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Posts Tagged ‘guitar gear’

What is it about guitar makes it immediately associated with hot chicks? Hey! Not that I’m complaining. Take a look at this smaller version of the free poster from The Tone Box (click on the picture to download the full picture – it’s 18mb – so it may take a bit):

It was this picture that made me ask the question above. I suppose manufacturers figure if they get us to sport wood for their female representatives, that image will make us sport wood for their products. Interesting. Interesting indeed! While I have an incredible appreciation for the female form, as a buyer of guitar gear, nice tits and a great ass will only serve to distract me. And if your gal is extra slutty (which does nothing for me at all), I won’t even bother looking at a manufacturer’s gear. It’s not that I’m a prude, but I’m really not swayed by that because even though I’m a red-blooded, American horn dog who loves the female form, I’m also a tone FREAK-I-ZOID, and in the end, I don’t want the distraction. Just f%&kin’ demonstrate how the mutha-f%^ka sounds!

I can just imagine a rather funny situation. Let’s say this kind of advertising actually works, and every guy who views the sexy ads has the same reaction to the gear. You could go down to Guitar Center or some other place and be able to tell whose seen the ads. They’d be the guys that are slightly bent over, faking that they’re doing the pee-pee dance, or unabashedly flaunting the bulge in their pants (or they could do the cucumber bit like the bassist in Spinal Tap).

But maybe some manufacturers have learned the lesson that no matter how many hot chicks you put on your ads, it’s how your gear sounds that matters, and heaven forbid! The sound and how it pleases people so much that they spread the word that is what actually sells your product. Off the top of my head, Goodsell Amps was notorious for using hot chicks in all their visuals, but perhaps even they learned the lesson. I remember the first time I went to their site after seeing a recommendation on The Gear Page. I happened to be at work when I clicked on the link, and had to close the page immediately because of the scantily clad chick sitting on a Goodsell amp.

When I got home, I opened up the page, but my first thought was, “What the F$&K does this have to do with the amps?” Like I said, I’m not a prude, but I couldn’t be the first one who asked the very same question. I actually found it kind of obnoxious. It reminded me of the old Comdex show in Las Vegas back in the 80’s when electronics manufacturers would hire scantily clad models (read: topless) to attract geeks to their booths. I went to the show a few times, and I can tell you from personal experience, I was a hell of a lot more interested in the round orbs of fleshy goodness than that actual goods. Such was my response when I first went to that site. However, if you go to the Goodsell amp site nowadays, you’ll see that it is just a plain old amp site now – no hot chicks on the home page. Maybe Goodsell figured that the expense of hot models didn’t bring in more sales. You think? 🙂

I’ve got some ideas on what actually works nowadays, but that’s a bit beyond the scope of this entry. I’ll maybe talk about my ideas in a future post.

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For the DIY guitar enthusiast, having a good source for parts is crucial. There are lots of parts sites out there, but this new site really intrigues me. It’s professional looking and well laid out, and for goodness’ sake, you can find stuff!

I don’t know how many times I’ve gone to parts sites that are just not very well done, and their search function actually works! I particularly like the home page. There are only a few areas to interact with, but they’re meaningful. For instance, I found myself perusing the new items, featured products, and most popular products boxes for quite awhile.

The only problem with sites like this is that I start experiencing GAS!!! Damn, I’ve been looking at getting another speaker, like a Celestion Alnico Blue… OH STOP IT!!!

Anyway, even for a new site, their prices are in line with other retailers. But I do like the fact that they specialize in amp parts. Now THAT’s useful!

They’re good enough to get a banner on GuitarGear.org. Click on the banner to the right, or click here to go to their site!

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A couple of months ago, I asked the question, “Where have all the overdrives gone?” in response to a trend that I was noticing that there seemed to be fewer new overdrives being released after a long period where new overdrives from different pedal manufacturers were coming out every week. I guess they were waiting for NAMM to come because “They’re BAAAAACK!”

The latest to arrive on the scene is actually a re-issue from Wampler pedals: The Limited Edition Pinnacle(2) reissue. Wampler is an effects company I’ve known about for a long time, but have never actually played or owned one – even though I’ve always been impressed with their tone. In any case here’s Wampler’s explanation for coming out with the re-issue:

The original Pinnacle(2) evolved into the pinnacle over the span of a couple of years. During that time, we’ve had a ton of customers ask us about coming back out with the original version which had a stomp-switchable gain boost. While the current pinnacle and the original pinnacle 2 were 95% the same circuit-wise, some felt that there was a certain ‘magic’ to it. Since we’ve had so many requests for it, we decided to come out with a limited version of it complete with the gain boost stomp switch. We are only building a small number of these so unfortunately when it’s gone – it’s gone. At this time, it is only available on this website.

So how does it sound? Well, it can do quite a bit, actually. But it is really known for its ability to cop a great “brown sound” tone. Here’s a great video that demonstrates this (this dude can cop EVH pretty good):

I find it amazing that the amp he used was a software amp. AmpliTube has really come a LONG way!

As Wampler mentions, there are only going to be a limited run of these pedals. But here’s the real winner for me: This pedal is only $179.00! I need to tie down my hand so it doesn’t reach for my wallet!!! 🙂 It’s definitely worth a look!

I really don’t know why I love overdrive sounds so much. I guess that there’s something really primitive inside me that loves that growling tone. Who knows? Who cares? I love ’em!!!

For more information, go the Wampler Pedals site!

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Oo-la-la! T-Rex will soon be releasing a new distortion pedal called the Tonebug Distortion. Not much info on it yet, but it is supposed to lay on tons of gain. I was fortunate enough to see a video from the folks at GearWire that quickly demonstrates what this pedal can do.

Admittedly, I’ve preferred overdrives over distortion boxes, but I’m really liking the tone from this puppy! Don’t know if I’d shell out $399 for it, though. But T-Rex pedals are premium pedals, so that’s not a surprising price.

For more information, check out the T-Rex site!

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or… Doc Brown in Back to the Future saying, “I finally invented something that works!” Speaking in reference to the Flux Capacitor. Nah, it’s nothing of the sort, but it is by no means less cool. The Flux Density Modulation Speakers are a new approach to attenuation where the attenuation happens right at the speaker! Giving you up to -9 dB attenuation, while keeping your tone, that is what I call cool, and something I must check out! You know me, I’m an attenuator fan, and something like this has me absolutely GAS-ing! From what I could tell from the videos below, the tone is really preserved. Now, mind you that -9 dB of attenuation won’t get you down to conversation levels, but it’ll sure provide enough attenuation to take the bite off the volume. If you need to go lower, hell! Get an Aracom attenuator, and get it down REAL LOW! Check out the NAMM vids!

and from GuitarWorld…

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I was persuing YouTube today to check out some cool stuff from NAMM, so I got a few vids that I thought were worth sharing.

The first if from Fender (yeah, I know, it’s mainstream, but Fender has been doing some interesting stuff). This is Acoustasonic Tele, which is a half acoustic / half Tele. As you know, I have the Acoustasonic Strat, but this looks like it’s even better! Check it out:

Here’s a really cool thing for acoustic guitars – no more string pegs!

Ever wanted a Tube Screamer in an amp? Well Ibanez has come out with a 15 Watt amp they appropriately call “The Tube Screamer.” It features an authentic Tube Screamer circuit in the front end, and has a half-power switch (pentode-triode) switching. It will only cost $299. Probably mostly solid state, but it has 2 X 12AX7’s in the pre-amp stage and a pair of 6V6’s to power it up. Interesting. Here’s a demo… At least the amp sounds decent (read: I don’t necessarily like how it’s being played): 🙂

And here’s a new overdrive… the HAO OD-16, handmade in Japan. The NAMM vid I found on this was private, so I did a search for another. Apparently it has a street price of $300… yikes! I’ll do a bit more research on this one. Sounds very nice!

That’s it for now. If I find more stuff, I’ll post it here. There are lots of videos to wade through….

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I’ve been using the Aracom PLX18 BB Trem in my studio for the past couple of months, and it is simply a great amp. As I’ve written in the past about this amp, I’ve made some modifications to it such as replacing all the stock pre-amps with NOS (the JJ EL84’s are killer in this amp, so no need to even look for NOS for these), and replacing the stock speaker with a Fane Medusa 150.

As most GuitarGear readers know, my go-to gigging amp is my beloved, customized Aracom VRX22. But every now and then, I like to take my other amps out for a spin. For this evening’s church gig, I took the PLX18. Based upon tonight’s experience, it looks like I’m going to gig with this amp a lot more.

One thing that I’ve come to love about Jeff Aragaki’s amp designs, is that he has got the vintage Marshall mojo down. Mind you, he doesn’t make clones. He takes the original circuit designs and innovates on top of them. The PLX18 BB started out as a classic “Bluesbreaker” design, but with improvements to the circuit to make it much more efficient. The result is a real smooth-sounding amp that – like the amp it is modeled after – has tons of clean headroom, and needs to be absolutely cranked to get grind. But when it grinds, it’s so rich and smooth and dynamic, you just close your eyes and let your fingers do the talking!

Such was the case tonight. About a year ago, I re-arranged a classic Catholic hymn and gave it a bluesy, folk-punk vibe (think a cross between Death Cab and Clapton). I know, it sounds like a weird mix, but amazingly enough, it works. People know the song really well, but this arrangement gets them nodding their head in time – it’s cool to see! In any case, I also arranged it so that there was plenty of room in between verses for little solos. It’s a somewhat slow song, so you can’t go overboard, but the phrasing really lends itself to a lead played with an amp just at the edge of breakup, with lots of bends and vibrato.

And it helps to have an amp that has a lot of natural sustain. The PLX is just so damn good at that! I played the amp in the “clean” channel that I had almost cranked up all the way, since that’s where a vintage Marshall sounds great, and of course, it was plugged into my attenuator so I could crank it and still have a manageable volume level. The PLX is so responsive to attack and volume knob adjustments that it makes playing just a dream. Throughout the song, I just closed my eyes and got into pure expression mode. It was one of those occasional experiences where the tone just takes you right into the Zone! When you’re in the Zone, you just can’t do wrong. Hearing the PLX sing with my Squier CV Tele – I just floated away in absolute bliss.

For our closing song, I actually didn’t play, and gave “Blondie” over to my guitar cohort Dave so I could thump out on bass. For that song, I activated the wonderful Kasha overdrive pedal, in the Hot channel to really slam the amp with gain. The great thing about the Kasha overdrive is that it’s a really transparent overdrive pedal, and allows you amp to do it’s magic. With the OD engaged, the PLX took on this incredible character. It’s a bright amp by nature, but the tone became really jangly and ringy, with just a touch of compression coming from the EL84’s. It helps that I replaced the original JJ pre-amps with the NOS ones. In any case, talk about creamy smooth but articulate overdrive! Listening to that just got me thumpin’ out on the bass! We had a lot of fun with that song. Kind of felt like the White Stripes as we only had two instrumentalists (though it was two guitars, or a bass and guitar – no drums). It was raw and edgy, but oh so cool! You gotta just dig moments like this!

As I’ve mentioned, the PLX18 BB Trem is Jeff’s oldest amp design and unfortunately, his least-known amp. It’s tough to compete in the market when there are so many boutique, vintage Marshall-style amps on the market. I’ve played many, but the PLX18 BB is special. Others who own one of these will attest to just how special this amp sounds. Even though it’s not quite as versatile as the VRX22 that can get me over-the-top gain, for what it does, I can’t think of a better amp. Mind you, this ain’t just a one-trick pony. For blues, classic rock, and country, it’s simply killer. So if you’re looking for that classic “Bluesbreaker” tone at a price that won’t break you at the same time (the head is $1345, and the combo – which I have is $1750), I encourage you to check this amp out! And if you do get it, you won’t regret it in the slightest!

As far as equipping it, pay the extra for NOS pre-amps (the JJ EL84’s are just fine – I actually prefer them), and even though Jeff recommends an Eminence Red Fang Alnico to be paired with the PLX18 BB, for my personal tastes, I prefer something with a bit tighter bottom end; hence, the Fane Medusa that I swapped in. If you still want bright tone, then an Eminence Governor works insanely well, and will give you nice mids and high-mids, and I hear the Celestion Gold sounds killer in the the combo! YMMV…

For more information on this wonderful amp, check out the Aracom Amps site!

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I announced the Skull Crusher back in September when it first came out. Based upon the KASHA overdrive (but with some upgraded wiring and electronics), it has since gotten the attention of several prominent guitarists. Now George Lynch is playing through it, and HE LOVES IT! Check out this video:

How’s that for an endorsement. I’ve said all along that the KASHA overdrive is just about the best overdrive I’ve ever played, and I’m not alone in saying that. With guys like George Lynch touting how good the Skull Crusher is, you owe it to yourself to check it out! I know, some people don’t go for the look, but it’s the tone that matters.

For more information, go to The Tone Box site!

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Could this be the last tuner pedal you’ll ever need?

I don’t see how I missed this! I scour the ‘net daily for new stuff, especially from companies that are known to create really high-quality stuff – like TC Electronic. These Scandinavians are incredible inventors, and I haven’t seen or played one one thing of theirs that I didn’t like – though I could rarely afford it. But they’ve come out with a new tuner – yes, a tuner, of all things – that is completely different from any other tuner on the market. It’s called the “Polytune.” As its name implies, it is a polyphonic tuner; that is, the tuner can detect all your strings at once, and you can see which ones aren’t in tune at the click of a foot switch. Unlike traditional tuners that require you to check each string individually, with the Polytune, you strum your open strings. The LED’s will show you which strings are in tune and which aren’t.

In my experience, more likely than not, at any given time only one or two will be out of tune. So imagine the time you save by NOT having to check and tune each string – only the ones that need it! Check out this video to see how it works!

And at $99 bucks… SOLD!!!

Here are some features:

  • 0.5 cent accuracy
  • Standard size box
  • Tune by strumming
  • Can automatically switch between chromatic and polyphonic tuning (it will detect if you’re hitting a single string)
  • Customizable preference settings
  • Has a 9V output jack for powering other pedals
  • True bypass
  • Adjustable reference pitch from 435Hz to 445Hz
  • Supports drop tuning all the way down to B!
  • Works with 4 and 5 string basses as well

It may not have the accuracy of a TurboTuner, but who the hell gives a flying f$%k! .5 cent accuracy is nothing to shake a stick at, and the fact that you can see the tuning of all your strings at once is incredible! Can  you say KICK ASS!!! I’ve never even seen this thing and I want to give it 5 Tone Bones! Check out the TC Electronic web site for some detailed information!

Could this be the last tuner I’ll ever want? Until someone comes out with something better – and at a better price, for that matter, probably not. I want to get one right now. Unfortunately, they’re only available for pre-order. Hmm… oh well, I supposed I can wait. 🙂

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I was talking to a friend one day who noted something that the great Carlos Santana once said: “I can pick up pretty much any guitar and sound like me.” It wasn’t said with any arrogance. It was just a matter of fact. That statement spurred the thought that maybe there was something to the statement: Your tone is in your fingers. I’ve leaned towards that line of thinking for a long time, and have gotten into numerous debates between those who say your tone is in your gear versus the fingers camp.

My personal belief is that your gear gets you your baseline tone, then it’s your fingers articulating the strings that layer on the expression. Yeah, yeah, I can just hear the nitpickers who’ll come along and say, It’s not your fingers, but your heart and mind. That’s true as well. But they are the driving mechanisms. Your fingers produce the sound. But I digress…

Over the years I’ve been writing this blog, I’ve come across many people who’ve asked the same question over and over again: What kind of gear can I get to sound like ____________? It’s probably obvious who the person is whom is asked about the most – Van Halen and the “Brown Sound.” In the past, my answer to this question has usually been, “You’ll have to do your research, and get the exact specs of the signal chain of that particular artist,” in an effort to avoid directly answering the question; or sometimes, I’ll be rhetorical and ask my own dismissive question back, “Why do you want to sound like __________?”

But after lots of thought on this, I feel compelled to qualify the motivations behind my reluctance to answer the question directly. Think back to the top of this article and what Santana was noted saying. The reason I’ve avoided getting into a discussion/instruction of how to sound like someone is because one thing I’ve realized in all the years I’ve been playing is that no matter what gear I have, I’m going to sound like me. Different kinds of gear will make my tone brighter or fatter or richer – whatever – but ultimately, when it comes to actually expressing my musical thoughts I’m going to sound like me. And that goes for every other guitarist or musician out there.

And it really is unavoidable that we sound like ourselves because each of us has our own unique approach to the guitar, affected by several factors (including, but not necessarily limited by how we think, how we feel; and ultimately, in how we express those thoughts and feelings. I’m not sure this is really just a “tone” thing, either. For instance, listen to old Van Halen with the brown sound, then listen to the Sammy Hagar years, or even Eddie playing on Jacko’s “Beat It.” EVH’s guitar tone is significantly different in all those settings, but it’s unmistakably EVH. The same can be said of Santana. Listen to early Santana and more recent stuff. The sound of the guitars are different, but there’s no mistaking who’s playing the guitar. These guys just sound like themselves!

And that’s the point of this entry. Your gear gets you your tone, your fingers create the sound, but it’s your expression that identifies you.

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