
The self-proclaimed pedal geek lists his faves in five categories.
I am writing this column for two reasons: One, I was asked to and I thought "why not?" and two, I am a pedal geek. But I am serious about pointing out that, with all the chatter and obsessiveness surrounding equipment generally, and effects pedals specifically, all that matters is what you like.
That could just as well be an amplified wire hooked to a eucalyptus tree going into an old radio or some fabulous overpriced vintage guitar combined with a boutique amp and 23 Illuminati-approved effects pedals. Freedom of expression is what I am about, and gear is innocent fun! But please, let me invoke the brilliant Neil Young lyric that opens "Hippie Dream" before I undertake my arduously-considered mini-list of "essential" effects pedals" (I wish the number had been 10, and I already cheated and combined distortion, fuzz, and overdrive as one!): "Take my advice: don't listen to me"....
1. Volume
I have owned several volume pedals since the '70s. My first was a Morley with the photo-sensor system, and though cumbersome as hell and AC-powered, it was great. After compromising over the years with ones that are lighter and rather structurally unsound, I have ended up with the Boss FV-500. It looks like something on Buck Rogers' spaceship, and I have only broken two of them—which, for me, feels like victory. I use the volume pedal constantly and have ever since I got wind of Steve Howe and Robert Fripp in the early '70s. Constantly shaping/changing volume while keeping the same tone, the "violin effect" (swelling up just after picking), and keeping any single coil-derived 60-cycle hum at bay are just a few reasons why I rely on this item so heavily. That said, holding one foot on the volume pedal while keeping my weight on my other foot has taken a bit of a toll on my aging skeleton, though I am able to use either foot.
2. Distortion/Fuzz/Overdrive
This could quickly become overly complicated ... but I like distortion, and nowadays we delineate between "fuzz," "overdrive," and "distortion," so I will cave and do it as well.
Fuzz: I own a zillion fuzzboxes. I don't often acquire them as part of a search for "classic" fuzz sounds, however. This is a beautiful time for boutique effects pedals, and there are so many great ones out there, and I love them: the Fulltone '69 (classic), Uglyface (ultra-wild), Creepy Fingers MkI (classic), Catalinbread Octapussy (classic), Mid-Fi Electronics Random Number Generator (super sick), and the Devi Ever Soda-Meiser and/or White Spider (classic and sick) are just a few favorites. But the one I always bring along is the Z.Vex Fuzz Factory. Henry Kaiser turned me onto this thing ages ago, and I use it both in its wild, aleatoric mode and in a narrowed, "castrated" mode (after other pedals, which tames it) with equal effectiveness and joy. With Wilco, I use it in "tamed" mode for near-infinite controlled feedback and serious grunge. The pedals themselves are now rather legendary for their fabulous look—I treasure my custom-painted little Z.Vex boxes. I also use the Fuzz Factory on many an improvised music gig for all kinds of sonic mayhem—from sublime to vile. I rely on it!
Overdrive: I am one of those Klon Centaur cultists. This is another box that Henry Kaiser turned me on to years ago—when one could actually buy one! Back then (late '90s), it was the most expensive pedal I'd ever bought at more than $300, but now ... forget it! The thing is so great sounding, versatile, has plenty of gain, cleans up nicely, yet can drive hard. But what to do if you can't spend $650+ on the rare one you might see on eBay? Simple: get a Sarno Music Solutions Earth Drive. I have never seen one in a store, and I am not sure that Brad Sarno and his lovely wife are ready for an onslaught of orders (should I be sorry?), but the thing is inexpensive and almost as fabulous as a Centaur. It's much smaller, so it's what I bring on trips with my own band/improvisers (I must travel with lots of little pedals wrapped in socks in a little Pelican case when not with mighty Wilco).
I admit to not understanding the Tube Screamer thing—that mushy, underpowered green box. Sorry! So take this (and everything I write here) with several grains of salt. I've also enjoyed overdrive items by Crazy Tube Circuits, Fairfield Circuits, JAM Pedals, Catalinbread, and Walrus Audio. Henry K. even showed me the delights of the Tech 21 Randy Bachman pedal! But again, just use what works for you.
Distortion: I ended up loving the '70s-era Marshall Guv'nor distortion after many Pro Co Rat years. But the input/output jacks disintegrate and nothing fits into those big holes left after that plastic decays. The Z.Vex Box Of Metal almost stole my heart with its super-shaping tone knobs and cool gate option (it is good). Then I discovered the Crazy Tube Circuits Starlight, which is just as rich and creamy as a Rat or Guv'nor but has even more oomph—more presence (whatever that means). Made in Greece and marketed by Tone Concepts in Toronto, it's a killer. I am still a bit baffled as to why there are so few "distortion" options as opposed to "fuzz" and "overdrive," but as a previously-admitted Howe and Fripp guy, sometimes I want loud, creamy-with-definition, sustaining distortion for soaring, non-screeching melodic wailing. Between my old Guv'nors and the Starlight, I can get it.
Cline's late 2011 Wilco pedalboard is home to some of his favorite overdrive, distortion, and fuzz pedals: the Klon Centaur, Z.Vex Fuzz Factory, and Crazy Tube Circuits Starlight, among other tone toys.
3. Compression
I use the humble and sometimes maligned Boss CS-3 compressor pedal and have for ages. I played with two guitarists in the '80s who turned me on to the advantages of the compressor pedal: Nick Kirgo (in a band I was in called BLOC) and Bill Frisell (when we played together with Julius Hemphill). I usually use the compressor as a clean boost plus sustainer. It brings idiomatic sounds out of my guitar such as harmonics and string sounds behind the bridge and above the nut. It enables me to play a clean sound over any looping (my old looper requires a constant balancing act between the loop and the playing levels). And sometimes the compressed tone is just damn pleasing. I like the latch on/off on Boss pedals a lot—especially on the compressor when one can kick it in midstream and it just squishes on rather than pops on. I also really dig the Pigtronix Philosopher's Tone, which Jimmy Vivino turned me on to. I think it sounds better than the CS-3. but I'm an old dog.
4. Delay/Echo
The inimitable Electro-Harmonix 16 Second Digital Delay on Cline's board.
I used to always use an Echoplex for delay until it became too unwieldy—and back in the late '80s people actually ridiculed me for using it along with "stompboxes" instead of rack units and MIDI controllers. I sigh sadly as I ponder how many of those alleged "essentials" are rusting in landfills as I write this. Anyway, I now prefer a Keeley-modded Boss DD-3 pedal. The Keeley modifications provide some "warmer" delay effects choices while I am still able to get my old DD-3 weirdness happening (as in, really fast, heavy repeat-laden, digital-sounding, electro spazz-outs that I can cut on and off with no trail off). And, of course, I can get simple, tasteful bounce. I can get by with a plain old DD-3, too, but the Keeley one is just a bit better. I am not married to delay and reverb the way many guitarists seem to be, but I do want it when I want it. I also adore the Electro-Harmonix Deluxe Memory Man, Fulltone Tube Tape Echo, and the like, but try carrying all that stuff around in an under-50-pound suitcase! Runner up in the "Super Cool" and "Original Delay Dept.": the new Catalinbread Echorec, which has wild multi-delays and warble modeled on the classic Binson Echorec—beautiful. And it's small!
5. Looper
This last pick was almost a tie between the DigiTech Whammy Pedal and the mention of my antiquated and super-scarce Electro-Harmonix 16 Second Digital Delay (which would have been even more cheating on my part). I use them both all the time. I much prefer the original Whammy (the smaller red one) and have had some really aggravating experiences with the newer, "reissue" (the big red one that's not really a reissue at all—it's just red). But I am so lost without my old EH 16 Second. I have used it since Bill Frisell showed me his (he is the master) back in 1985. It's always recording, one can drop sounds into the loop non-destructively, do reverse (everything does reverse these days, but alas), it's small, It's magic. It's also rare as hens' teeth, and after writing this column it may be even more difficult to get! Too bad. To me, it's one of the coolest things ever, and I rarely leave home without it. I have tried other things; the nice folks at Electro-Harmonix even gave me a wonderful 2880 to mollify me since their "reissue" also wasn't a reissue and didn't do what the old one did at all, and I'd whined loudly and irritatingly about it. I think it was the first gratis piece of gear I ever got, and it came with a sweet note from Mike Matthews and everything—amazing! But sadly for me, the EHX 16 Second DD is all I like (try to find one and then try to afford one—my first one I got used for $225). It's become a part of my playing and my sound, especially in my own music (The Nels Cline Singers, et al), and with improvisers.
Well, that's it. Take from it what you will. I am just ... me. I hook up all my stuff and think to myself every time: "I have so much fun wherever I go!" Enjoying, making, manipulating, surrendering to the world of sound. You can do it with almost anything—clap your hands together, or hum, or whatever it is you do ... just enjoy.
[Updated 11/8/21]
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Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
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Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
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Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.