The jazz phenom elaborates on his most prized playing epiphanies.
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Fitted and non-fitted risers and frames designed to work with popular effects pedals and pedalboards.
Designed to provide an improved system for elevating effects pedals, the product line includes a broad array of options that will fit almost any pedal and pedalboard. Strong, stable, and lightweight, Elephant Foot Risers are designed for gigging musicians who need a reliable and road-worthy solution for improving their pedalboards.
The line features fitted and non-fitted risers and frames that can make your pedalboard as solid, secure, and streamlined as possible – without forcing you to sacrifice your favorite pedals or compromise on your routing preferences.
Elephant Foot Risers are priced from $4.99 to $12.99. For more information, please visit elephantfootrisers.com.
Week #4 is here! You could WIN pedals from one of SIX great brands... including a whole new pedal lineup from Pigtronix!
The Dept. 10 pedals combine modern versatility with real tube-driven tones, using an ECC83 triode preamp tube running at 250V at the heart of each pedal. The Dual Drive and Dual Distortion are powerful tube effects, preamps, and audio interfaces, and the Dept 10 Boost is a flexible tube boost, eq, and overdrive.
A JAM pedals favorite for a lot of guitar, bass and keyboard players, the WaterFall is serving as a mainstay on boards of such greats as John Scofield, Nels Cline, Steve Lukather, Anthony Jackson and John Mesdeski for many years now, and has established itself as one of the best analog chorus/vibrato pedals in the market.
It features BBD chips faithful reproductions of the Panasonic MN3207, 2 toggle-switches, the first to select between chorus and vibrato modes, and the other to switch to a “wetter” effect resulting in a deeper, more contemporary sounding chorus, or a more intense, deranged vibrato sound! Max out the Depth and Speed controls to get Leslie-speaker type effects!
Pedaltrain Classic 2 Pedalboard w/ Tour Case installed with BTPA interface panel for input, output, send, return, and power. Power cable included + BTPA High Definition Straight to right angle instrument cable.
One Control Honeybee Overdrive 4K Mini and Mini Custom Versions.
For the 20th anniversary of the original BJFe Honeybee Overdrive, Björn Juhl has now brought the sound of his classic low-gain overdrive to the One Control Mini pedal platform, featuring both the classic Honeybee warm syrupy texture with Modern/Vintage Switch and a special new Custom version, with enhanced gain and a hot crimson finish. Gold finish is classic, Crimson finish is the high gain variant.
One of the most popular customer requests from the original Honeybee OD was for enhanced treble response. While many guitarists love the original “Nature” knob, Björn has equipped the new HBOD4k Mini with both Bass and Treble controls. This new design will enable players to dial the pedal in more easily with a wider range of amplifiers.
After the original run of 200 BJFe Honeybees, Björn started to change the original circuit in response to requests from guitarists worldwide. You can have both flavors of the Honeybee OD with the 4K Mini – simply flip the switch on the side between Vintage/Modern and experience the original sound of both Honeybee circuits in our Mini size enclosure to allow the HBOD4K Mini to fit on any pedalboard setup.
Vidami Blue is a revolutionary multi-modal tool that gives you hands-free control of today’s most popular music production, performance and education technology.
● The World’s First Hands-Free Video Looper with Page Turning, Tab/Lyric
Scrolling and Digital Audio Workstation Control.
● The Vidami Blue’s 3 Modes Features
1. Video Mode: Handsfree looping, slowing, and navigating of videos with the
tap of your foot.
2. DAW Mode: Control of many of today’s most popular Digital Audio
3. Page Turning & Tab/Lyric Scrolling Mode: Easily Turn Pages, Scroll Tabs,
Lyrics, and other functions on your favorite Digital Sheet Music apps and
● Vidami maximizes the time you spend with your hands on the instrument by
putting the controls at your feet
● Cuts your practice time in half: no more tedious reaching for the mouse and
keyboard to control the video
● Experience Freedom, Focus and Flow while you loop and slow down and learn
at your own rate
● Vidami’s easy to use Patented technology makes learning on YouTube and 50+online platforms easier, faster and more fun because your not distracted by technology
● Vidami Blue makes handsfree recording a breeze
● Scroll tabs and turn pages with ease
It’s easy to gripe about change, but us guitarists have always had to embrace new technology.
California has always been the place of dreams for young Americans: Hollywood, surf music, pop music, psychedelia, hot rods, biker culture, and glam metal. The Golden State’s only real pop-culture competition has traditionally been New York City, and we know that the beaches and forests are better on the Pacific side. Recently, California Governor Gavin Newsom signed an executive order requiring that, starting in 2035, all new passenger cars and light trucks sold in the state must be zero-emissions vehicles. Once again, Cali leads by example, and what once was unthinkable becomes reality. Strangely, this EV revolution reminds me of the emergence of the electric guitar.
The electric was born both out of a technological opportunity and a genuine need. Guitarists in orchestras and big horn-driven bands suffered from a volume deficit compared to the piercing tones of brass instruments. Even in smaller settings, the piano’s booming voice could easily bury the sound of a 6-string. As is traditional now, guitarists just wanted more volume, and electricity was the answer. Long before electric blues or rock, pioneering jazz guitarists like Tiny Grimes and Charlie Christian embraced the new tech. In doing so, they wrote the book on how guitarists could be standout soloists in any surrounding.
I’m old enough to remember thinking an electric guitar was weird, but somehow space-age cool. How did it work? Did you plug it into a wall socket, and it just performed like a table radio? It seems laughable now, but electric guitars were the target of derision from “serious” musicians because they were used in that new-fangled rock ’n’ roll, a decidedly low-brow form of entertainment. Electrics weren’t found in music schools either. Consigned as the vulgar musical cousin of the hot rod and motorbike, this naturally raised its appeal to some. The electric guitar was at the center of the burgeoning rock sound, so volume levels escalated with crowd sizes. But the transition wasn’t always smooth. As bands grappled for more and more decibels, big amp stacks and massive sound systems with power-hungry amps sometimes exceeded the capacity of the venue’s stage outlets. Eventually, the situation was sorted out, and even the smallest clubs put significant wiring upgrades in place. Festivals and tours sported massive piles of speaker cabinets to reach levels that dazzled the crowds.
If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane.
Later, something counterintuitive happened. Technology intervened again. Sound systems became smaller, lighter, and more efficient. Guitarists could play theaters with a 50-watt half-stack, then a 2x10 combo. Now, a band can play an arena without any amplifiers on stage. What a difference a couple decades can make.
Modern battery-powered portable systems can sound better than the piles of folded-horn cabinets bands used to haul around in a 24-foot box truck. If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane. But that’s the way the future always is. Some were terrified of the locomotive when it was invented, and otherwise intelligent people swore that humans could not travel faster than 50 miles per hour without dying.
We can have this mindset when it comes to musical instruments. I’ve been the biggest snob about vintage guitars since they were just called “used” gear. But I have to concede that there’s a lot to like about new instruments and modeling amplifiers. I have a digital pedal that is 90 percent of the way to my analog ideal but weighs a tiny fraction of a Leslie 147. When you don’t have the space (or the physical strength) to justify giant piles of gear, you begin to appreciate new technology.
That’s not to say I think that there aren’t trade-offs. Yes, you can stuff 5000 songs into your phone, or stream anything ever recorded, but when you listen to analog recordings on a proper sound system at full chat, it’s a whole other experience. When you stand next to a real rotary speaker you witness something that still hasn’t been bettered, but audiences don’t notice. I used to think that until you stood on a stage and felt the power of two 100-watt stacks, you hadn’t really lived. And so it goes. We move ahead with efficiency and convenience while sacrificing something that can’t always be measured—and we get used to it. As much as I yearn to pull those big amps out of storage and shake the walls, maybe I’ll just roll down the Pacific Coast Highway in an electric car listening to an old recording and enjoy the memory instead.