We guitarists have a long tradition of changing the electric guitar’s inherent tone by experimenting, inventing, and developing new tones and timbres through effects. More specifically, effect pedals. I believe our continued open-mindedness has kept our instrument relevant throughout the many decades and proven just how limitless a musical chameleon it truly is.
There is also a parallel tradition, almost as long, of using guitar pedals in unintended ways on other musical material. This time, in honor of our all-things-pedal issue, I’m going to show you how to set up and use your existing pedals on other audio sources besides your guitar. Before we get too far into the woods and try to connect our pedals to and from our audio interface, I want to briefly address two subjects—“levels” and “balanced/unbalanced signal cables”—that are important to understand, so you’ll get the best results.
Listed from weakest to strongest, there are four types of signal levels in the audio world: mic, instrument, line, and speaker level.
Mic level is the signal voltage generated by a microphone and is so weak, it requires using a preamplifier (preamp) to bring it up to line level.
Instrument level is the inherent signal output level (impedance varies) put out by an instrument, like the electric guitar or bass. It also requires a preamp to bring it up to line level.
Line level is the highest of the three levels but still needs a preamp and comes in two varieties: consumer (-10 dBV) and professional (+4 dBu). The latter is what your audio interface will boost everything up to before sending the signal to your monitor speakers.
Speaker level comes after all the signals (any of the previous three) are collectively boosted to line level and is then (post-amplification) output to your monitors. Because of the comparatively high voltage, this is why we use dedicated speaker cables and not instrument cables to connect the output of your interface to your monitors.
Now, let me quickly define the difference between balanced and unbalanced signal cables.
Fig. 1
• Unbalanced signal cables: The two most common are our standard, high impedance 1/4" TS (tip, sleeve) instrument cables and RCA cables [Fig.1].
Fig. 2
• Balanced cables: The two most common are XLR cables and TRS 1/4" cables [Fig. 2].
Using this knowledge, we can get started making some musical mayhem and connecting our pedals.
Step 1: Connect a balanced XLR or 1/4" TRS cable from a line output of your audio interface and to the input of your reamp box. I highly recommend the Radial EXTC Effects Reamper Class A Guitar Effects Router ($329 street), which further offers the possibility of combining two different effects loops. The reason why we need a reamp box (there are many on the market) is because it will convert the balanced, line level output of your audio interface to an unbalanced, instrument levelsignal that guitar pedals are designed to accept. A good reamp box can also match the impedance of your particular instrument for even better signal fidelity.
Step 2: Connect a standard 1/4" instrument cable from the output of the reamp box to your pedal(s).
Fig. 3
Step 3: Connect another 1/4" instrument cable from the output of your last pedal to either your guitar amp and record your new tracks through your guitar amp, or plug into a regular DI box (which will convert the signal back to a balanced, line-level stage) and take that output to the input of your audio interface. If you have the Radial EXTC Effects reamper, you can do this all in one box [Fig. 3]!
Once this is set up, you can start sending any track you wish from your DAW/audio interface to all your pedals and go crazy! Soak your vocals in pitch-shifted, distorted reverb. Flange your synths and add delayed chorus. Or bit crush your drum tracks.
What I particularly love to do is play with various delay pedals’ feedback amounts and delay times as I record and get all of those quirky pitch-shifted pings and pongs from adjusting those values on the fly. You can also consider adding distortion and harmonies to a vocal on key words or phrases within your song. Your imagination is the only limit!
Finally, I encourage you to drop me a line at recordingdojo@premierguitar.com if you have questions and requests for future topics to cover. Until next time, namaste!
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Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.