Before the storied math-rock outfit rides off into the sunset, Jake Snider, bassist Cory Murchy, and looper-extraordinaire Dave Knudson give us one last glimpse at how they build their fascinating, IDM-inspired textures.
Very similar to the 2013 setup, Cory Murchy has just added a Verellen Meatsmoke preamp that stays on most of the time and gives the amp a little bigger, brawnier sound. The Greedtone bass overdrive that adds some filth without taking out the low end. And to harness dynamics, he still employs the Ernie Ball volume pedal.
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The PXO was created as a live or studio tool. When we sent Phil the overdrive sample he found that it saved him in backline situations and provided him a drive that plays well with others.
The PXO is an overdrive/boost where you can select pre or post giving you variety in how you want to boost, EQ and overdrive. We have provided standard controls on the overdrive side such as Volume/Gain/Overdrive and EQ but on the boost side you have a separate Tilt EQ that allows you to EQ with simplicity. You can experiment by cascading in a pre or post situation and experiment from there. The PXO has a lush, thick feel to the bottom end and a smooth top end that begs you to dig into the note.
J. Rockett Audio Designs PXO Phil X Signature Overdrive Pedal
In this promotional photo of the Waikiki Trio, the standing guitarist is playing a Martin 0-42, and the seated guitarist is playing a Martin 0-18K.
Pacific Island pluckers had a hand in developing the beloved dreadnought acoustics, and changed the course of American guitar music.
In 1906, a devastating earthquake and three days of raging fires leveled 80 percent of San Francisco. Nine years later, to honor the opening of the Panama Canal and signal that San Francisco was back, the city held the Panama-Pacific International Exposition.
More than 18 million people visited. One of the most popular attractions was the Hawaiian Pavilion. Live music and hula dancing, integral parts of Hawaiian culture, were in the show, where they could be experienced on a large scale on the mainland for one of the first times.
That was the beginning of the Hawaiian music craze that had a good run in the U.S. until the Great Depression. Hawaiian musicians had already embraced the ukulele and steel-string guitar, originating the slide-based lap style (versus the typical, so-called Spanish-style playing orientation). Both instruments saw unprecedented demand on Hawaii and the mainland. The story of the ukulele is well-told, but in doing research for this article, I came across a funny comment that caught my eye: “It could be said that in the mid-1920s, Martin was a ukulele company that also made guitars!”
In early 1916, we made a large-body custom guitar for Hawaiian musician Major Kealakai. He ordered it through our largest distributor, Ditson. It was kind of a 0000-size, 12-fret, steel-string guitar with an extra-deep body. The Major and his band were touring the U.S. mainland, and he felt he needed a bigger, louder guitar.
Shortly after that, Ditson commissioned a new larger, pear-shaped steel-string guitar from us to capitalize on the growing interest in Hawaiian music. It was called the dreadnought. It had just 12 frets, a slotted headstock, and a sizable, resonant body. Initially, the dreadnought didn’t sell very well. We did find success, however, making many of our smaller-bodied guitars with steel strings set up for “Hawaiian-style” playing. These were often made with a koa-wood back and sides, and occasionally tops as well. Additionally, if players wanted to use our other guitars lap-style with a slide, Martin manufactured a nut extender to raise the strings far enough above the frets so they wouldn’t interfere.
“It could be said that in the mid-1920s, Martin was a ukulele company that also made guitars!”
While steel strings were available in the late 1800s, the quality was inconsistent. Thanks to the popularity of the banjo and the mandolin, steel-string quality improved. The steel string provided the extra volume many players were looking for.
During the Great Depression, Ditson suffered financial difficulties and was sold. We kept the dreadnought in the line and put the Martin name on it, but sales still remained low. In 1929, we made a one-off, 14-fret steel-string version of our 000-size guitar for a well-known vaudeville banjo player, Perry Bechtel. We squared off the shoulders to accommodate the 14-fret neck. He loved it—and we thought we were onto something.
Gibson also saw opportunity in larger-bodied guitars with steel strings and 14-fret necks. They introduced three new models in 1932: the HG-20, HG-22, and HG-24. The first two were slightly smaller than our dreadnought, and the third was slightly bigger. They realized the value of a 14-fret neck for modern playing styles with steel strings. But instead of squaring off the shoulders, they moved the bridge down and attached the neck to the slope-shouldered bodies.
Not only did those models have a traditional round soundhole, but they also had four f-holes and a sound baffle to try to compete with the newfangled resophonic guitars that were quite loud. But the Gibsons were not well received by consumers, and were eventually discontinued.
In 1934, we redesigned our dreadnought with square shoulders to accommodate a 14-fret neck. That same year, Gibson reintroduced the HG-24 body size with a single round soundhole—no more f-holes or sound baffle—and called it the Jumbo. The Martin Dreadnought and the Gibson J Series guitars are still wildly popular.
I do wonder if they would even exist today if Hawaiian music hadn’t entered the American-pop music sphere in the 1920s?
The tiniest TS on Earth has loads of practical upside and sounds that keep pace with esteemed overdrive company.
Solid Tube Screamer tones in a microscopic machine. Light and easy to affix to anything.
Small enough to lose easily! Vulnerable in the presence of heavy steppers?
$99
Olinthus Cicada
olinthus.com
The Olinthus Cicada’s Tube Screamer-on-a-postage-stamp concept is a captivating one. But contemplating the engineering impetus behind it begs questions: How much area does the pedal and mandatory/included TRRS breakout cable actually conserve? Where do you situate it in relation to other pedals so you can actually tap the bypass—which is the pedal enclosure itself! Would my neighbor’s cat eat it? As it turns out, there’s many good reasons for the Cicada to be.
For starters, small size and light weight on this order are a big deal. Flying with gear is stupid expensive. So, for players that don’t relish the antiseptic aspects of modeling, this micro-analog middle path could be a sensible one. Altogether, pedal and cable are about the size of a set of keys. You can stuff it all in a pocket, put clean laundry in your gig bag, and tour for a while, as long as the rain doesn’t soak your shoes.
All this assumes you roll with very small and very few additional effects. But if you can survive on overdrive alone, you can stick a little adhesive to the back—tape, Velcro, bubblegum, etc.—and affix the Cicada to almost anything. It sounds really good, too! A classic TS application—Fender combo and Stratocaster—yields soulful blues smoke. The same Fender amp and an SG means dynamite, raunchy, and rich Mick Taylorisms. It even does the Iommi stomp pretty well at high gain! I’m still not sure if the Cicada is a solution for a less-than-pressing engineering problem. Nevertheless, it opens up real practical possibilities and sounds more than legit in the process.
Featuring a slim Headlock system, water-resistant shell, and spacious front pocket. Available in classic Black and Ash, as well as new colors Moonlight Blue, Amazon Green, and Burnt Orange.
This brand new design reimagines and elevates the original to new heights, featuring a fresh range of colors and a refined slim Headlock system. The enhanced MONO Sleeve is engineered for durability, featuring industrial-grade webbing handles reinforced with steel rivets and bar-tack stitching, a water-resistant 420D shell, and plush interior lining. A spacious front pocket offers easy access to essentials like cables, tuners, and other gear, while the ergonomic shoulder straps ensure comfort during long-distance commutes. Sleek and compact, the MONO M80 Sleeve 2.0 is the perfect choice for guitarists on the go.
To bring the MONO M80 Sleeve 2.0 to life in the launch campaign, MONO collaborated with renowned guitarist Rock Choi from Seoul, South Korea, known for his bold and precise playing style, and Susannah Joffe, an emerging indie-pop musician from Austin, Texas, USA. Together, the artists showcase the M80 Sleeve 2.0 in a dynamic video set in New York City, demonstrating how effortlessly the case integrates into the urban lifestyle while offering superior protection for their instruments.
The updated Sleeve 2.0 is available in classic Black and Ash, and for the first time in MONO’s history, debuts a range of new colors: Moonlight Blue, Amazon Green, and Burnt Orange, giving artists fresh avenues to express themselves through their gear.
The MONO M80 Sleeve 2.0 features include:
- An ergonomically designed case that is sleek and suited for urban travel, along with comfortable shoulder straps and a tactile side handle for easy carrying.
- A water-resistant 420D shell and plush interior lining, built to military specs and extreme resistance to abrasion and the elements.
- A slim Headlock system, made from shock-absorbing EVA rubber, secures the guitar's neck and headstock, while the EVA insole protects the body and strap pin from impact.
- A spacious front pocket for essentials like laptops and cables, and a small interior mesh pocket for critical items.
- Side-release chest buckles provide added security and a construction reinforced with steel rivets for extra durability.
- Rock-solid, industrial webbing handles that are standard in MONO cases. Bar-tack stitching and steel rivets reinforce strength, while high-grade webbing offers a comfortable grip.
- String guard protection to safeguard your guitar’s strings.