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Author Archives: elevea

About elevea

Guitar player, writer, photographer.

Sonic Blue, or: The Lost Lenore

I once owned a Fender Stratocaster Yngwie Malmsteen model in Sonic Blue. It was the late 80s or early 90s version of the Yngwie guitar, with the vintage headstock and logo, and the American Standard stainless steel bridge saddles. Before Yngwie decided that he could only play yellow guitars, his signature model came in two alternative colors in addition to yellow: Candy Apple Red and Sonic Blue. Sonic Blue is the lightest blue color in the Fender range, very much like the color of the sky on a bright summer’s day. I was in love with the combination of Sonic Blue and a maple fretboard before I had even heard anything by Yngwie Malmsteen. It was by far the prettiest guitar in A.R. Duchossoir’s book about the Stratocaster. How I came to own one is one of those stories that are so weird that they can only happen in real life, it would be way too contrived to put into a book or a film. When I finally became spellbound by Yngwie’s speed and aggression, someone told me that the key to his technique was the scalloped fretboard: the lack of contact between finger and neck somehow enabling the former to move faster over the latter. I now know that this is utter crap, even the man himself has debunked the notion multiple times. But when I was 14 years old and new in the world of technical lead guitar playing, there was no way for me to know. All I wanted was to attain the same technical ability on the guitar at any price. At the time, I had an American Vintage 1962 reissue, a wonderful instrument – but it didn’t have the scalloped neck that I so desperately craved. This came to a head in August, 1991. On the Saturday, I saw a yellow Yngwie Stratocaster at the music store I used to frequent. Everything was arranged, it was just a matter of swinging by our apartment to pick up my vintage reissue and then the trade-in would happen. On the very next day, my dad saw a classified ad in the newspaper: a guy had a blue Yngwie guitar for sale at an insanely low price. The trick was that he lived in Strömstad, about a two-hour drive from where we lived. It was a huge risk to take for something that in all honesty sounded fairly fishy. But for the price, just about any kind of Stratocaster-shaped guitar with a scalloped board felt like a reasonable deal. I could not believe my eyes when the guy opened the case. It was a US-made signature guitar with the correct serial number – and it was Sonic Blue with a maple neck. I would not let it go. In fact, I only put it in its case to get from his apartment down to the car. Then I sat in the back seat during the two-hour drive home and played and played and played. Everyone got what they wanted out of the deal: my dad got the Surf Green ’62 model that he plays to this day, and I got my dream guitar. I was in ecstasy for months. I would sit in the back of the bus going home from school and fantasize – not about girls, but about the guitar that was waiting for me in my room. And when I came home, I could just sit around and look at it. But of course, within minutes, admiration gave way to temptation and I picked it up. I think there is a lesson to be learned here. I managed to improve dramatically during the summer and fall of 1991, but it had nothing to do with the scalloped neck and everything to do with the fact that I practiced incessantly. My new guitar was able to inspire me to do that where the old one had failed.

Just over a year later, the blue Stratocaster was gone, traded in for a black BC Rich Warlock. Yngwie had been replaced at the top of my pantheon by Marty Friedman, and our band had evolved from its humble hard rock beginnings to something that was more akin to death metal. It felt right at the time. I wanted something with humbuckers to juice my 100-watt Marshall Valvestate more, I wanted a 24-fret guitar and also a guitar with a double-locking vibrato system. But I think that the primary reason was that I just didn’t think that people would take me seriously as a death metal guitarist if I got on stage with a light blue Fender. It is especially sad since the death metal phase didn’t even last for a year, and after that we started playing decidedly lighter and more melodic fare – stuff that would have been a perfect fit for a more traditional guitar. Since then, I have attached almost mythical properties to that guitar, as well as the monumentally stupid-ass decision to get rid of it. It is inevitable in life that you do (or don’t do) things that you’ll wind up regretting, but I think I can honestly say that if we restrict ourselves to purely materialistic matters, then trading away my Sonic Blue Stratocaster is hands down the thing I regret the most. (Buying that Peavey amp comes second.) When I got my Vintage White American Standard a few years later it alleviated some of the anguish, but over the years it’s been made abundantly clear that the scars are still there. The most pertinent question is: would I want to buy it back? To be quite honest, I’m not entirely sure. It’s not that I have any particular desire to own a Malmsteen signature, I can absolutely do without the scalloped neck for instance. I think that over the years, as I’ve played more Fenders and got used to the updated feel of the American Standard, my tastes and desires have changed. What I really want is for Fender to simply issue the American Standard in Sonic Blue. They’ve come so close so many times, but there is always something to put me off. Either it’s the 70s headstock, a rosewood fretboard or both, or it’s some form of Squier. I did learn that Fender did a brief run with light blue Stratocasters with maple necks in 1995-96, and a few years back one of those was listed for sale – at a music store in Manhattan.

All of this has now been turned on its head via the recent announcement of Fender’s Vintera series: basically the replacement for their Mexican-made Classic series. There is a 50s Stratocaster, obviously with a maple neck, and it comes in Sonic Blue. So the question is not whether I want it or can afford it, but rather if I will be able to get used to a rounder fretboard radius and just 21 frets. I will have to get back to you on that.

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Posted by on 10 July, 2019 in editorial, gear

 

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Mini Pedals

My two pedalboards have worked perfectly for the three, four, five years that I’ve owned them. But I realize that only recently have I had the opportunity to test them under realistic circumstances. One thing that has become clear since I started jamming with my new band is that studio and live are two different applications that place very different demands on the equipment. I have been extremely intrigued by the mini pedals that have started coming out in the past few years. The Xotic SL Drive blew me away when I first heard it, and a few years later, I couldn’t resist buying the Tube Screamer Mini. Soon after that, I added the MXR Phase 95, and just the other day, I bought a Korg Pitchblack Mini pedal tuner. When TC Electronic brought out their mini Toneprint pedals, I immediately got the idea to trade in my regular-size TC pedals for their baby brothers and sisters. How fortunate I am, that such a wild scheme never became reality!

I enjoy the mini pedals. The Phase 95 is great and I will probably write it up any year now. The Tube Screamer Mini sounds awesome, especially when I use it as a boost for a distorted sound. The tuner works perfectly, I am seriously considering a TC Electronic Flashback Mini, and so on. It’s just that I wouldn’t want to bring any of these pedals to a rehearsal, let alone onto a proper stage! The small form-factor brings its particular set of advantages and drawbacks to the table. Of course, you can fit more pedals onto your board. But they’re going to be squeezed together a lot closer, meaning that it’s going to require a lot more precision when you step on them, something that you can’t always count on in the heat of the moment. The first time I stepped on the Phase 95 during our first jam session, I accidentally nudged the Rate knob from half past nine to half past eleven, just because the knob is too darn close to the footswitch! So you have to spread the baby pedals out on the board, which kind of defeats the purpose. I can see them working in concert with a loop-switching system, which is anyway a road that I’m not going to be taking any time soon. Then there is the stability issue. Most of these micro pedals are taller than they are wide, which puts the center of gravity pretty close to where the action happens. I’ve felt them wobble underneath even light foot pressure, even though they are always secured with Velcro. The new tuner won’t even sit flat against the board, it doesn’t have enough mass to allow gravity to perform its natural work. I don’t even want to know what happens when I start moving around on a stage and the cable starts pulling on the pedal. One solution is to get better Velcro, but I don’t want to rip it all off my Pedaltrains and start afresh. Therefore, I have decided that the best solution is to get a bigger tuner to put on my big board, and let the baby tuner live on my mini board, which has kind of become my home and studio board. 

 
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Posted by on 8 April, 2019 in editorial, gear

 

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New and Old Gear

My new, unnamed rock band has led to a complete reevaluation of my gear requirements. Around Christmas, I fired up my 20-watt Blackstar head for the first time in six or seven months, and I didn’t like what I heard one little bit. It felt underpowered and sounded brittle and cheap. For a while there, it felt like a 50- or 100-watt tube head was at the top of my to-buy list. Then we started rehearsing once or twice a week, and it seemed like the little fellow shook off the cobwebs or something, because it just sounded better and better the more I played on it. Again, the HT-20 has just come through and defied all my expectations! It is just powerful enough, and it has the sweetest tone! To provide a contrast to Namlar, I have dialed in a woodier, British-type sound with lots of mids and just a touch of bottom end, and if I keep the gain at about 3.5-4, I get a wonderfully dynamic sound where I don’t have to dig in to get full crunch tone, but if I back off, it cleans up very nicely.

My pedalboard has gone through a massive metamorphosis during the past two months. I’ll come clean and admit that I got bitten by the pedal bug (again!) around 2013, and after that, the lack of a clear musical direction made me want to buy all sorts of different pedals, as if I wanted to be ready for anything. Well, now that we’re here, it turns out that I will find no use whatsoever for my fuzz pedals, I still haven’t truly figured out how (or even why) to play with a wah-wah, et cetera. To the consternation of my bass player and drummer, I have been testing various configurations, one rehearsal different from the next, until I have (seemingly) arrived at a suitable configuration. Currently, it is tuner, phaser, boost, tremolo, Uni-Vibe, chorus, flanger and modulated analog delay. I will let the compressor, reverb, vibrato, Vibraclone, Tube Screamer, DS-1 and the Phase 95 live on the small board I keep at home. The TC Electronic Eyemaster is going into strategic reserve, ready to be pulled out for… special occasions.

So far, I’ve brought five of my six electric guitars to our jam sessions: both Fenders and all three Gibsons, but not the PRS baritone. I have used the SG as my main rehearsal guitar since the store tech worked wonders with it back in 2016, so it was a nice diversion to use something else for once. It is so evident that whenever I plug in the black Les Paul, everything just clicks. I enjoy the lightness and attitude of the SG, but the tone and sustain of the Les Paul are simply unbeatable! What surprised me was that the best sound actually came out of my Telecaster. This is not surprising, since it has the nicest unplugged tone of all my electrics, but I didn’t hear it as clearly during the rehearsal as I did on the tapes. There is an attack to it that I suppose comes from the combination of the crisp high end and the single-coil pickups. I will probably soldier on with the two black Gibsons (with humbuckers), but I am definitely going to give P-90:s a second chance, and the Telecaster will wind up in the rehearsal room again. To be quite honest, each of the guitars that I have tested has brought something new to the table, each has managed to unlock something special and different in my playing, and none of them has made me say never again.

 
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Posted by on 7 April, 2019 in editorial, gear

 

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The New Band!

I started 2019 with a half-dormant recording project and very loose thoughts about a new solo instrumental album, possibly something acoustic. Three months in and I have formed a new rock band! We’re three fourths of the way there, the only position missing is the vocalist. I can hardly believe how quickly and smoothly everything has gone. I went from ad placement to the first rehearsal as a trio in about 10 days. I didn’t have a single riff or even one word for a lyric when we started playing together, and now we have 24 song ideas in various states of completeness, and dozens more recorded jams left to mine for riffs and melodies. It’s completely and utterly insane, and sometimes I wonder if it’s real, how long it will last, and if I can even talk about it aloud, for fear of jinxing anything.

One of the things that has always kept me from going all-in with forming a new band is that it’s so difficult for me to decide exactly what I really, really want to play. A small part of me wants to go for 60s and 70s covers, another wants blues rock, a third is more progressive and psychedelic, then there’s classic metal, death metal, you name it. But eventually I realized that there is absolutely no need to overthink anything. 20 years ago, I was deadly serious about everything since I still entertained the notion that I could somehow make it big. Now, I just want to have fun and hang out with like-minded people and improvise some kind of heavy rock music together. Whatever comes out the other end will likely anyway bear my maker’s mark to some degree, and there is something to be said about improvisation, since it does tend to bring the subconscious desires to the fore. Thus far, we have made forays into swing, funk, bossa nova and sleaze rock, but that’s just for fun. When we man up and try to be serious for a while, the main tendency seems to be some form of 70s-inspired hard rock with a generous helping of psychedelia. Like the bastard child of Black Sabbath and Pink Floyd. To be honest, I have had so much fun jamming with my bass player and drummer that I am in no hurry whatsoever with adding that vocalist, or driving towards was my original intention: to play live.

My other drummer asked me a question the other day that perhaps was perceived to be a lot more pointed than was likely intended: how am I going to balance the two projects? I don’t think that that is going to be much of a challenge. Musically, it’ll fall into place on its own, since Namlar is a metal band and my new and so far unnamed trio is a hard rock band. I don’t have any problems whatsoever picking out which riff belongs where, since the stuff for Namlar tends to be more exotic and dissonant and that for the other band more traditional and blues-based. Besides, the working methods are very distinct: with Namlar we are approaching the end of a two-year, 11-song recording project, and with the new band, we are still jamming and exploring.

 
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Posted by on 6 April, 2019 in editorial

 

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Fender Player Series

I’ve spent the majority of my playing career insisting on American-made instruments, and my current collection indeed reflects that. Picking up a Squier, an Epiphone or even a Mexican Fender just wasn’t in the cards, for the life of me I couldn’t make myself excited by anything less than a proper US-made Fender or Gibson. The jury might still be out on an Epiphone Les Paul or SG, but I’ve been increasingly impressed by Mexican guitars in the past few years. It started with my two Taylors, both of which were manufactured south of the border, and I have also been very impressed by Paul Reed Smith’s SE series (my baritone was made in Indonesia). I don’t know if it is ironic in the proper sense of the word, but the more purchasing power I get, the more I tend to prefer guitars that are just good enough. Or to put it the other way around, the less I feel that the American stuff is worth what you have to shell out for it. The price issue is especially important since I am well aware that any new guitar I buy is unlikely to displace my black Les Paul as my Number One. but instead become another voice in my cast of character actors.

Fender’s Mexican vintage models are especially nice. We gave my dad a 50s Telecaster for his 50th birthday, and once you get used to the thick neck, it’s awesome to play. The Fiesta Red Stratocaster is also delicious. The Mexican vintage guitars have their own interesting solution to the issues I’ve had with those guitars, since they have the correct logo and a vintage Fender should have 21 frets. The Standard series guitars feel okay, but I’ve always felt that they look a bit cheap. I don’t like the logo, for instance. All of this seems to have been solved but the retooling and renaming into the Player series. Now we’re talking 22 frets, a vintage spaghetti logo, and modern wiring (middle pickup is reverse wound/reverse polarity, the bridge pickup has a tone control). They are awesome instruments that hit just about all the high points that I used to enjoy with the American Standard. I was especially taken by the Sonic Red model, which looks like it’s a cross between Dakota Red and Torino Red. It is just a pity that it doesn’t come with a maple neck, but only the pau ferro fretboard. I tried the pau ferro and I like it even less than rosewood. It is much lighter in color, which I don’t particularly care for, and it has a really weird texture that grates on my fingers. But, since they are only about 6000 crowns, I could buy two, swap necks and sell one of the mongrels. Yes, it’s just that good.

 
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Posted by on 9 July, 2018 in gear, review

 

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Tuners

In retrospect, I find it absolutely fascinating that I managed to play the guitar for 14 years before I bought my first electronic tuner. How the hell did I do it? Well, for starters, most of the time I played by myself, so absolute pitch was definitely secondary to relative pitch. It was only when I started playing in bands that it came to close to being an issue. And even then, most of the time someone would hit the open E string and everyone else would tune from that. For more precision, I used reference tones. So long as we tuned to standard pitch, the dial tone on your average phone was a perfect reference: 440 Hz, or middle A. When we dropped down to D, I would either tune my B string to the phone, or put on Hangar 18 by Megadeth, which has a long intro, all on a D pedal tone. Then I would tune all the other strings after the top string and when I got to the rehearsal space, the other guys would tune after me. I didn’t get a tuner until I started Nox in 1999. I can’t even remember which make it was, but it was black and it didn’t like our E flat tuning, so back to the shop it went after the first rehearsal. Instead I got what I considered to be the gold standard, namely the Boss TU-12H. The Boss was not a bad tuner. It was accurate enough, and it worked with both electrics and acoustics. The problem was that whenever you plugged in an electric, the mike was invariably left on, so that it basically had to be all quiet in the room, or the darned thing wouldn’t do its job. If only I had been aware of the Boss TU-2 pedal tuner when we first started out, it would have saved me lots of grief! But I had committed to the TU-12H, I was too cheap to get a second tuner, and I didn’t want to go through the hassle of trying to sell it during the pre-online classifieds era, so I was forced to soldier on. Improvise, adapt, overcome.

When I finally broke down and bought the Korg DT-10 pedal tuner in 2007, it was a revelation. After eight years of having to shush my fellow musicians to be able to tune up, I could just plug in, hit the switch and tune away, even though a nuclear war might be going on around me. It was such a paradigm change that I could hardly wrap my head around it. The thing with a pedal tuner is that it not only takes up real estate on your pedalboard, it also consumes one DC power outlet and n amount of milliamps of your current budget. That’s why I found a clip-on such a welcome change of pace. Pedal tuners in all honor, but they fall kind of flat when introduced to something that is referred to as an acoustic guitar. A clip-on works with any guitar or even bass. I have reviewed two different flavors of clip-on tuner: the do-too-much Joyo and the just-about-perfect Korg Pitchclip. However, I have found that I am not too fond of them in live use. There is just too much vibration going on with the bass, rhythm guitar, drums and PA system, the little things get confused, on top of which you get a fair bit of user error, since I am usually in a hurry to get set up before the next song. Especially if I want to reset from drop-D to standard-E between two songs, which isn’t exactly rare.

I can’t remember exactly when TC Electronic introduced the Polytune, but it was between five and ten years ago. First, it felt a bit like black magic. Like, how the hell can a piece of software be able to show me the tuning of six strings at once? It turns out that I am considerably less impressed with it in actual use. I happened upon the clip-on version in our rehearsal room and borrowed it for a quick tune-up, out of plain curiosity. It agreed with the Korg all right. But the Poly mode did not agree with the single-string mode! Even my ears did not agree with the Poly mode, it was audibly out of tune. So much for “Strum. Tune. Rock.” I do realize that there could be user error here as well, but I would assume that such a system would be intuitive! Truth be told, I finally went ahead and bought myself a Polytune Clip, just last year. I got a good deal for one at my music store, and lots of people had expressed satisfaction with theirs, so I thought what the heck and got one for myself. If you press and hold one of the buttons for 5 seconds, it goes into Bass mode, which disables the Polytune function and only lets you tune one string at a time, and when I do that, it is actually a damn fine tuner! It just feels more accurate than my old Korg, more solid. I like the utility of it, but if I were to find myself on a stage again, I would definitely spend the cash and sacrifice a spot on my pedalboard for a small pedal tuner.

 
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Posted by on 26 November, 2017 in gear, review

 

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Overdrive and boost

One of the greatest guitar tones I’ve ever achieved was my Stratocaster through my dad’s rig: a Boss OD-2 Turbo Overdrive and a late-70s Marshall 2203. My dad usually set it up for a clean tone and used the overdrive sparingly for the odd lead here and there, but whenever I had a play with it, I always maxed out the pre-amp volume. With my single-coils, it had a rock/blues sort of sound, crunchy but not overly so. When I stepped on the overdrive, I was immediately floored. I didn’t know that I could play that well! It just flowed, it was like the guitar was playing itself and I was just there to guide it along. We jammed and wrote a song on the spot! This was my first proper introduction to the concept of gain stacking. If only I had learned something from it! But then I realize that this was during a time of pedal aversion, and if I could save myself the money and the hassle, I would. It wasn’t until I bought my Fender G-DEC that I started getting into the concept of gain stacking for real. That amp had a number of different amp models, a whole bunch of modulation and ambiance effects, but most importantly, it allowed you to simulate an overdrive or boost pedal in front of the digital gain stage. I immediately found that it felt so much more natural to choose a lower-gain amp model and then add the distortion back in via an overdrive sim. It gave me a lot more fluidity and definitely more sustain.

I have always been a big fan of the Eric Clapton signature Fender Stratocaster. It has a 25 dB active mid-boost that sort of allows you to approximate the sound of humbucking pickups. I was very inspired when I first saw the Cream 2005 reunion DVD, I just couldn’t believe how many cool tones Eric was able to get out of his signature guitar straight into an overdriven tweed Fender. With the mid-boost off, he gets that nice pushed Stratocaster blues sound, and when he dials it back in, it breaks up so sweetly. I was very taken by the idea of playing with a totally clean floor, handling all the tone selection from the guitar. Many times, I have considered buying one of those mid-boost kits and installing it in my Stratocaster, but I always chicken out since I am very much not a tinkerer and I would probably only end up messing up both my guitar and the mid-boost kit. That’s when the idea hit me to find a pedal that could do the job, and the minute that occurred to me, TC Electronic released the Spark Booster. Unfortunately, by that time, I was on my way out of the cover band, and therefore I never got to use the boost pedal the way I had originally envisioned it. It was a fixture on my pedalboard for a little while, but it got phased out when I started adding more modulation pedals. I figured that with the volume levels I regularly play at in my metal band, there is simply no need for more distortion or sustain, and it’s not that I have a lot of sound to punch through. It was a lot more fun having a flanger to accentuate certain parts, or the vibrato to spice up my clean sound.

I have always liked the Ibanez Tube Screamer. I borrowed a TS10 once from a teacher at our old high school, and I enjoyed the more mainstream rock tone, which was a world apart from the scooped Marshall sound that I was used to. It worked well enough set up as a mild distortion pedal, but when I finally bought one myself, this one a TS7 Tonelok, it was mostly to get over-the-top quasi-feedback when playing through digital amp sims, as well as a solo boost here and there. It never occurred to me to have a boost or an overdrive as part and parcel of my main distorted tone, and it definitely never occurred to me to use an overdrive pedal as a boost, until very recently. This was another piece of wisdom I learned from That Pedal Show. Damn those guys, they have made me spend thousands of crowns on new pedals! Anyway, I was intrigued by the sound of the Mini Tube Screamer, and I noticed that I kept reading about metal players using Tube Screamers as boosters. Even on a Peavey 5150, which isn’t exactly a gain-poor amp to start with. Since I didn’t want to record a third Namlar disc with the exact same tone, I figured that it was time to start exploring new territories, and why not start off with some classic gain-stacking? So I went to the store and bought myself two overdrive pedals: the aforementioned Mini Tube Screamer and the Electro-Harmonix Soul Food. The latter is supposed to be an affordable clone of the legendary Klon Centaur. I’ve obviously never played through a Klon, and the Soul Food didn’t really nail the sound when TPS did their shootout, but it was close enough, had a fine sound in its own right, and was still different enough from the Tube Screamer that I felt it was worth it to give it a shot. I was amazed when I ran them through my regular recording setup. Naturally, I couldn’t put the Tube Screamer on top of my usual heavy sound, that would have been a tad too extreme. Instead, I set up a sound that eased off on the bass control, added a bit more mids and above all backed off on the gain. Then it was just a matter of twisting the knobs on the ‘Screamer until I found the “a-ha”, which turned out to reside with the tone at noon, the gain at 9 o’clock and the level at about 3. How strange that I managed to discover such an awesome metal tone by pushing the mids rather than scooping them! I am all for mini pedals. In a way, I’m kind of bummed that TC Electronic and MXR have released mini versions of my favorites, since I am sorely tempted to buy the smaller versions to save space on my big board, or to be able to fit six pedals comfortably on the small board. The only thing I don’t like about the Mini-TS is that the level and tone controls are hard to see down there. I basically have to set them by feel. The Soul Food worked similar magic: focus in the lower register, but with more pronounced upper mids for a more biting lead sound. I read somewhere that the main difference between a cheap overdrive pedal and a more expensive one is how usable the tone control is, and there appears to be a bit of truth to that. The Soul Food works best with the tone control at noon or just before; push it further and it gets unduly harsh. It does look rather cheap with its unpainted aluminium enclosure and tacked-on label, but hey: it’s a pedal. You’re supposed to step on it and get a sound out of it, not sit around and look at it. If that’s what it takes to be able to make effects pedals in the heart of New York and still sell them at non-boutique prices, I’m all for it. At first, I was a bit bummed that the knobs were a bit slick and had a bit of resistance to them, it sure takes some deliberate action to dial a sound. But upon further reflection, I realized that that’s exactly the way it’s supposed to be. It’s not very likely that one of the controls is going to get nudged out of position by accident!

After a couple of months with the Tube Screamer and the Soul Food, I realized that I just wasn’t using the Spark Booster any more. I’m not the sort of player who wants to have unused gear just lying around. Use it or lose it, has always been my philosophy, especially with effects pedals. But then it hit me that I could try to work the pedal to see whether I could get new sounds of it. And I did! As far back as last year, I set the Spark to its clean setting (i.e. not “fat” or “mid” boost), dialed in some grit on the Gain control and added a touch of volume. That worked wonders on my Fender silverface tone, and if you listen to Temptation from Namlar’s Winter album, you’ll hear that pedal during the main riff. There is a cleanish guitar shadowing the distorted melody guitar for a rather neat effect. Not that long ago, I discovered that using the Fat boost setting, setting the Gain between 7 and 9 o’clock, the Level at 1-ish and adding some bass really fattens up a regular British-style crunch tone. It is surprisingly versatile and I have found that under the right circumstances, it is the closest candidate to an always-on pedal in my entire rig.

And, finally, this just in: today I took delivery of a TC Electronic Mojomojo overdrive pedal. They’ve been around for years and years, and a while back, they cut the price in half, seemingly just to get rid of them. But recently, I’ve heard more and more people talk about them, and my curiosity was sufficiently aroused that I figured I would get one and try it out. If nothing else then for the fact that soon enough, a star player is going to gush over the Mojomojo and TC will raise the price from 500 to 1800 crowns. I like what I hear so far, but I’d have to give it a bit more stick time.

 
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Posted by on 25 November, 2017 in gear, review

 

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