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BOSS RV-5 Digital Reverb

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

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

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

Features (from the BOSS web site):

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

Price: $149 street

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

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

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

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

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

How It Sounds

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

Modulate

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

Gate

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

Room

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

Hall

Nice, expansive tone with this mode.

Plate

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

Spring

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

Overall Impressions

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

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What? No formal review? Well, being that the pedal is less than 24 hours old, and I gigged with it before doing a full review, I thought that I’d share how it performed first before giving it a rating.

First the back story…

I do a solo acoustic gig at  local restaurant every Friday. Rig-wise, my rig has been very simple: An acoustic/electric and a DigiTech Vocalist Live 4. I’ve brought amps in the past, but usually err on the side of convenience to keep things as simple as possible. The Vocalist Live has worked fine for several years, and it’s easy to hook up to the PA and go. Unfortunately, it’s showing its age and wear and tear from using it so much (I do at least two gigs a week where I use it). Lately, the guitar input has been crackling a little, so I’ve had to use the “Thru” jack to go out to the PA. That’s not a problem, but typically a raw signal into a PA can be a bit muddy and harshly so.

So yesterday, knowing that I would have to go direct to the PA, I went down to my local music store and got a great passive DI box from Radial Engineering called the “ProDI.” I’ll have a review of that in a bit. But since the PA at the restaurant doesn’t have any effect inserts or a loop, I decided to get a reverb pedal specifically for this gig. Enter the RV-5

BOSS may be considered a bit too mainstream for most people’s tastes, but I have to hand it to them. They’ve created some wonderful pedals in the past that have served to define certain tonal genres; for instance, the CE-2 Chorus. Now, I’m not saying the RV-5 is a standard by any stretch of the imagination. But considering how long BOSS (Roland) has been around, they do know how to get some great sounds. And the fact that almost everything they make is pretty affordable, that’s not a bad thing at all!

Add to the fact that BOSS pedals seem to last forever, and that is a testament to their build quality. My thought is that BOSS has always been able to produce “giggable” tones at a great price that may not be absolutely perfect or the ideal I may be after with a particular tone, but they’re well-built, reliable, and I can get my tones “close enough” so that most folks would never notice. Hell! I had my all-digital CE-5 on my board for years, and no one was the wiser (though, of course, it’s no match to the liquid, smooth tones of the CE-2).

I wasn’t expecting much out of the RV-5. After all, despite BOSS’s longevity in the marketplace, most of their new stuff is simply okay. But when I auditioned the pedal at the shop, going through a PA system, I was really impressed with its tone – especially with the “Plate” setting, which provides a nice, warm and snappy reverb that’s ideal for acoustic guitar. I didn’t play too much with the other reverb settings at the time, but I was really pleased with the Plate just the same. On that voicing alone, I knew I had a winner for my gig yesterday.

The other thing that REALLY stuck out for me was that the RV-5 is dead quiet. No errant hiss or artifacts at all, and that is a real delight, not having to deal with line noise.

So last night, I ran my guitar into the Vocalist Live, went out the “Thru” jack, into the RV-5, into the Radial ProDI, then straight into the board. I was crossing my fingers that it would work, and it work it did! I was pleasantly surprised about how transparent the pedal was! My Stratacoustic Deluxe has this quirky, but pleasing jangle from the Tele lipstick pickup in the neck that I absolutely love, and I was actually concerned that I’d lose that with the RV-5. But my concerns were all waylaid as that jangle was retained.

What I discovered through tweaking the pedal last night was that I actually like the “Hall” setting quite a bit, and switched back and forth between “Plate” and “Hall” all night. I really didn’t get into the “Spring” setting that much, and frankly, I’ve never really liked digitally modeled spring reverbs – even the Lexicon spring that’s on my Hardwire RV-7. But that’s just a nit. It’s not bad, but it’s not really my cup of tea. I tend to like a more spacious-sounding reverb.

So all in all, I really dig the Boss RV-5. I’ll do a full review in the next couple of days!

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Wow! Just got finished playing a little gig with me mates at the church for Saint Paddy’s Day. Lots of fun drinking Guinness, playing tunes, and watching my daughters do some jigs and reels (they’re Irish dancers via their Irish mama). 🙂 So, I got to thinking, who were some influential Irish rockers through the decades. So I want to celebrate Irish Rockers on Saint Paddy’s Day! Here’s a quick list:

Van Morrison
Rory Gallagher
Thin Lizzy
The Boomtown Rats
Sinead O’Connor
Gary Moore
U2
The Pogues
The Cranberries
Ash
Snow Patrol

I love the derivation of The Pogues’ name which is short for the Irish “pogue mahone” which in Gaelic is: póg mo thóin which means “kiss my arse.” 🙂 From what I heard from an Irish friend, they had to shorten their name for the record company so as not offend the public. Too bad. It’s a great friggin’ name!

Anyway, let’s raise a pint to those great Irish Rockers!

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If you’ve read this blog with any regularity, you’d know that I’ve lamented trading away my original BOSS CE-2 Chorus for a Multi-function DigiTech pedal. Hey! I didn’t know better at the time. The CE-2 was cheap when I got it new back in the early 80’s, and so I figured, what would be the harm in trading a cheap pedal for another cheap pedal, especially if the new cheap pedal was all-digital! Oh well, I’ve redeemed myself. I finally got a CE-2, and for a GREAT deal on EBay!

To me, THIS chorus sound is the chorus sound that defines the entire gamut of chorus pedals. Say what you want about the others. While they’re all good – and I’ve heard and played many – the CE-2 chorus is the sound I grew up with as a young guitarist. To me, nothing matches its warmth and the liquidity of its tones. This is pure analog Chorus goodness.

I did some really quick demos about fifteen minutes ago. All clips were played clean with my Squier CV Tele 50’s running into my pedal board and into my Aracom VRX22. Excuse the 60Hz hum from my Tele and the ambient background noise of my fridge. 🙂 Each clip starts with a dry version then the CE-2 is engaged.

First up is a little clean blues groove. The chorus, when engaged is set to 3pm on both Rate and Depth to get a sort of vibey effect:

Next up is a simple chord progression done finger style. The CE-2 has both Rate and Depth set to noon:

Finally, the last clip demonstrates how well the CE-2 plays with other modulation effects. It first starts out with my VOX Time Machine and Hardwire RV-7 Reverb. When I play it over with the CE-2, the CE-2 is set to my favorite setting, with Rate at noon, and depth at 2pm (some things are just etched in your memory):

Of course I realize that appreciation of tone is an entirely subjective matter. But even after all these years, I just can’t get over how much I love this chorus sound and thick and liquid it can get, but still be crystal clear and articulate. My CE-5 did a great job for real subtle chorus, but cranked up, it was unusable. But with the CE-2, there are usable tones, no matter where you set it!

I have to admit that I am absolutely emotional right now. I’ve got all these memories flooding through my head from almost 30 years ago when I first bought it: Memories of watching a young Michael Hedges work his magic on his acoustic; trying to cop Andy Summer’s tone; late nights in my parents’ house plucking away at my guitar; lots of memories, both good and bad. Wow!

This pedal will NEVER leave my board again!

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…your lead sheets, that is…

I’ve been writing music for a very long time, and I’ve used a variety of methods to get my songs written down, from notating on staff sheets to using full-blown music notation software. The notation software I’ve used extensively in the past is called “Mozart,” and it provides a full range of staff-based and even guitar tab notation features. I’ve used it for orchestral work and songwriting, and it has been a real life-saver. But as guitar is my primary instrument, Mozart is a little overkill, especially when all I want to do is put a lead sheet with chords together for my band. Furthermore, nothing can shake me out of my creativity when I have to focus on the minutiae of notes. So having a quick way of putting lead sheets together so I don’t lose my creative spark is critical.

Enter ChordPro

This is where a text-based notation system called “ChordPro” has been so instrumental for me in quickly assembling lead sheets. ChordPro is a very simple markup “language” similar to wiki markup, but far more limited. All it does is provide formatting directives to programs that can parse the ChordPro markup for easy output, either to print or PDF (depending upon your system setup). If you look at the ChordPro format, you can see that there just aren’t that many formatting commands. But that’s its power. Why be inundated with a bunch of features? That’s just more to learn, and the point is to get a lead sheet together quickly.

The most sophisticated feature of the ChordPro format is the ability to define chord shapes. Not all ChordPro parsers are created equal, but one thing they all do is optionally print chord shape grids, and if you use alternate or altered chords, having the ability to notate them is vital – especially if you’re sharing your songs. In my latest song, “The Breakup,” I needed to get a lead sheet together to send to people to look over. In that song, I used both alternate and altered chords, and needed a way to show them.

For instance, I have a B7b9 in the song. People who know altered chords could easily figure it out, but it’s so much easier to see a grid. In that case, I notated the following {define:B7b9 base-fret 1 frets x 2 1 2 1 0} to tell the parser to draw out the chord. The syntax is very simple:  define:<chord name> base-fret <fret of the lowest fretted note> frets S6 S5 S4… <position of fretted notes relative to the base fret. The base-fret is one (1), not zero. So for the B7b9, the base fret is the first fret, or 1, then I set the fret positions of each string relative to that position. Zero (0) denotes an open string, while x denotes a muted string.

Here’s the whole song notated in ChordPro format:

{t:The Breakup}
{st:Brendan Delumpa}
#Chord definitions
{define:B7b9 base-fret 1 frets x 2 1 2 1 0}
{define:F#7#9 base-fret 8 frets x 2 1 2 3 x}
{define:C#m7b5 base-fret 4 frets x 1 2 1 2 0}
{define:Em7 base-fret 7 frets 0 1 3 1 2 1}
{define:Cmaj7 base-fret 3 frets x 1 3 2 3 1}
{define:Am7 base-fret 5 frets x 1 1 1 1 1}
{c:VERSE 1}
[Em7]Why don't you say just what's 	[Bm7]on your mind
[Em7]instead of leaving clues for [Bm7]me to find
Been on the [Cmaj7]trail to your [Bm7]heart but I'm [Am7]lost from no [B7b9]direction
[Em7]you've been turnin' me a[B7b9]round[F#7#9]

{c:VERSE 2}
[Em7]The way to your heart used to [Bm7]be so clear
[Em7]Now I can't see past this fog of [Bm7]doubt and fear
I'd like to [Cmaj7]reach out to [Bm7]you but you've [Am7]left me in iso[B7b9]lation
[Em7]I don't know where to turn... 

{c:CHORUS}
{soc}
We've taken our [Cmaj7]hearts as [Bm7]far they will [Em]go
our summer of [Cmaj7]love has turned to [Bm7]rain and snow[Em]
no more [Cmaj7]rays of hope to guide us
there's [C#m7b5]nothing left to hide [B7b9]behind[B7] (let it ring)
{eoc}
{c:Chorus Endings}
1st: You take yours and I'll take mine...
2nd: We wasted all this time...

{c:VERSE 3}
[Em7]Expectation was our [Bm7]deadly sin
[Em7]It's a game that we could [Bm7]never win
"You can [Cmaj7]do what you [Bm7]want, just make [Am7]sure you do it [B7b9]my way."
[Em7]You know I'm always [B7b9]right...[F#7#9]

{c:VERSE 4}
[Em7]We see the world from our [Bm7]point of view
[Em7]Where nothing changes, nothing's [Bm7]ever new
We hold [Cmaj7]on to a [Bm7]vision and [Am7]never seek a [B7b9]better way
[Em7]and we never see the light...

{c:CHORUS}

{c:VERSE 3}
[Em7]Here's to the end, here's to [Bm7]being free
[Em7]No more blame for each other's [Bm7]misery.
I will be [Cmaj7]strong and sur[Bm7]vive and I [Am7]won't be shedding [B7b9]any tears[Em]
I will be [Cmaj7]strong and sur[Bm7]vive and I [Am7]won't be shedding [B7b9]any tears[Em]
I will be [Cmaj7]strong and sur[Bm7]vive and I'll [Am7]fly from all these [B7b9]wasted years.[Em]

{c:Brendan Delumpa}
{c:(c)2010 Brendan Delumpa}

Pretty simple, right?  When I’m first constructing a lead sheet with chords, I normally insert the chords first into the lyrics, then do the chord definitions, then add the rest of the formatting. It keeps the process fairly simple.

Another advantage of having a standard notation method is that band members can quickly put together lead sheets to share with their bandmates. If everyone has a ChordPro parser, they can easily print out stuff someone else in the band has sent them. Now that’s really powerful!

Songsheet Generator by Ten By Ten Software

There are number of ChordPro parsers on the market right now, but the one I like to use is called “Songsheet Generator” by TenByTen Software that runs on both Mac and Windows. Click here to see the PDF of the output that Songsheet Generator produces. As I said, parsers are not all created equal, but Songsheet Generator has some good formatting options that make customizing your output a breeze; not to mention that it’s donation-ware, so you have the option of paying for it. It’s only $18.00, so I recommend supporting the creator. I sure am. It makes the printing and managing of songbooks so easy.

I realize that some people might be turned off by doing things so manually, but believe me, using ChordPro notation is MUCH faster than pointing and clicking.

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No, I’m not talking about a resonator guitar. This is an effect. It essentially adds tons of sustain and feedback kind of like one of those Moog guitars, but in a pedal connected to a gooseneck stand that appears to have an optical scanning device attached to the end that “reads” your strings, then processes the vibrations. It’s interesting to say the least, and Uli Jon Roth apparently uses it.

That said, I like the idea of having something like this to get super-sustain and feedback, and totally get that you don’t have to spend an arm and a leg to get at least part of what the Moog guitar does, but it’s another piece of equipment to lug around. Don’t know how I feel about that.

Don’t know how practical it is, but I’ve seen worse things.

Check out the Vibesware site for more information!

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…I gotta go with it! I just got home from playing a three hour solo acoustic gig. I’m physically tired from playing and singing, but I’m going to go out to my garage and play some more after I write this entry! I’m on a real high from getting a great evaluation back from my latest song, “The Breakup,” and my gig tonight was really magical because I had breakthrough with letting my emotions pour out while I was performing. I’ve been doing this gig now for almost 8 years, week in and week out (except for vacations), and even after all this time, all I want to do is sling my axe!

Call it an obsession, but I could think of a lot of worse things to be obsessed with…

I’ve been trying to develop an idea for a new song. It’s a softer one, but I don’t necessarily want it to turn into a ballad…. oh well… Like I said, I’ll just go with the flow for now and see where this latest burst of creativity takes me. I guess that’s the point of this entry, just going with it. Tonight at my gig, I was feeling really passionate about playing. Normally I restrain myself from letting it all hang out emotionally, but tonight I just said, “Screw it. I’m feeling this way, so I’m going for it. I’m going to put everything I’ve got into my performance.” What that produced was magic. Normally, diners at the restaurant don’t seem to be paying attention – I get pretty good tips so I know they’re hearing it – but tonight, they really listened, and I think they connected with what I was feeling because the room was unusually much quieter than it normally is when I stick to the background, and I observed people just watching me play. That was so over-the-top cool!

I learned a great lesson tonight, and that is if you play with sincerity and with all your heart, great things can happen!

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Man, I love it when gear manufacturers build stuff for a cause! Wampler has just re-released their limited run Underdog Overdrive (only 100 were originally made) to help out a friend who has breast cancer, as she can’t pay her doctor bills and apparently can’t get any insurance. All the profits from this re-release are going to help this woman out. It’s great to see this type of generosity!

Here’s a transcript of the press release:


Wampler Pedals has recently re-released their popular “Underdog Overdrive” pedal. Only 100 of the pedals were built originally.

According to Brian Wampler, owner of Wampler Pedals, “A close friend of mine has breast cancer and has no insurance, no family, and the government will not pay any medical costs for her to get the treatment she needs. Now, I’m not rich by any means, but I had to do something to help her. My wife and I came up with the idea of creating a pink pedal that is rich, dynamic, and very tweakable, and donate ALL the profits to her. Out of that limited run, famed country artist Brad Paisley bought one and loved it. A number of guitarists saw the pedal on Brad’s pedalboard and asked me to build one more for them, so I decided to start building more to keep up with demand. We are still donating all the profits to my friend, Ivy East, who is struggling to pay the doctor bills to combat this terrible disease.”

And here’s a video demo of the pedal. Apparently this is one of Brad Paisley’s favorite overdrive pedals:

For more information, visit the Wampler Pedals site!

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Got a little ambitious tonight and recorded some clips of the VOX Time Machine this evening. All clips were recorded with my trusty Aracom VRX22 amp.

The first is a short song featuring my CV Tele in the rhythm and my Gibson Nighthawk 2009 doing the lead. This was close-miked to a 1 X 12.

With the next four clips, I wanted to a chorus kind of vibe going by hooking up two 1 X 12’s to my Aracom PRX150-Pro’s speaker outs. I didn’t record in stereo. I just used my Sennheiser e609 placed about a foot away from both speakers that were about 75 degrees turned toward each other. Sorry for the background noise that’s the ambient noise in my garage – I had to turn up the input gain a lot to get a decent recording signal.

The first clip is just a simple chord progression done finger style. The pedal is set to about 11am level and 2pm feedback. I tapped in about a 72 bpm tempo.

The next clip has the both level and feedback at about 2pm with a 60 bpm tempo. This is sort of a “space echo” type of thing ala Steve Miller.

With this next clip I wanted sort of a heavy slap-back type of vibe doing a rhythm part on the 5th and 6th strings. At the end I play an Em chord very lightly to demonstrate how the pedal reacts to pick attack. The Time Machine is set to about noon on the level and 11 am on the feedback. I’ve got about a 90 bpm tempo.

Finally, I did another short song to demonstrate how the Time Machine works well to get a gorgeous, spacious tone for clean leads. Here I set the level at 10am and feedback at 2pm, and also engaged the vintage mode, which produces a bit thicker of a tone. The rhythm was just recorded with a reverb.

This is a fairly good representation of how the pedal sounds with a clean tone. Again, sorry for the background ambient noise. Maybe if I had a “proper” studio… 🙂

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Keith Richards
Late in the game, I’m tired as hell
Got a mortgage, three cars and a dog.
I ride a desk in the light
Then sling an axe at night
And I’ll rock through the dark to the dawn.

Laugh all you want, call names at my face
I refuse to come into your fold
But when it’s time to get down
you better stick around
coz I’ll prove that you’re NEVER TOO OLD!

Someone jokingly/seriously asked me, “Don’t you think you’re a little old to be doing that?” when I mentioned that I’m trying to start a band. Luckily I didn’t know this person too well, otherwise I probably would have seriously ripped on them. I just calmly replied, “No,” and smiled. That pretty much ended the conversation (though I had some VERY choice words that I held back out of politeness).

I guess the point to all this is that at least to me, being too old to do something is really a state of mind. My thought is if you have the desire and the skills. Why the f$%k not go for it?

Look at Keith Richards! That dude still rocks after all these years…. and transfusions and drug abuse and alcohol abuse… He’s still standing, he can still play. So he does. I’m not too big of a fan of his lifestyle, but I am a fan of his never-ending desire to play. To me, that’s what rockin’s all about.

Don’t ever let anyone tell you you’re too old to rock. You’re NEVER too old to rock and roll!

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