PG's Joe Coffey is On Location in Van Nuys, CA, for the 2009 LA Amp Show where he visits the Brown Note Amplification booth. In this segment, we get to hear the D'Lite 22 in action through the hands of country guitar legend Pete Anderson (Dwight Yoakam). The D'Lite 22 is a fixed bias amp with 6V6 power tubes, 1-12AX7 preamp, and 1-12AX7 driver producing approximately 22 watts. Also, its controls on the front panel; Volume, Bright Switch, OD Switch, PAB Switch, Treble, Midrange, Bass, OD Drive, OD Level, Master Volume, Presence.



PG's Joe Coffey is On Location in Van Nuys, CA, for the 2009 LA Amp Show where he visits the Brown Note Amplification booth. In this segment, we get to hear the D'Lite 22 in action through the hands of country guitar legend Pete Anderson (Dwight Yoakam).

The D'Lite 22 is a fixed bias amp with 6V6 power tubes, 1-12AX7 preamp, and 1-12AX7 driver producing approximately 22 watts. Also, its controls on the front panel; Volume, Bright Switch, OD Switch, PAB Switch, Treble, Midrange, Bass, OD Drive, OD Level, Master Volume, Presence.

Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.

$299

Dunlop JCT95 Justin Chancellor Cry Baby Wah
jimdunlop.com

4.5
4
4
4

Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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