A new, expansive approach to high gain tone.
Edmond, OK (March 31, 2017) -- Keeley Electronics is proud to announce the Filaments, a high-gain distortion that covers all gain territories, from classic-rock crunch to ultra-modern, crushingly defined distortion.
With the Filament’s abundance of knobs and switches, the tone-shaping possibilities are sure to appease player’s tastes across the board. With 7 tone shaping options, you are sure to find the sound you are looking for. The Filaments offers classic controls such as Level, Gain, Bass and Treble, as well as a Presence knob, which simulates proximity to your speaker. Also included is a Body knob, which boosts the ‘meat’ of the distortion, adding ‘oomph’ to the signal that pushes the sound into the aforementioned modern gain territory. Roll the Presence and Body knobs back, and you are taken back in time to a clean, pure vintage distortion sound.
The Filaments also boasts 3 external switches, further adding to tonal possibilities. The Boost switch slams the front end of the circuit with even more gain and output volume. The Bright switch offers a high frequency boost or cut, perfect for dialing in searing leads or pounding rhythm tones. The Crunch switch activates an additional diode in the signal path; flip the Crunch switch up for a more open, uncompressed tone, down for a compressed, battering ram distortion. The Filaments is a True Bypass pedal, designed to work with any amplifier.
Simply put, the Filaments is a distortion for fans of dimed hi-gain tube amps. We’ve been told that the Filaments is “A distortion pedal for people who have never found the ‘right’ distortion pedal.”
The Keeley Electronics Filaments is available at Keeley Electronics and dealers worldwide. Street Price is $189. Visit www.rkfx.com for more information about the full lineup of award-winning Keeley Electronics effects.
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Keeley Electronics
To measure the bias on his Deluxe Reverb, our columnist lays his amp face-down on the floor for easy access to the bias pot and power tubes.
Here are a few tips to get you started on your way to becoming an old-school Fender amp tech.
Back in 1995, when my journey with vintage Fender amps started, I knew little about tube amps. Over 30 years, I’ve gradually learned the hard way how to acquire, play, service, and give advice. If tube amps are to become a hobby for you, I recommend learning some basic maintenance. You’ll be better off in terms of time and money, and even more important, the knowledge about how circuits and components affect tone will give you a wider array of sounds to play with. But where should you start?
Here’s my list of relevant topics that you should be able to master with a little patience and curiosity. My goal is to get you started on your journey to becoming a Fender amp handyman. The topics are sorted by gravity, and you’ll need in-depth studies from reliable sources on each topic. On my website, fenderguru.com, I’ve tried to explain things easily for musicians, but there are many other good Fender amp resources out there.
Safety. First and foremost: There are lethal voltages inside tube amps, much higher than in transistor amps—even after powering some of them off. Learn how to discharge DC voltages before opening an amp. In my website’s buyer’s guide to vintage Fender amps, I have laid out a procedure on how to safely power off and power up these amps by inserting tubes in a specific order.
Speakers. I strongly recommend learning impedance and wiring methods and experimenting with various internal speakers and cabinets. The mathematical formula 1/Rt = 1/R1 + 1/R2 calculates the total impedance for two speakers coupled in parallel; Rt is the total impedance, and R1 and R2 are the impedances of the two speakers. Remember that all Fender amps can tolerate an impedance mismatch from -50 percent up to +100 percent.
Pots and jacks. Fixing scratchy pots is a common task for all amp owners and is usually solved by a rotating exercise that freshens up the oxidized metal surfaces inside the pots. If it’s sticky, get yourself a contact cleaner like WD-40 and spray inside the pot.
“When you get more advanced, you can calculate specific bias currents based on measured plate voltages and a specific tube’s dissipation factor.”
Reverb tank. Reverb failure is common and often explained by bad phono cables or plugs. It is easy to learn the mechanics of the reverb tank by simply unplugging everything, changing cables, and opening the reverb tank to look for detached reverb springs and broken soldering joints.
Replacing power tubes and adjusting bias. A power tube requires a correct combination of plate voltage and bias current to operate safely and at full power levels. Since there are different tubes, component drift/variation in caps and resistors, and different voltages in houses and buildings, some tube amps come with an adjustable bias pot.
You need a bias-meter tool to measure bias currents or voltages when replacing power tubes, or diagnosing an amp that lacks clean headroom or has nasty distortion. When you get more advanced, you can calculate specific bias currents based on measured plate voltages and a specific tube’s dissipation factor. Until then, a general rule is to aim for 35 mA for 6L6 amps (except for the Vibrolux, which has a higher bias current at 38 mA) and 22 mA on 6V6 amps. Use your ears, too!
Caps. Old, dried-out electrolytic capacitors should be replaced for both tone and safety’s sake. With a soldering iron, it’s very easy to replace each of the 10 to 11 caps in a black- or silver-panel Fender amp, one by one. Be careful with the polarity, and make sure to drain out all DC voltages (see “Safety,” above).
Preamp tubes. Replacing preamp tubes is easy—no bias adjustment is required. Replacing preamp tubes systematically can solve your problem or help you narrow it down. You then need to learn the function of each preamp tube and which channel they serve. If you want to modify your amp, simple tube swaps can easily change the behavior of your amp, like altering the threshold where your preamp or power amp starts breaking up.
Transformers. I rarely come upon damaged transformers, but sometimes I swap them to get a bigger and firmer bass response, or if I want different speaker impedances. By looking at the soldering job, cutting of isolation, wire lengths, and layout, I can easily spot an amateur’s work. To prevent all kinds of safety, hum, and interference problems, a transformer replacement must be done cleanly and robustly. The risks are high.
Understanding the signal chain. If you have more complex problems that tube replacement doesn’t solve, you must learn how to inspect an amp and isolate problems to various circuit functions. This will require you to learn some circuit theory and schematics. The good news is that since Fender amps are all very similar, once you learn to work on one, you can easily learn to work on them all.Less-corpulent, Big Muff-style tones that cut in many colors.
Unique, less-bossy take on the Big Muff sound that trades excess fat for articulation. Nice build at a nice price.
Some Big Muff heads may miss the bass and silky smooth edges.
$149
Evil Eye FX Warg
evileyefx.com
Membership in the Cult of Big Muff is an endless source of good times. Archaeologically minded circuit-tracers can explore many versions and mutations. Tone obsessives can argue the merits of fizzier or fatter tone signatures. The Ace Tone FM-3 is one of the less famous branches on the Big Muff evolutionary tree, but one that every true Big Muff devotee should know. It came out around 1971 and it was among the first in a line of often-imaginative Japanese takes on the circuit.
Evil Eye Warg Fuzz - MAIN by premierguitar
Listen to Evil Eye Warg Fuzz - MAIN by premierguitar #np on #SoundCloudEvil Eye’s Warg Fuzz marks another generation in this evolution. It uses the FM-3 as a design foundation and inspiration, and shares many of its tone characteristics. It’s most overtly a buzzier, less bass-hefty take on the V1 “Triangle” Big Muff, which serves as the FM-3 design’s launch pad. But the Warg also adds a midrange boost switch that makes the pedal better suited to mixes and environments where a little extra presence serves the musical setting.
Close Cousins
If you look at schematics for a V1 Big Muff and an Ace Tone FM-3 (minus its largely superfluous “boost” circuit) side by side, you’ll see a near-mirror image. But the small differences are significant. On the Ace Tone and Evil Eye Warg, the volume pot is positioned before the output gain stage rather than after, as it is on a Big Muff. A few filter and feedback capacitor values are smaller than those on the Big Muff, and there are a few extra resistors and an extra capacitor. Those changes aside, the two circuits would be hard to differentiate at a glance. But as we’ll hear, the audible differences are often profound.
Though Evil Eye was careful to replicate the Ace Tone circuit as closely as possible, the company added a second path for reshaping the output in the form of the “scooped and flat” toggle. Big Muffs are generally pretty scooped in the midrange, which is one of the breed’s distinguishing qualities, no matter the version. But that doesn’t keep newer manufacturers, like EarthQuaker and Stomp Under Foot, to name a few, from building Big Muff clones that add a midrange boost. Here, a variable boost knob is replaced by the flat-switch setting, which still offers ample tone reshaping utility.
“In a band mix, there’s more contrast with a burly bass.”
Build quality on the Philadelphia-made Warg is very nice. The circuit board is tidy, arranged along four rows of components that make the circuit relatively easy to trace. Input and output jacks as well as the footswitch are mounted to the chassis rather than the circuit board. The footswitch is a soft-relay unit. The pedal also looks bitchin’ (though the namesake wolf beast on the enclosure looks a little slender for a mythical, massive Warg). Given the careful, high-quality execution, the $149 street price is an especially good value.
Less Woof in This Wolf
Situating the Warg alongside any Big Muff makes the sonic family resemblance very clear. For comparison, I used a Sovtek Big Muff as well as really nice Ram’s Head and Triangle Big Muff clones. And while the Triangle is very clearly the closest cousin, in an audible sense, in the mid-scooped setting, the Warg shares a powerful, thick, high-gain profile and feel with all three Big Muff types. Where it’s most pronouncedly different is in its relatively light bottom end. For Big Muff hounds that savor the unique, bassy Big Muff ballast, the difference will probably sound pretty stark. But there’s lots of upside to the Warg’s less fat and sprawling profile. In a band mix, there’s more contrast with a burly bass. It will inhabit a much more individual space in a mix, too, which can open up mixing and arrangement options once you’ve laid down your tracks. And for this Big Muff fan, the less-bass-forward profile meant I could coax thick, grindy tones that were a touch more evocative of mid-to-late-’60s fuzz tonalities and felt less shackled to fat stoner-rock templates or late-Gilmour butter-sustain cliches without sacrificing a Big Muff’s sense of wide-spectrum chord aggression.
In the flat frequency mode, I found that the closest sonic likeness to the Warg was an EarthQuaker Hoof with an enhanced mids setting. The EQD probably offered more range on the traditional, bassy side of the Big Muff spectrum. But almost none of the pedals I tested against the Warg could match the Evil Eye’s high-mid clarity in chording situations and melodic leads.
The Verdict
Ascertaining how the very apparent, but sometimes subtle, differences between Big Muff types and the Evil Eye Warg fit your tone ideals and musical needs will probably take a shootout of your own. But if, like me, you’re a Big Muff user that sometimes wearies of that pedal’s smooth, fat, bluster, Evil Eye’s alternative is attractive and intriguing. It’s a great study in how different the basic Big Muff architecture can sound. And at just less than $150, you don’t have to feel too scared about taking a chance on this very interesting fuzz
Paul Reed Smith shaping a guitar neck in his original Annapolis, Maryland garret shop.
You might not be aware of all the precision that goes into building a fine 6-string’s neck, but you can certainly feel it.
I do not consider my first “real” guitar the one where I only made the body. In my mind, an electric guitar maker makes necks with a body attached—not the other way around. (In the acoustic world, the body is a physics converter from hand motion to sound, but that’s a different article for a different month.) To me, the neck is deeply important because it’s the first thing you feel on a guitar to know if you even want to plug it in. As we say at PRS, the neck should feel like “home,” or like an old shirt that’s broken in and is so comfortable you can barely tell it’s on.
A couple articles ago, I talked about things on a guitar you can’t see, but are of the utmost importance to the quality of the instrument. I’d now like to go deeper into some of those unseen details in guitar neck making that make a difference. This list is a small percentage of what’s really going on, so please take each one as an example of the craft.
Gluing in the frets. In my old repair shop, there were several instruments that kept returning after gigs because the frets had again become unlevel. If I took a very flat file and started to level the frets, the volume of the squeaking of the frets as I filed was really loud. I realized that these guitars had never had their frets glued in. It seemed clear that the fretshad to be glued into the slots, so when someone sweats into the instrument at a gig, the frets do not change height. I learned, after interviewing Ted McCarty, that the Gibson factory in Kalamazoo in the ’50s glued the frets in with fish glue. I tried it once. It stunk, and I never used it again. But gluing frets in has been important to me since day one. The glue makes a mold around the teeth of the fretwire to hold the frets in place. Another reason to glue the frets in is that on some ’60s Martins, for example, the frets would lift up on the treble side and the high-E string would get caught underneath the fret. So, glue the frets in or you’re going to have a long-term problem. By the way, using a water-based glue is like adding all the water back to the fretboard that you spent months drying out. I like super glue because it doesn’t have any water in it.
“Terry Kath, the great guitar player from Chicago, once told me, ‘Most guitars won’t play in tune down near the nut, and I search and search for guitars that will.’”
Fret positions. When I was young, there was an article in Guitar Player that described how to calculate fret positions by using the 12th root of two. The number is 1.0594631. And the reason I remember the number is because calculators didn’t have memory at the time, and I had to keep entering the number over and over again. One day, someone came into my shop and said, “I can’t play in tune with the keyboard player when I am playing lines near the nut.” I said, “That’s hard for me to believe, but I’ll check it.” Sure enough, the first few frets were out of tune with the open nut even though I had calculated the 1st frets’ positions perfectly. Turns out the nut needed to be moved so that it would play in tune down there (in the same way you have to adjust the intonation at the bridge end). Terry Kath, the great guitar player from Chicago, once told me, “Most guitars won’t play in tune down near the nut, and I search and search for guitars that will.” Getting the frets, the nut, and the bridge in the right positions is incredibly important. You’d be surprised that this is not always a given.
Neck shape. I was once at Dave’s Guitar Shop in La Crosse, Wisconsin, in his upstairs guitar museum, and got to compare early ’50s Tele, old Les Paul, and early Strat neck shapes. What was so surprising was how close the neck shapes were, including the thumb round-over (where the side dots are). I was later able to scan a lot of these necks and compare them with a computer, and, damn, they were really close. What was different was the radius of the fretboards. Some of them were more curved than others, and the old Gibsons’ radii were not what the internet says they should be. So, it’s pretty hard to understand from the specs alone how a neck is going to feel in your hands. In my mind, there’s a common shape that your hand feels comfortable with, and then all the extensions that make 7-string guitars, 12-strings, acoustic instruments, and modern Ibanez/flat-radius type instruments are other artforms altogether.
At PRS, we often think of guitars in terms of looks, feel, and sound. If it looks good, you’ll probably pick it up. If it feels good in your hands and rings for a long time when you strum it acoustically, you’ll probably plug it in. If it sounds good plugged in, there’s a good chance you’re hooked.
Billy Strings has become one of the biggest drawing guitar players out on the road these days. His music brings bluegrass fans and jam band scenes together, landing him on some of the biggest stages around. Your 100 Guitarists hosts have brought in guitarist Jon Stickley to help them work out their differences—one of us is a jammer and the other … is not.
Stickley goes way back with Billy, spotting his talent early in the young guitarist’s career. The two have worked together since, and recently, when Billy had to dip out of his own festival as his wife headed to the hospital to deliver their baby, it was Stickley who was called to jump on stage and fill in at last minute notice. Stickley recounts the story of not only getting on stage, but strapping on Strings’ guitar, plugging into his space station, and taking off with Billy’s band.
We called the right guitarist to guide us through, navigating Strings’ work, the way he brings together influences from genres outside bluegrass, and what makes him a guitarist you need to know.
