Stompbox Gear Finds: Feb 2022
Need a new Stompbox? Find your next effect in this month's Gear Finds!
Inspired by the classic Tri-Stereo Chorus and stompbox choruses of the 1970s and early 1980s, the TriceraChorus pedal pairs rich Bucket Brigade-style chorusing with Eventide’s legendary MicroPitch detuning for a lushness that rivals the jungles of the late Cretaceous Period. TriceraChorus features three chorus voices and three unique chorus effects which can be used to create a wide stereo spread with pulsing waves of modulation. The innovative “Swirl” footswitch adds psychedelic flanging, phasing, and Univibe-style tones. It has never been easier to dial in syrupy smooth, deep modulation on guitar, bass, synths, strings, vocals, and more.
To be called “legendary” is to have shaped music as we know it. From the Rolling Stones to the Raconteurs. From Pete Townshend to George Harrison and from Clapton to Frampton. They strived to coax the truest expression from their instruments - the sound they heard in their heads and their hearts. Their signature sound - so uniquely shaped by effects that it changed everything. It’s the Fuzz-Tone FZ-1 that fuels the groundbreaking riff in the Rolling Stones’ “(I Can’t Get No) Satisfaction” and the funky wah filter that anchors the “Theme from Shaft.” While the impact they had on the lineage of music is also unique, many have one thing in common—Maestro. So, while not everyone has heard of Maestro, everyone has heard Maestro.
Maestro, the “Founder of Effects,” is back with an all-new line of effect pedals - the Maestro Original Collection. Five new pedals, designed, voiced, and styled for the musician looking to shape their unique sound. A tribute to the sound and style of the brand’s much-beloved classic models of the 60s and 70s, with modern features, expanded versatility, and advanced tone-tweaking capabilities. Each function as an innovative “two-in-one” pedal, with a single toggle that switches between two distinct modes. Each features a straightforward three-knob setup, true bypass switching, and an ergonomic, pedalboard-friendly wedge profile.
It doesn’t matter what you play. As long as there are sounds being made, new legends will emerge. Maestro is back to help you SHAPE YOUR SOUND.
The EHX Intelligent Harmony Machine instantly creates matching harmonies to what you play. It’s like having one – or even two – guitarists jamming with you at the same time and always in perfect sync. The Intelligent Harmony Machine opens a door to the music of great multi-lead guitar bands and multi-part harmonized solos. Plus, its ability to apply harmonies ranging from simple to sophisticated will totally transform what you play. Of course, it also boasts EHX’s renowned impeccable tracking and genuine musical tone.
MESA® Drive Pedals are built by the same artisans that create the award-winning Mark Five™ and the legendary Dual and Triple Rectifier® amps. They stand ready to serve up all rock genres with cut and aggression while retaining much of the signature warmth and organic sonic quality found in our amplifiers. Ranging from high to lower gain applications, including classic rock or howling blues, we have a drive pedal that will help you achieve the sounds that so many artists have employed in our amps to create the world’s heaviest guitar tones!
Progressing along the gain spectrum, the transparent boost/overdrive CLEO™ is joined by the vintage-inspired, medium gain DYNAPLEX™ and the higher gain GOLD MINE™. The CLEO is a transparent boost/overdrive design focusing on vintage-inspired low to medium gain overdrive sounds packed with dynamic nuance, lively attack, and a wide variety of essential clip sounds. Moving on to medium gain, the DYNAPLEX is all about the “British Crunch” style with classic mid punch, chirping harmonics, and the chime players desire for classic rock sounds and beyond. Progressing to the higher end of the gain spectrum, the GOLD MINE is focused on mid to high gain sounds, classic heavy chunk, and rich gain with harmonic complexity, soaring single note sounds, and the liquid gain and girth that gain lovers expect from MESA.
Like every MESA product, our pedals are built using the same quality components, craftsmanship, and inspiring performance as our custom amplifiers...all hand-built in Petaluma, California, USA!
Dual engine pitch shifting with nearly endless possibilities and expansive control options! The EHX Pitch Fork®+ features two independent pitch shifting engines with full control over each. Both will transpose your pitch up or down over a +/- three octave range and detune +/-99 cents. With rock solid tracking, an organic, musical tone and extensive control, it’s your ultimate harmonizer.
Pedal Pad pedalboards are hand-built for YOU in Coatesville, Pennsylvania! Our boards feature an ALL-IN-ONE solution where the board is also the case. Just pop the top and PLAY! Our ordering interface allows you to configure any board with a plethora of options. More options or requests? Just email or call and we'll make it happen! Most custom orders ship within 2-3 weeks!
EHX took the Big Muff Pi circuit and simply shrunk it without changing its rich, creamy, violin-like sustain and sound. The EHX Nano Big Muff Pi works and sounds identical in every way to our classic NYC Big Muff Pi. Get a piece of the pi for yourself!
Implementing the HD digital modeling technology accumulated throughout years of the Valeton team's diligent efforts, the GP-200 delivers hundreds of re-editions of tones from world-classic amplifiers and stompboxes with a comprehensive upgraded algorithm. Combining 140 legendary amplifiers and cabinets simulations and 100 renowned stompbox effect pedals, plus 20 factory cab IR slots, the GP-200 will guarantee your consistently great sound on stage.
Transform your electric guitar into a sitar! Very few instruments offer as much harmonic and dynamic flexibility as a sitar. Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice and tunable sympathetic string drones that dynamically react to your playing. With the EHX Ravish Sitar Emulator, you can create your own custom scales for the sympathetic strings while you set the decay time for the lead voice.
Two expression pedal inputs allow you to bend the pitch of the lead voice and control the volume of the sympathetic strings simultaneously. These unique controls offer the player the ability to program the Ravish to become a totally unique and organic instrument unto itself.
The Ravish is truly a design with the flexibility to be a crossover tonal wonder.
Iconic amp sounds for your pedalboard. The Valvenergy series valve distortion pedals offer the warmth and harmonics of amp distortion in a compact pedal format. The all-analog signal path and Nutube allow for genuine overdrive and distortion tones with the feel of a real tube amp, while internally boosted voltage gives greater headroom and dynamics. Three output modes allow you to use this as a standard pedal, a line-level preamp, and a direct amp-sim using the built-in analog cabinet simulator.
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The F#%k Face is a triple gain stage fuzz with thick and meaty sustain that sounds huge in front of a slightly cranked tube amp. Baseball card collectors from the late 80’s will immediately recognize the infamous ‘error card’ graphics of the same name. The circuit is based on the legendary Fuzz with a different Face, but with an additional silicon transistor gain stage and voiced to retain more useable and dynamic fuzz tones all along the sweep of the two controls. In the front of your pedal chain, the F#%k Face will add dynamic interactivity to the volume controls on your guitar which enable a sweep from slight grit to full ripping-velcro breakup.
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Brought to you by Blackstar’s R&D division responsible for blue-sky innovation and design, Dept. 10 are the most advanced valve pedals in the world. Meticulously designed and engineered by a team of musicians for musicians. At the heart of each Dept. 10 pedal is an ECC83 triode valve, running at more than 200V internally like a valve amp, which allows them to deliver organic tone, dynamics and break up. Dual Drive and Dual Distortion include Cab Rig, our next-generation DSP speaker simulator that reproduces the sound and feel of a mic’d up guitar cab in incredible detail. Deep-dive using our free software and capture the incredible tones via low latency USB, XLR D.I. out or headphones. Choose from Boost, Dual Drive or Dual Distortion to help you craft your perfect tone.
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The ODR-mini delivers creamy, natural overdrive – Everything from pushed clean amp tones to gain filled stacks! It has the same tones as its legendary brother – the ODR-1. You‘ll love the warm mid-gain tones for rock and blues, and the screaming hard rock sounds from the ODR-1 Mini. Plus the mini features true-bypass switching, the SPECTRUM pot with mid-click, fluorescent pointers on the “GitD“ – knobs (Glow-in-the-Dark). Guaranteed to be a BIG part of your sound while a small part of your pedal board.
Mono/Stereo: Mono In, Mono Out
Control: Drive, Tone, Level
Bypass Modus: True Bypass
9-18 Volt, center negative
Consumption 25 mA
Dimensions (WxLxH / mm): 42 x 93 x 50
Weight: 175 gr
Country of origin: China
Solid metal housing
Low current consumption
Requires stabilized power supply 9-18 Volt DC, with min 100 mA, 2.1 mm plug, center negative, (not included)
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Versatility, empowerment, limitless options, and ever-demanding tools at the disposal of every musician and composer are today on demand. A call for inventive devices continues to make musicians more inspired, clever and connected. The Alpha·Omega Photon combines Darkglass' signature Alpha·Omega parallel distortion with the versatile format of the Aggressively Distorting Advanced Machine. In addition to powerful distortion and studio-quality compression, the Alpha·Omega Photon is capable as an audio interface via USB-C or an amp replacement using cab sim IRs and XLR DI output.
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Enhance the tone and clarity of your pedalboard with award winning sound.
The George L’s effects kit.
The kit comes with 10’ of cable, 10 right angle plugs and 10 stress relief jackets.
Available in black, vintage red and purple.
As easy as 1, 2, 3 no soldering!
Cut, poke and screw your way to 47 years of sound excellence.
The Holy Grail of guitar reverb effects, the Fender®-style spring reverb, has been finally revisited with modern features!
Try it and discover why most surf guitarists and the truly reverb addicted are turning to SurfyBear.
★ exclusive SurfyPan type-4 spring reverb pan by Accutronics® and Surfy Industries
★ aluminium body with removable feet on the bottom side for better positioning on pedalboards
★ clean boost to adjust the volume when the effect is on
★ innovative dual-LED on/off button
★ true bypass functionality to keep your signal intact when the effect is off
★ external footswitch possibility though the dedicated 1/4" jack (footswitch not included)
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On this month’s menu, a ’64 SG TV and a ’68 EB-0—prime examples of the company’s classic mahogany slab designs.
The successful sales of the Les Paul model, launched in 1952, convinced Gibson to expand its solidbody line to include a variety of guitars aimed at players from beginner to professional. This led to the introduction of both the low-priced, flat-bodied, single-pickup Les Paul Junior and the high-priced, elaborately appointed Les Paul Custom in July 1954. By 1955, the Les Paul line also included the Les Paul TV (aka TV Yellow) and the Les Paul Special. The Les Paul Special, TV, and Junior became double cutaway by 1958.
This close-up shows both instruments in remarkably good condition, as well as their to-the-point electronics.
By 1960, waning sales for Gibson’s original Les Paul guitars prompted the company to completely redesign them. The Les Paul Standard and Custom joined the Junior, TV, and Special as part of Gibson’s line of slimmed-down mahogany-body guitars. They were reshaped to include pointed horns and beveled outer sides. The new double-cutaway body left easy access to all 22 frets. The already double-cutaway, flat-slab-bodied Les Paul Junior, SG TV, and SG Special received the new dimensions and contours during 1961. (The Les Paul TV and Les Paul Special had been renamed “SG” in late 1959.) This whole group of guitars became known as the SG Series when Les Paul’s endorsement ended in 1963.
Gibson introduced its first electric bass guitar in 1953 and named it the ‘Electric Bass.’ (Catchy, right?)
The SG TV’s early catalog description explained the important details: “Ultra-thin, contoured, double-cutaway body, nickel-plated metal parts, quality machine heads. Slim, fast, low-action neck-with exclusive extra-low frets—joins body at the 22nd fret. One-piece mahogany neck, adjustable truss rod. rosewood fingerboard, pearl dot inlays. Combination bridge and tailpiece, adjustable horizontally and vertically. Powerful pickup with individually adjustable polepieces.”The original price for the 1964 SG TV pictured was about $147.50. The current value is $5,000. The guitar was the soul of simplicity, with a single bridge P-90 and one volume and one tone control.
And now, let’s look at our SG’s 4-stringed friend.Gibson introduced its first electric bass guitar in 1953 and named it the “Electric Bass.” (Catchy, right?) It was followed by various EB models over the next several years, including the semi-hollow EB-2 in 1958 and the double-cutaway solidbody EB-0 in 1959. By 1961, the EB series also received the thin SG-shaped body.
This 100-watt Marshall PA head, with four sets of inputs, is rare and currently valued at about $10,000.
The 1966 catalog describes the latter model as “a new, economy-priced solidbody bass by Gibson—it offers clear sustaining bass response, easy fast playing action, modern cherry red finish.”Although a custom color option is not mentioned, the 1968 example pictured is finished in a white similar to the SG TV. Like it’s SG counterpart on display this month, this bass has a single pickup and one volume and one tone control. The original price was about $240. The current value is $2,500.
Behind the instruments is a 1967 Marshall PA. This 1968 JTM100 Super PA head pushes 100 watts through two columns of four 12"20-watt Celestion greenback speakers. The controls on the head are power and standby switches, presence, bass, middle, and treble, plus four loudness controls for each channel, along with two input jacks each for channels 1 through 4. About £200 in British currency could get you this PA in 1967. The current value is $10,000.
Sources for this article include Gibson Electrics: The Classic Yearsby A.R. Duchossoir, Gibson Guitars: Ted McCarty’s Golden Era—1948-1966 by Gil Hembree, and The History of Marshall: The First Fifty Years by Michael Doyle and Nick Bowcott.
Here's a crash course in how one of the most eclectic and influential guitarists of all time developed a unique vocabulary through speedy rockabilly licks, fuzzed-out melodies, and an otherworldly use of the vibrato bar.
- Understand Jeff Beck’s rockabilly roots.
- Learn how to create tension-filled phrases over a 12-bar blues.
- Develop a more nuanced vibrato technique.
Jeff Beck is arguably the most eclectic and ever-evolving guitar hero. He was part of the holy trinity of Yardbirds guitarists, along with Eric Clapton and Jimmy Page, and is the one who has consistently remained at the forefront of the electric guitar ever since. From John McLaughlin to Eddie Van Halen, Beck is a favorite of just about any guitar player you could name, and that includes the other Yardbirds alumni. Stephen Colbert explained it best at the Grammy awards, “You know the game Guitar Hero? He has the all-time high score—and he’s never played it.” Let’s take a look at some of the many highlights of Beck’s playing throughout his illustrious and uncompromising career.
Beck’s stint with the Yardbirds—including his groundbreaking work on such psychedelic hits as “Over Under Sideways Down” and “Heart Full of Soul”—cemented his iconic status, but his melding of influences from Chuck Berry, Cliff Gallup, and Les Paul on the blues instrumental “Jeff’s Boogie” was eye-opening to legions of guitarists in the wake of the British Invasion. Here’s a Cliff Gallop-inspired rockabilly phrase (Ex. 1) that uses pull-offs for speed.
The chromatically climbing lick in Ex. 2 reveals Beck’s brilliant technique and his love of flashy and dramatic fretwork.
Like Clapton and Page, Beck was steeped in Chicago blues, and as with those players, he developed a distinctive voice in the style early on. This Truth-inspired solo (Ex. 3) on a 12-bar blues demonstrates some unison bends (measures 1–4), ostinato licks (measures 5–8) and a quirky, pre-bend idea in the final section.
When Jeff Beck Group was released in 1972, it offered a premonition of Beck’s unique approach to the tremolo bar that would become so important to his playing in the decades to come. In Ex. 4, a wild use of the bar gives a modern and innovative twist to what could otherwise be more conventional blues ideas.
Our next phrase (Ex. 5) is in the spirit of “Freeway Jam” and a host of other funky instrumentals from the 1970s, and it showcases Beck’s use of the Mixolydian mode (1–2–3–4–5–6–b7). With its major quality and lowered 7, this scale is tailor-made for playing over dominant 7 and 9 chords. Beck often uses it as the basis for both melodic themes and improvised solos. Frequently, he further embellishes Mixolydian lines with bluesy ideas, like the Bb (b3) to B (3) leading into the final measure.
Beck’s impressive ballad work, inspired by the great Roy Buchanan, is heard on the classic Stevie Wonder composition, “’Cause We’ve Ended as Lovers.” In Ex. 6 you’ll hear many C minor pentatonic (C–Eb–F–G–Bb) licks with a host of bending techniques, such as compound bends (measure 2) and pre-bends (measures 3 and 7). Virtuosic ostinato–based figures are used to great dramatic effect in measures 5 and 6.
Beck’s revival of “People Get Ready” was a career high point in the late ’80s, and it made a clear statement of his relevance as one of the most expressive and distinctive guitarists of the day, already more than 20 years into his career. Bending finesse, with fingers and tremolo bar, and even a simple taste of a finger tap is present in Ex. 7. This is perhaps the clearest example of the precise tremolo bar usage to come, and worth mastering before tackling the likes of “Where Were You” or “Over the Rainbow.”
Our final example (Ex. 8) is a phrase from the Bulgarian folksong “Kalimanku Denku.” This particular vocal music is perfect for working on Beck’s tremolo stylings because it is, in fact, what inspired much of his playing in the past 20 years. Check out a compilation album called Le Mystère des Voix Bulgares to hear what Beck used as the model for his mature and advanced tremolo bar work. Also, make sure that you adjust your tremolo to float, i.e., so that it can raise a note by a minor third on the 3rd string. To check, play an open G note and be able to bring it up to a Bb.
Seymour Duncan unveils BG1400 and Pearly Gates for Tele pickups.
Since the early days of Seymour Duncan, guitarists have been coming to our Custom Shop looking for pickups to bring a little extra howl and growl to their guitars. For the past three decades, one of the most requested Custom Shop exclusives has been the BG1400. The pickup was designed for Telecaster players looking for something a little fatter and hum-canceling without sacrificing too much of the twang factor. This tried-and-true Stack bridge pickup features a pair of overwound coils on top of one another. The result is a noise-canceling Telecaster bridge pickup with a slightly more compressed, yet balanced attack and bodacious presence across all strings.
Since the late ‘70s, guitarists have been coming to us for the Pearly Gates humbucker pickup. Originally designed for players looking for tones that were thicker and warmer than a standard P.A.F. without sacrificing the clean dynamics they offer, the iconic Pearly Gates tone is now available to Telecaster players. This humbucking Tele size bridge pickup delivers the grunt and grit needed for styles ranging from country to hard rock while retaining the instrument’s notorious twang and bite.
For more information, please visit seymourduncan.com.