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This time on Dipped In Tone, Rhett and Zach chat with Los Angeles-based trio troubadour Molly Miller, known for her work with her own trio and pop star Jason Mraz. Miller’s virtuosic playing, chameleon-like genre flexibility, and uncommonly deep knowledge of the guitar and music theory—courtesy of her nine years spent at USC attaining her doctorate—have made her a sought-after of jack of all trades in the guitar community.
As you might guess from the name of her band, Miller’s home turf is trio playing, and her latest record, The Ballad of Hotspur, is a tumbleweed Western rendition of the power and imagination of the sparse band configuration. Miller explains how she configures her guitar tones with her arrangements, why recording live off the floor works best for her threesome, and how to write instrumentals that don’t drag.
Unlike many musicians who like to live on a dangerously flexible schedule, Miller loves structure, usually rising early to fit a regimented schedule. But do things like routine and an academic’s knowledge of theory take some of the magic out of music? Miller has good insight for how to strike a balance between intuition and musical book-smarts. Later in the episode, stay tuned to learn how the algorithm might be changing how we learn guitar, and the eternal importance of jamming with strangers.
Line 6 Catalyst, Black, 60-Watt, 1x12
First, the Line 6 Catalyst 60-Watt 1x12 Combo Amplifier for $299.99 is a solid pick. It offers versatile tones and is built to handle anything from clean jazz to heavy rock.
MOOER SD30i Practice Guitar Amp Portable Smart Amplifier
For those who enjoy practicing on the go, the MOOER Practice Portable Intelligent Bluetooth Guitar Amplifier at $109.99 offers Bluetooth connectivity, so you can jam wherever you are.
Pyle Multi-Guitar Stand 7 Slot Display Rack
A reliable stand is a must, and the Pyle Guitar Stand at just $30.99 is both sturdy and foldable.
Positive Grid Spark MINI 10W Portable Smart Guitar Amp & Bluetooth Speaker
If you need a portable speaker, the Positive Grid Portable Bluetooth Speaker for $183 packs a punch despite its compact size, making it great for practice sessions and small gigs.
AeroBand Guitar Smart Guitar
For beginners or those looking to try something different, the Stringless Removable Fretboard Guitar for Beginners and Teenagers is a unique, user-friendly option. Designed for learning the basics without the intimidation of traditional strings.
D'addario Nickel Wound Electric Guitar Strings
Beyond Amazon, there are some fantastic deals from other retailers. Sweetwater has the D’Addario EXL110 Regular Light Nickel Wound Electric Strings 10-Pack for $38.49.
PRS Sonzera 20 20-watt 1 x 12-inch Tube Combo Amp
The PRS Sonzera 20 20-Watt 1x12-Inch Tube Combo at $1,099.00 offers those rich, warm tube tones. For a limited time, you can buy any PRS amplifier, and get a free PRS pedal of your choice, a $349.00 value.
Fender American Ultra Stratocaster Maple Fingerboard Electric Guitar Cobra Blue
The Fender American Ultra Stratocaster with a Maple Fingerboard in Cobra Blue at $1,979.99 is a bit pricier but worth every penny for its playability and tone.
Squier Classic Vibe '70s Jaguar Limited-Edition Electric Guitar Daphne Blue
At Guitar Center, the Squier Classic Vibe ‘70s Jaguar Limited Edition Electric Guitar in Daphne Blue for $349.99 is a steal.
Boss DM-101 Delay Machine Pedal
Finally, for pedal enthusiasts, the Boss DM-101 Delay Machine Pedal at $449.99 from ProAudioStar is a must-have. It's a versatile pedal that can add a whole new dimension to your sound
So, whether you’re looking to upgrade your rig or just starting out, these deals are too good to pass up. Happy playing!
But it can also be fuzzier than you expect. And calling it a distortion sells short its fine overdrive and boost qualities, as well as its responsiveness to guitar volume and tone variations, and picking dynamics. It interacts with amps spanning the Fender- and English-sound templates as though it has a very individual relationship with each. It rarely sounds generic. And its tone range makes it a potential problem-solver in backline situations or studio sessions where you’re looking for something predictable or altogether weird—which is reassuring if, like me, looking at 10 different gain devices gives you a nervous sense of decision fatigue. The Nichols 1966 may not always be precisely the gain unit you’re looking for, but can also produce scads of tones you may not have known you needed.
Exponential Possibilities, Many Personalities
When the knob count on a pedal goes up, that doesn’t always make the device more effective or complex-sounding. But when controls work as interactively as they do on the Nichols 1966, four knobs and a mid-cut switch can make for a very broad palette, indeed. You don’t often see fuzz and drive controls together on a pedal. Usually, the two terms are interchangeable. Here though, the fuzz and drive knobs have a very different effect on the Nichols 1966 output. They also react very differently to single-coils, humbuckers, and American- and British-style amps.
At its maximum, the drive control’s distortion can sound and feel comparatively midrange-y, not too saturated, and sometimes brittle—requiring careful attention from the tone control. In general, advanced drive settings (with low fuzz) favor slightly attenuated and bassier tone-control positions and the stock EQ toggle setting. At their best, these combinations evoke small vintage amps cranked to their nastiest or larger amps with more sag. Advanced drive control settings with toppier tone settings and/or a mid-cut EQ setting are much less flattering, particularly with single-coils and/or high-mid-focused, British-voiced amps. Introduce humbuckers though—especially neck PAFs with less aggressive tone profiles—and you can coax muscular, hazy gain with tough tenor-saxophone tonalities, which are fatty and delectable. The drive control can also help shape great clean-boost sounds and treble booster-stye distortion. There are discoveries aplenty you can make with the right guitar-and-amp recipe.
The fuzz control is the hotter of the two, in terms of gain. At maximum levels, it’s scorching and buzzy, and, if you like really burning fuzz, it’s actually quite forgiving of trebly settings and mid-gain scoops, even with single-coils. A great technique for creating nasty, mid-’60s fuzz colors is to set the fuzz tone to maximum, scoop the mids, add a fair bit of treble, and add drive to taste.
“It’s plenty loud, and with the volume, fuzz, and drive all the way up, it’s positively brutish.”
Danelectro may allude to the Nichols 1966 being something less than a full-on fuzz, but I just spent the weekend listening to Davie Allan and the Arrows Cycle-Delic Sounds, and if this isn’t fuzz—as in getting-jumped-by-a-gang-of-leather-clad-mace-wielding-wasps kind of fuzz—then I’m Tony Bennett. There may be fuzzes that are silkier, smoother, or sound more like classic fuzz X or guitar-hero Z. But if you regard fuzz as an attitude more than a sonic commandment etched in granite, you’ll be tickled by how unique the Nichols 1966 sounds in that capacity. It’s plenty loud, and with the volume fuzz and drive all the way up, it’s positively brutish.
But it’s the playful use of the interrelationship between fuzz, drive, and tone together that showcase the Nichols 1966’s real strengths. Used actively, intentionally, and with an attentive ear, you can fashion high-gain distortion and fuzz sounds as well as varied, unique overdrive colors that you can fit to single-coils or humbuckers and that summon unique textures from each. The pedal responds effectively to guitar tone and volume attenuation without sacrificing much in the way of dynamic sensitivity. And, at less trebly and cutting settings, it still works as a vehicle for funky David Hidalgo/Tchad Blake Latin Playboys fuzz or Stacy Sutherland’s 13th Floor Elevators drive sounds that are distinctive in a mix in spite of their low-midrange emphasis.
Fuzzy Finish
Though generally sturdy, the Nichols 1966 isn’t a flawlessly executed pedal. The three circuit boards—one for the I/O jacks and DC 9-volt jack, another for the footswitch and LED, and a third for the drive and tone circuitry—are affixed to the enclosure independently of each other, which conceivably makes the pedal less susceptible to cataclysmic failure and more conducive to repair. On the other hand, some of the finishing work around some solders looks less than pretty and irregular. I’m not sure this affects pedal longevity. I’ve seen decades-old fuzzes with solders light-years uglier than these that work perfectly. At $199, you do like to see slightly tidier finishing work. Then again, I suspect most of what looks sloppy here is only superficial. The pots and switches all feel sturdy and smooth.
The Verdict
If you’re non-dogmatic about how much your fuzz, overdrive, or distortion sound like a certain template—and if you have the time and presence of mind to tinker with the Nichols 1966’s interactive controls to learn how they work with each other and different guitar and amp pairings—you’ll find the Nichols 1966 a pedal of power, great utility, copious surprises, nuance, and happy weirdness.
