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Posts Tagged ‘musicians’





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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I mentioned the DV Mark Little 40 at the end of my previous post yesterday, which was a review on the DV Mark Galileo 15. That Galileo is a great little amp, but the DV Mark Little 40 is what I’m really taking a serious look at right now. If you want more information and specs on this great little amp, then read the product page on it. But what I’m going to discuss here goes beyond just the plain old facts and talk about why I think this amp deserves such a serious look.

What about the title? Well, it’s something that I brought over from my web engineering background, and that is that the best web sites aren’t the ones that are the prettiest or the most technically robust. They’re the ones that are so obvious to use, you don’t have to think about it. With the Little 40, DV Mark has lived up to “Don’t Make Me Think” in a variety of ways.

First off, while DV Mark offers the amp in L34 and L6 models (for EL34 and 6L6), the amp can take either, and will even do 6V6’s (though I think it may have to be JJ 6V6’s that’ll take a higher plate voltage – but I’d have to confirm that). But here’s the kicker: With the Little 40, you’ll never have to bias tubes again! The Little 40 sports smart circuitry that will auto-bias AND match your power tubes (so long as they’re within 20% of each other). How convenient is that? I don’t have the equipment to bias tubes myself – frankly I’m scared to death of working on electrical stuff – so every time I get new power tubes, I have to have someone bias them for me. With the Little 40, I just need to get reasonably matched tubes, and the amp will bias them to their optimal settings. Damn!

In addition to automagically biasing the tubes, there’s a switch on the rear panel that lets you set Low or High bias settings, which means you have even more tonal capabilities at the flick of a switch. This is a really huge thing in my opinion because again, instead of having to do this by hand, you need only toggle a switch to find the right bias setting for what you’re playing.

Also, the Little 40 is absolutely versatile, with its patent-pending Continuous Power Control that allows you to vary the output power of the tubes – not just for volume, but to break up the power tubes early. Full out to 40 Watts, you’ll get maximum clean headroom. But you can dial down the power to 1 Watt, and get breakup a lot earlier. Plus, you can switch between pentode and triode tube operation to get different tones on top of bringing the power down. Then on top of all that, you have a 0/6dB pad to compensate for passive and active pickups.

Finally, at $799, which is only $200 more than the Galileo, getting this amp is absolute no-brainer! And mind  you, these amps are all hand assembled in Italy. How DV Mark is able to sell them so inexpensively is beyond me, but we players can definitely reap the benefits. This is my next amp!

Here’s a nice demo video of the DV Mark Little 40:

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As many know who’ve frequented this blog over the past couple of years, they know my love for the Aracom PRX150-Pro attenuator. It has allowed me to record in my garage till the wee hours of the morning, and not get complaints from my wife or the neighbors about being too loud, as I can get down to conversation levels; but more importantly, I can get down to those levels and still retain my tone and especially my dynamics.

With other attenuators, as you increase attenuation, it’s like putting a blanket over your tone. Not so with the PRX150-Pro. I’ve been using it now both in the studio and at gigs for the last couple of years, and it never ceases to amaze me.

For instance, I shared a song the other day called, “Come Together.” I’ve since changed the name to “God’s Love Will Set Us Free” but what I failed to mention was that the electric guitar parts were recorded, close-miked with the volume level being normal conversation level! Though I was using just a 6 Watt amp, even that cranked up is simply too loud to be playing completely cranked at midnight – at least in my neighborhood.

Here’s the final cut of the demo. The electric guitars haven’t been tweaked except for adding just a touch more highs in the EQ (the original tone was fine, but I wanted the guitars to cut through the mix a bit better because there was lots of overdrive):

What great quality at normal conversation levels!

I know, there are those out there that poo-poo the whole attenuator thing, and that’s fine. But for me, I couldn’t live without it – especially in my studio. It’s saving my ears. 🙂

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…everything just sounds and feels… BAD?

I just got done with my weekly church gig this afternoon, and I have to admit that I was not in the least bit happy with my tone. It completely affected how I played; which felt choppy and contrived, not smooth and spontaneous.

I suppose we’re all bound to have those kinds of gigs, but I have to tell you, nothing puts me in a worse mood than having bad tone.

To be fair to my gear, my clean tone was fine, but my overdrive tone was absolutely muddy. It had no punch, and even with the volume up, I wasn’t cutting through the mix. Ewwwww…

Oh well, I’ll have to play around with my setup a bit…

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No, it’s not a Beatles cover… 🙂 This is a song about getting over ourselves and listening to God’s voice and feeling His presence in our lives; putting ourselves together with His help.

I got a little inspirational kick while I was recording with my little VHT Special 6 which I used for the electric guitar parts. I had it totally cranked up, ran it through my Aracom PRX150-Pro and out to my 1 X 12 that has a Jensen Jet Falcon in it. Man! That amp sounds A LOT bigger than it’s diminutive 6 Watts. For the left channel guitar, I used my Strat in the bridge position, then used the neck position for the right channel to get a ballsier sound.

Anyway, here’s the song:

[audio https://guitargear.files.wordpress.com/2011/10/come-together.mp3]

 

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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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I wrote this song several years ago as a fun, foot-stompin’, rockin’ blues crowd-pleaser to close out church services, and like my previous song, The Way The Truth The Life, finally got around to recording it – actually I attempted to record it a lot over the years, but just couldn’t get a good vibe with it. Most of it had to do with how I was singing it, which was kind of straight up. But last year, I decided to have some fun with it, and do kind of an “Elvis” voice, and that’s when it changed the whole song and got me over the hump. 🙂 Here’s the song:

I just used my Fender American Deluxe Strat in this one for all guitar parts, and ran it through my Roland Cube 30 set to “Classic British Stack” so I could get that mid-rangy Marshall tone. I cheated a little with the lead and added a software overdrive plug-in to give the lead even more bite and sustain. Ahhh! The wonders of software! 🙂

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