Pickin’ Like Chet: Chet Atkins’ Vintage Classics Volume One & Two Taught by Pat Kirtley Stephan Grossman’s Guitar Workshop Pat Kirtley has impressive fingerstyle guitar creds having done a stack of CDs and instructional videos, to say nothing of his being 1995 US National Fingerstyle Champion, and National Thumbpicking Champion in 1994. He is obviously a big Chet Atkins fan and in these DVD sets Kirtley has delivered up a huge serving of great Chet tunes. Volume One is 173 minutes of Chetty goodness featuring “Hidden Charm,” “Mystery Train,” “You’d Be So Nice To Come Home To,” “St Louis Blues,” “Oh By Jingo,” and “Chinatown, My Chinatown.” Volume Two clocks in at 122 minutes and contains “Rose Ann,” “Down Home,” “Somebody’s Knockin’,” “Trambone,” “Drive In,” and “Alice Blue Gown.” These are classic Chet tunes and several of them are must haves for Chet-o-philes. Kirtley takes his time and explains each tune in detail with a full speed performance and then each tune is shown slowly bit by bit. The set comes with a book of transcriptions as well as PDF files on the discs. Kirtley also covers information about effects like reverb and delay as they apply to the songs.
Now if you are like me in that you love this sort of DVD lesson, then you probably have a stack of DVDs—some of which make you think why the heck did I buy that junk? and others that you go to over and over again. This is one of the latter. Frankly, lessons aside, I just enjoyed hearing Kirtley play these tunes; he plays them beautifully and gets a pretty authentic Chet tone with his Taylor T5. Just in case all this good stuff isn’t enough for you Volume One also includes some classic Chet videos, three from The Purina Show in 1955; The Poor People of Paris, Side by Side, and Makin’ Believe, and from 1958’s Ozark Jubilee; Villa and Say Si Si. It’s always a joy to hear Chet in his prime and it’s worth it just to see the outfits these folks wore.
So hey Chet fans, rejoice and check this out, you may learn something. Be sure to visit Pat Kirtley on My Space at myspace.com/patkirtley; he has posted some nice clips including one of “Mystery Train” from this set. –PS
List: $39.95 per volume
guitarvideos.com
From the Basement DVD Ever wonder what it’d be like to have a collection of TV show performances on DVD from some of contemporary indie’s biggest names without the grotesquely gushing TV hosts? From the Basement does just that and does it well. The series of artist performances was originally recorded and aired from a UK basement studio, and was later picked up and distributed in the US on the Rave channel and also on IFC. There are performances from Radiohead, including two In Rainbows tracks with just Thom Yorke on piano; the disc also includes PJ Harvey, The White Stripes, Sonic Youth, Beck and Albert Hammond Jr. of The Strokes fame.
The recording producer of these sessions, Nigel Godrich, wanted these performances to be seen as the truest representation of the state of their artists work, captured in a way that lets their talents speak without the interference of presenters, logos or audiences. He does this simply by making the music the focus with few if any distractions.
With each artist performing either one or two songs, the DVD has a seamless flow from track to track, artist to artist. In addition to its stripped down demeanor, it provides gearheads with a healthy dose of rare and peculiar guitars and amps. Whether you’re a fan of Jack White’s Sears Silvertone 1485 amp paired with a 1965 JB Hutto Montgomery Airline guitar; Sonic Youth’s pairing of a vintage Fender Jazzmaster and Jaguar; or PJ Harvey’s unidentified 12-string acoustic used on “The Piano”, this underground series covers many gear-loving bases.
The only negative was the fact that there was no on-screen identification for songs or artists. However, the overall setup and production is uniquely cozy as the DVD provides a platform for the artists to play seemingly directly to the viewer… in their own basement. –CK
List: $14.98
eaglerockent.com
King’s X: Gretchen Goes to London Live DVDThe year 1990 was a turbulent one for rock music. The Seattle Sound was gaining notoriety, and among those bands slowly garnering more attention was King’s X.
Originally rising from the ashes of Sneak Preview, the band regrouped and christenedthemselves King’s X, and gained many fans, one of which was Pearl Jam’s Jeff Ament, who has credited King’s X with inventing grunge. Regardless of whether you agree or disagree, the impact that the group has had is known by few outside of the music world.
The live release Gretchen Goes to London, now available on DVD through Molken Music, is a perfect way to introduce the band exhibiting their signature raw sound. The footage was taped at The Astoria in May of 1990, right at the moment when the group started to gain some commercial success. Little did they know that only a year later they would be opening for AC/DC. Gretchen Goes to London captures the essence of the legendary group quite well, even if the sound mix could use a little adjustment here and there. Video-wise, it’s a treat to watch the band rip through their set, especially staples such as “Over My Head” and “Summerland” (that’s the solo that cements Ty Tabor as one of the most underrated guitarists ever).
If you’re not familiar with King’s X, you should be, and Gretchen Goes to London is an excellent place to start. –JW
List: $18.98
molkenmusic.com
The Black Keys: Live At The Crystal Ballroom2008 found the now well-established Black Keys in Portland, Oregon, for an energetic stand at the Crystal Ballroom.
Couldn’t be there? This DVD comes about as close as possible, without all the friendly audience elbows. Live performance video has come a long way with the prodding of people like producer and director Lance Bangs (REM’s Road Movie). Sound and image quality are of course top notch, but the camera work is what really brings this raucous show in to your living room. For a relatively cozy venue, the sweeping shots and close up stage film keep you on stage with the band, with choice glimpses of Dan Auerbach’s plethora of old, crusty gear including an oversized Silvertone 1454 with a Bigsby, a vintage Marshall Super Lead and even a song on a Rhodes Electric Piano. Onstage banter between the crowd and the band is nonexistent as the Keys concentrate on a strong performance of an equally strong set of songs. The sound quality of this live recording further showcases the Black Keys now familiar combination of fuzz, rhythm, and memorable lyrics.
While this is only the second live DVD released by the band, fans can pick from a number of critically acclaimed EPs and albums.
The disk includes 17 live songs from the Black Keys’ successful discography as well as behind-the-scenes segments on the making of the Black Keys’ fifth album Attack & Release and the making of their notable “Your Touch” video. The original music videos for “Your Touch,” “Just Got to Be” and “Strange Times” are also included. –BO
List: $12.99
nonesuch.com
Books
Solo Jazz Guitar: Through Chord- Melody & BeyondThis topic has been covered by many books, but few as comprehensive as this one, written by the venerable Howard Morgen. At almost 200 pages this is a pretty thick book, just as solo guitar is a deep topic. I think of books like this as a tool box from which you can take the tools you want as you need them. The best feature of this book is that rather than useless songs based on standard changes that you won’t ever play, Morgen gives you 11 real standards including classics like “‘Round Midnight,” “Li’l Darlin’,” and “My Funny Valentine.” That means once you work your butt off learning this stuff, you can actually go out on a gig and play them—that’s a biggie.
Each song is dissected then reassembled, and some of the tunes have several versions to illustrate different aspects of the illustrated techniques. This is great as you get to see how an arrangement is constructed, so you can move on to creating your own arrangements using the tools in the book. The book has 14 chapters which go into fair depth on topics like inner moving voices, two note comping, key selection, walking bass lines, and chord substitution. Morgen at least touches on all you need to know to start getting your solo style happening. Further he has a large list of other books he recommends to get into particular aspects of this style. A CD of the examples is included. Howard has been a guitar teacher and writer for a long time and his experience really shines in this work. Highly recommended! –PS
List: $34.95
alfred.com
Diamond Pedals Dark Cloud
True to the Diamond design ethos of our dBBD’s hybrid analog architecture, Dark Cloud unlocks a new frontier in delay technology which was once deemed unobtainable by standard BBD circuit.
Powered by an embedded system, the Dark Cloud seamlessly blends input and output signals, crafting Tape, Harmonic, and Reverse delays with the organic warmth of analog companding and the meticulous precision of digital control.
Where analog warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other
As long as humans have been creating art, they have also been inventing new tools for expressing that art. From the paintbrush to the synthesizer, new technologies have driven paradigm shifts, providing artists with fresh creative avenues. Technology drives the art, as they say.
That’s certainly been the case with Line 6’s DL4 Delay Modeler. Originally conceived as a humble digital delay, the Big Green Monster has created a niche of its own, serving as ground zero for entire new genres of indie and experimental music. Since its release 25 years ago, the DL4 has enhanced the creative palettes of artists ranging from Joe Perry, Mike Campbell, Dave Grohl, and Joe Satriani to Bill Frisell, Thom Yorke, and Ed O’Brien.
Nearly a quarter century later, Line 6 has introduced the DL4 MkII. The updated version features a smaller footprint, as well as increased delay time, sampling and recording via built-in micro-SD card reader, MIDI functionality, and a host of new effects algorithms from Line 6’s legendary HX family of amp and effects processors.
Inauspicious Beginnings
In the late 1990s, fresh from making a disruptive splash with their eye-catching POD amp modeler, the fledgling startup Line 6 set their sights on creating a series of pedals that would further extend their reach into digital emulations of effects. Plans called for the DM4 distortion modeler, the MM4 modulation modeler, the FM4 filter modeler, and the DL4 delay modeler.
The DL4 would include models of classic delays like the Echoplex and Roland Space Echo, as well as Line 6’s own innovative delay algorithms. But it was the DL4’s other features that would pique the interest of adventurous musicians, including a first-of-its-kind tap-tempo function and, of course, its now-legendary looper.
Jeorge Tripps was running his own boutique pedal company, Way Huge, when he was invited to consult with Line 6 on modeling vintage pedals. A few months into the project he was offered a position with the company. “Line 6 was like college for me,” Tripps recounts. “I had worked on things on my own, but developing a product with a team was really an education. Ideas are easy, but bringing a product to fruition as a team was a whole different experience.”
The team comprised the cream of the Line 6 brain trust, including co-founders Michel Doidic and Marcus Ryle, as well as product developers Greg Westall, Jeff Slingluff, and Patrick O’Connor, engineers Nigel Redmon and Kevin Duca, industrial designer Lucien Tu, and numerous other contributors. As Tripps observes, the input of those different perspectives was critical to the project.
“Most of us were also players, and that made a difference. You can create a product that’s great from an engineer’s perspective, but when you put it the hands of an artist, they might see something completely different in it.”
Keep It Simple
Simplicity was part of the design goal of the DL4. “The idea was to create a digital pedal with analog functionality,” explains Tripps, adding that he had limited input into the design. “Much of it was already planned out by the time I joined the project. The industrial design was there. I had to figure out how to map functions to the existing hardware.”
The interface was straightforward: a 16-position mode selector knob, five knobs to adjust parameters, and four analog-style footswitches: Record/Overdub, Play/Stop, Play Once, and 1/2 Speed/Reverse. It was Tripps who suggested the fourth button be used for tap-tempo function.
The DL4 also incorporated stereo outputs, which was something of a last-minute addition. “When the DL4 first came out, very few guitarists were playing stereo rigs,” Tripps reports. “We put it in there just because it was cheap and easy to implement. Only after it was out for a while did people start discovering it.”
Tripps also played a key role in promoting the looper, which was in some ways almost an afterthought. Of course, looping itself was nothing new. The Echoplex and other tape-based delays had been around for decades. But analog delays were expensive and unwieldy for live work, and the early digital pedals didn’t have a lot of memory—certainly not enough for looping.
In fact, it was digital’s limitations that contributed to another of the DL4’s characteristic sonic features. “Technically, we couldn’t get quite 15 seconds of loop time; it was like 14 and change,” Tripps recalls. “So we decided to take that remaining few hundred milliseconds of delay time and run that through the looper.”
A Slow Build
Despite Line 6’s aggressive advertising, the DL4 and its siblings were not an immediate hit. “People didn’t really know what it was at first,” says Tripps. “It didn’t really explode until a handful of people started doing stuff with it.” Slowly and steadily, artists as varied as Dimebag Darryl, Ed O’Brien, The Edge, and Thom Yorke started squeezing whole new sonic landscapes from the diminutive box.
Minus the Bear’s David Knudson made the DL4 an integral part of the band’s sound. “At first I was mesmerized by the rad stereo sounds. Playing in a hardcore/metal band at the time, in the beginning I was using one half-stack amp. At some point down the line, I realized that as the only guitar player I should get another half-stack for the other side of the stage. Once I plugged in the DL4 to each half-stack and found the Ping Pong delay, my mind was instantly blown. The melodic guitar parts had never sounded so huge and epic. It was the beginning of an epic journey to discover what all the delays were about.”
For Joff Oddie of indie rockers Wolf Alice, the experience was equally liberating. “I actually don’t think I’d even used a delay pedal before and it blew my mind. There were sounds that I expected, and then other settings like the Sweep delay and reverse sounds, which to me sounded so otherworldly yet at the same time organic. I never gave my manager the pedal back. I hope he doesn’t read this.”
As Knudson notes, it was many years later and a happy accident in the studio that led to his discovering the DL4’s looping function. “We were recording some demos after our first LP came out and I think out of boredom I played a little tapping lead into the looper. That song would become “Fine +2 Points,” which features a re-triggered loop section in the bridge that really opened the door for me. After that little successful experiment, for our next record, Menos El Oso, I was in full-on loop and sampler mode. I realized that with multiple DL4s I could emulate some of my favorite cut-up and glitchy sounds coming out of artists like Four Tet, DJ Shadow, Caribou, and other early EDM pioneers. The one-shot function allowed me to re-trigger samples and create riffs that sounded like they should have originated on an MPC. Eight of the 11 songs on that record have sampled riffs and re-defined what guitar playing meant for me.”
Of course, looping was only part of the DL4’s broader appeal, which also offered sounds and tactile control previously unavailable on most effects pedals. “I loved how cranking the feedback knob made it go crazy,” opines Oddie, “how the time knob sounded when you wiggled it and the delays pitch shifted. Part of its charm is how incredibly tactile it is.”
“I’ve yet to find another sampler pedal that works as well as the DL4,” adds Knudson. “It’s super easy to use and so straightforward that it’s perfect for the live setting. I don’t want a bank of digital menus to scroll through, and the fact that it can get everything I need done with four buttons is perfect. If it were any more complicated I don’t think it would have been nearly as successful as it has become.”
Like most legends, the DL4 has spawned a host of imitators. Looping and sampling have become powerful tools for guitarists and other musicians, and while the DL4 may not have been the first, it’s largely seen as the big daddy of the art form.
“The DL4 didn’t really break any new ground, yet it was a major leap,” observes Tripps. “It didn’t improve on existing delays as much as it created a whole new instrument. It put a lot of power on the floor for guitarists, along with a really intuitive interface. Almost by accident, it made looping accessible for live performance.”
It’s hard to believe it’s been nearly 25 years since the DL4 made its debut. Technology has obviously come a long way since then, and Line 6 has recently unveiled a new commemorative 25th Anniversary edition of the iconic pedal. The Mk II version adds to the legend without taking away the features that made it what it is. “The MkII just improves upon an already great pedal,” Knudson observes. “Honestly, one of the best things is just the smaller footprint on the pedalboard. As we know, boards are increasingly becoming competitive as to how much stuff you can squeeze on there! But I love the additional delays and reverbs. The classics are obviously my go-to choices, but I love how it has evolved and elevated with current trends with guitarists but still stayed true to form in what made it so wonderful in the first place.”
The quiet impact of the DL4 is something no one would have foreseen. Much like a band making a record, all the best laid plans won’t predict the public’s response. Will it thud like a tree in an empty forest, or be gone tomorrow like a flash in the pan? Like a hit single, only time will tell if it has the staying power to become a legend. As Tripps concludes, “It was the right combination of great minds, great ideas, and great execution, at the right time.”
Celebrating 10 years of Revv & 5 years since the release of the G2, Revv is debuting V2 circuit revisions of the G2, G3, & G4, implementing new designs for more tone in 3 little pedals, in a limited edition colorway.
The Revv Amplification 5th Anniversary G-Series V2 Lineup features:
- 3 Fresh Flavors of Boutique Canadian Tone - G-Series pedals are sonic recreations of 3 of Revv’s boutique amp channels used by Nashville session stars & metal touring artists alike.
- The Standard, Redefined - V2 circuit revisions are based on the Generator 120 MK3 Rev. B & incorporate new design elements for the most tube-like response & tone ever.
- Limited Edition - Exclusive new colorway featuring a black enclosure w/ custom graphics, embossed Revv badge, & color-coded knobs.
- Find Your Sound - The G2 is a powerful & versatile overdrive capable of everything from touch-sensitive boost to organic vintage stack tones, taken from Revv’s Green Channel.
- High Gain Clarity - The G3 utilizes Revv’s legendary Purple Channel, a tight & responsive high gain tone perfect for drop tuning & cutting through any mix.
- Fat Solo Tones - The G4 is based on Revv’s thick & saturated Red Channel, the ideal sound for chewy crunch, modern rock wall of sound, & liquid sustaining solos.
- Made in Canada - 100% analog circuit w/ top jacks, true bypass, & 2 year warranty.
Revv’s G-Series pedals have a street price of $229 & can be ordered immediately through many fine dealers worldwide.
For more information, please visit revvamplification.com.
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
