Tight spacing between pedals calls for a tighter cable approach. Gator Cableworks now offers a space-saving option with the launch of Flat Patch Cables, available as part of its Composer Series collection of high-quality audio cables.
The Composer Series Flat Patch Cables are built for musicians who demand premium signal integrity and efficient pedalboard management. Each cable features slim, compact connectors that fit into tight spaces and adapt to a variety of challenging pedal layouts, helping reduce clutter and maximize usable surface area on crowded boards.
Engineered for high performance, the cables feature 99.99% oxygen-free copper conductors to ensure clear signal transmission. The 24 AWG low capacitance construction helps preserve tone while minimizing interference, and a double-shielding layer delivers a 100% shielding factor to guard against noise and RF disruption.
Each cable includes TS male right-angle ¼-inch connectors with nickel-plated housing and 24K gold-plated contact tips, providing optimal conductivity and corrosion resistance for long-term reliability.
The Composer Series Flat Patch Cables are available in the following sizes and pack options: 3-inch, 6-inch, 12-inch and 24-inch lengths, as well as 3-packs of 3-inch, 6-inch and 12-inch models. All Cableworks cables are backed by a Limited Lifetime Guarantee.
The first thing most guitarists think of when they hear the phrase “hybrid picking” is undoubtedly twangy Telecasters. While that may be the most common use of hybrid picking, it is far from the only application. Diving into hybrid picking opens a whole new world of control, timbre possibilities, ideas, speed, and more.
As beginning guitarists start to move into the intermediate level, they typically build speed by practicing alternate or economy picking. It makes complete sense–especially to someone who’s new to the journey–that if you’re holding a pick, that’s what you should strike the strings with. I grew up learning how to play taking a slightly different route. Personally, I found it easier to be faster–and cleaner–to hybrid pick phrases, lines, and solos. It clicked with me and therefore was the technique I homed in on when growing from a beginner to an intermediate player. My alternate and economy techniques still aren’t as comfortable as hybrid picking, so here are some ideas from a guy that learned things from a bit of a different perspective. If you feel like your playing has plateaued, this might help you to keep climbing.
Small note: I use the pad of my fingers when hybrid picking and not the nail.
Step 1: Focus on the Small Differences
In Ex. 1 you’ll find what I consider to be one of the main benefits of getting comfortable with hybrid picking. I pick every note of the phrase on the first pass, but hybrid pick it on the second. On the second pass, the root note (open 4th string) is the only note the pick hits. I generally like to approach hybrid picking with an “each finger is assigned a string” method, meaning in this example the middle finger picks the note on the 3rd string and the ring finger picks the note on the 2nd string. Listening to the same two phrases played differently, you’ll note that there’s a tad more feel and nuance the second time through. These are subtle but can make all the difference in the world when it comes to creating, playing, recording, or performing parts. The combination of a mountain’s worth of small differences like this are what sets the pros apart!
Step 2: How to Play Chords with Hybrid Picking
Ex. 2 is how I love to use hybrid picking when comping. In this example the pick is handling everything on the 5th string while the middle finger picks the 4th string, the ring finger picks the 3rd string, and the pinky picks the 2nd string. Not only does hybrid picking this groove allow for a ton of control, it allows the pick to rhythmically separate from the rest of the fingers, creating a faux bassline. Again, using the middle, ring, and pinky fingers give a softer touch to the upper end of the chords, creating a more nuanced feel.
Step 3: Time to Go Low
Taking the idea of the pick handling the low end of the chords and giving the notes focus while the fingers contribute to clarity and softness on the upper end of the chords, we get Ex. 3. The pick only strikes the 6th string, while the middle finger picks the 3rd string, and the ring finger picks the 2nd string. This example of hybrid picking is widely used by guys like John Mayer and allows a player to have a ridiculous amount of control over what strings are being struck when playing something clean such as this.
Step 4: Let’s Get Sweeping
Applying this concept to lead playing, Ex. 4 replaces what would typically be an upward sweep with hybrid picking. The pick strikes the A note on the 7th fret of the 4th string. Then, the middle finger picks the C# on the 6th fret of the 3rd string, the ring finger picks the E note on the 5th fret of the 2nd string, and the pick strikes the F# on the 7th fret of the 2nd string. This is followed by a downward sweep of the same notes in reverse order. To end the lick, I pick the open 4th string. That’s when hybrid picking allows me to play a rolled Dmaj7 chord. These two embellishments are highly useful when both soloing and comping, and once again are a small touch that provides some “spice.”
Step 5: Enough with the Clean Stuff
Ex. 5 is a lick I use (I should probably say abuse) consistently. My sweep picking skills are abysmal. In part because I haven’t dedicated the appropriate time to practice them, but also partly because I tend to hybrid pick as a cheat or workaround. The lick is based on a G major arpeggio beginning at the 10th fret of the 5th string. I then pick the 4th string with my middle finger and the 3rd string with my ring finger. From there, I gather for a few notes with the pick on the 3rd string and repeat the pattern again across the fretboard. However, the second hybrid-picked part of the lick begins by striking the 9th fret of the 3rd string with the pick, then using my middle finger to pick the 8th fret of the 2nd string and my ring finger to pick the 7th fret of the 1st string. To end the arpeggio, I strike the 10th fret of the 1st string with the pick. The last bit of the phrase is a garden variety blues lick ending.
Hybrid picking is an extremely valuable tool that I think every guitar player should have in their arsenal. A player can have more control, feel, and timbral options compared to only using a plectrum, and it’s an easier way to add velocity with very minimal right-hand movement or tension. Try hybrid picking different grooves, licks, arpeggiated chord shapes, and even pieces of lead lines you already know to begin exploring how the technique can work for you.
Continuing to shatter the boundaries of what is possible within the analog time-modulation domain, Mr. Black is proud to announce the all-new Mod.One - Analog Modulator. The Mod.One combines chorus, flanger and “high-band” flanger into a single compact pedal, readily capable of creating each effect independently, and further expanded by its ability to seamlessly morph between these processes on the fly, bridging the gaps between the classic, related modulation sounds, while affording all-new tones and possibilities.
Hand built and individually calibrated, the Mod.One also includes Click-Less relay true-bypass, six waveforms and precision tap-tempo, delivering premium analog modulation in a built-to-last compact and handsome package.
Key features:
• 100% analog signal path
• Wide range of LFO speeds
• Six waveforms
• Tap-Tempo
• Click-Less True-Bypass
• Powered by “Industry Standard” 9VDC
The Mod.One carries a MAP of $249.95 and is handmade, one-at-a-time in Portland, Oregon U.S.A. Available at: www.mrblackpedals.comand retailers worldwide.
Living up to its name, “Colossal,” this pickup set has more of everything. Play them softly and they deliver an unmatched airiness to the notes; play them aggressively and they will blow your hair back. These passive pickups are designed to effortlessly respond to soft touch, slap, or aggressive pick attack with ease.
As with our game changing Relentless™ pickups, we removed all the hard edges from the metal covers, and added an arch to the top contour, bringing the sensing coils closer to the middle strings. These improvements increase the string balance and overall dynamic range.
The Colossal™ pickups are a fully humbucking design and are completely shielded, making them a better choice for both recording and live shows. These pickups can be used with the coils in series, parallel, or split configurations, making multiple sounds easily achievable without the need for digital filters. The Colossal™ Bridge and Neck can easily be combined with active electronics.
Using a thick .09375” circuit board baseplate as the foundation, the Colossal™ pickups are simple to install and use our quick connect cable system. The soapbar shaped (EMG40® sized, 37.75mm x 101.25mm) pickups incorporate Neodymium magnets, producing significantly more output and dynamic range than traditional active or passive pickups. To improve the balance when both pickups are used together, we made the bridge position pickup louder than the neck position pickup. When the pickups are blended, you get a better volume match.
Colossal™ pickups have a richly detailed mid-range that growls, delivering notes with definition and openness, and they work well with dropped tunings. The highs are present and precise without harshness, and the lows are thunderous and tight, like the footsteps of a giant.
Available in Nickel, Gold, or Matte Black finishes.
Band Industries has unveiled Roadie 4, the latest generation of the company’s innovative automatic tuners.
Designed for fast, reliable tuning for nearly any instrument with geared pegs, the new tuner is built from the ground up with enhanced accuracy and usability. Roadie 4 delivers a smoother, faster, and more reliable tuning experience. With revamped algorithms and upgraded audio circuitry, it offers excellent noise immunity and pinpoint tuning accuracy, whether you're tuning on stage, in a noisy rehearsal room, or at home.
Key new features include:
Completely reengineered algorithms and audio circuitry for superior tuning accuracy and better performance in noisy environments
Larger 1.9" full color LCD screen with over twice the display area for greater visibility when tuning
New intuitive scroll wheel for lightning fast selection and navigation
Auto detect feature: In previous models, Roadie tuned your instrument in a fixed sequence lowest to highest string or required manual string selection. Now, just pluck any string. Roadie 4 will automatically detect which string you are on, tune it precisely, and notify you when it is in tune with a vibration and audible beep
Redesigned peg connector to accommodate a wider range of larger and smaller pegs
Improved ergonomics: Taller build, anti slip backing, and a more natural, secure grip
Band Industries introduced the original Roadie Tuner in 2014, followed by the breakout Roadie 2 in 2017 and the powerful Roadie 3 in 2020. Roadie 4 builds on that legacy and provides even better performance.
From electric and acoustic guitars to mandolins, ukuleles, banjos, and more, Roadie 4 tunes almost any instrument with geared pegs. It also winds new strings quickly and accurately, making string changes a breeze.
Roadie 4 is available for street price of $139. For more information visit roadiemusic.com.