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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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Editorial: The Pedalboard

In other news: my Pedaltrain 2 has arrived, along with my new Dunlop DVP-1 volume pedal. So, the pieces of my pedalboard are lying around. All that remains is to put it all together into a configuration. Other than the Pedaltrain and the power supply, the components are, in no particular order:

  • Korg DT-10 tuner
  • TC Electronic Spark Booster
  • MXR Phase 90 (block logo)
  • Dunlop Crybaby wah (limited edition white painted)
  • Dunlop DVP-1 volume pedal
  • TC Electronic Shaker Vibrato
  • MXR Carbon Copy analog delay

The vibrato and delay will go into the effects loop of the amp, the other five before the input. Cable cornucopia! The tuner will likely be connected to the tuner out of the volume pedal, unless I prefer the sound of its buffered input. More than that, I haven’t really figured out exactly in which order to put the pedals. The one thing I know is that I want to keep the phaser before the amp input, because I’ve yet to hear a phaser that sounds good after distortion. (Edit 16 March: accidentally wrote BEFORE distortion. Oops!) The vibrato does sound pretty cool before distortion, but the delay sure as hell doesn’t. Keep the regeneration and mix above 9 o’clock and it immediately turns to mush.

One thing that strikes me is that this pedalboard is not that different from what Hendrix would have used. That is entirely intentional. Listen back to those albums from 1967 and onwards, how the great players experimented with tones. Other than the really saturated modern metal tone, all the basic rock tones were already discovered before 1972. Before flangers, before choruses. In those days, there were Leslies, wahs and phasers, which are effects that simply feel more organic to me. Believe me, I have an incredible itch for a proper fuzz and a Uni-Vibe!

 
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Posted by on 15 March, 2014 in editorial, gear

 

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Review: TC Electronic “Shaker” vibrato pedal

The TC Electronic Shaker is a vibrato pedal in TC’s celebrated Toneprint range. The first time I had the Toneprint function explained to me, I had to laugh. If you don’t know what it is, here’s a quick rundown: First, you download the TC Toneprint app to your smartphone. Then you use the speaker on the smartphone to upload settings to the pedal through the pickups on your guitar. But what you upload is not just a set of fixed settings. The Toneprint redefines what the controls on the pedal actually do. It won’t make a chorus pedal out of a delay pedal, but you can get one pedal to perform two different functions, provided you want to bend down towards your pedalboard in the middle of a gig and flick the little toggle switch on the pedal. And, of course, whipping out your phone mid-gig to change settings might be a cool thing for those who are into that sort of thing.

A bit about the background: I love phaser, but I have been looking for a cool modulation effect to complement it, and the natural thing has always been chorus first and flanger second. But then I plugged into one of those TC Electronic demo pedalboards and decided to give the Shaker a spin. Man, did I love it! I have nothing against chorus or flanger. Fact is, I might add one or the other later. But vibrato just felt more natural, more classic, less obvious. I immediately dialed in a cool mid-70s Camel tone, and further exploration of the settings led to a warbly Beatlesque Leslie-type sound. At once, I put the pedal on my wish list and today I finally got around to buying it.

You can indeed get chorusy-type sounds out of this pedal so long as you keep the rate fairly slow and the intensity low. I’ve also seen that you can download a Toneprint that gets even closer to chorus. However, be advised that vibrato is a fairly rhythmic kind of effect, and adjust and play accordingly.

One of the coolest little features with this pedal is the latch mode that is selected via the three-way toggle. In latch mode, the effect is only on so long as you keep the footswitch down. Here is where the “rise time” control comes into play. In “vibrato” mode, this control apparently does nothing. In latch mode, it controls the amount of time that passes before the effect kicks in. So you could conceivably also use the pedal as an ersatz vibrato bar. Pretty nice if you’re like me and block off the Stratocaster whammy bar but still want that shimmer from time to time.

Oh, and it’s orange!

 
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Posted by on 24 August, 2013 in gear, review

 

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Review: TC Electronic “Spark Booster”

I’m not a pedal expert or connoisseur by any measure of the word, but I have the distinct impression that the market for boost pedals has exploded in the last few years. Hell, even Boss has released one!

I was immediately intrigued when I saw the specs for the TC Spark Booster. Active bass and treble controls, gain and level controls AND a toggle switch that selects clean, fat or mid. I saw lots of applications for it: boosting my Stratocaster into humbucker territory as well as fattening up my Gibson tones (like that were necessary, really).

It turns out that the pedal is every bit as good as I wanted it to be. The Spark Booster is extremely flexible. You could use it as a transparent, clean boost, either for a volume jolt on a clean sound, some extra bit of dirt on a distorted tone, or perhaps even to even out the output differences between humbuckers and single-coils. I found out that it can do a lot more than that. It can add that sparkle and liquidness to a lead tone, without being as drastic as an old-fashioned overdrive pedal. You could even use it to turn a regular two-channel amplifier into one with three or four channels. It dirties up the cleans and adds lots of overtones and balls to the distortion channel. True, it is noisy, but that is to be expected when you add 26 dB of gain, and besides, you already own a noise gate, don’t you?

This pedal is now officially on my wish list and will be added to my board shortly!

 
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Posted by on 17 March, 2013 in gear, review

 

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Review: TC Electronic “The Dreamscape”

On paper, The Dreamscape is an excellent idea: a combined chorus/flanger/vibrato pedal. It costs about as much as two regular TC pedals, so what you get is three pedals for the price of two, and some of that John Petrucci mojo as well. And you only have to fit (and supply power to) one small pedal onto your board instead of three. Right?

No, you don’t. Not really.

I really wanted to like The Dreamscape, and not just because of whose signature is reproduced on the top of the chassis. Effects pedals are an on/off thing for me, and after selling almost all of them in 2010, I have recently entered a new “on” phase and am currently shopping for a chorus and a flanger. This pedal could be just the ticket and then I would get a vibrato pedal for free.

It wasn’t that I didn’t like it. It did sound really good. The chorus sounds, especially, were fantastic! They sounded good both clean and distorted, even when I put the chorus ahead of the distortion, which I prefer for simplicity’s sake. But that was basically it. The flanger and vibrato were too subtle for my taste and you also don’t get the level of control you would get from TC’s dedicated flanger and vibrato pedals. So this is basically just a good chorus pedal with John Petrucci’s signature on it. You could get that very same chorus sound by downloading one of JP’s TonePrints into the TC Corona for half the price.

 
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Posted by on 17 March, 2013 in gear, review

 

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