Smart interface design makes exploring traditional modulation tones and deeply tweaked sounds an intuitive joy.
Gazillions of possible modulation tones from trad’ to bizarre. Well-designed interface. Rich basic sounds. Easy to use in conventional settings.
Some study required to maximize pedal potential. Some weirder lo-fi sounds betray digital artifacts.
$349
Walrus Audio Mako M1
walrusaudio.com
Depending on your appetite for adventure, the Walrus Audio M1 modulation machine can look like a thrill ride or a very nasty little thing. The knobs and switches—as well as the graphics and text that describe their function—are packed like sardines onto the face of the pedal. And depending on your settings, the two bright LEDs can pulse like an entire Fillmore liquid light show stuffed into two little fish eyes.
If simplicity is your muse for the moment, M1 might not be the best travelling pal. But before you move on too fast, plug the M1 in. Twist any one of those knobs any direction you’d like and play a simple D chord. My guess is that, as terrifying as the M1 might look, it’ll take just that one strum to hook you. Because the M1 is fun. Lots of fun. And even if you never use its deep and impressive sound-crafting tools to fullest potential, the M1’s sounds and smart design still make it a cornucopia of easy-to-source, immersive modulations.
Walrus Audio Mako M1 Review by premierguitar
- Three chorus voices: Traditional, dual chorus, and tri-chorus, each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
- Three vibrato voices: Traditional vibrato, vinyl record, tape vibrato, and pattern tremolo each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
- Three tremolo voices: traditional tremolo, harmonic tremolo, and pattern tremolo each played at various depth and rate settings with occasional tweaks to lo-fi and tone settings.
Damn the Navigation Aids! Full Speed Ahead!
I could spend most of the space in this review describing the primary and secondary functions governed by the M1’s 11 switches, knobs, and toggles (not to mention the stereo I/O, MIDI in/thru jacks, and a USB jack for firmware updates). But the M1 is deep enough that the job is best left to the thorough, downloadable manual available on the Walrus web site. This excellent piece of documentation is worth cruising even before you buy the M1 to see if the deeper functions merit your investment. However, if you choose to take the plunge and explore M1 as intuitively as possible, the manual is a well-written map for your trip through modulation wonderland. Should you meander too far from the trail, it’ll likely get you back on track fast.
At the M1s core are six modulation voices. Chorus, phase, tremolo, vibrato, and rotary speaker sounds are all represented along with a modulated filter setting. Each voice spans pretty and demented sounds, and each is full of surprises. In their most traditional incarnations, the digital emulations of analog effects are beautifully accurate and replete with rich overtone detail. Secondary functions abound on the M1 and making the most of them really does require some study of the manual. But one of the best things about the M1’s designs is that if you get into the weeds with these secondary functions, it’s generally easy to get back on track using the pedal’s rate and depth modes, which lends a sense that it’s OK to proceed fearlessly.
Even in small measures, many of the lo-fi sounds can shape straightforward modulation in very cool ways.
Diving for Pearls
If and when you do get the courage to explore M1’s deeper possibilities, there’s much to enjoy. The primary path to this deeper functionality comes via the tweak and tune knobs and their associated switches. Both controls change function depending on what you select with the switch below. Tweak enables you to choose between sine, triangle, and square waveshapes; quarter-note, triplet, and eighth-note tap divisions (there are a wealth of subtle rhythmic textures here); or one of three modes for each basic program. These modes include tri-chorus in chorus mode, different horn/drum virtual miking configurations in rotary mode, tape- and warped-vinyl-inspired vibratos, harmonic tremolo, and high, low, and bandpass filters in the filter program, just to name a few. On the tune side, the 3-way switch enables the knob to be configured for adjustments to tone, wave symmetry, or “X” functions that include everything from stereo phase effects to phaser feedback and tape flutter. Should you start to worry about losing your place as you get into these deeper realms, remember that the M1 has the capacity for nine onboard presets (easily accessed using the A/B/C bank switch and the two footswitches in concert) and 128 total presets via MIDI.
Yet another realm of tone possibilities lives in the lo-fi strata of functionality. Accessing these functions on the fly is a little more cumbersome as they require selecting a function via the 3-way switch, holding down the bypass footswitch, and then using the tweak or tune knob to add the lo-fi element to taste. Not all these functions will serve all players. A lot of them tend toward the noisy, junky, and weird side of the sound spectrum. But even in small measures, many of the lo-fi sounds, like age, space (reverb), drive, and noise, can shape straightforward modulation in very cool ways. Once set up it’s easy to mix in these textures with the lo-fi knob. Don’t be afraid to set up highly weird sounds and add them incrementally.
The Verdict
One of the M1’s great achievements is that it can serve two muses—the obsessive, micro-level sound designer, and the reckless, intuitive sound tripper—simultaneously. This is no insignificant thing. And Walrus deserves praise for accomplishing this design feat in a compact stompbox. But the highest praise may be due for Walrus’s ability to make M1 so much fun and so sonically satisfying. And Walrus’s ability to walk this engineering and design tightrope makes the otherwise steep-looking $349 price a relative bargain.
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Pedals, pedals, and more pedals! Enter Stompboxtober Day 13 for your shot at today’s pedal from Electro-Harmonix!
Electro-Harmonix Hell Melter Distortion Pedal
With its take on the cult-classic, chainsaw distortion pedal, the EHX Hell Melter takes distortion to its extremes. The Hell Melter features expanded controls and tonal capabilities, allowing the already in-your-face sound of the pedal to broaden by switching to more open clipping options and boosting the internal voltage for increased headroom, less compression, and more attack.
Originally designed as the ultimate in high-gain tone, this world-famous distortion circuit is known for the death metal sounds of Sweden’s Entombed and the shoegaze wash of My Bloody Valentine. It’s even found a home in the rig of David Gilmour!
The EHX Hell Melter’s expanded control set includes Gain and Level controls, and a powerful active EQ featuring with parametric mids for improved versatility. The Dry level control allows for blending your input signal for improved low-end when used with a bass or even blending in other distorted tones.
Boost Footswitch engages an input gain boost and volume boost which is internally adjustable. The Normal/Burn switch toggles between the classic chainsaw sound and the more open clipping option.
Our columnist stumbled upon massive success when he shifted his focus to another instrument. Here, he breaks down the many benefits you can get from doing the same.
A while back, I was doing a session for the History Channel at Universal in Hollywood, California. After the session, I sheepishly admitted to some of the other session players that I was really getting into bluegrass and specifically the square-neck resonator, or dobro guitar. Now, as a progressive-jazz guitarist, that was quite a revelation. After some classic lines from the Burt Reynolds movie, Deliverance, another friend said he also was getting into mandolin and banjo.
Long story short, we put together a band, Honeywagon (which is the vehicle that cleans out the toilets under actors’ trailers on movie sets), started playing bluegrass around L.A. (up and down the Sunset Strip), and three months later, we had a record deal. We sang three-part harmony, made “deranged” covers of songs by famous artists, produced it ourselves, and sold well over 1.5 million albums and counting, and played all over the world.
What started all of that was my love for Jerry Douglas’ dobro playing. It’s so vocal, and his timbral range! You see, music is a universal language that transcends cultural, social, and linguistic boundaries. And learning another instrument is a gateway to unlock levels of self-expression, creativity, and emotional exploration you might not even be aware of.
I don’t believe in “mastery”—there are always deeper levels to discover—so let me say that while gaining significant proficiency on one instrument is a huge achievement, the benefits of learning to play at least one other instrument are immense. It will enhance your musical skills, cognitive abilities, and personal growth. Tighten up your belts, the Dojo is now open.
Enhancing Musical Skills and Understanding
Learning multiple instruments can profoundly deepen a musician’s understanding of music theory, composition, and performance. Each instrument has its unique challenges, techniques, and approaches that require you to adapt and learn new skills. For instance, a guitarist transitioning to the piano will need to understand new techniques, two-hand interdependence, chord shapes, and different ways of producing sound.
New instruments also allow you to appreciate different timbres, textures, and roles within an ensemble. A drummer who learns to play the bass, for example, will gain a deeper understanding of rhythm and timing, as they experience how their drumming interacts with the bassline. This cross-instrumental knowledge can lead to more creative compositions and more nuanced performances, as musicians become adept at thinking from multiple musical perspectives.
Cognitive Benefits
The cognitive benefits of playing an instrument are widely documented. Learning to play an instrument can improve memory, enhance coordination, and increase cognitive flexibility. When a musician learns to play an additional instrument, these cognitive benefits are amplified. The process of learning new fingerings, reading different clefs, and adapting to various physical requirements engages the brain in unique ways, promoting neuroplasticity and cognitive growth.
“Music is a universal language that transcends cultural, social, and linguistic boundaries.”
Moreover, playing multiple instruments can improve problem-solving skills and adaptability. We often face challenges when learning a new instrument, but successfully navigating these challenges builds resilience and perseverance—skills that are valuable both in music and in other areas of life.
Emotional and Personal Growth
Music is not just a technical skill, it is also a deeply emotional and expressive art form. Learning to play multiple instruments can enhance your ability to express and connect with your rich emotions. Each instrument has its own voice and character, offering different ways to convey those emotions and tell stories. A violinist who learns to play the flute, for instance, may discover new ways to express lyrical melodies or subtle nuances in phrasing. In addition, taking on another instrument can boost confidence and self-esteem.
Expanding Musical Opportunities
It can also open you up to a wide range of musical opportunities. Musicians who can play multiple instruments are often more versatile and in-demand for various musical projects. The more you’re able to adapt to different genres, styles, and ensemble settings, the more valuable a collaborator you’ll be in bands and recording sessions.
Which One?
Ultimately, I’ve found that the instruments I can play besides the guitar have helped me deepen my connection with music and discover new ways to express myself. If this article is resonating with you, I would suggest choosing your new instrument based around what excites you the most. Is it bass, keys, pedal steel (one of my personal faves), or modular-synth programming? The possibilities are as wide as your mindset. In “Song of Myself, 51,” Walt Whitman said, “I am large, I contain multitudes.” Namaste.John Mayer Silver Slinky Strings feature a unique 10.5-47 gauge combination, crafted to meet John's standards for tone and tension.
“I’ve always said that I don’t play the guitar, I play the strings. Having a feeling of fluidity is so important in my playing, and Ernie Ball strings have always given me that ability. With the creation of the Silver Slinky set, I have found an even higher level of expression, and I’m excited to share it with guitar players everywhere.”
— John Mayer
hese signature sets feature John’s previously unavailable 10.5-47 gauge combination, perfectly tailored to his unique playing style and technique. Each string has been meticulously crafted with specific gauges and core-to-wrap ratios that meet John’s exacting standards, delivering the ideal balance of tone and tension.
The new Silver Slinky Strings are available in a collectible 3-pack tin, a 6-pack box, and as individual sets, offered at retailers worldwide.
"Very few guitarists in the history of popular music have influenced a generation of players like John Mayer. For over 25 years, John has not only been a remarkable artist but also a dear friend to the Ernie Ball family. This partnership represents our shared passion for music and innovation, and we can't wait to see how John’s signature Silver Slinky strings continue to inspire guitarists around the world.”— Brian Ball, CEO of Ernie Ball
Product Features
- Unique gauge combination: 10.5, 13.5, 17.5, 27, 37, 47
- John’s signature gauge for an optimal balance of tone, tension, and feel
- Reinforced Plain Strings (RPS) for enhanced tuning stability and durability
- Custom Slinky recipes tailored to John’s personal preferences
The folk-rock outfit’s frontman Taylor Goldsmith wrote their debut at 23. Now, with the release of their ninth full-length, Oh Brother, he shares his many insights into how he’s grown as a songwriter, and what that says about him as an artist and an individual.
I’ve been following the songwriting of Taylor Goldsmith, the frontman of L.A.-based, folk-rock band Dawes, since early 2011. At the time, I was a sophomore in college, and had just discovered their debut, North Hills, a year-and-a-half late. (That was thanks in part to one of its tracks, “When My Time Comes,” pervading cable TV via its placement in a Chevy commercial over my winter break.) As I caught on, I became fully entranced.
Goldsmith’s lyrics spoke to me the loudest, with lines like “Well, you can judge the whole world on the sparkle that you think it lacks / Yes, you can stare into the abyss, but it’s starin’ right back” (a casual Nietzsche paraphrase); and “Oh, the snowfall this time of year / It’s not what Birmingham is used to / I get the feeling that I brought it here / And now I’m taking it away.” The way his words painted a portrait of the sincere, sentimental man behind them, along with his cozy, unassuming guitar work and the band’s four-part harmonies, had me hooked.
Nothing Is Wrong and Stories Don’t End came next, and I happily gobbled up more folksy fodder in tracks like “If I Wanted,” “Most People,” and “From a Window Seat.” But 2015’s All Your Favorite Bands, which debuted at No. 1 on the Billboard Folk Albumschart, didn’t land with me, and by the time 2016’s We’re All Gonna Die was released, it was clear that Goldsmith had shifted thematically in his writing. A friend drew a thoughtful Warren Zevon comparison to the single, “When the Tequila Runs Out”—a commentary on vapid, conceited, American-socialite party culture—but it still didn’t really do it for me. I fell off the Dawes train a bit, and became somewhat oblivious to their three full-lengths that followed.
Oh Brotheris Goldsmith’s latest addition to the Dawes songbook, and I’m grateful to say that it’s brought me back. After having done some catching up, I’d posit that it’s the second work in the third act, or fall season, of his songwriting—where 2022’s Misadventures of Doomscrollercracked open the door, Oh Brother swings it wide. And it doesn’t have much more than Dawes’ meat and potatoes, per se, in common with acts one or two. Some moodiness has stayed—as well as societal disgruntlement and the arrangement elements that first had me intoxicated. But then there’s the 7/4 section in the middle of “Front Row Seat”; the gently unwinding, quiet, intimate jazz-club feel of “Surprise!”; the experimentally percussive, soft-spoken “Enough Already”; and the unexpected, dare I say, Danny Elfman-esque harmonic twists and turns in the closing track, “Hilarity Ensues.”
The main engine behind Dawes, the Goldsmith brothers are both native “Angelinos,” having been born and raised in the L.A. area. Taylor is still proud to call the city his home.
Photo by Jon Chu
“I have this working hypothesis that who you are as a songwriter through the years is pretty close to who you are in a dinner conversation,” Goldsmith tells me in an interview, as I ask him about that thematic shift. “When I was 23, if I was invited to dinner with grownups [laughs], or just friends or whatever, and they say, ‘How you doin’, Taylor?’ I probably wouldn’t think twice to be like, ‘I’m not that good. There’s this girl, and … I don’t know where things are at—can I share this with you? Is that okay?’ I would just go in in a way that’s fairly indiscreet! And I’m grateful to that version of me, especially as a writer, because that’s what I wanted to hear, so that’s what I was making at the time.
“But then as I got older, it became, ‘Oh, maybe that’s not an appropriate way to answer the question of how I’m doing.’ Or, ‘Maybe I’ve spent enough years thinking about me! What does it feel like to turn the lens around?’” he continues, naming Elvis Costello and Paul Simon as inspirations along the way through that self-evolution. “Also, trying to be mindful of—I had strengths then that I don’t have now, but I have strengths now that I didn’t have then. And now it’s time to celebrate those. Even in just a physical way, like hearing Frank Zappa talking about how his agility as a guitar player was waning as he got older. It’s like, that just means that you showcase different aspects of your skills.
“I am a changing person. It would be weird if I was still writing the same way I was when I was 23. There would probably be some weird implications there as to who I’d be becoming as a human [laughs].”
Taylor Goldsmith considers Oh Brother, the ninth full-length in Dawes’ catalog, to be the beginning of a new phase of Dawes, containing some of his most unfiltered, unedited songwriting.
Since its inception, the engine behind Dawes has been the brothers Goldsmith, with Taylor on guitar and vocals and Griffin on drums and sometimes vocal harmonies. But they’ve always had consistent backup. For the first several years, that was Wylie Gelber on bass and Tay Strathairn on keyboards. On We’re All Gonna Die, Lee Pardini replaced Strathairn and has been with the band since. Oh Brother, however, marks the departure of Gelber and Pardini.
“We were like, ‘Wow, this is an intense time; this is a vulnerable time,’” remarks Goldsmith, who says that their parting was supportive and loving, but still rocked him and Griffin. “You get a glimpse of your vulnerability in a way that you haven’t felt in a long time when things are just up and running. For a second there, we’re like, ‘We’re getting a little rattled—how do we survive this?’”
They decided to pair up with producer Mike Viola, a close family friend, who has also worked with Mandy Moore—Taylor’s spouse—along with Panic! At the Disco, Andrew Bird, and Jenny Lewis. “[We knew that] he understands all of the parameters of that raw state. And, you know, I always show Mike my songs, so he was aware of what we had cookin’,” says Goldsmith.
Griffin stayed behind the kit, but Taylor took over on bass and keys, the latter of which he has more experience with than he’s displayed on past releases. “We’ve made records where it’s very tempting to appeal to your strengths, where it’s like, ‘Oh, I know how to do this, I’m just gonna nail it,’” he says. “Then there’s records that we make where we really push ourselves into territories where we aren’t comfortable. That contributed to [Misadventures of Doomscroller] feeling like a living, breathing thing—very reactive, very urgent, very aware. We were paying very close attention. And I would say the same goes for this.”
That new terrain, says Goldsmith, “forced us to react to each other and react to the music in new ways, and all of a sudden, we’re exploring new corners of what we do. I’m really excited in that sense, because it’s like this is the first album of a new phase.”
“That forced us to react to each other and react to the music in new ways, and all of a sudden, we’re exploring new corners of what we do.”
In proper folk (or even folk-rock) tradition, the music of Dawes isn’t exactly riddled with guitar solos, but that’s not to say that Goldsmith doesn’t show off his chops when the timing is right. Just listen to the languid, fluent lick on “Surprise!”, the shamelessly prog-inspired riff in the bridge of “Front Row Seat,” and the tactful, articulate line that threads through “Enough Already.” Goldsmith has a strong, individual sense of phrasing, where his improvised melodies can be just as biting as his catalog’s occasional lyrical jabs at presumably toxic ex-girlfriends, and just as melancholy as his self-reflective metaphors, all the while without drawing too much attention to himself over the song.
Of course, most of our conversation revolves around songwriting, as that’s the craft that’s the truest and closest to his identity. “There’s an openness, a goofiness—I even struggle to say it now, but—an earnestness that goes along with who I am, not only as a writer but as a person,” Goldsmith elaborates. “And I think it’s important that those two things reflect one another. ’Cause when you meet someone and they don’t, I get a little bit weirded out, like, ‘What have I been listening to? Are you lying to me?’” he says with a smile.
Taylor Goldsmith's Gear
Pictured here performing live in 2014, Taylor Goldsmith has been the primary songwriter for all of Dawes' records, beginning with 2009’s North Hills.
Photo by Tim Bugbee/Tinnitus Photography
Guitars
- Fender Telecaster
- Gibson ES-345
- Radocaster (made by Wylie Gelber)
Amps
- ’64 Fender Deluxe
- Matchless Laurel Canyon
Effects
- 29 Pedals EUNA
- Jackson Audio Bloom
- Ibanez Tube Screamer with Keeley mod
- Vintage Boss Chorus
- Vintage Boss VB-2 Vibrato
- Strymon Flint
- Strymon El Capistan
Strings
- Ernie Ball .010s
In Goldsmith’s songwriting process, he explains that he’s learned to lean away from the inclination towards perfectionism. Paraphrasing something he heard Father John Misty share about Leonard Cohen, he says, “People think you’re cultivating these songs, or, ‘I wouldn’t deign to write something that’s beneath me,’ but the reality is, ‘I’m a rat, and I’ll take whatever I can possibly get, and then I’ll just try to get the best of it.’
“Ever since Misadventures of Doomscroller,” he adds, “I’ve enjoyed this quality of, rather than try to be a minimalist, I want to be a maximalist. I want to see how much a song can handle.” For the songs on Oh Brother, that meant that he decided to continue adding “more observations within the universe” of “Surprise!”, ultimately writing six verses. A similar approach to “King of the Never-Wills,” a ballad about a character suffering from alcoholism, resulted in four verses.
“The economy of songwriting that we’re all taught would buck that,” says Goldsmith. “It would insist that I only keep the very best and shed something that isn’t as good. But I’m not going to think economically. I’m not going to think, ‘Is this self-indulgent?’
Goldsmith’s songwriting has shifted thematically over the years, from more personal, introspective expression to more social commentary and, at times, even satire, in songs like We’re All Gonna Die’s “When the Tequila Runs Out.”
Photo by Mike White
“I don’t abide that term being applied to music. Because if there’s a concern about self-indulgence, then you’d have to dismiss all of jazz. All of it. You’d have to dismiss so many of my most favorite songs. Because in a weird way, I feel like that’s the whole point—self-indulgence. And then obviously relating to someone else, to another human being.” (He elaborates that, if Bob Dylan had trimmed back any of the verses on “Desolation Row,” it would have deprived him of the unique experience it creates for him when he listens to it.)
One of the joys of speaking with Goldsmith is just listening to his thought processes. When I ask him a question, he seems compelled to share every backstory to every detail that’s going through his head, in an effort to both do his insights justice and to generously provide me with the most complete answer. That makes him a bit verbose, but not in a bad way, because he never rambles. There is an endpoint to his thoughts. When he’s done, however, it takes me a second to realize that it’s then my turn to speak.
To his point on artistic self-indulgence, I offer that there’s no need for artists to feel “icky” about self-promotion—that to promote your art is to celebrate it, and to create a shared experience with your audience.
“I hear what you’re saying loud and clear; I couldn’t agree more,” Goldsmith replies. “But I also try to be mindful of this when I’m writing, like if I’m going to drag you through the mud of, ‘She left today, she’s not coming back, I’m a piece of shit, what’s wrong with me, the end’.... That might be relatable, that might evoke a response, but I don’t know if that’s necessarily helpful … other than dragging someone else through the shit with me.
“In a weird way, I feel like that’s the whole point—self-indulgence. And then obviously relating to someone else, to another human being.”
“So, if I’m going to share, I want there to be something to offer, something that feels like: ‘Here’s a path that’s helped me through this, or here’s an observation that has changed how I see this particular experience.’ It’s so hard to delineate between the two, but I feel like there is a difference.”
Naming the opening track “Mister Los Angeles,” “King of the Never-Wills,” and even the title track to his 2015 chart-topper, “All Your Favorite Bands,” he remarks, “I wouldn’t call these songs ‘cool.’ Like, when I hear what cool music is, I wouldn’t put those songs next to them [laughs]. But maybe this record was my strongest dose of just letting me be me, and recognizing what that essence is rather than trying to force out certain aspects of who I am, and force in certain aspects of what I’m not. I think a big part of writing these songs was just self-acceptance,” he concludes, laughing, “and just a whole lot of fishing.”
YouTube It
Led by Goldsmith, Dawes infuses more rock power into their folk sound live at the Los Angeles Ace Hotel in 2023.