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GALLERY: Nashville Flood Guitars for Auction
Check out some of the flood-damaged instruments donated by artists like Keith Urban, Brad Paisley, and Peter Frampton to benefit uninsured musicians affected by this spring''s flood.
Amy Grant's McPherson MG 3.5
Grant used this boutique acoustic from McPherson live and for songwriting. It has a bearclaw spruce top and Indian rosewood back and sides. The guitar was in Lot #3, the Nov. 15 - 24 auction.
Click here to read more about NasH2O, including how to bid on the remaining items.
Darkglass Electronics is a bass player’s company. And like many bass-centric brands, they sometimes seem determined to ensure that guitar players aren’t the only ones having fun when it comes to amps and effects. If that’s true, the DSP-driven Anagram may be their most impressive form of revenge yet.
All The Things, All So Small
The Anagram is a sleek unit with just three footswitches and six knobs above the touch screen. Plug in the unit (there’s no on/off) and the screen lights up, welcoming you to your journey. It’s an inviting interface, and it’s hard to avoid the impulse to just start tapping and scrolling.
Connection options are plentiful: There’s a send and return that can be configured as a stereo effects loop or a mono loop and expression pedal input, a 1/8" headphone jack, and a USB-C port along with two 1/8" MIDI ports for connecting an external MIDI controller and sending MIDI. Four outputs take up half of the back panel, with two XLRs and two 1/4" jacks.
Looking Through the Darkglass
There are 19 pages of tutorial you can scan on the touch screen after the initial power up, but that shouldn’t be discouraging. The Anagram is, in general, easy to grasp. There are three modes that can be used to navigate its many features. Preset mode uses footswitches to move between presets, though there will be an audible gap when you switch between them. Stomp mode allows you to use the footswitches to toggle between three virtual stompoxes within a preset, so you can, for instance, use the chorus on a bridge and overdrive for your bass solo. The deeper scene mode enables you to seamlessly switch between scenes, which can include completely different groups of pedals and settings. Think of it as an octopus switching multiple stomps and turning knobs for you all at once.
Three screen views are available: chain, bindings, and name. Chain view provides the most pedalboard-like representation of the signal path. This is where you can manage and route your preset’s effects in an efficient, more “analog” way. It’s intuitive and the most direct way to create a preset from scratch or reshape an existing one. Bindings mode allows access to parameters within a preset and enables you to assign the most critical controls to the six knobs at the top of the Anagram. Name mode displays—you guessed it—the name of the active preset. It’s the easiest readout to see in a low-light stage setting. But if any of the individual views don’t serve your purposes, the modes can be combined in multiple configurations.
The Anagram makes editing global settings a breeze. Hold down the sixth knob to enter mixer mode, where you can control the L/R and XLR outputs—either individually or linked for consistent volume—as well as the headphone and master outputs. Tapping the “EQ” box in this screen takes you to the very precise global EQ, where you can adjust gain, width, and frequency in a range from 25 Hz to 16.0kHz.
Ana-tons of Tone
With more than 50 effects (Darkglass says that thousands of additional effects and amps are available via integration with the Neural Amp Modeler), Anagram's factory presets are a great place to begin exploration. I jumped down the rabbit hole starting with Factory preset 01—“harmonic booster.”In this preset, there are six elements in the chain, and when one of the six knobs along the top row are pressed, the corresponding effect goes dark, signaling that the effect is off. The same six knobs also control user-defined parameters within the effect, or a virtual speaker cab, if you switch one into the chain. Once you’re happy with your tweaks, you tap the three dots on the touch screen and save the preset. It’s really simple. Swapping effects within a preset is just as quick—tap the pedal icon you want to change, and you’ll jump straight to its edit screen.
While the sounds are superb, the Anagram truly shines in its ease of programmability and the precision with which you can switch things up.
Paired with my passive, J-bass-style Bluesman Vintage Eldorado, the harmonic booster preset was enough to make my day. Though there are 12 effect blocks available—or 24 in parallel—in that preset, only five are used in its factory preset form, permitting me to add rich chorus and octave to the already satisfying tone. The depth of familiar effects and amps is impressive. With searing overdrives, signature Darkglass pedals, and a super-wide range of bass-centric effects, I was like a kid in a candy store. And there are also 20 cab options and a boatload of mic options that can be situated in different positions relative to the cab. The options are seemingly endless.
The Verdict
The Anagram is ideal in a lot of settings. For fly dates, it’s compact and easy to re-program if, say, you add a new song to the set on a whim. Provided there is a proper P.A., the unit is truly all you need to get the job done. Able to run the gamut of vintage and modern sounds, it could be a cover-band bass player’s best friend. And while the sounds are superb, the Anagram truly shines in its ease of programmability and the precision with which you can switch things up. From an economic standpoint, the Anagram is the equivalent of purchasing several traditional floor pedals … and then getting hundreds more for free. At just under $1,200, that’s math that makes sense.
The aptly named Kali distills elements of the Fortin Cali—a Plexi-inspired amp—into a 2-channel pre-amp and distortion pedal. Each channel has three gain modes—vintage, raw, and saturation—which are selectable via a mini toggle. And each mode has a very distinct vibe, which could be loosely categorized as low-end-heavy, midrangey, and high-gain-centric, respectively.
Charging right into Kali’s arms, I selected the vintage mode on Channel 1, and set the gain 2 knob to 9 o’clock. The gain 2 knob, which controls the gain level that hits the circuit’s front end, is the default gain knob for both channels. The gain 1 knob, which adds additional gain stages, only works on channel 2. But even at this modest setting, I was already into toothy distortion that was very touch-sensitive.
Wide Range of Rage
Without changing any other settings, things got significantly filthier by merely switching over to the saturation mode. And even at this lower-gain setting, the output is tailor-made for heavy rhythm in a classic metal jam. Pumping the gain 2 knob to around 3 o’clock, meanwhile, makes the Kali a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy.
Interestingly, even though saturation mode has the most aggressive gain structure, it doesn’t feel especially compressed. It’s also the quietest of the three modes when tested across identical settings. This was especially noticeable when I switched between vintage and saturated modes at high gain 2 settings. It follows, then, that raw mode—the pure sound of the pedal without any extra gain stages and essentially the preamp only—is the loudest of the three modes.
Well Put Together, With a Bright Personality
Channel switching is handled by one of the two footswitches (the other
is for bypass) and it enables you to cascade one channel into another. In cascaded-stage mode, gain knob 1 is active and serves as a pre-gain (hence the gain 1 designation). In saturation mode, with both gain knobs at noon, switching between the channels sounds organic. Channel 2 is generally thicker and sustains bends for a tad longer. But the two channels definitely do not feel haphazardly thrown together. They are clearly cut from the same cloth.
“[It’s] a very in-your-face proposition, with sounds rooted in Sunset Strip/Jose Arredondo Marshall-mod energy."
In general, the Kali is bright, but if you need brighter, there are a pair of 3-position bright switches for each of the two channels. At low output volumes the changes offered by these bright switches are noticeable but not too dramatic. They are much more pronounced at high output volume. The active +/- EQ knobs actually have much greater impact on the Kali’s personality—particularly in the zones between 9 and 3 o’clock, where minor tweaks yield very different tonal realms.
The Verdict
The Kali comes across as a cohesive whole, yet its interactive controls and powerful EQ unlock a wide range of Plexi and modded-Plexi tones. No matter how you set it, it sounds impressive.
As the leaves change and the holiday season approaches, PG contributor Tom Butwin highlights standout pedals from the bevy of tone machines that graced shelves this year. In his first installment of Pedalmania, hear demos of the flexible Keeley Manis Overdrive, Mr. Black's DoubleTracker Stereo, the spacey new Hotone Verbera convolution reverb, and the featured-packed NUX Amp Academy Stomp.
There are more flexible means for mashing up fuzz and delay thanBenson’s Deep Sea Diver. And in a time of preposterously low-priced pedals, there are more economical methods, too. But there’s no guarantee that a more traditional and cost-conscious path will yield results as interesting—or inspirational—as those offered by the Deep Sea Diver. It’s a pedal that often serves up zigs where you seek zags—depending on your sense of adventure and creative latitude, it can feel versatile, forgiving, and full of exciting surprises.
Bathyspheric Battiness
The Deep Sea Diver was developed withJessica Dobson, who fronts the band that shares the pedal’s name—and for whom more unusual applications of the fuzz/delay equation are a sonic cornerstone. The basic architecture of the Deep Sea Diver makes a great departure point for any player keen to ply the odder corners of that stompbox formula. It’s hard to know firsthand exactly what that architecture is—Benson flipped the circuit board so that you don’t see components, but rather a stylized representation of Dobson’s face in silhouette. (For the record, the solders you can see all look exceptionally tidy).
Chris Benson says that the 3-transitor fuzz section of the circuit uses a mutant mix of the 2-transitor Tone Bender MK 1.5 and the 3-transistor Tone Bender MK 2.0 as a foundation. Dobson says she envisioned a less hectic version of the ZVEX Fuzz Factory—a relation borne out here by the gate and bias controls. The delay section, meanwhile, is built around a PT2399 chip. This is a device many builders have put to creative use in spite of first turning up in karaoke machine delays. Its sonic signature—lo-fi, hazy—can be similar to that of bucket brigade delays, but still occupies a different lane than the analog EHX Memory Man and Diamond Memory Lane devices that underpin Dobson’s rig. As a whole then, the Deep Sea Diver doesn’t really replicate any particular part of Dobson’s tone recipe as much as it adds a new color formed in the spirit of where her playing has been and where it might be going.
One Deep Sea Diver feature that is a fixture of Dobson’s tone is a delay that is situated before the fuzz—except for when it isn’t. By holding down the bypass switch while powering up, you can reverse the order of the effects. If you’ve never experimented with switching fuzz and delay, the results can be revelatory.
Submarine Flip Flops
Given how interesting it is to move between the order of effects on the Deep Sea Diver, it’s a shame that you can’t make the switch without powering off the unit. Obviously, that’s not the most complicated process, but it’s also not one you’ll attempt in the middle of a song or set. Many pedals enable effect-order switching via a toggle or alternate footswitch input. In this case, the latter possibility was difficult for good reason, as pressing and holding the footswitch activates an endlessly entertaining runaway oscillation effect.
To a passively listening bystander, a switch in fuzz/delay effects order isn’t always glaringly obvious. In a very general sense, fuzz before delay results in greater clarity, and vice versa. But on the Deep Sea Diver, situating the delay before the fuzz lends a gauzy, foggy smear around the edge of transient notes and the repeats that you feel as much as hear. Comparing the Deep Sea Diver to a bucket brigade delay and a ZVEX Fuzz Factory, you can hear why Chris Benson employed the PT2399 chip. There’s a slightly more lo-fi blur to the Deep Sea Diver’s delay signature, which, to my ears, lends extra mystery.
One Deep Sea Diver feature that is a fixture of Dobson’s tone is a delay that is situated before the fuzz—except for when it isn’t.
But it’s the fuzz section of the Deep Sea Diver that really expands its performance envelope. The gate and bias controls both have impressive range and work together pretty seamlessly to broaden the pedal’s fuzz voice. There are lots of collapsing, fractured fuzz-on-the fritz and dying-AM-radio sounds made more appealing by the smoky delay signal. You’ll find many shades of super-cool mid-1960s buzz, too. But it’s also capable of unique, punchy drive sounds that hit hard and are easy to compose with, and situate in a mix without sounding entirely unhinged. The Deep Sea Diver will happily go bonkers if that’s what you’re after though, and as you get a feel for the way the gate and bias controls interact you might not even miss the conspicuously absent gain level control—which, I venture, would complicate matters significantly.
The Verdict
I played the Deep Sea Diver next to a few different fuzz/delay combinations, and there is an audible cohesiveness in the two effects at the Benson's core. Furthermore, the resulting dovetailed fuzz/delay voices lend the Deep Sea Diver a truly individual voice at many settings. Though it falls short of mimicking the butter-smooth sustain of, say, a Big Muff and a Boss DD-5, it can still dish many rich fuzz tones in that spirit—just a bit filthier. The Deep Sea Diver is most certainly eccentric, just as its creators no doubt intended. But it’s not exclusively weird. There are plenty of sounds here for classicists, even if the Deep Sea Diver tends to beckon the player toward more unorthodox ends.
California metal giants Deftones returned this year with Private Music, their first album in five years. In support of it, they ripped across North America on a string of headline shows and support slots with System of a Down.
We linked with Deftones guitarist Stef Carpenter for a Rig Rundown back in 2013, but a lot has changed since then (and as Carpenter reveals in this new interview, he basically disowns that 2013 rig). Back in August, PG’s Chris Kies caught up with Carpenter again ahead of the band’s gig in Milwaukee, Wisconsin, where the guitarist gave us an all-access walkthrough of his current road rig.
This headless, color-shifting Kiesel Vader 8 was the first Kiesel that Carpenter got his hands on.
Kiesel Kavalcade
Carpenter requested Vader models in all-black, all-white, and goldtop finishes, then Jeff Kiesel himself surprised Carpenter with the remainder, including the camo and green sparkle models shown here. Carpenter will choose which guitar to use based on how he’s feeling each evening. To record Private Music, he switched between his trusty ESPs and these new favorites.
Stef’s Selections
One of Carpenter’s two guitar vaults is full of his current favorite ESPs. Of those, this glow-in-the-dark version, along with the pink-finish model, is his top pick. Curious about his pickup configuration? It’s got nothing to do with sound; it’s purely based on how guitarists like Vivian Campbell and Adrian Vandenberg set up their guitars. Carpenter loved the look, so he copied it.
Back to Bogners
Carpenter says he’s had “too many fails” relying on a completely digital rig, so these days he rolls with a hybrid setup designed by his tech, Greg Dubinovskiy, and Dave Friedman, the latter of whom built the rig.
It’s based around these KT88-loaded Bogner Uberschall Uber-Ultra heads, which are wired to two Bogner 2x12 UberKabs (with one Celestion V-30 and one G12T-75 each) and two Bogner 4x12 UberKabs (with two V-30s and two G12T-75s in an X pattern). A Shure Nexus 57 and Shure KSM32 are used to capture the amp sound.
Rack Rundown
Beside the Bogner’s, another rack houses a Shure AD4Q, Radial JX 44, and a Fractal Axe-Fx II. (Carpenter has no desire to upgrade to the latest model.) Lower down, there’s a pair of Rivera Mini RockRecs.
Most of Carpenter’s pedals are shelved below these units, including an Eventide H9, Boss FZ-1, ZVEX Fuzz Factory, custom ZVEX Machine, , Pigtronix Gatekeeper, Xotic SP Compressor, Strymon Mobius, Strymon BigSky, Strymon Timeline, and TC Electronic TC 2290. A Voodoo Lab Hex powers the pedal party.
Stef Carpenter’s Pedalboard
Carpenter’s Line 6 Helix unit is the brain of his setup, and handles all switching. Also on hand are a DigiTech Whammy Ricochet, a Dunlop Volume (X) Mini pedal, and a TC Electronic PolyTune 3 Noir.
