Here's a crash course in how one of the most eclectic and influential guitarists of all time developed a unique vocabulary through speedy rockabilly licks, fuzzed-out melodies, and an otherworldly use of the vibrato bar.
Intermediate
Intermediate
- Understand Jeff Beck’s rockabilly roots.
- Learn how to create tension-filled phrases over a 12-bar blues.
- Develop a more nuanced vibrato technique.
Jeff Beck is arguably the most eclectic and ever-evolving guitar hero. He was part of the holy trinity of Yardbirds guitarists, along with Eric Clapton and Jimmy Page, and is the one who has consistently remained at the forefront of the electric guitar ever since. From John McLaughlin to Eddie Van Halen, Beck is a favorite of just about any guitar player you could name, and that includes the other Yardbirds alumni. Stephen Colbert explained it best at the Grammy awards, “You know the game Guitar Hero? He has the all-time high score—and he’s never played it.” Let’s take a look at some of the many highlights of Beck’s playing throughout his illustrious and uncompromising career.
Beck’s stint with the Yardbirds—including his groundbreaking work on such psychedelic hits as “Over Under Sideways Down” and “Heart Full of Soul”—cemented his iconic status, but his melding of influences from Chuck Berry, Cliff Gallup, and Les Paul on the blues instrumental “Jeff’s Boogie” was eye-opening to legions of guitarists in the wake of the British Invasion. Here’s a Cliff Gallop-inspired rockabilly phrase (Ex. 1) that uses pull-offs for speed.
Ex. 1
The chromatically climbing lick in Ex. 2 reveals Beck’s brilliant technique and his love of flashy and dramatic fretwork.
Ex. 2
Like Clapton and Page, Beck was steeped in Chicago blues, and as with those players, he developed a distinctive voice in the style early on. This Truth-inspired solo (Ex. 3) on a 12-bar blues demonstrates some unison bends (measures 1–4), ostinato licks (measures 5–8) and a quirky, pre-bend idea in the final section.
Ex. 3
When Jeff Beck Group was released in 1972, it offered a premonition of Beck’s unique approach to the tremolo bar that would become so important to his playing in the decades to come. In Ex. 4, a wild use of the bar gives a modern and innovative twist to what could otherwise be more conventional blues ideas.
Ex. 4
Our next phrase (Ex. 5) is in the spirit of “Freeway Jam” and a host of other funky instrumentals from the 1970s, and it showcases Beck’s use of the Mixolydian mode (1–2–3–4–5–6–b7). With its major quality and lowered 7, this scale is tailor-made for playing over dominant 7 and 9 chords. Beck often uses it as the basis for both melodic themes and improvised solos. Frequently, he further embellishes Mixolydian lines with bluesy ideas, like the Bb (b3) to B (3) leading into the final measure.
Ex. 5
Beck’s impressive ballad work, inspired by the great Roy Buchanan, is heard on the classic Stevie Wonder composition, “’Cause We’ve Ended as Lovers.” In Ex. 6 you’ll hear many C minor pentatonic (C–Eb–F–G–Bb) licks with a host of bending techniques, such as compound bends (measure 2) and pre-bends (measures 3 and 7). Virtuosic ostinato–based figures are used to great dramatic effect in measures 5 and 6.
Ex. 6
Beck’s revival of “People Get Ready” was a career high point in the late ’80s, and it made a clear statement of his relevance as one of the most expressive and distinctive guitarists of the day, already more than 20 years into his career. Bending finesse, with fingers and tremolo bar, and even a simple taste of a finger tap is present in Ex. 7. This is perhaps the clearest example of the precise tremolo bar usage to come, and worth mastering before tackling the likes of “Where Were You” or “Over the Rainbow.”
Ex. 7
Our final example (Ex. 8) is a phrase from the Bulgarian folksong “Kalimanku Denku.” This particular vocal music is perfect for working on Beck’s tremolo stylings because it is, in fact, what inspired much of his playing in the past 20 years. Check out a compilation album called Le Mystère des Voix Bulgares to hear what Beck used as the model for his mature and advanced tremolo bar work. Also, make sure that you adjust your tremolo to float, i.e., so that it can raise a note by a minor third on the 3rd string. To check, play an open G note and be able to bring it up to a Bb.
Ex. 8
Universal Audio Introduces the Enigmatic '82 Overdrive Special Amp Pedal
Experience the legendary tones of the Enigmatic '82 Overdrive Special Amp emulator from Universal Audio Inc. Featuring dual-engine processing and world-class UAD modeling, this pedal captures the iconic "D-style" tube tones of guitar greats like John Mayer and Stevie Ray Vaughan. Explore customizable options and classic mic/speaker combinations for authentic ODS tones.
Universal Audio Inc. (UA), a worldwide leader in audio production tools, including the popular Apollo and Volt audio interfaces, UAD plug-ins, and UA microphones, is proud to welcome the Enigmatic '82 Overdrive Special Amp emulator to the award-winning UAFX guitar pedal lineup.
Built on powerful dual-engine processing and world-class UAD modeling, Enigmatic ‘82 Overdrive Special Amp gives guitarists the mythical "D-style" tube tones made famous by John Mayer, StevieRay Vaughan, Robben Ford, Larry Carlton, Joe Bonamassa, and Carlos Santana.*
With exclusive access to numerous original Overdrive Special amplifiers, UA perfectly captured the sound and feel of custom Overdrive Special amps spanning 30 years — from the first 1970’s SantaCruz models to later iterations built in Los Angeles in the ‘80s and ‘90s.
By emulating the Overdrive Special's colorful FET preamp and HRM overdrive voicings and mysterious tone stack mods — including the late-’80s Skyliner option — Enigmatic '82 gives guitarists the crystalline clean tones and touch-sensitive, blooming grind that made the OverdriveSpecial the most lusted after amplifier ever built.
"With original Overdrive Specials, there was constant innovation in every amp," says UniversalAudio Sr. Product Designer James Santiago. "Each circuit tweak revolved around the player’s touch, and the desire for tones that made their personal style musically speak. With Enigmatic '82, we're giving players of all genres the evolving magic that made these amps so legendary with more customization than we've ever put in a UAFX pedal."
Enigmatic '82 Overdrive Special Amp Pedal - $399
For more information, please visit uaudio.com.
Key Features:
- A complete emulation of the mythical Overdrive Special amps made famous by Stevie RayVaughan, Robben Ford, John Mayer, Joe Bonamassa, and Carlos Santana*
- Jazz, Rock, and Custom modes offer cloud-like cleans, creamy overdrive, and bloomingstring-to-string definition heard on countless records
- 9 classic mic/speaker combinations, plus '70s Santa Cruz, late-‘80s Skyliner, and ‘90s HotRubber Monkey (HRM) preamp mods for authentic ODS tones
- Groundbreaking physical room modeling derived from award-winning OX Amp Top Box
- UAFX mobile app lets users fine tune tones using hidden amp tweaks, EQs, and mods foundin original ODS amplifiers from the '70s-'90s
- Timeless UA design, feel, and craftsmanship, built to last decades
Whether you’re tired of slinging combos and bigger into your car’s trunk or looking for reliable backup and backline power, these pedal-sized options have plenty to offer.
Here’s a rundown of six amps in a stompbox format. Carry soft, play loud!
Blackstar Amplification AMPED 2
A portable 100-watt pedal amp with onboard effects that’s perfect for the guitar player that wants an all-in-one watt-cranker and an effects processor
blackstaramps.com
NUX Amp Academy (NGS-6)
This compact workhorse offers 18 amp models, seven signal blocks, independent outputs, and a robust IR loader—plus, it functions as a USB audio interface.
nuxaudio.com
MayFly Audio Sunrise Amp Simulator
The MayFly emulates the classic sound of black-panel amps, including their preamp, power amp, speaker cabinet, and spring reverb. It's intended to plug directly into a PA or DAW, and includes a stereo headphone output jack.
mayflyaudio.com
Friedman IR-D
The IR-D dual-channel tube preamp is an entire Friedman rig, inspired by the JTM45, in a compact pedalboard-friendly package.
friedmanamplification.com
Strymon Iridium Amp and IR Cab Pedal
The Iridium offers three iconic tube amplifier models and nine super-high-resolution, 500 ms impulse response speaker cabinets, along with size-adjustable IR-based room ambience.
strymon.net
Revv Anniversary Series G3
The new Anniversary Edition Revv G series pedals feature new aesthetics and even more amp-like feel and tone—modeled after Revv amps’ purple channel.
revvamps.com
Polyphonic pitch shifting, adjustable ramp speed, and three-way tone switch.
Octa Psi Features:
- Instant Effect Order Switching: Solve the classic question "Octave/Pitch before or after fuzz?" with ease –just hold down both foot switches.
- Flexible Output Configuration: Switch between AllWet or Wet/Dry blend with a quick double-tap of Blend.
- Momentary or Latching Octave/Pitch: Switch between latching or momentary octaves for completecreative control, simply hold the Fuzz switch.
Polyphonic Octave and Pitch Shifter:
- Three Modes: Up, Down, and Dual modes for creating nearly every harmonic interval, includingpower chords, stacked fourths, and diminished chords.
- Momentary Mode: Perfect for dive-bombs and wild multi-octave bends.
- Adjustable Ramp Speed: For creatively timed pitch bending, just like having an onboardexpression pedal.
Transfigurating Fuzz Circuit:
- All-Analog, Transistor-Based: Delivers incredible sound with wave after wave of gain staging leading to hard clipping.
- Three-Way Tone Switch: Carve out the perfect fuzz tone with Scoop, Punch, or Psi mode.
- Massive Sound: Makes your guitar pickups sound enormous at any volume.
Stunning Design and Ease of Use:
- High Octane Circuitry – Housed in a proprietary angled aluminum enclosure for simplicity and durability.
Upgrade your sound and explore new sonic possibilities with the Octa Psi Transfigurating Fuzz Pedal.Prepare yourself to experience the ultimate in pitch-shifting, octave generation, and analog fuzz!
Octa Psi Highlights:
- Polyphonic Pitch Shifter:○ +/- Two Octave Range and nearly every harmonic interval.
- Low latency and fast-tracking for great tone in dropped tunings or wild bends.
- Switchable All-Wet ⇆ Wet/Dry Blend by double tapping the Blend control.
- Momentary or Latching Octave and Pitch Shifter by holding down the Fuzz stomp.
- Adjustable Ramp Speed for the pitch shifter by holding Octave down and adjusting Blend.4
- Three pitch-shifting modes (Up/Dual/Down) for multiple octaves, crazy intervals, chords,and even chorus modulation.
- Analog Transistor Fuzz:
- Super thick, analog transistor fuzz and distortion.
- Three-way bass response: Scoop, Punch, or Psi mode for massive undertones.
- Order switching between Fuzz ⇆ Octave (Pitch) by pressing and holding both Octave andFuzz.
Tech Specs:
- Pedal Type: Octave Fuzz and Pitch Shifter
- Switching: Momentary or Latching Pitch Shifter
- Analog/Digital: Mixed, Analog Fuzz & Digital DSP
- Effects: Polyphonic Pitch Shifter, Octave, Fuzz, Distortion
- Inputs/Outputs: TS 1⁄4” jacks
- Bypass: True Bypass or Silent Buffered Bypass, user selectable
- Power Requirements: 9-18 VDC, 150mA (high current power supply sold separately) - No battery
- Height: 2.7”
- Width: 3.9”
- Depth: 5”
Keeley Electronics - Octa Psi Transfigurating Fuzz - Sarah Lipstate Performance - YouTube
Seldom before has an innocent-looking pedal offered such devilish delights.
Combining a ferocious fuzz circuit with remarkably powerful pitch-shifting capabilities, Keeley’s new Octa Psi pedal makes it easy to blow your mind … and have a ton of fun in the process.
It’s capable of creating pleasing and/or demented intervals, subtle harmonizing, expansive octaves up and down, and swooping pitch changes—all turbocharged by one of the gnarliest fuzzes this side of Armageddon.
Simply Psychoactive ... By Intent
If you’ve ever craved a user-friendly freakout, this is it. With just five knobs, two 3-way toggle switches, and a pair of footswitches—as well as an expression pedal input—the Octa Psi presents a comfortable, inviting portal to a universe of crazy sonic exploration.
That’s exactly what Robert Keeley intended from the moment he started designing the Octa Psi.
“The finished pedal is true to the original idea that I had in November 2021,” Keeley says. “I wanted it to have a high-gain vintage Muff, all-analog and all-transistor, going into an octave pitch shifter—something in the neighborhood of a Pitch Fork or POG. And then when I added the expression pedal function, it could resemble a whammy.”
Ah yes, the expression pedal input. Linking the Octa Psi with a standard expression pedal opens the door to a whole new dimension of pitch shifting mayhem. Rest assured, you don’t have to use an expression pedal to derive crazy fun from the Octa Psi. But it sure helps.
With all of the pedal’s deep functionality, Keeley felt that simplicity would be a key factor in broadening its appeal, starting with this elemental item: “From the get-go I wanted it to have order switching, allowing the fuzz feeding the pitch shifter or vice versa, because it gives you two distinctly different sounds if you have pitch going before or after the fuzz. And it had to be pretty effortless for the player to switch the order on the fly. And I wanted it to be easy to switch between using it either as a harmonizer or as an all-wet octave-down thing.” That desire for ease-of-use, even in the middle of a live gig, drove the design of the pedal’s controls and functions.
“I wanted to come up with something that Jack White, Steve Vai, or Frank Zappa would have fun with.”
It Ain't Easy to Create Easiness
The Octa Psi exemplifies an old adage: Sometimes a simple solution can be the most difficult to achieve. “I knew this was going to be a challenging project,” Keeley admits. “It’s very tough to combine a high-gain, full-analog distortion with a DSP [digital signal processing] section in one box. It took a long time to get the switching just right. It was particularly difficult because the Octa Psi’s analog and DSP sections are so intimately entwined. You can’t have gaps in the audio when you’re switching back and forth. Those kinds of complications drove us crazy.
“We also addressed a lot of issues that have raised concerns about other products on the market. The Octa Psi is a true-bypass pitch shifter, and it has our killer buffer system as well. There’s nothing else out there like this, so we had to figure it all out for ourselves.“
An essential challenge: voicing the fuzz so that it would sound great as a standalone effect, while also playing nicely with the Octa Psi’s harmonizer functions. “You would think that the fuzz was easy, but it was actually one of the last things we ironed out,” Keeley notes. “I had to ask myself, ‘Do I want this to be a bass-y fuzz?’ Probably not, since the pitch shifter can add octave down. But it’s got to be an amazing sounding fuzz if I want people to consider buying it. It has to sound great when compared to any Big Muff, and it has to effortlessly pair with a DSP section. So, getting the fuzz just right turned out to be the hardest part!”
The pedal design process also encountered some last-minute wrinkles. “The ramping and momentary switching capability was the last big feature that was added. That ramping function is like having an onboard expression pedal. We talked about it in the beginning of the process with Sarah Lipstate [also known as the artist Noveller], when Aaron Pierce [a key member on the Keeley team] was working on the initial concept. Later, Michael Kaye—the guitar tech for Pete Townsend and Trey Anastasio—asked, ‘Does it have momentary switching?’ and I was like, ‘Oh crap, I forgot about that!’” Keeley laughs.
The How-To Guide for Octa Psi's Hidden Features
For all of its readily accessible capabilities, the Octa Psi boasts several essential features that can only be accessed by using more than a single knob or switch. To unlock these features, it helps to have a few simple, specific instructions. For this reason, Keeley has included a brisk, handy primer on the back of each pedal. The Octa Psi’s key “hidden features” include:
- EFFECT ORDER: You can instantly switch the effect order by simultaneously holding the octave and fuzz footswitches.
- WET/DRY SELECTION: Double-click the blend control knob for switching between wet/dry blending or wet-only.
- MOMENTARY/LATCHING OPTION: Press and hold the fuzz footswitch to choose between momentary or latching operation. This is crucial if you plan on using the Octa Psi’s adventurous pitch shift ramping capability: the output signal begins with the initial note(s) you’re playing, and then veers up or down to the effected pitch. The ramp speed—i.e. how quickly this veering effect lasts—is controlled by….
- RAMP SPEED: If you’re using pitch shifting in the momentary mode, you can adjust the ramp speed by pressing and holding the octave footswitch down, then adjusting the blend knob control.
Part of an Ongoing Evolution
The Octa Psi underscores the continuing evolution of Keeley’s product line. In particular, it benefits from a pair of preceding Keeley devices: the I Get Around Rotary Simulator pedal and California Girls Twelve String Simulator—two pedals that were released in summer 2024 as exclusive offerings for the U.S. retailer Sweetwater, timed to coincide with The Beach Boys documentary on Disney+.
“That Beach Boys project did so much to help the DSP side of the Octa Psi,” says Keeley. “I got audio analyzers in so I could study the signals. We found out that we had to make our power supplies better because of the Beach Boys pedals, and that revolutionized our design. Everything that comes out since the Beach Boys pedals is going to sound even better. Plus, it was a lot of fun working with Sweetwater and JHS Pedals.”
Interestingly, for the Octa Psi project, the Keeley design team did not rely on much input from the company’s long list of affiliated artists. “I didn’t really have an artist that is a pitch/fuzz guru, so I had to keep it pretty much to ourselves. I knew that it had to be very musical—as musical as we could get it. And thankfully we have a team that can make this happen.”
The Keeley product development squad includes electrical engineer Craighton Hale, programmer Aaron Tackett, and Aaron Pierce—the “golden ears” member of the design group who helps analyze the sounds. “I’m just one part of the team of engineers that help make the products come to life,” Keeley notes.
Fun for Everyone
In the end, Keeley hopes that the Octa Psi pedal finds new and unconventional uses in the real world. “I wanted to come up with something that Jack White, Steve Vai, or Frank Zappa would have fun with—something that does all the crazy pitch-shifting with a purpose. And I’m hoping that musicians of all types will be attracted to this. People who want to distort their drums or bass or synth, and then start taking advantage of the pitch shifting. It’s almost like you get a great fuzz with the pitch shifter for free. On the other hand, I wouldn’t be surprised if some people use just the pitch shifter, if they’re not a fuzz maniac. You can get a lot of fun out of it without an expression pedal.”
Whether you’re a brazen sonic adventurer, or simply looking for a great-sounding dual function fuzz/harmonizer pedal, the Octa Psi offers a galaxy of tones for your arsenal.