The line includes the Classic Overdrive, C4 Distortion, and Orbital Fuzz.
Edmonton, Canada (November 13, 2018) -- The time is now. After decades of research, two senior PhD researchers at the Nanotechnology Research Center in Edmonton, Alberta, Canada have perfected a new carbon-based clipping technology called a āNanolog Device.ā What was once thought to only be a possibility in the scientific world is now a reality, a carbon molecular junction that can replace traditional silicon and germanium diodes to leverage the scientific discoveries that quantum physics has to offer. This carbon technology bridges two conductors with a layer of carbon molecules for improved tones, dynamics, feel, and warmth.
The product of years of research and exploration, these pedals are hand-made in Canada and push to discover the true potential of carbon technology. The Carbon Series features these Nanolog Devices across an array of guitar pedal styles with the Classic Overdrive, C4 Distortion, and Orbital Fuzz:
Perfect for any seasoned tone hunter, these pedals bring a new element into the signal chain. Carbon distortion brings with it less compressed and smoother soundwaves compared to any traditional diode. Nanolog Devices, the āN1ā & āN2ā carbon settings, use a process called quantum tunneling to conduct voltage up to 50% smoother than current clipping technology. This results in tones and sound characteristics than cannot be matched with either silicon or germanium options.
The output from the Nanolog Device (N2) closely mirrors the organic input signal. The carbon signal is less compressed. This opens up a new arena of playability as a musician, while creating more dynamic and fuller tones. Silicon distortion, used in the majority of guitar pedals, is often described as āharshā and ātin-likeā where carbon provides a tube-like warmth and robust low-end.
The initial run will be limited to 50 of each design and distributed through Reverb.com & Nanolog direct.
Forging together a passion for science and music, Nanolog Audio Inc. was founded in 2015 with the successful creation of the first Nanolog Device. In a collaboration with the legendary Dr. Scientist, they created the first carbon powered distortion pedal ā āThe Heisenberg Molecular Overdriveā. Since then, Nanolog has further explored how they can push the potential of this carbon technology to the limits in a variety of setting and applications, amounting to the upcoming Carbon Series product launch.
- Product Release Date: November 13, 2018
- Product Lineup: Classic Overdrive, C4 Distortion, Orbital Fuzz
- Price Per Pedal: $235 USD
For more information:
Nanolog Audio
Fuzz, octave, and odd intervals co-mingle and clash with bizarre, mangled, musical, pretty, and often shockingly unpredictable results.
Scores of tones that span the musical and the ridiculous. Fun and ferocious fuzz. Octave can be used independently. Often intuitive in spite of its complexity. Tracks pitch shifts without glitches
Easy to get lost in the weeds if you donāt do your homework.
$249
Keeley Octa Psi
robertkeeley.com
Iād venture that most guitarists instinctively regard fuzz as a brutish, brainless effect (which is funny given how much energy in our community is dedicated to dissecting the nuances and merits of different fuzz types). Keeleyās Octa Psi, however, transcends mere troglodyte status by combining a fundamentally nasty fuzz voice in three switchable variations, and a web of octave and interval tones that transform the Octa Psi into a synthesizer capable of textures ranging from soaring to demented to downright evil.
Crush of the Space Invader
Itās no mistake that the little figure adorning the face of the Octa Psi looks like a sinister cross between a Space Invader and a Cylon. The Octa Psi often evokes the 8-bit, synthy sounds of ā80s arcade games. But the fact that the Octa Psiās sounds range to cartoonish extremes shouldnāt suggest to a potential user that the Octa Psi is anything less than musical. And the smart, if complex, control layout ensures you can span both extremes with ease.
The Octa Psi is effectively made up of an analog fuzz and a digital octave section. The knobs on the fuzz side are no-brainer stuff: fuzz, master level, and tone. The 3-position toggle, however, expands the potential of those three knobs exponentially. In each mode the fuzz has a cool, snorkel-y, almost filtered essence, with hints of cocked-wah snarl. The punch voice features a bass-heavy profile thatās cloaked in pea-soup fog at the extreme treble-cut/bass-boost ends of the tone controlās range, but crushes like a Tony Iommi-operated wrecking ball in the middle section. The psi mode is even thicker and doomier, though not just heavier in the bass. Thereās also more midrange presence that lends extra definition and makes the fuzz feel more explosive under the fingers. The scoop setting, in very relative terms, sounds almost thin compared to the other two. But no voice is exactly short on power here, so perhaps itās best to call it focused. Each of these modes, which already have heaps of tonal range thanks to the versatile tone knob, can be altered dramatically by the octave section.
Getting a feel for the octave options definitely takes practice. And though intuitive exploration of the possible combinations is rewarding, itās essential that you do your homework if you want to maximize the pedalās potential and avoid musical muddles. The Octa Psiās complexity is largely down to the fact that it gives you much more than just a few octaves up or a few octaves down to work with. First, you can blend in the amount of octave signal. Then there are eight pitch modes available via the rotary switch. Each of these modes shifts in character, depending on whether you select the octave up, octave down, or dual octave setting with the toggle switch. But you can also reshape the tone by pressing and rotating the blend switch, which, depending on where youāve set the other octave controls, will add octave intervals, like sharp ninths, stacked fourths, and major and minor voicings. Additionally, each of the preset modes will save your settings in dual modeāeven after you unplug.
Ā Controlled Chaos
There is another reason the video game correlation implicit in the Octa Psi logo is appropriate: At times, using it can feel like the sky above your moon base is raining laser bombs and youāre being menaced by alien aircraft from all sides. It can be really chaotic, particularly if youāre finding your way by ear rather than consulting the extensive pitch matrix in the manual. Chords are sometimes rendered into atonal glop, and, like any octave fuzz, itās often easiest to stick with single-note lines.
But for all the mayhem Octa Psi can unleash, finding a clear musical path can be easy and feel like striking gold. Plus, the pedal is, in its way, quite forgiving. It tracks pitch changes well, and rarely collapses on itselfāeven when executing whole step bends colored by dissonant intervals. You can also use the octave without the fuzz, which yields conventional sounds like pretty faux-12-string, watery chorus tones, and subtle harmonies for clean leads.
The Verdict
The Octa Psiās power and tonal vocabulary is impressive. Youāll have to be brave or have a very good memory to move between radically different settings on a dimly lit stage. And we didnāt even mention the wealth of āadvancedā settings that include volume tilt, pitch ramping, effect order shifts, and more. But the bounty of smooth-to-sick sounds here means the Octa Psi could be a difference-maker in a studio or recording environment when youāre reaching for tone colors and moods that break norms. And though the Octa-Psi could, on the surface, seem nichey, itās fun to think about the many musical styles and applications where its sounds could find a homeāfrom doomy Sabbathoid chug, to film scores, to glitchy hip-hop hooks, to video-game sound design.
On this episode of the 100 Guitarists podcast, weāre talking about our favorite Lukather tracks, from his best rhythm parts to his most rippinā solos. And even though he spends most of his playing time with the biggest names, weāve managed to call up a few deep cuts.
Steve Lukather is one of the most documented guitarists in the hit-making biz. He grew up as an L.A. teen with a crew of fellow musicians who would go on to make their livings at the top of the session scene. By the time Lukather and his pals formed Toto, they were already experienced chart-toppers. The band went on to success with hits including the rockinā āHold the Line,ā breezy, bouncing āRosanna,ā and the timeless āAfrica.ā
As a session player, Lukatherās reign in the ā70s and ā80s extended from Olivia Newton-John to Herbie Hancock to Michael Jackson. And alongside Michael McDonaldāwhose āI Keep Forgettinā (Every Time Youāre Near)ā included Lukatherās distinctive rhythm riffageāDaryl Hall and John Oates, Kenny Loggins, Peter Cetera, and Christopher Cross (among many others) he may have earned the title of yacht rockās number one guitar player.
On this episode of the 100 Guitarists podcast, weāre talking about our favorite Lukather tracks, from his best rhythm parts to his most rippinā solos. And even though he spends most of his playing time with the biggest names, weāve managed to call up a few deep cuts.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
Nashville session and stage MVPs craft an aural wonderland with their genre-defying instrumental album, In Stereo.
Working from a shared language of elegance and grit, Nashville guitar domos Tom Bukovac and Guthrie Trapp have crafted In Stereo, an album that celebrates the transcendent power of instrumental musicāits ability to transport listeners and to convey complex emotions without words.
In Stereo also honors Trapp and Bukovacās friendship, which ignited when Trapp and Bukovac met over a decade ago at Nashvilleās 12 South Taproom eatery and clubāan after-hours musicianās hangout at the time. They also sometimes played casually at Bukovacās now-gone used instrument shop, but when theyāre onstage todayāsay at Trappās Monday night residency at Nashvilleās Underdog, or at a special event like Billy Gibbonsā BMI Troubadour Award ceremony last yearātheir chemistry is obvious and combustible.
āGuthrie is very unpredictable, but for some reason our two styles seem to mix well.āāTom Bukovac
āItās like dancing with somebody,ā Bukovac says about their creative partnership. āIt is very easy and complementary. Guthrie is very unpredictable, but for some reason our two styles seem to mix well, although we play very differently.ā
As PepĆ© Le Pew probably said, āVive la diffĆ©rence.ā While theyāre both important figures in Nashvilleās guitar culture as badass, in-demand session and live players, Trapp also points out that the foundation of their respective careers is on opposite swings of that pendulum. Bukovacās reputation was built on his studio work. Besides his touring history, heās played on over 1,200 albums including recordings by the Black Keys, Glen Campbell, Keith Urban, Stevie Nicks, Bob Seger, and Hermanos GutiĆ©rrez. And Trapp considers himself mostly a stage guitarist. He emerged as a member of the Don Kelly Band, which has been a Lower Broadway proving ground for a host of Nashville 6-string hotshots, including Brent Mason, Johnny Hiland, and Redd Volkaert. In recent years, you may have seen him on the road with John Oates. Itās also possible youāve heard Trapp on recordings by Rodney Crowell, Emmylou Harris, and Roseanne Cash, among others.But back to In Stereo. āThis record is truly for the love of music and not giving a shit what anybody else is going to think about it,ā relates Trapp, as he, Bukovac, and I sit and talk, and they noodle unplugged on a Danocaster and an ES-355, respectively, in the warm, instrument-filled surroundings of the Cabin Studio in East Nashville. The album was recorded there and at another studio, simply called the Studio, with Brandon Bell engineering.
āWhen we started working on the album, it was very loose,ā explains Bukovac. āI never wanted to bring in anything that was complete because the key is collaboration. So, I knew better than to come in with a complete song. And Guthrie didnāt do that either. We would just come in with a riff for an idea and then let the other guy finish itāand thatās the best way to do it.ā
āItās got enough humanityāreal playingāmixed with the cinematic side of it.āāTom BukovacAll of which helped make In Stereoās 11 compositions seamless and diverse. The album opens with a minute-long ambient piece called āWhereās the Bluegrass Band,ā which blends acoustic and electric guitars, feedback, and keyboards with generous delay and reverbātelegraphing that listeners should expect the unexpected. Of course, if youāve been following their careers, including their estimable YouTube presence, youāre already expecting that, too. So, a soulful composition like āThe Black Cloud,ā which builds from a Beatles-esque melody to a muscular and emotive power ballad of sorts, comes as no surprise. āDesert Manā is more of a mindblower, with its dark-shaded tones and haunting melodies. āCascade Parkā is an unpredictable journey that begins with delay-drenched piano and leads to Trappās acoustic guitar, which evolves from contemplative melody to feral soloing. And āBad Cat Serenadeā and āTransition Logo Bluesā balance the worlds of country and jazz fusion. Overall, the music is timeless, emotional, and exploratory, creating its own world, much as Ennio Morricone did with his classic film soundtracks.
Tom Bukovac's Gear for In Stereo
Tom Bukovac and his ā58 Les Paul sunburstāone of just a handful of guitars he used to record In Stereo.
Guitars
- 1958 GibsonĀ Les Paul āBurst
- 1962 Stratocaster
- Harmony acoustic rebuilt by James Burkette
- Jeff Senn Strat
Synth
- Roland XP-30
Amp
- Black-panel Fender Princeton
Effects
- Nobels ODR-1
- Strymon Brigadier dBucket Delay
Strings & Picks
- DāAddario NYXLās (.010ā.046)
- Fender Mediums
āItās a lot to ask somebody to sit and listen to an instrumental record,ā Bukovac offers, āso I was just trying to make sureāand I know Guthrie did the sameāit doesnāt get boring. When I finally sat and listened to this thing in its entirety, which was many months after we actually recorded, I had forgotten what weād even done. I was overwhelmed. I love that I never got bored. It moves along and has moments where it gets into sort of a trance, in a good way, but it never stays there too long. Itās got enough humanityāreal playingāmixed with the cinematic side of it.ā
Trapp picks up the thread: āIf youāre in Nashville for a long time and youāre paying attention at all, you understand this is a song town. No matter how you slice it, itās all about the vocal and the lyric and the song. So, it doesnāt matter if youāre making an avant-garde instrumental guitar record. That influence is pounded in your braināhow important it is to trim the fat and get down to the song. A song is a song. It doesn't matter if itās instrumental or not. Itās a āDonāt get bogged down and get to the chorusā kind of thing.ā
āA song is a song. It doesnāt matter if itās instrumental or not. Itās a āDonāt get bogged down and get to the chorusā kind of thing.āāGuthrie Trapp
Which alludes to the sense of movement in all these compositions. āItās very important that every section of a song delivers every transition,ā Bukovac adds. āWhen you go into a new room, when you open that door, itās got to be right. Thatās what I think about records. And thereās a lot of shifting on this record. We go from one field to another, and were very concerned about making sure that each transition delivers.ā
Guthrie Trapp's Gear for In Stereo
Guthrie Trapp recording with his Danocaster Single Cut, made by Nashvilleās Dan Strain.
Guitar
- Dan Strain Danocaster Single Cut
Amps
- Kendrick The Rig 1x12 combo
- Black-panel Fender Princeton
Effects
- Strymon Brigadier dBucket Delay
- Strymon Lex
- Nobels ODR-1
- Xotic RC Booster
- T-Rex Tremster
- Boss TU Tuner
Strings & Picks
- DāAddario NYXLās (.010ā.046)
- Medium celluloid
That kind of thoughtful developmentāthe set up and delivery of various compositional sections in songsāisnāt exactly a lost art, but itās certainly rarer than in earlier decades. Listen to Elton Johnās Goodbye Yellow Brick Road to hear how Davey Johnstone sets up verses, choruses, and bridgesāor anything by David Gilmourāfor reference. Itās also a goal best accomplished with a team of exceptional players, and, of course, Trapp and Bukovac enlisted some of Music Cityās finest. The cast includes steel-guitar legend Paul Franklin, keyboardist Tim Lauer, bassists Steve Mackey and Jacob Lowery, and drummers Jordan Perlson and Lester Estelle.
āDonāt tell my mom, because of course we all want to make a living, but playing music that has integrity is at the top for me.āāGuthrie Trapp
āWe recorded the basicsāreally, most of the tracksālive on the floor,ā says Trapp.
āWe kept a lot of the original throw-down/go-down solos,ā Bukovac adds. āThere were very few fixes and overdubs. One of the best moves we made was letting an outside person objectively sequence it, because you can get a little bit too inside your own thing. Itās like ā¦ if youāve ever done a photo shoot, if you let somebody else choose the photo, itās never going to be the one youād choose, and itās probably a better choice.ā That task fell to Nick Govrik, another friend and engineer.
The terrain Bukovac and Trapp cover on their first album together is expansive and transportingāand packed with impressive melodies and guitar sounds.
The shipment of In Stereoās vinyl arrived shortly before Trapp, Bukovac, and I talked, and while Bukovac released his first solo album, Plexi Soul, in 2021, and Trapp put out his releases Pick Peace and Life After Dark in 2012 and 2018, respectively, they seemed as excited to listen to it as teenagers in a garage band unveiling their debut single. Thatās because, despite their standing and successes, playing guitar and making music is truly in their blood. What they play is a genuine expression of who they are, ripped from their DNA and presented to the world.
āDonāt tell my mom this, because of course we all want to make a living, but playing music that has integrity is at the top for me,ā says Trapp. āThese days, with AI and people worried or insecure about where the music business is going, and all these Instagram players who just are fixing everything with Pro Tools so they sound like theyāre in a studio, I donāt worry because weāre not selling bullshit. We have 35 years of real experience between us, and when we do social media, weāre just reaching for a cell phone and posting it. Itās organic. That, to me, is a big difference. At the end of the day, I can sleep well knowing that I have earned the respect of the people that I respect the most. Itās just authentic music made for the very reason we got into this in the first place. We love it.ā
YouTube It
Guthrie Trapp and Tom Bukovac practice their live chemistry together at Trappās standing Monday night gig at Nashvilleās guitar-centric Underdog.
With built-in effects, headphone output, and AUX connectivity, these compact devices are designed to provide ultimate versatility for practice sessions at home or on stage.
Aguilar is introducing the amPlug3 Tone Hammer, a portable headphone amplifier inspired by the iconic Tone Hammer sound. Ideal for practicing anywhere, this compact device packs dual channel Clean and Drive modes for ultimate versatility. To help keep practice sessions inspiring, the unit includes reverb, chorus, and compression as built-in, onboard effects and a built-in rhythm feature to keep any players favorite basslines in time. Lastly, the amPlug3 features AUX connectivity to allow players to play along with tracks, or via a TRRS cable, record straight to a phone or laptop with ease. Whether at home, in the studio, or on the road, the amPlug3 Tone Hammer offers a convenient practice solution without compromising tone.
In addition to the amPlug 3 Tone Hammer, Aguilar has revamped their iconic Tone Hammer Preamp pedal. Built upon the original design that has become an essential tool for bass players seeking tone and flexibility. Incorporating customer feedback and refining key features, the new Tone Hammer Preamp offers enhanced drive functionality featuring an expanded gain range with a separate "drive" control for greater tonal precision, allowing users to refine their overdriven and clean tones independently. New Practice-friendly features include the addition of a headphone output and auxiliary input, allowing the pedal to double as the perfect practice companion at home or on the road. The updated, compact enclosure has a modern aesthetic, complementing the Tone Hammer series of amplifiers.
āWe are thrilled to expand the Tone Hammer family with these new products,ā said Jordan Cortese of Aguilar Amplification. āThe reimagined Preamp/DI pedal and the all-new amPlug3 Tone Hammer provide bassists with even more options to achieve their perfect sound, whether theyāre on stage or practicing on the move.ā
Street Prices:
- Tone Hammer Preamp Pedal $299.99
- amPlug3 Tone hammer $59.99