Way Huge''s long awaited reissues don''t disappoint. We check out the Swollen Pickle, Pork Loin and Fat Sandwich.
Originally conceived as a small start-up operation in 1992, Way Huge was helmed by relatively unknown upstart inventor Jeorge Tripps with the intent of constructing high quality effect pedals for gigging musicians. Way Huge products helped start the golden age of gear we’re now in, but when the company closed down in 1999 the boutique pedal boom had hardly even begun. Current boutique mainstays were crafting their designs and slowly gaining ground with players at the time, and some believe that Way Huge simply missed the boat because of unpredictable timing and the unforeseeable explosion of demand that was only a couple of years away. Timing aside, the design and construction of Way Huge pedals was nothing short of perfection. They were classic effect foundations combined with modern revamps that were truly ahead of their time.
Tripps chose very high quality components with very closely matched tolerances, which provided smooth analog warmth and feel, and a much more consistent tone from pedal to pedal. On top of that, the pedals left a modest footprint on the pedalboard. Because of the very high quality parts and production, their limited availability and unique personality drove prices through the roof, with some selling for over a $1000 dollars. Way Huge (along with numerous other small companies) informed a generation of guitar players that there were many more choices available to them than they could find at major chains.
Because of the high demand, Jim Dunlop commissioned Tripps to bring back the Way Huge line, to give the average player a chance to enjoy some of these renowned pedals. Along with the reissue of the Swollen Pickle Jumbo Fuzz comes the introduction of two new products: the Fat Sandwich Harmonic Saturator and the Pork Loin Soft Clip Injection.
Download Example 1 | |
Recorded using 1978 Gibson Les Paul Custom and 1982 Marshall JCM800. |
A new addition to the Way Huge effect pedal line, the Pork Loin is aimed at the more established styles of blues, country and classic rock ‘n’ roll. It is certainly the subtlest offering in the new lineup, aiming to thicken and refine the inherent tone of the instrument without excessive EQ-ing and distortion. The unit accomplishes this by taking the original signal and running it through a preamp, then layering it on top of a variable soft overdrive. This gives a three-dimensional feeling: a very cultured clean tone over a foundation of warm distortion, mimicking the technique of playing through a clean amp and an overdriven one at the same time—a method that has become a staple of the blues and rock tones achieved by such players as Stevie Ray Vaughan. Grabbing a 2007 Fender Nashville Telecaster and a 1978 Gibson Les Paul Custom, I put the pedal through its paces with a 1982 Marshall JCM800 50W head.
The Pork Loin’s controls are very simple and well laid out: Volume, Overdrive and Tone, and two smaller controls labeled Curve (which allows the player to tailor the corner frequencies to round out the tone) and Clean (volume control for the clean sound in the overall tone). Unlike most of the other overdrive pedals Way Huge has introduced, the Pork Loin doesn’t have a lot of gain on tap. This was a little disappointing at first, but after figuring out how to dial in the unit, it became apparent that it doesn’t really need a lot. The pedal really shines with single coil guitars, as the Telecaster/Pork Loin combination demonstrated. The clean on this particular JCM800 is very smooth, but a little flat. After engaging the Pork Loin, dialing up the overdrive control to about 70% and mixing in the clean to taste, the tone gained a lot of bite and muscle. It’s important to note that there are internal controls for Filter, Voice and Mix, which offer even more options: they can change the frequencies used and even allow the pedal to be used as a preamp if you dial out the overdrive completely.
Pushing the volume control higher, the amp really started to cook, mixing the Pork Loin’s signal with the natural Marshall bite. It was a very pleasing tone. The Pork Loin makes a great fit for players in the “set it and forget it” category. Rolling down the volume and picking lightly proved that the Pork Loin is also highly sensitive to picking style, as it has a very natural way of cleaning up. The Les Paul definitely hit the amp harder than the Tele did, but the results were spectacular (albeit different) with great, responsive overdrive tones. Boosting the amp while it was overdriven pushed it into Alice in Chains territory, making the combination a force to be reckoned with.
Buy if...
your tone is lacking in punch, definition, and refinement.
Skip if...
more gain is necessary.
Rating...
Street $170 - Way Huge - wayhuge.com |
Go to Page 2 for the Fat Sandwich Harmonic Saturator Review...
Download Example 1 | |
Recorded using a 2006 Gibson Flying V |
The overabundance of distortion and overdrive pedals available today has made it awfully tough for one to stand out from the pack. Large numbers of them are copies of legendary designs with a few tweaks here and there to address some of the issues players have had with those devices. Others are based on new concepts that try to creatively stretch the boundaries of what “good” guitar tone can be, and provide tonal options that can make the instrument sound completely different altogether. Sailing through this crowded arena is the Fat Sandwich Distortion. Bearing the Way Huge name may draw some intense scrutiny, but the Fat Sandwich holds up to just about anything you can throw at it.
The faceplate has the same basic layout as the other two pedals in the line: Volume, Tone, Distortion, and two mini controls that adjust specific frequencies. In addition, there are two internal controls to adjust the corner frequencies of the overdrive (similar to the controls inside the Pork Loin), and a Sustain control to add even more distortion to the sound. Plugging in a Gibson Flying V into an early eighties Marshall JCM 800 50W head, the Fat Sandwich was fired up with everything set at 12 o’clock, volume to taste.
One of the surprising qualities of the unit was the very focused tonality of the drive, not harsh in the least. The feel of the distortion is modern, but with more give in the lows and mids, yielding a very spongy tone. Certainly one of the best features of the original JCM 800 line was how great they sounded cranked. After dialing up a mild drive from the preamp and pushing the master up, engaging the pedal caused the amp to open up and surrender an incredible rhythm tone, with wonderful note separation and control. It simply rocked—that made it really difficult to take a break, even after two hours of playing.
The two controls on the face of the device, Presence and Resonance, control the response of the high and low-end frequencies. Pushing up the presence and maxing the gain gave up a killer eighties metal and hard rock tones, and with the volume knob rolled down it was very responsive to pick attack—really responsive. A higher setting of the Resonance control with the gain turned down was perfect for vintage rock tones in the vein of Kossoff and Red-era Robert Fripp. The sound and feel was tight but giving, and a blast to play. This is definitely the sleeper in the new Way Huge line, and could easily hold it its own against most boutique distortion pedals.
Buy if...
a versatile, dynamic distortion is just the ticket.
Skip if...
the idea of such extensive control scares you.
Rating...
Street $180 - Way Huge - wayhuge.com |
Go to Page 3 for the Swollen Pickle Jumbo Fuzz MKII Review...
Download Example 1 | |
Download Example 2 | |
This is it, the one we’ve been waiting for with bated breath. Out of the original Way Huge product line, the Swollen Pickle Jumbo Fuzz certainly garners the most attention. Obviously inspired by the Electro Harmonix Big Muff Pi, the Swollen Pickle has been a trade secret among gearhounds for years. While it’s definitely in the same vein as the EH fuzz, the voicing of this device and the reaction of the Tone knob set it apart. The reissue, dutifully designated by a “MKII” label, continues the tradition of the famed fuzz, while adding a few other features under the hood.
One thing that made the original Swollen Pickle so unique was the heft that that sound had. The best way to describe it would be that the sound pushes a lot of air, but is quite aggressive. Most Muff-esque pedals have a huge, thick sound, but are often plagued with a farty low end and a displeasing upper frequency range (icepick highs when the tone control is cranked). The Swollen Pickle MKII has all of the punch of the original, and a massive tonal range. With a stock setting (Tone: 12 o’clock, Sustain: 1 o’clock, Volume: 11 o’clock) the pedal immediately sounded fantastic, with great note separation, clarity, and a nice even frequency range. There is a very hi-fi quality to this pedal, but in a surprisingly musical way.
With an opportunity to improve upon the original idea, Way Huge has included four more controls in the circuit: Scoop, Crunch, two internal controls for adjusting the intensity of the Scoop control, and one to change the style of clipping. These additional options seemed a little overboard at first, but provided hours of fun.
The Scoop control allows the player to scoop or boost the midrange frequencies of the unit, which is highly useful on its own. Crunch controls how compressed the fuzz is, which resulted in highly squeezed square wave-esque sounds to all-out sonic annihilation. Using these in tandem with the Scoop intensity control yielded very smooth vintage tones to razor-sharp modern distortion, and the clipping type control provided a sucker punch intensity that just took it completely over the top. It was actually strange to turn off the pedal after an hour and play clean; the tone felt wimpy after being hit in the chest by this little beast for so long. The pedal can dish out fantastic, less extravagant traditional fuzz tones if need be, but it excels at aggressive, huge sounds.
Construction-wise, the Swollen Pickle is no slouch either. The enclosure is identical to the originals: thick, brushed aluminum. The jacks were solid and the pedal was very quiet with the Scoop intensity knob at lower settings (which was very nice). Even the battery compartment, which is usually an afterthought in so many pedal designs, is clever—it’s situated on the front edge of the device and requires no tools to get to. Why doesn’t every pedal out there have this as an option? The Way Huge Swollen Pickle MKII is an extraordinary fuzz pedal, and certainly lives up to its name.
Buy if...
huge fuzz tones are your thing, and you want to craft a unique voice with lots of punch and clarity.
Skip if...
you need more subdued, low-key fuzz.
Rating...
Street $160 - Way Huge - wayhuge.com |
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Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.