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Tag Archives: electricguitar

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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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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