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Gear Review: Keeley Luna Overdrive

Posted in effect pedals, GAS, gear, gear reviews, guitar gear, guitar gear reviews, guitar pedals, overdrive, pedals, tagged , , , , , , , , , , , , on August 13, 2012| 1 Comment »


Keeley Luna Overdrive

Summary: Two-and-a-half years in the making and combining what Robert Keeley feels are the best in overdrive pedals, tube amps, and tone stacks. The Luna overdrive is the result. This pedal covers a wide range of overdrive possibilities, from light grit to fuzz-like, square-wave distortion.

Pros: The Baxandall tone stack is KILLER and totally sells me on the pedal. On top of that though, the pedal reacts to attack and guitar volume adjustments just like a tube amp, so you’ll be right at home.

Cons: It’s pricey for one, and the tight interplay between the EQ, Drive and Master controls makes it difficult to dial in just the right amount of overdrive. But these aren’t big enough cons to give it a lower score.

Features:

  • Hand-made in the USA
  • Op-amp clipping and JFET gain stages
  • Baxandall tone stack
  • Drive and Master controls
  • Classic and Modded overdrive modes

Price: ~$219 Street

Tone Bone Score: 4.75 ~ This is a great pedal. I’d give it a 5 on tone alone, but I knocked off just a bit for making it difficult to get a decent tone out of my amp. I suppose that’s part of the fun in playing around and discovering what a pedal can do, but I have to be fair. It got a little frustrating as the Drive knob is pretty sensitive.

After my beloved Timmy pedal, I thought I was done with overdrive pedals! 🙂 I should know better because I’ve been a slut for overdrive pedals, and I guess there’s really no cure for that. Playing around with the Keeley Luna Overdrive has been a joy, though I will admit I did briefly get frustrated while trying to dial in the pedal. It simply took a bit of time to get used to the active Baxandall EQ. Unlike other EQ’s, it’s not a cut type of EQ, where the EQ knobs turned all the way up give you flat response. With a Baxandall EQ, the 12 o’clock position is flat response. Turn up an EQ knob and you get a boost, turn it down, and you get a cut. But the midrange is left alone. That means that if you turn both knobs fully counter-clockwise, you get a midrange hump; fully clockwise, and you get a scooped tone.

This is a totally different animal from other EQ’s, and it takes awhile getting used to. However, despite the learning curve, this type of EQ provides a much better way of dialing in your tone to fit your guitar, amp, and cabinet. For instance, for my test, I played the pedal in front of my DV Mark Little 40, which goes out to a 1 X 12 cabinet that has a Jensen Jet Falcon speaker, which has a pretty big bottom end. Putting the pedal in flat response made my tone sound really muffled because of the lows (I had my amp’s EQ completely flat). But after playing around, I found that placing the bass at 11 o’clock and the treble at 1 o’clock brightened up the tone just the right amount, then it was all about getting the Master and Drive knobs set.

About the Drive knob… it’s super-sensitive, and you’ll start getting breakup as soon as you start turning the knob clockwise from its minimum position, which is about 7-8 o’clock. I found that the sweet spot for me was the Drive just past 9 o’clock and the Master set between 2 and 3 o’clock. With my amp set at just the edge of breakup, the boost from the Master got the tubes overdriving, and the combination of distortion from both the pedal and the amp was quite pleasing to my ears.

How It Sounds

In my First Impressions article that I wrote earlier today, I said that the pedal adds some color. I’m going to retract that now because depending upon where you set the EQ’s, you can have a transparent tone, or add as much color as you want. I like to err on the side of transparency with most overdrives, and when it came down to it, this pedal was no different. I originally had a nice treble boost, but when I did some test recordings, found that I didn’t like how I had set the EQ’s because of the color. Here are a couple of test clips. Note that both of these were done in the Classic mode, and I was using my Gibson Les Paul ’58 Historic Reissue.

In the first clip, I do a quick clean rhythm riff with an almost imperceptible grit, then do the same riff with the pedal to add some dirt.

With the next clip, I decided to do a dark rhythm track then play a lead alongside it. In both rhythm and lead, the pedal was set the same way, and I vary the amount of overdrive simply by adding more guitar volume or hitting my strings harder. This clip was made purely to demonstrate the pedal’s dynamic response. I also added just a touch of reverb to grease the sound a bit,.

I absolutely love the tone of the lead track. I started out with my LP in the middle position, with the neck pickup at 5 and the bridge pickup at 6. Then when I started driving it harder, I switched to the bridge pickup entirely and dimed it. From there I just closed my eyes. The sonic content that the pedal produces is amazing. There are lots of little harmonics and overtones in the signal, and the note separation is awesome. The note separation takes a little getting used to as well. But this is a good thing because this pedal does not produce mush – even at high gain settings.

In this third clip, I just do a few seconds of a Journey riff. here the tone is scooped with both the EQ knobs at about 2 pm, the Master cranked wide open and the Drive at about 10 o’oclock. Unfortunately, my mic didn’t pick up all the little harmonics and overtones, but the point to this one was that even pushing my amp hard, and with much more gain, the note separation is still maintained.

I know, I only have a couple of clips, but admittedly, I’m still playing around with the pedal. I want to try it front of one my Plexi-style amps to see how it performs.

I did take it through its paces with the Modded mode, and that mode with my amp just past the edge of breakup created some real aggressive overdrive; not over the top, but I have to play around more with this mode and cranking up the gain to experience the upper limits of the pedal.

Overall Impression

As I said above, this is a great pedal. It’s a little steep in price at $219; Keeley pedals have never come cheap. But that said, I’d totally add this to my board to stack with my Timmy (hmm… going to have to try that out). It has been a long time since I’ve been jazzed about an overdrive, and I’m really jazzed about this one.

Interestingly enough, besides a few video reviews out there (that do nothing but blues licks), and one that I saw done by Musicians Friend staff member, there’s not much in the way of reviews, which is surprising. Some of the feedback I saw on a couple of forums said it didn’t work well with people’s amps. I think that has more to do with not playing around with the pedal enough. That Baxandall EQ takes some getting used to, but once you “get it,” this pedal rocks!

For more information, visit Keeley Luna Overdrive product page!

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On Finding Great Tone: It’s All About Context

Posted in Guitars, tagged , on May 29, 2012| Leave a Comment »

I’m one of those people that believe that tone is in your hands. I’ve been playing long enough now where no matter what guitar I pick up, I’ll sound like me – quirks and all. I saw Slash perform on HDNet last week and he switched between playing a Gibson Explorer and a Les Paul, and he still sounded like himself. Of course, the actual sound that he was making was different with the different guitars he played, but the style and execution were singularly Slash.

All this led me to realize that there are two types of tone: The actual mechanical sound your rig makes separate from a song, and the expressive tone that comes from making music. Some might argue that they’re one and the same thing, but I’m not so sure any longer. Along these lines, I’ll argue that the mechanical “tone” forms the foundation of your expressive tone. Get this right, and it’ll open up all sorts of creative doors, and this is where context plays a huge role.

Don’t know how many times and how much money I’ve spent on gear that sounded great on its own, when I tested it or listened to clips online, only to be a huge fail once I put it in my signal chain. That’s happened more with pedals than other gear, thank gawd, but I still have a milk crate with lots of very nice pedals that just don’t work with my overall rig. They sound great on their own, but within the context of my signal chain, they just don’t work.

And that’s why context is important. You never really know how well something works until you make a sound with it within the context of your signal chain. I say “make a sound” because you want to check the mechanical sound and see if it’s acceptable. Before I started doing simple mechanical tests on gears, I used to just try stuff out (playing licks and progressions and such), get excited by the sound of the gear on its own, buy it, then get slammed back down to earth when I put it in my chain. It’s probably a reason I have so many drive pedals that I just don’t use. But having learned that lesson, my initial test of gear involves putting it in my chain first, then doing simple, expressionless things like strumming a chord or playing a single note. If it sounds harsh or muddy with this simple stuff, then it just won’t work, and I’ll return the gear or sell it.

Admittedly, you can’t do that with everything. I took a big chance on my Timmy overdrive, but I spent many, many months listening to clips and reading posts and speaking with Paul Cochrane before I pulled the trigger to order one. But though I did take a chance, it was a fairly educated chance, so when I finally got it, I was pretty confident that it would work. Of course, there was a slim chance that it wouldn’t work with my rig, but it turned out to work fantastically well with all my pedals, amps and guitars; so much so that it’ll never leave my board.

All that said, if you just like to collect a lot of gear irrespective of its context within your signal chain, more power to you. But be forewarned that you may look upon your expanse of gear and realize, “Holy crap! I’ve got a lot of stuff that’s collecting dust.” For myself, I tend to be a lot more careful and measured about my gear purchases. I still get bad GAS, but mechanical testing helps manage that.

Didn’t Gibson just release a new Les Paul Standard? 🙂

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Maxon RTO700 Real Tube Overdrive: Insane Tube Tone in a Pedal!

Posted in Guitars, tagged , , , , on May 22, 2012| 8 Comments »

I’ve known about this pedal ever since it came out last year, and unlike many other overdrives out there, it uses a tube for distortion, and not a clipping diode. This pedal is like putting another gain stage in front of your amp. It comes with Master and Gain and the tone controls are all independent with no overlapping frequencies, so tone shaping is pretty incredible. And being that it’s a Maxon pedal, you’re pretty much guaranteed high-reliability and fantastic build quality.

So if I’ve known about this so long, and I love all its features and pedigree, why haven’t I written about it? Well, for one, life was pretty busy at that time last year, as time went on, I got my Timmy and Little Brute Drive, and finally, and probably most importantly, I just couldn’t see paying $385 for a pedal. Hell! My VHT Special 6 cost $199 when I got it, but you can get it now for only $179, and that’s a tube amp – and a great one at that! Same thing goes for a Fender Champ 600 at $149…

Okay, okay, I know that we’re kind of talking apples and oranges, but the point is that $385 is a rather steep price to pay. Based upon the clips I’ve heard and videos I’ve watched on this pedal, there’s no doubt in my mind that it’s killer. I guess for me, though it does sound incredible, it doesn’t move me enough to fork out that kind of cash.

Not that I wouldn’t pay a steep price for a pedal if it totally moved me. I paid $275 for my Mad Professor Deep Blue Delay. It hurt a bit, but it’s a pedal that I simply can’t live without now.

In any case, what got me thinking about the RTO700 was the Pigtronix Fat Drive. When I was watching videos of that pedal, I ran across references to the RTO700. I thought to myself at the time that I would get it over the Fat Drive; that is, until I saw the price tag. Then the Fat Drive seemed a hell of a lot more attractive to me. 🙂

In closing, having owned Maxon products in the past, I know how killer they are. Maxon isn’t a cheap proposition, but if you can swing it, you’ll be happy.

For more information on the pedal, check out the RTO700 product page!

 

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Gear Review: Sebago Sound Dumble Steel String Singer Prototype

Posted in amps, GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, Guitars, Music, musicians, tagged , , , , , , , , , , , , , , , on April 7, 2012| Leave a Comment »


Sebago Sound PrototypeSummary: I don’t know what an original Steel String Singer sounds like, but if Sebago’s take on that amp is any indication, we have a winner here! This is an incredibly versatile amp that can fit any genre of music. This is my next amp.Pros: Versatility is the key with this amp. The notch High and Low notch filters let you dial in your tone to fit the genre or help fine tune the amp to your guitar.

Cons: None. But not a 5.0? I’ll explain below…

  • 100-150 Watts (150 with 6550’s) from 4 power tubes
  • Reverb “loop” with send and receive knobs (send is signal gain into tank, receive is similar to mix)
  • Single input with switchable FET circuit
  • Gain control
  • Three-band EQ
  • Bright, Mid, Rock/Jazz mini toggles
  • Master control
  • Presence control
  • Individual High and Low notch filter knobs.
  • Power and Standby switches

Price: TBD, but will probably be somewhere between $2500 and $3000

Tone Bone Score: 4.75 ~ The only reason I took off a quarter point is because the reverb receive circuit was a bit noisy. I was able to dial back the hum by upping the send gain and dialing down the receive signal, but this is a prototype, so it’s understandable that there would be some tiny issues, and believe me, this is tiny.

 

My First Impressions article pretty much said everything that I had to say about this amp. My opinion hasn’t changed. This is an absolutely SUPERB amp that has me GAS-ing VERY BADLY. And after playing with this amp for the last few days, I’m in a dream state from the hypnotic tone that this amp produces – with all my guitars.

One thing I will add is that Bill Dunham emphasized that the amp is a great pedal platform. I still agree with that assessment, but frankly, this amp produces almost all the tones that I need, so I haven’t hooked my pedal board once this past week. The reverb is fantastic, and when I’ve taken the amp into overdrive, I just haven’t seen the need to use a pedal. The only exception to that is with the last clip I recorded where I ran my Strat through my Timmy overdrive before going into the amp, which was not quite at the breakup level; just slightly below.

Granted, at 100 Watts, I couldn’t take the amp into breakup without an attenuator. But luckily, my trusty Aracom PRX150-Pro comes to the rescue yet again in that department. A quick note on the distortion. I wasn’t really liking the fully cranked up tone of the amp with my Strat. It’s an entirely different matter with my Les Paul. The lead tone – which you’ll hear shortly – is just incredible. With the FET activated, and both Gain and Master cranked up (Gain at 9, Master at 10), the sustain, harmonics and overtones create this absolutely gorgeous lead tone. Now by itself, this amp won’t do metal. It’s not made for that, and I don’t think it was ever intended to do that. But crank it up and throw a distortion pedal in front of it, and I believe you could easily do metal.

Fit and Finish

I really won’t comment on this much because the final face plate is being produced so Bill modified a Double Trouble face plate. That’s also why I didn’t take pictures. It’s not finished, and I don’t want people to get the wrong idea that the amp will be in the condition in which it was tested. It looks great, but I’d rather get pictures of the finished product.

How It Sounds

Bill kept on saying when he dropped off the amp that it’s real strong point was clean. After playing with it, I heartily disagree. 🙂 Clean, dirty, it don’t matter. I dug the sound. In any case, I’ve recorded three clips to give you a general idea of the amp’s tonal possibilities. Mind you, I don’t have a mild breakup clip with a Strat. Once I get the real thing, I’ll share lots more clips. For now, you check out the ones I’ve recorded thus far. Note that these tracks are raw tracks. I used no EQ nor compression because I wanted to ensure that I’d capture all the dynamics of the amp.

Clean, Gretsch Electromatic (thin body)

Clean, Les Paul

Rock, Crunchy Rhythm (left), Solo (right)

Clip from an SRV tribute song I wrote called “In The Vibe”

All the clips were recorded using an Avatar  1 X 12 closed back cabinet with the fantastic Fane Medusa 150 speaker. I used a single mic – a Sennheiser e609 – positioned about 18″ from the cabinet pointed directly at the center of the cone. Part of why you might hear a little static is the ambient room noise from my garage. Barely detectable, but it’s there.

With the rock clip, one thing I had to get used to was the note separation in touch sensitivity of the amp when I’ve got it cranked; actually, even in heavy overdrive. I didn’t really have to change the way I play, I just had to make sure that if I was chording, then I needed to be smooth with my strums, otherwise you’d hear every dang string being plucked. 🙂 It was a pretty easy adjustment.

With the SRV tribute song, as with the other clips, I didn’t EQ the guitars at all, though with the lead, I did add some reverb and a touch of delay to give the tone some air. I also ran the guitar through my Timmy overdrive in front of the amp. Other than that, what you hear is what the amp and the Strat are producing naturally though the final recording has a touch of compression. With the first part of the clip, I’m playing through the neck pickup, then switch to the bridge pickup and turn the volume of the guitar up a couple of notches.

In any case, to me, the clips I’ve provided tell a good story of what this amp is capable of. As I mentioned, in a clips, what I’ve laid down is the raw amp sound, completely unprocessed except for the SRV tribute. The tones are absolutely gorgeous!

Overall Impression

I suppose you can pretty much guess what my impression is of this amp. Once Bill gets this into production, it’ll be my next amp. Better start saving my pennies. 🙂

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Harry Potter and Choosing a Drive Pedal

Posted in Guitars, tagged , , , on April 1, 2012| 2 Comments »

Watch this scene from Harry Potter and Sorcerer’s Stone:

I recently re-watched this wonderful movie, and when I heard the line: “The wand chooses the wizard, Mr. Potter,” it struck me that it seemed as if the drive pedals I purchased sort of “chose me.” Like Harry Potter trying out magic wands, there were some that I tried (and bought) that were so harsh they seemed to throw things around the room. Some were so funky-sounding, that they’d break things. But then there were four that spoke to some inner part of my being that seemed to fill me with creative power. Those were my Timmy, Tone Freak Effects Abunai 2, and my EWS Little Brute Drive, and Creation Audio Labs mk.4.23 boost. I may get other drive pedals in the future, but those will always stay on my board. They’ve become an integral part of my tone.

I suppose that this goes for any gear that I have, but my search for the right drive pedals was long and expensive; not necessarily in terms of money, but most especially in terms of time. I tried out hundreds over the years, but none have moved me as much as these four. And frankly, that “moved” feeling is the main criteria for me purchasing drive pedals.

Of course, I can’t play everything, but I do a lot of research before I buy. To me, a drive pedal is an incredibly personal piece of gear. I can’t just play any drive pedal. Some folks might be able to do that and sound good, but my ears are particularly sensitive to drive sounds. If something is off, just by a bit, then it bugs me to no end. Can’t necessarily describe the exact sounds I’m looking for in a drive pedal, or what might turn me off, but I do know when I hear something that I just have to have. Then I’ll buy it.

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Gear Review: Aracom Amps VRX18 1 X 12 Tweed Combo

Posted in GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, Guitars, Music, musicians, tagged , , , , , , , on February 17, 2012| Leave a Comment »

Aracom Amps VRX18 Tweed ComboSummary: No… Surprisingly enough, I didn’t buy this one, as I already have the VRX18 head. But my good friend and bandmate just bought this, and I tested it out for him so he could listen while he was making his decision. Anyway, this is classic Marshall 18 Watt Plexi tone, but with Jeff Aragaki’s tweaks and modifications. It’s such a sweet-sounding amp, clean or dirty.

Pros: Handmade, and hand-wired on turret board. The VRX18 brings out the best of what I love about EL84-powered amps, and combined with the custom Weber speaker that’s in the cabinet to balance out the natural highs of the amp, this amp is capable of producing some of the most gorgeous clean tones I’ve heard, plus some incredible vintage overdrive.

Cons: None.

Features

– Channel 1: Volume and Tone Controls
– Channel 2: Volume and Tone Controls
– Master Volume Control (PPIMV)
– On/Off Switch
– Indicator Lamp
– (2) EL84 Power Tubes
– (2) 12AX7 & (1) 12AT7 Preamp Tubes
– Cathode Biased Power Tubes
– S.S. Rectifier with “sag” circuit
– Custom Heavy Duty Aluminum Chassis
– ARACOM Power Transformer: hand-wound and interleaved
– ARACOM Output Transformer: hand-wound, interleaved on a paper bobbin
– 4, 8, 16 ohm Speaker Jacks
– Detachable Power Cord (IEC320-C13 Socket)
– External Fuse Holder
– Custom Turret Board (G-10/FR4 Flame Resistant)
– Handwired and Handcrafted in the USA.

Price: $1095 for Combo (see Pricing Schedule for complete options)

Tone Bone Score: 5.0 ~ Yeah, I’m biased towards Aracom Amps as I am a faithful customer, but this amp is yet another example and an affirmation of why I love Aracom amps so much!

As most know who read this blog with any regularity, I’m a faithful Aracom Amps customer. I play three of them: VRX22 (6V6), VRX18 (EL84), and the PLX18 (EL84); plus I have the venerable PRX150-Pro Attenuator. Can’t believe I’ve been playing Aracom equipment for almost four years now, but I can’t think of any other amp to play, except for, perhaps, the DV Mark Little 40, which I still intend to get eventually.

In any case, my bandmates have known my passion for Aracom equipment, but have purchased other amps in lieu of the fact that I’ve been raving about Aracom for years, and in lieu of them commenting on how great the Aracom tone is. It always puzzled me, but hey! To each, their own.

A few of weeks ago, my right-hand and cohort in the band Dave started looking into getting a new amp, and to my pleasant surprise started taking a look at the Aracom site and listening to the clips. He was actually considering buying a Carr Viceroy, but held back until he took some time to evaluate amps. Now he’s glad he did.

In any case, he contacted Jeff and set up a meeting to go out to Jeff’s shop, and asked if I wanted to tag along. Never one to turn down an invitation to hang out with Jeff if I can help it, I accepted and a couple of days later, we made the short trek out to Jeff’s shop.

The wonderful thing about working with a builder like Jeff is that because he’s a small operation, he can be fairly agile in the combinations of equipment that he offers. So on that day, we took a couple of hours to play through different cabinet/speaker combinations to find a combo that “fit.” After playing through the tweed cabinet with a custom Weber 1 X 12, it was clear that that combination was the best for the style that Dave plays, which is mostly clean.

Jeff told Dave that he should take the amp with him and play around with it before he made the decision, so we loaded the amp in Dave’s car. On the way home, I mentioned to Dave that he will probably not want to return the amp and left it that while we talked about other stuff.

A few hours after I had returned home, Dave called me. He wasn’t returning the amp. 🙂 I knew that would happen. That amp was magical. Earlier, I shared with Dave on the way home that he’d know if he found the right amp if he lost track of time. He did. Now he is the proud owner of the best amp he’s ever played.

Fit and Finish

I love the classic tweed finish of this amp. Jeff personally built the enclosure and covered it with tweed. It’s really beautiful to look at. He also used 1/2-inch ply to construct the cabinet, which is something I look for in cabinets. With 1/2-inch ply, I believe the wood provides a lot more resonance as opposed to cabs built with thicker boards. Compared side-by-side with my Avatar 1 X 12, which uses thicker wood, the Aracom cab sounds so much more deep and lush (I’m not knocking my Avatar – that cab is perfect for more aggressive tones).

How It Sounds

Unfortunately, I don’t have any clips to demonstrate, but Dave’s VRX18 sounds absolutely KILLER! I’ve played three of Dave’s guitars through the amp, which include a custom Carvin acoustic/electric, a custom Rick Turner Renaissance, and a Gibson ES-335. All three guitars sound absolutely gorgeous through the amp which, with the custom Weber and dynamite cabinet produce a very lush and deep clean tone, while retaining great note separation and definition. Note separation and definition are especially important with an amp that produces such deep cleans because it could become extremely muddy. Not so with the Aracom VRX18 combo.

It’s important to note also that in addition to such great cleans, the amp really projects the sound well, with a very three-dimensional quality about it that makes it sound as if it has a reverb tank. Jeff attributes a lot of this quality to the sag simulation circuit that he built into the amp. It provides just a touch of sustain to add depth to the sound.

Playing right next to Dave is another guitarist (another Dave) who has a Carr Mercury. Maybe the “higher end” Carr models sound better, but the Mercury’s tone pales in comparison to the VRX18. Where the VRX18 sounds three-dimensional, the Carr sounds brittle and hollow. I don’t like the tone of that amp at all, and constantly have to help the other Dave dial in his EQ to make it sound even halfway decent. Also, the reverb on that amp is horrible, and I always have him turning it WAY down. Amazing that that amp costs more than twice as much as the VRX18. Anyway, I don’t want to make this a Carr amp smack-down. Suffice it to say that the Aracom VRX18 simply outperforms the Carr hands-down.

Overall Impression

Jeff Aragaki makes killer amps. He’s not building near the amount of amps at this point in time as he has in the past because his attenuator business is so good. But when he does get amp orders, he takes extra-special care that it’s right; and that’s exactly what he did with this particular amp. In fact, this particular model of the VRX18 is much more simple than his other models in that it doesn’t have the 1/2 power switch, nor does it have a tube rectifier. But it sounds incredible as it is. And as I mentioned above, this amp is yet another example of why I will remain a faithful Aracom customer!

For more information, go to the Aracom Amps web site!

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I Love My ’58 Champ!

Posted in Guitars, tagged , , , , , , , , , , on November 8, 2011| 5 Comments »

This morning, I was taking stock of gear that I hadn’t played in a awhile, and saw my little ’58 Fender Champ sitting on my workbench. I hadn’t played it for several months. So I hooked it up, and started playing. Now mind you, I’ve had some serious work done on it. I had to have the leaky caps replaced, and I had the amp set up with an A/B switch so I could bypass the stock, internal speaker and use a different speaker cabinet if I wanted. Plus, my good buddy, Jeff Aragaki lent me a custom tweed cabinet that he built that houses a Weber 10″ Alnico speaker.

After getting it all hooked up (I ran the amp into a 1 X 12 with a Jensen Jet Falcon speaker), one thing struck me right away after playing my Strat through it. To me, this is THE classic Tweed sound. But it is also the perfect platform to record completely raw signal, then tweak, which has been done in lots of studios over the years, as a Champ was used to record all sorts of rock and roll.

Take, for instance the following recording:

This was recorded straight into my computer with no EQ, no nothin’ attached. It’s a clean, dry signal that simply captures the tone of my Strat. But apply some reverb and delay effects, some compression, EQ, and that plain signal becomes something else entirely. Here’s the same track, but this time, I’ve textured it with reverb, delay, compression and EQ.

Had the compression make-up gain a little high, so there’s a tiny bit of clipping, but what I was able to get was a super-rich and full sound.

Even dirtied up, the Champ is simply a great platform. Here’s a raw clip of the Champ completely cranked up:

Again, this is simply a fantastic platform from which to shape the guitar sound. So, in this next clip (which again is the same track, but tweaked) I added some compression, reverb, a tiny bit of stereo delay and beefed up the lows with some Fat EQ:

It’s no surprise to me why so many studios have these Champs in their amp lineups.

As for gigging this bad boy, I always run it through speakers that have a good bottom-end response. What results is a nice, scooped tone – VERY American tone-wise.

Anyway, if you can find one of these, get it. Or you can get the ’57 Champ re-issue, which lots of players love. Me, I got mine for $700 (that’s the actual picture of the amp above), and spent roughly $200 on getting the caps replaced and putting in some NOS tubes. Still comes out under the price of the ’57 reissue.

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Gear Review: The Rock Lock

Posted in GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, Guitars, Music, musicians, tagged , , , , , , , , , , , , , on October 25, 2011| 2 Comments »





The Rock Lock

Summary: After a year-long wait, the Rock Lock has finally hit the market! What started out as an ingenious idea to provide some gig security for your guitar is not finally a reality.

Pros: Rubberized (or what appears to be rubberized) material around an obviously sturdy, metal locking “C” and attached to a 1/4″ steel braid rope, provide ample security for when you’re gigging, or even in a studio where you want to provide a level of deterrence as well as security.

Cons: None

Features (from the web site):

-Core Constructed from Cutting Edge Metal Replacement Technology

-Heavy-Duty Braided Steel Cable

-1 Year Full Warranty with Registration

-2 Keys Included, with optional Key Registration

-Fits almost all standard 6 string Guitars.
This excludes: 12 String Instuments, Flamenco/Spanish Guitars, and Bass Guitars.

Price: $49.95

Tone Bone Score: 5.0 ~ I’ve been waiting for this to come out since Chris Goulet originally contacted me a year ago. For the gigging musician, this is a must-have.

To me, having a Rock Lock is like putting strap-locks on your guitar. The funny thing about strap locks is that you never think you need them until your guitar comes off your strap button and crashes unceremoniously to the floor. Once that happens, you heed the warnings. But it shouldn’t take having your guitar stolen at a gig to make you buy a Rock Lock. At least for me, even the prospect of having my guitar stolen is enough to make sure I always have good security  for my axes at gigs. But I almost had to learn the hard way.

From late spring to early fall, I play on the patio area outside of the restaurant where I do my Friday gigs. Where I play is a major thoroughfare into the shopping center, so it gets lots of traffic – it’s a great way for me to entertain lots of folks. But the high traffic also presents a much greater danger of my gear being tampered with or stolen. While there are plenty of staff and customers at hand to watch my gear when I take breaks, the position of the “stage” is such that if someone wanted to make a running grab at my guitar, they could do it and get away pretty easily.

Last summer, there was a kid who was watching me play. He was what you might call an “emo,” with long hair swept across his face and a brooding expression underneath. He paid me a couple of compliments on my playing which was pretty cool, then after awhile, he asked if he could play my guitar while I was on break. I nicely told him no as I didn’t have a backup guitar with me, and he walked away, though I saw him a few times walk by eying my guitar. About an hour later, I took a break, and left my guitar out. Lo and behold, there was the kid. He was just about to grab my guitar!

I rushed over and said, “What part of ‘No you can’t play my guitar while I’m on break did you not understand?'”

“I thought it would be cool with you, dude,” he responded.

I said, “No. It’s not cool. Please leave.”

He did, and didn’t return. But in hindsight, if he took my guitar, it would’ve been my fault for not making it secure. And while I assumed that my gear would be safe because so much staff and people were around, the mere fact that that kid could just walk up to my guitar and pick it up made me think that I needed some sort of security.

For awhile after that, I resorted to packing my guitar during breaks and putting it my car or in the restaurant. But either of those options was a bit of a pain. However, with the Rock Lock, I no longer have to do that. I just lock up my guitar and it’s safe!

So how does it work? Well, it works very much like a computer laptop tether in that it has a loop at the end of the metal rope that you use to secure to a fixed object. The other end of the rope has a metal stud that gets inserted into the locking mechanism that is essentially a “C” clamp that goes around the neck of your guitar. The locking mechanism has one of those unpickable cylindrical keys. So talk about security! Look at the picture sequence below:

1. First, attach the cable to a fixed object like a pole:

2. Next, attach the cable to the locking mechanism (the stud end slides into an opening at the joint of the lock:

3. Finally, lock your guitar:

How much easier can it be? As I said, this is a must-have like strap locks for security-conscious guitar player. I’ll probably be getting a couple of more of these pretty soon!

For more information on the Rock Lock and to purchase one, visit The Rock Lock Company!

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New Gear: Gibson Firebird X “System”

Posted in Guitars, tagged , , , , , , , , , , , on September 29, 2011| 5 Comments »

Okay, boys and girls… After announcing this guitar over a year ago, Gibson has finally released the Firebird X er… system. Not just a guitar, this baby packs built-in effects, completely on/off switchable and coil-tapped pickups. It also includes a piezo pickup for getting an acoustic sound. But wait! There’s more! The pickups can be switched to run in series and parallel. But we won’t stop there! The on-board effects can be controlled by sliders on the upper bout of the body, and with the included switch pedal, you can activate those effects.

But just to make sure Gibson didn’t forget anything, they also include an expression pedal for the effects. By the way, the effects are all programmable via USB interface to a computer. Oh yeah… There’s also a boatload of software included.

Even the case is revolutionary (Gibson’s words). It’s lightweight, and includes the obligatory straps, but it’s strong enough to withstand a fall from a six-story building (I wonder if that’s with the guitar in it). 🙂 Oh! And let’s not forget the robot tuning system.

So what’ll all this cost? Supposedly, somewhere in the neighborhood of US$5500.

My thoughts? I’m not sure. It’s certainly very cool. All this in a 7 pound guitar! Wait! It’s not a guitar, it’s a system! 🙂

It certainly is a system, and mind you, I only mentioned a fraction of the features of this guit… er… system. The technology that has gone into it is pretty amazing in both breadth and depth. That, I can’t deny. And to have your pedalboard right in your guitar is pretty freakin’ cool – ala Matthew Bellamy of Muse.

There’s a part of me that says this screams of overkill. But on the other hand, it’s not as if this guitar will be a high-production model. It’s a limited edition. But who knows? If demand is high, Gibby may turn it into a sales platform.

Also, for myself, and myself only, I just want to play. I’m not sure that I’d want to spend a lot of time niggling over effects patches. And besides, though the effects may very well be good – perhaps even awesome – I’ve got the effects I like on my board, and for the most part, especially for my modulation effects, I rarely change where they’re set to (well… except for my Deep Blue Delay).

Don’t get me wrong. I’m really not trying to be cynical here, but something like this would take me awhile to dial in. Like I said, I’d rather pick up a guitar and just start playing, knowing what sounds the guitar will make.

For more information, check out Gibson’s Firebird X site!

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Gear Review: Awesome Guitars TCP-T2 Telecaster Control Plate

Posted in Guitars, tagged , , , , , , , , , , on September 6, 2011| 2 Comments »

Awesome Guitars TCP-T2 Telecaster Control Plate
Summary: Want to expand the tonal possibilities of your Tele? This solderless control plate assembly will give you six distinct tones.Pros: Undoubtedly, the pros here are that you’re going to get tones that you’ve never heard from your Tele.

Cons: Not quite as easy to install as advertised – but what is? One of the bridge settings created a far too thin and reedy tone for my liking. As there were no instructions to be found as to what switch does what, it took awhile to figure out the different switch settings (though note that the wiring diagrams are all available online).

Features – Check out the link above…

Price: $127.97 direct

Tone Bone Score: 4.5 ~ Though I didn’t like that one setting for the bridge pickup, I do like the fact that I have a couple more very usable tones for my Tele.

I’m pretty wary of hyperbole, especially when it comes from a manufacturer. So when Awesome Guitars contacted me about their products, I was a little dubious, especially since the original email read like an Adam St. James guitar lessons spam. It’s not that I doubted what their Tone MultiplierTM could do, it was the delivery that made me a bit wary. But having an open mind, I replied to see if they’d send me a control panel replacement unit for my CV Tele. I got a very quick reply saying they’d send one right away. That was about six weeks ago. Due to vacation, and leading a busy life in general, I didn’t get the unit installed until recently, but since then, I’ve been messing around with my Tele a lot, and have played it in a couple of gigs.

So what’s the verdict? The manufacturer’s claims of the products being life-changing aside, this is a solid product, and something that I’ve been able to put to use. To be fair though, the unit I tested will only give you 6 different tones. But with dual humbuckers, the other products they offer will give you up to 68 different tones! Pretty amazing stuff.

Ease of Use

Okay… so you lose the sliding 3-position switch, which is replaced by three mini-toggles. On the surface, that might seem to be a burden, but once you’ve played around with the system, it’s fairly easy to get to the tones you want. Even without the instructions, I was able to figure out the functions of the switches relatively easily, and was up and running- and gigging – in a matter of an hour. By the end of the gig, I knew where I wanted the switches. Admittedly, it will take a little more time to switch on the fly during a song, but I was still able to do it pretty easily, if not completely cleanly.

How It Sounds

Sounds like my Tele, but with a couple of more very usable tones. I wish I had the instructions that charted what switch does what, so I could tell if the pickups were in or out of phase or serial or parallel when both are on, but I did manage to figure out the two different sounds for each different pickup combinations. In a way, I’m sort of glad I didn’t have the instructions because it forced me to explore what tones worked for me, which is probably more important than the actual knowledge of each switch configuration. That would probably be a different story if I installed the six-switch model on a dual-humbucker guitar. For that, I’d want to know what each switch is doing.

In any case, here are six versions of the same phrase with each different configuration:

Neck 1

Neck 2

Both 1

Both 2

Bridge 1

Bridge 2

With both pickups on, and switching between parallel and serial configuration (mind you, I still don’t which is serial or parallel), the tonal difference is extremely subtle, and admittedly the recordings didn’t seem to capture that, but suffice it to say that I heard a difference; but also, and more importantly, the dynamics were different. Bridge 1 setting was pretty thin – too thin for my liking, but I my favorite is Bridge 2, which gives me the full power of my bridge pickup, which I love for playing leads.

Overall Impression

At least to me, this upgrade isn’t life-altering, but it does expand the tonal palette of my Tele, and that’s a great thing, and who knows, I may find a use for the thin tone of the Bridge 1 setting. With the Neck 2 setting, I get a similar sound to the neck/middle setting of a Strat, which is jangly. I dig that sound for playing finger-style rhythm. So all in all, I’m pretty satisfied with this unit.

As for the lack of instructions, as I mentioned that’s not a bad thing, necessarily – at least the wiring diagrams were online. The site does mention that two of the switches control the pickups, the other switch controls whether the pickups are in parallel or serial. But which two and which one? 🙂 Doesn’t matter because it was easy to figure out.

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