Check out the new models on display at Experience PRS, see inside the factory, and see Dweezil Zappa pick wood for his next guitar. Also, a very impressive cake.
Some of these are deep cutsāget ready for some instrumental bonus tracks and Van Halen III mentionsāand some are among the biggest radio hits of their time. Just because their hits, though, doesnāt mean we donāt have more to add to the conversation.
Naturally, every recording Eddie Van Halen ever played on has been pored over by legions of guitar players of all styles. It might seem funny, then, to consider EVH solos that might require more attention. But your 100 Guitarists hosts have their picks of solos that they feel merit a little discussion. Some of these are deep cutsāget ready for some instrumental bonus tracks and Van Halen III mentionsāand some are among the biggest radio hits of their time. Just because their hits, though, doesnāt mean we donāt have more to add to the conversation.
We canāt cover everything EVHāJason has already tried while producing the Runninā With the Dweezil podcast. But we cover as much as we can in our longest episode yet. And in the second installment of our current listening segment, weāre talking about new-ish music from Oz Noy and Bill Orcutt.
Luthier Creston Lea tells us about his favorite dirt pedalāan Athens, Georgia-made stomp that lets his guitar be a hero.
Letās face it: Nobody can tell what overdrive pedal youāre using. Whether youāre in a carpeted suburban basement accompanying the hired clown at your nephewās fifth birthday party or standing on the spot-lit monitor at Wembley, not one person knows whether the pedal at your feet cost $17 or $700, has true bypass, or has an internal DIP switch. Nobody leaning against the barn-dance corncrib or staunching a nosebleed up in the stadiumās cheap seats is thinking, āHeavens yes!! THAT is the sound of a silicone diode!ā
So, why buy another overdrive pedal? Or six more? Are they different? (Iām asking myself.) Of course theyāre different. (Iām telling myself.) A Turbo Rat is not aKlon. ATube Screamer is not a DS-1. Or is it? I canāt keep track. Why? Because itās fun to see what the talented manufacturers of the world have to offer. And because any reader who picks up a guitar magazine for any reason other than to swat a fly is curious about whatās new and what other players are using to good effect. You can blow your savings on a guitarāIād be happy to build you oneāor an amp (or vacation or college or discount merlot or a regrettable whole-back tattoo), or you can spend $100 to $300 to satisfy your curiosity. Will anybody in the audience notice? Unlikely. Will you feel better for five minutes or the rest of your life? Maybe. Seems worth rolling the dice from time to time. Nobody gets hurt. And sometimes youāll find a pedal that pulls something good out of your playing simply by responding to the way you play ā¦ which makes you play in new ways, etc., etc., in an infinite loop of delight. Or at least infinite till the next pedal comes along. It feels good. In a troubled and imperfect world, is it so wrong to feel good?
I bought my first overdrive pedal, a well-usedMXR Distortion+, for $25 in 1991. Surely, I could have stopped there. But many others have come and gone in the years since. Have I bought a pedal, sold it, bought it again, sold it again? More than once.
Iāve mostly, finally outgrown the desire for new pedals, but Iām not immune to the occasional itch. Sometimes a trusted brand introduces something I just haveto hear for myself. Thatās particularly true in the case of smaller-scale builders whose ears Iāve learned to trust. Iām going to like everythingChris Benson of Benson Amps or Brian Mena of Menatone ever makes, for example, so why not hear it all? Sometimes itās alluring copywriting that makes me reach for my wallet. Sometimes they just look cool.
Maybe in my case, I just canāt resist a name like Supa Cobra. Sometimes, Iād like very much for my guitar to sound exactly like a supa cobra. When Greer Amps first introduced their Supa Cobra six years agoādescribed as delivering āchewy medium gain overdrive to awesome crunchy grind!āāI was immediately intrigued.
Oh, how I love the Supa Cobraāa woefully underappreciated pedal now only available from Greer by special request. Iām sure there are smart players who have discovered the joys of its lower-gain settings, but for me itās perfect for punching through sonic mud and letting my guitar be heard. It lets my guitar be a hero.
I like it best with its 3-way clipping switch set to the middle position, which, according to Greer, bypasses the other modesā clipping diodes and lets the op ampās natural drive come through. I canāt say I know exactly what that means, but I know itās loud and clear and compressed in just the right way to let sustained notes really sing out in a natural, power amp-y manner.
The Supa Cobraās greatest feature may be the body control that dials in low-end presence without adding any murk. At higher body settings, the notes push on my chest in a way that I find thrilling. I like it around 60 percent with the gain knob turned nearly full up. Perhaps excessive, but life is short. When itās time to sound big, itās the biggest-sounding pedal Iāve found. Lots of overtones, but not at the expense of clarity. Itās quick to jump into harmonic feedback at the gain-y settings I like best, but in a beautifully controlled way.
As a matter of fact, I think people do notice what overdrive pedal Iām using. Not that they know itās a Supa Cobra, but it makes my guitar leap out in a way that so many other pedals have not. To borrow a word from Greerās Lightspeed Organic Overdrive (also fantastic), it sounds organic. Or, very much unlike a wasp in a tuna can. I think it sounds like music. Loud music.A dual-channel tube preamp and overdrive pedal inspired by the Top Boost channel of vintage VOX amps.
ROY is designed to deliver sweet, ringing cleans and the "shattered" upper-mid breakup tones without sounding harsh or brittle. It is built around a 12AX7 tube that operates internally at 260VDC, providing natural tube compression and a slightly "spongy" amp-like response.
ROY features two identical channels, each with separate gain and volume controls. This design allows you to switch from clean to overdrive with the press of a footswitch while maintaining control over the volume level. It's like having two separate preamps dialed in for clean and overdrive tones.
Much like the old amplifier, ROY includes a classic dual-band tone stack. This unique EQ features interactive Treble and Bass controls that inversely affect the Mids. Both channels share the EQ section.
Another notable feature of this circuit is the Tone Cut control: a master treble roll-off after the EQ. You can shape your tone using the EQ and then adjust the Tone Cut to reduce harshness in the top end while keeping your core sound.
ROY works well with other pedals and can serve as a clean tube platform at the end of your signal chain. Itās a simple and effective way to add a vintage British voice to any amp or direct rig setup.
ROY offers external channel switching and the option to turn the pedal on/off via a 3.5mm jack. The preamp comes with a wall-mount power supply and a country-specific plug.
Street price is 299 USD. It is available at select retailers and can also be purchased directly from the Tubesteader online store at www.tubesteader.com.
With a few clicks on Reverb, a reptile-inspired shred machine was born.
With this guitar, I wanted to create a shadowbox-type vibe by adding something you could see inside. I have always loved the Yamaha Pacifica guitars because of the open pickup cavity and the light weight, so I purchased this body off Reverb (I think I am addicted to that website). I also wanted a color that was vivid and bold. The seller had already painted it neon yellow, so when I read in the description, āYou can see this body from space,ā I immediately clicked the Buy It Now button. I also purchased the neck and pickups off of Reverb.
I have always loved the reverse headstock, simply because nothing says 1987 (the best year in the history of the world) like a reverse headstock. The pickups are both Seymour Duncanāan SH-1N in the neck position and TB-4 in the bridge, both in a very cool lime green color. Right when these pickups got listed, the Buy It Now button once again lit up like the Fourth of July. I am a loyal disciple of Sperzel locking tuners and think Bob Sperzel was a pure genius, so I knew those were going on this project even before I started on it. I also knew that I wanted a Vega-Trem; those units are absolutely amazing.
When the body arrived, I thought it would be cool to do some kind of burst around the yellow so I went with a neon green. It turned out better than I imagined. Next up was the shaping and cutting of the pickguard. I had this crocodile-type, faux-leather material that I glued on the pickguard and then shaped to my liking. I wanted just a single volume control and no tone knob, because, like King Edward (Van Halen) once said, āYour volume is your tone.ā
T. Moody
I then shaped and glued the faux-leather material in the cavity. The tuning knobs, volume knob, pickguard, screws, and selector switch were also painted in the lemon-lime paint scheme. I put everything together, installed the pickups, strung it up, set it up, plugged it in, and I was blown away. I think this is the best-playing and -sounding guitar I have ever tried.
The only thing missing was the center piece and strap. The latter was easy because DiMarzio makes their ClipLock in neon green. The center piece was more difficult because originally, I was thinking that some kind of gator-style decoration would be cool. In the end, I went with a green snake, because crocodiles aināt too flexibleāand theyāre way too big to fit in a pickup cavity!
The Green Snakeās back is just as striking as the front.