter, but with the high-frequency artifacts, also had a little more top-end sparkle. That alone was simply yummy to me and it got even sweeter when I upped the gain on my amp to the edge of breakup, then added a bit of treble boost and drive to the pedal.

When I found the sweet spot of the Soul Food, the skies parted and a chorus of angelic host sang out in joy. Not really. But lots of great things happened. What you get is more sustain, great touch-sensitivity, incredible response to both attack and volume knob changes, wonderful grind, all while maintaining note separation. One would think that with the extra sustain the tone would be muddy and feel squished, but not so with the Soul Food. Again, if this comes close to a Klon, I can see why that pedal is so highly coveted. There’s definitely some tonal magic that’s happening with the Soul Food.

When I first get overdrive pedals, I try to be as skeptical as possible about them. They have to prove to me that they’re worth the money I’ve spent or if they live up to the hype. Within the first few minutes of getting the pedal, the Soul Food proved definitely its worth, and then some. The cool thing though was that it wasn’t EHX that was creating the hype. It was bloggers such as myself who were testing it out and writing positive reviews of the pedal. It just simply kicks ass!

I realize that there are those who pooh-pooh the Soul Food as a cheap imitation. But as I said above, this pedal can stand on its own, regardless of its supposed ancestry. For me, I’ve never had the opportunity to play a Klon, so I really don’t know for certain what it can do. If it does what the Soul Food does, but just better. That’s awesome. But I’m absolutely digging what the Soul Food is doing for my tone right now!

Okay… Time for clips!

This first clip is very short and demonstrates the sustain you get when the pedal is switch on. I’m playing my 59 Les Paul replica with the “woman tone” (volume cranked, tone to zero).

This next two clips demonstrate the clarity and definition that the Soul Food provides when switched on, making your sound just come alive. I suppose you could say that this is a demo of what the Treble Boost can do. Here I’ve got it set at 2pm. My replica is in the middle pickup position, with both volumes at about 6, and tones all the way up.

Did I mention that the Soul Food is incredibly responsive? In this clip, I’m just noodling. I start out with little blues riff in E major with the pedal off, then I switch it on and go from a light touch to greater attack. The pedal responds beautifully!

Finally, here clips from First Impressions article (I’ve just taken the whole excerpt so I don’t have to re-explain everything). All clips below were played on R8 Les Paul:

Testing the Treble Boost, from 0 to all the up

In this one, I have the drive set to noon, and the volume set to unity, so all the grit is coming from the pedal. Not really my favorite setting. But apparently, it’s the same with the Klon. It was best used with predominant boost against an amp on the edge of breakup, then add gain to taste.

This next one is with the pedal in its sweet spot for my R8: Volume at 12, gain at around 10am, and EQ at about 2pm.

Finally, I did a quick lead in the lead break of a song I wrote.

Overall Impression

Notice I didn’t do a “Fit and Finish” section as I normally do. EHX pedals are very well-constructed. I’ve never had a problem with one dying on me because of structural issues. Frankly though, the Soul Food isn’t going to win any beauty contests. It’s just a Hammond box with a sticker placed on the top. But who cares? It’s job isn’t to look good; it’s to sound good, and it does that in spades!

I always say that I’m done with overdrive pedals. And to be honest, once I got my Timmy, it was pretty much game over. The Timmy is truly what I’d consider a transparent overdrive. The Soul Food isn’t all that transparent, but it will surely be a great addition to my board, and I’m hoping a great stacker (haven’t played with that yet).

I’ll say it one last time: The Soul Food stands on its own as a great overdrive pedal. I don’t bandy about 5 Tone Bone ratings. There’s a reason this got my highest score: It sounds so good that it’s gone directly to my board and staying there!

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4.75 Tone Bones - Almost perfect but not quite

polarity_j3

Polarity J3

Summary: Made out of one of the hardest woods in nature, the Polarity J3 pick produces a warm, but also “spanky” tone that is perfect for leads.

Pros: I’m a big fan of natural materials for plectrums, and the J3 doesn’t disappoint with its feel in the hand. Natural materials also tend to not squeak when striking a vibrating string. As far as sound is concerned, I dig the sound that this pick produces – A LOT!

Cons: My only concern with this pick is its lifetime. I took the picture I supplied to the left after playing with the pick for about an hour on various guitars, strumming and playing solos. If you click on it, you can see where some of the Carnuba wax has already started wearing away, so I’m not sure just how long the pick will last. However, I’ll have a better idea after I gig with it this coming weekend and will post a follow-up article. NOTE: This is a fairly small nit because I only put a few hours of playing on it, and note that the only wear was the wax coating. The wood itself didn’t have any wear on it.

Price: $29.00 ea

Specs:

  • 1.3 millimeters thick
  • 7/8″ wide X 1″ long
  • Handmade
  • Magnetic

Tone Bone Rating: 4.75 – If I didn’t have the initial concern that this pick might have a short lifetime, I’d give the pick a 5 Tone Bones as it plays and feels and most importantly, sounds great.

As with most gear I write about, how good it feels, plays, and sounds is a matter of personal preference. That also affects what I’d be willing to pay for gear as well. So based upon my initial experience with the Polarity J3 pick, though the pick is on the pricey side, I’d make an investment in it just the same. It plays and feels and sounds fantastic. Is it something I’d use for general use? Probably not, simply because despite the wood being extremely hard, it’s still wood, and will most probably wear at a quicker rate than harder materials. I certainly wouldn’t use it for rhythm playing with a Strat that has vintage-style pickups with the poles that protrude. I nicked several Red Bear picks on my Strats, so I never play a Strat with a Red Bear pick.

But for leads? This is a great pick for that. Here’s a little ditty I put together last night to demonstrate how it sounds (I used my Slash L Katie May through a Fender Twin AmpliTube model):

I already have the perfect application for it. As of late, at my solo gigs, I’ve been making a lot of use of my looper to create live tracks that I can improv over. The “backing tracks” are usually recorded finger-style or using a variation on a clawhammer technique, and most of the time, I just hold my pick in my hand. This is a perfect pick to use for that application, and it’ll get a lot of use; especially this Friday and Saturday. So I’m looking forward to playing with it!

I love a number of things about this pick.

  • Being a rigid pick, it has a relatively fast attack, as compared to standard flexible picks. Even for strumming the quick response helps to stay in time.
  • The pointy tip produces a nice, bright tone, but the wood helps balance that out with some warmth in the mid-range.
  • Amazingly enough, I was expecting to have a bit of friction because of the wood. But it’s so hard that it slides over the strings quite easily, but the awesome thing is that it’s just soft enough so you don’t get that ugly squeak when you’re hitting a vibrating string, as you often get with hard plastic picks.
  • I was a little dubious about its size when I first got it, but after playing with it for just a few minutes, it’s extremely comfortable to hold plus, there’s a lot to be said about holding natural and natural-feeling material.

Will it last?

That’s really the big question, isn’t it? Despite being made of a hardwood, it’s still wood, and wood is somewhat delicate. Only time will tell if it holds up. As I mentioned above, I was a little concerned about the wax coating wearing so quickly after just a little bit of time playing the pick, but the wood was absolutely intact, so my feeling is that as long as I keep the scope of how I use it fairly narrow, this pick should hold up for a long time.

Overall Impression

I’m diggin’ this pick, and will use it this coming weekend at three gigs, so I will get a really good idea about its durability. But as it stands now, I’ve put in a few hours of playing with the pick on acoustic and electric guitars, and even used it with my bass. This is not a pick that I’d use for strumming; not that I’m concerned that it’ll break, but because of its size and shape, it just seems to be made for doing solos.

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SONY DSC
Aracom PLX100

Summary: Based upon the PLX amp “platform” that Jeff Aragaki has created for creating customer-specific amps, this 100-watt beast is actually 3 classic Marshall amps in 1: Plexi 100 SuperLead (JMP), Plexi PA, and JCM800 (high gain).

Features

  • Three channels (Plexi SuperLead, Plexi PA, JCM800)
  • “Bite” Switch (mild mid boost)
  • Master Volume Control with Bypass Switch
  • Presence, Treble, Middle, B ass Tone Controls
  • Solid State/Tube Rectifier Simulation Switch
  • Channel Disable Switch
  • Bias Test Points with user accessible bias pot
  • Handwired turret board construction
  • “M” style large box head cabinet

Price: ~$2900

Tone Bone Score: 5.0 ~ Talk about high-gain versatility. This is no gimmick. Each different channel has voicing that you’d expect out of that particular model. The SuperLead is classic, bright Plexi, while the JCM800 has a darker, much more aggressive tone, and the SuperPA is all about clean headroom. While the amp in an of itself is special; the PLX platform is what make all this possible. If I’ve said it once, I’ll say it to the grave: Jeff Aragaki is genius!

About three years ago, Jeff Aragaki and I were talking about a new amp design. I told him that I would love to have a high-gain amp either in a 50 or 100 Watt version, but gave me the flexibility to voice it in various ways to fit the particular sound I wanted. We affectionately called this a “FlexPlex” because for me in particular, I wanted that Plexi sound, but wanted to be able to tweak it. Jeff actually built it, and I saw the prototype for it a couple of weeks ago.

But in the process of building the FlexPlex, you might say he “stumbled” upon a completely new way to build his amps; and that was basing his builds upon a platform. This wasn’t trivial, and no, I’m not just bandying about some buzzword. The platform that Jeff discovered has allowed him to create all sorts of different amps; starting with a common construct. I’m not sure about all the details, but the proof is in the pudding. Here Jeff’s words that describe this particular amp:

“The ARACOM PLX100 amplifier is a platform that allows us to build customer specific amplifiers with the features and specifications they desire.   For this custom build, our customer wanted a 100 watt amplifier with the vintage Marshall Super PA look.   The Super PA head cabinet has a “wide mouth” front panel opening, allowing access to four separate P.A. channels.    The model designation for this custom ARACOM amplifier is” Super H.T”.,  H.T. representing the initials of our customer.  However, instead of having 4 identical channels like a standard Super PA amplifier, the Super H.T. has 3 different channels, allowing for a highly versatile amplifier. 

“The JMP channel offers clean and overdriven tones as expected with a Plexi SuperLead amplifier.  It has two separate Bright switches that allow the channel to go from a Plexi Normal (Dark) channel tone to Plexi Bright channel tone, or something in between.   The Super PA channel provides slightly less gain than the JMP channel, with a fuller bass response.   The JCM channel is the high gain channel, designated for overdriven/distorted tones.   The JCM’s Bright switch allows for the standard JCM800 bright tone or a slightly darker tone.   The Master Volume control with a true bypass switch, allows for cranked up tone at lower volume levels.   The rear panel Bias Test points, allows for quick and easy tube biasing.”

Fit and Finish

It sure looks like a Marshall… 🙂 But in all seriousness, it’s an Aracom Amp, and that means quality. Jeff doesn’t skimp on components, and he takes a lot of pride in making sure everything that leaves his shop looks absolutely professional, and the PLX100 is no exception. The tolex is perfect, and all the knobs are snug and turn smoothly. And since this amp was going overseas, you can bet that Jeff made sure that everything was sturdy to eliminate or severely reduce the risk of breakage.

Ease of Use

I normally don’t have this section in my reviews, but I thought it necessary in this case. While I absolutely love the amp, with all the switches and the push-pull knobs, I have to admit that I’d have to take a lot of time getting familiar with it. I don’t call that really a negative mark on the amp. For goodness’ sake! How else do you pack in all those features? But despite that, the knob and switch layout is pretty clear. It would take me awhile to find the sweet spot in each channel for all the guitars I’d play through it. But that’s the beauty of discovery and experimentation, wouldn’t you say?

How It Sounds

This amp sounds amazing! Jeff explained each channel as I would have, so I’ll just reiterate and say that his descriptions of each channel reflect my own experience with it. When I was in his shop testing the amp, we must’ve played around with it for at least an hour as he twiddled knobs and flipped switches to demonstrate the amazing number of voices that could come from this amp. The permutations of settings make this amp able to tackle practically any style of music. Oh! We did all the testing through a huge 4 X 12 at gig volumes, so it was LOUD! 🙂 I played a Les Paul, a Gene Baker prototype (it was a hybrid that is VERY cool), and a Strat through the amp, and each guitar sounded killer through it. My favorite channel by far was the SuperLead channel, which had lots of gain on tap, but wasn’t at all over the top. Next was the JCM channel – especially its dark mode which produced thumping overdrive. I wasn’t too wild about the SuperPA with a Les Paul, but with single coils, that channel was absolutely SWEET! It would be a perfect channel to use with overdrive pedals because of its clean headroom.

Overall Impression

What strikes me the most about the PLX100 is that you literally have three amps in one. If you had all three, you’d probably be close to $10,000. That this amp is only $2900 is pretty amazing to me. But that’s Jeff. He doesn’t make a huge profit on the gear he builds – that’s a personal choice. He just wants to build great amps. This is like my friend Perry Riggs of Slash L Guitars. He makes absolutely awesome guitars but sells them at a price-point that’s rather incredible. Both of these gentlemen are true artisans of their trade, and I’m glad there are folks like this.

With respect to the PLX100, I sure wish I played in venues where I really open up an amp like this and really do it justice. For my particular uses, this is way too much amp. But if I ever get the chance to regularly play large venues, you can bet that I’ll be calling Jeff Aragaki to build me an amp on the PLX100 platform. Or… maybe he has a 50 Watt version. 🙂

For more information, visit the Aracom PLX100 product page!

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

DualRox

Aracom DRX Power Attenuator

Summary: Truly an evolution of the attenuator, Jeff Aragaki has once again upped the ante with the DRX attenuator. This dual-level attenuator not only will tame your volume, but it will give you the ability to use two different volume levels; and with the optional foot switches, will give you flexibility not offered by any other attenuator on the market. Furthermore, the adjustable reactance allows you to tame your tone on top of controlling your volume.

Pros: The Aracom attenuation technology is the most transparent that I’ve tested – and I’ve tested and used several over the years. Nothing comes close. But the dual-level attenuation (normal and boost modes) blows away the competition in my book. Then add variable reactance to the mix, and there’s nothing that can even touch what this attenuator can do.

Cons: Is a little on the pricey side, but the capabilities are worth it to me. I’m having one built.

Price: Starts at $850.00 direct

Features:

  • Dual-level attenuation
  • True bypass, minimum attenuation, variable (which goes all the way to load)
  • 5-position Variable Dynamic Control – varies the reactance between the attenuator and speaker, acting like a high-cut filter.
  • 3 optional foot switches (boost only, boost + channel switch, boost + A/B)
  • Weighs only 7 lbs.
  • Line out with level control
  • Will handle 4, 8 and 16 ohm

Tone Bone Rating: 5.00 ~ A few years ago, when Jeff first showed me his prototype attenuator mounted on a pine board, I never thought that

Jeff Aragaki is a genius. I knew it from the first moment I met him. I started out by first being blown away by his “more Marshall than Marshall” amps and now the proud owner of three of them to witnessing his attenuator technology go from a project box, demonstrating to me a way to throttle output volume that was unlike anything at the time (and still no one has been able to duplicate what he has done), to now three iterations of attenuators (Pro, DAG, and now the DRX). The DRX is by far his most incredible riff on his unique attenuation technology. And no, if you think you know how it works, you’d be wrong. I’m no expert, but I’m familiar with the basics of traditional attenuation (read: everyone else’s attenuators), and the Aracom technology is like nothing on the market.

As I mentioned above, the DRX (short for DualRox) attenuator takes that technology to a new level by offering two modes of operation: Normal and Boost; at least if you’re just using boost mode (Type A foot switch). It opens up more possibilities with the Type B and Type C foot switches which provide the capability to switch channels (Type B), or use an A/B (Type C), perfect for two-channel amps that don’t have channel switching. These features alone had me completely sold on the unit, and I had only originally tested it with the Type A foot switch! My test unit which Jeff lent to me for review included the Type B boost and channel switch (which I’ll demonstrate in a clip below). But irrespective of the type of switching, being able to boost my volume under attenuation just blew me away!!! Here’s a clip that demonstrates only switching between normal and boost modes:

From a performance standpoint however, having both the dual attenuation levels, plus the ability to switch channels is absolutely HUGE! For instance, I can go from clean to full-on overdrive with the click of the foot switch; much like engaging an overdrive pedal. But there’s no pedal involved. Without an attenuator, going from clean to dirty on the amp usually involves a huge jump in volume. But with the dual-level attenuation, I can set my cranked up volume to just a bit over the clean volume. Again, this is just having an overdrive pedal, but this time, it’s only my amp, so I don’t have to worry about dialing in another device’s EQ to get the right tone. Check this clip out:

I used my Aracom VRX22 for that, which is another Plexi clone but with 6V6 tubes. This amp is notable for its haunting clean tone, and monster overdrive, which comes from 1950’s NOS 6V6’s that I have biased a little hot. I also had it customized with channel switching, so it fit the bill for testing out the Type B foot switch. I just can’t wait to gig with this come Sunday! It’s gonna be fun!

But it doesn’t stop there. In addition to the dual modes is a feature that no one else has, and that’s the Variable Dynamic Control. While it acts essentially as a subtle high-cut filter, it’s not an EQ. Instead, it changes the reactance between the attenuator and speaker. Fully right is full reactance, and as you move left to the leftmost position (there are 5 positions), the reactance is reduced, producing the effect of rolling off the highs. But it’s very subtle, and you can really only tell a difference between the most extreme settings. This is an incredible feature in that it allows you to dial in your tone; especially your cranked tone. For instance, my Aracom VRX18 (18-watt Plexi clone) produces lots of highs when cranked. They’re not entirely undesirable, but they do get piercing, especially at gig levels. So by slightly reducing the reactance between the attenuator and speaker, I can get rid of the super-super highs while retaining my fundamental tone. In a word: Killer. Here’s a clip that demonstrates the Variable Dynamic Control:

As I said, it’s subtle. The fundamental tone doesn’t change much, but going from extreme to extreme, you can tell when the highs roll off a bit.

For those who are familiar with the previous Aracom attenuators, one feature that set them apart was the ability to mix and match amps and cabs with different impedance settings. For instance, you could match an 8 ohm amp output with a 4 ohm cab. But that came at the price of a huge transformer that made those units weight 18 lbs. The DRX requires that both amp and cab impedance settings match. But that’s not really a loss at least for me because all my amplifiers have multiple output impedance jacks, so it’s really not a big deal. And for what I get in return from the DRX, that loss of flexibility is not a very high price to pay.

Overall Impression

When I first tested the prototype of this unit a couple of years ago, I actually thought that Jeff had changed the circuit technology. But in fact, he didn’t, which is a good thing because when you have this unit, you’re assured of getting the most advanced attenuation technology on the planet. Yeah, I’m raving about it because for the past few years, this technology has afforded me the flexibility to play in ANY venue, large and small, indoor or outdoor, and not ever have to sacrifice my tone; something I can’t say of other attenuators I’ve used and tested. I can crank up my amp as much as I need, confident that my tone hasn’t changed, but never having to worry about pissing someone off about my volume.

But on top of that, with the ability to have two levels of attenuation, plus the ability to dial in my highs, I couldn’t be happier, and I can hardly wait for Jeff to finish constructing my unit.

And yeah, as I mentioned above, it’s a bit on the pricey side. But how much is great tone worth? I’ve spent countless hours and thousands upon thousands of dollars on guitars, amps and pedals over the years – especially the last few years – and with each one, I justified my expense. The DRX is a tool that will let me ensure that I keep the tone that I’ve worked so hard to achieve. It may not make sense for the solo bedroom player, but for working musicians like myself, the DRX is an investment in my tone that I’m willing to make.

For more information, go to the Aracom DRX product page!

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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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I was looking at my web stats today, and invariably, my busiest page is my discussion on overdrive vs. distortion. I clicked on one of the referral links to my site, and saw that it pointed to a forum where folks were debating this very topic. Over the course of the threads, the subject wandered (as they often do – especially with this topic) and someone made a reference to a guitar player being likened an airplane pilot, in that the pilot needs to know how every bit of his craft works in minute detail. Another replied in disagreement that the pilot didn’t have to know HOW every piece worked; the most important thing was that they had to know HOW to use those things but really only know how they worked at a much more abstract level.

It got me thinking about my view of gear. As an engineer, I’m definitely interested in the details of how gear, like pedals, operate to produce their sound. But as a player, I frankly don’t care. I just want to know how it sounds and if I can make it fit with my rigs. For instance with an overdrive pedal, I really don’t care about the voltage levels when I turn the gain knob up or down, or whether or not the pedal uses a JRC4558D transistor and how that reacts to the voltage levels. My main concern is simply this: Does it sound good when I twiddle the knobs? I got a chuckle out of my good buddy Jeff Aragaki when we first met and he started going into technical detail about his amps. He saw my eyes glaze over. I just looked at him and said, “Dude, TMI… Your amps sound f-in’ awesome! Just keep on doin’ what you’re doin’, I’m sold!”

Yes, I do know about the internal workings of a lot of the gear I evaluate. That’s just my natural proclivity to tech stuff, plus it gives my reviews on gear more credibility. But on the other hand, there are some pieces of gear that are completely magic to me, like my hand-wired Mad Professor Deep Blue Delay. I honestly don’t know anything about the internal workings of that pedal. But I do know that it sounds so f-in’ good that I won’t use another analog delay and I don’t care about what makes it do what it does. It just does it and it makes me happy.

If I didn’t write this blog, I’d probably be blissfully ignorant of the gear that I’d buy. I’d just plug it in, and go to town and play. But alas, I write a gear blog, and it serves me and my readers well to be at least moderately technically informed.

Finally, one thing I will say is that after hanging out on gear forums for so many years, I’ve come to realize that while there are some very well-informed folks out there, I do feel that there comes a point where I almost always ask, “Do you really need to know all this stuff to play it?” I feel there’s so much focus on minutiae sometimes that it takes away from the actual purpose of the device; that is, to make music. So think about that when you engage in one of these discussions.

RAWK ON!

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It’s called the Firefly pick. It’s the first flashing pick. They’re still in development, but they just got enough startup funding to go to production, and sure, while it’s a bit of a novelty, I think it’s totally cool!

Interestingly enough, they funded the project using KickStarter, and they reached their goal of $30k just recently. I can’t wait to get my hands on one of these. Check out their crowd funding page here.

Yeah, yeah, seems like a gimmick, but I have to admit that when I first saw this, it put a smile on my face, and it’s so unique that I just have to have one. No, it won’t make me a better player, nor will it make my performance any better. But it sure is neato and the neato factor is pretty big with this.

The Firefly pick is a lot like those kids shoes with the LED’s in the sole. Why should the kids have little flashing things? While I wouldn’t where shoes with LED’s, I’d play a pick with an LED. 🙂

 

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