In a new band? Here’s how to fit in sonically—and do it in style.
Starting or joining a new band is a blast! There’s new music to create, new chums to hang with, and new sounds to explore. Which new sounds? In original music bands, in particular, this is a quandary that defines your role and the vibe of the band. If you are like me, you do a bit of everything at home: clean, classic-rock overdrive, jazzy mellow, over-the-top fuzz. It’s all fair game when it’s just for you. But once you get in a group of musicians, all listening to each other while morphing parts, how each person’s sound effects the flavor of the soup is worth considering in defining your approach. This is fun and challenging.
Do you want to play clean or distorted? How distorted? Naturally, this is a fine opportunity for amps and other new gear, depending on where you want to take it. Most of us are musical omnivores. I’ve found that after being in a band for a while where I’ve played mostly overdriven, I want to play clean atmospheric/textural guitar in the next group I play with. It’s great to mix it up, to stay fresh. Plus, to be honest, this starts to feel like a plausible justification for having so many guitars! I need my Les Paul for the rock, my Strat for slinky funk, and so on.
Some players take the opposite approach. There is a thing they do and love. They stay with that thing and continually refine it. These men and women are called … professionals!
I’m kidding a bit, but it’s also true! That said, most of us play in bands purely for fun. It’s a chance to get out, socialize, and create music. There’s no downside there. So, in that spirit, here’s a short guide to band practice and playing out with friends:
• Be a good host. Snacks and drinks are always welcome. You have a handful of musicians coming to your place after a long day of work. Perhaps they’re driving a while to get to you. Creature comforts go a long way, making for smiles and relaxed creativity. Plus, remember why you got together. We all love music and playing instruments. Shrug off the day’s stress. It’s time to rock!
• Listen. Did the bass player just play the wrong notes … but it sounded great? Go with it! Ask him to do it again. Are you playing lead riffs over the vocals? Pull back and find the punchiest place to step out. Music is as much about space as it is about the notes you play.
• Do your part: Help move gear. One group I was in had a guitar player/singer who would leave the stage immediately after our sets to greet the adoring crowd, leaving me and the rest of the band to move our gear and his offstage so the next band could start. Occasionally a star is born, but until you have roadies, you better do your share!
• Bring what you need. Do you have your strap, picks, extension cords, spare strings, drummer?
• Don’t drink too much at practice or onstage. Stages are usually hot, thirsty places. By the time you realize you are a bit too jolly, your rhythm and chord-change memory are fading. Please don’t ask how I know.
Here’s an anecdote: Years ago, a drummer friend’s band was on a college-town club tour. Two weeks in, they found themselves the only band playing in a town they’d never been to before. It’s 10 p.m. and not a soul is there. So they figure, “Hey, it’s been a push so far, let’s relax tonight. No one is coming so we’ll get loose, open-bar style.” So they do. At 11:15—when the band is now very well lubricated—people start showing up. Lots of people. The place is packed. The bartender decides this is the time to tell them no one shows up till 11:30! Thanks fella. Our boys then have a two-hour knuckles-dragging set to perform. I can only imagine how it sounded, but my friend said playing that set was the most difficult, demoralizing, self-inflicted pain the band ever endured.
• Clear the stage when you’re done. And on a final note, to keep in the good graces of local clubs and the bands you may open for, when it’s time to get off the stage, do so graciously and quickly. I love being the opening band. Hey, I’m in my mid 50s. Being done with our set by 11 p.m. or even earlier is the greatest!
Until next time, rock hard and pass the snacks.
Nineties-style high-gain heaviness that can be surgically tailored with a powerful EQ.
Excellent variations on high-gain modern distortion tones. Powerful EQ.
Not many low- or mid-gain sounds here.
$199
JHS Hard Drive
jhspedals.com
JHS makes many great and varied overdrive stomps. Their Pack Rat is a staple on one of my boards, and I can personally attest to the quality of their builds. The new Hard Drive has been in the works since as far back as 2016, when Josh Scott and his staff were finishing off workdays by jamming on ’90s hard rock riffs.
During these sessions, Scott’s go-to pedal was the Ibanez SM7 Smash Box. He realized that JHS had never offered anything along those lines, conferred with his then lead engineer, Cliff Smith, and the wheels were set in motion. Over several years of design, the Hard Drive evolved from an SM7 homage to a unique, original circuit.
JHS’ Hardest to Date
The Hard Drive’s control panel is streamlined, consisting of knobs for volume, mid frequency, drive, bass, middle, and treble. Driven by cascading gain stages, the Hard Drive can cop a wide range of modern distorted tones. Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end on muted power chords. Nudging the drive up very slightly transforms the Hard Drive into a roaring Marshall JCM 900. And if you bring the drive all the way up, you’re in for all out chaos. Even with an amp set just louder than bedroom levels, the Hard Drive, with its volume at just 11 o’clock, is very loud and in-your-face. You don’t have to work hard to imagine how this could sound and feel like multiple stacks raging at Madison Square Garden in the context of a recorded track.
Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end.
Zoning the Frequencies
Unlike some heavy pedals that concern themselves with mega-gain and little else, the Hard Drive’s EQ controls are very effective and powerful. Moving the treble knob from 11 o’clock to 1 o’clock changes the pedal’s tone and response characteristics completely, opening up and transforming the naturally relatively dark sound of my Fender Super Sonic amp. Turning the treble knob all the way off with the bass and mid knobs at noon gives me a vocal lead tone that’s creamy, warm, and still immediate and responsive.
The middle and mid frequency controls work in tandem. The mid control itself works as a cut or boost. The mid frequency control, however, lets you choose the specific frequency you cut or boost. I found these controls invaluable for sculpting tones that could leverage the copious gain without being abrasive. Meanwhile, adding more high midrange lends clarity to complex chords.
The Verdict
The Hard Drive is an unapologetically heavy pedal—if you’re looking for a dirt box that can double as a clean boost, well, the Hard Drive is not that. It’s meant to slay with gain, and it performs this task well and with a vengeance. There are countless dirt boxes on the market that deliver hot rodded, ’80s-style brown sound. Fewer cater to the subsequent generations of high-gain players that used the ’80s as a mere jumping-off point. The Hard Drive is very much voiced for this strain of heavy music. If that’s your jam, the Hard Drive is hard to beat.
Tailored for Yngwie Malmsteen's signature sound, the MXR Yngwie Malmsteen Overdrive is designd to offer simple controls for maximum impact.
Working closely alongside Yngwie, the MXR design team created a circuit that delivers clarity, expressive dynamics, and rich harmonics—all perfectly tailored for his light-speed arpeggios, expressive vibrato, and big, bold riffs. The control setup is simple, with just Level and Gain knobs.
"Want to sound like Yngwie? Crank both knobs to the max."
“This pedal is the culmination of 45+ years developing a sound that’s perfect in every possible way,” Yngwie says. “I present to you: the MXR Yngwie Malmsteen Overdrive. Prepare to be amazed.”
MXR Yngwie Malmsteen Overdrive highlights:
- Perfectly tailored for Yngwie Malmsteen's signature sound and style
- Simple control setup tuned for maximum impact
- Boost every nuance with superior clarity, expressive dynamics, and rich harmonics
- Dig into light-speed arpeggios, expressive vibrato, and big, bold riffs
The MXR Yngwie Malmsteen Overdrive is available now at $129.99 street/$185.70 MSRP from your favorite retailer.
For more information, please visit jimdunlop.com.
Voltage Cable Company's new Voltage Vintage Coil 30-foot guitar cable is now protected with ISO-COAT technology to provide unsurpassed reliability.
The new coiled cables are available in four eye-grabbing retro colors – Surf Green, Electric Blue, Orange and Caramel – as well as three standard colors: Black, White and Red. There is also a CME exclusive “Chicago Cream” color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The company’s ISO-COAT is a patent pending hermetic seal applied to solder terminations.
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.