One night, after a performance at an old inn in Pennsylvania, Ted saw a ghost—maybe. Oh, and happy early Halloween!
While this is our October issue, I know it’s a little early for Halloween, but why should Walmart and Target have all the fun? So, here’s a story about a haunted night on the road.
I used to play a chain of bars and inns in southeastern Pennsylvania, and the inns routinely put up the bands after the gig. A lot of those inns had a reputation for being haunted. One had photos of glowing orbs and whisps floating in mid-air taken in various rooms, and some were said to have spirits that played games with patrons, switching lights on and off, blowing in sleepers’ ears, playing tug of war with bedsheets, or the sound of long-gone steam locomotives whistling in the night. At the time, my band was a Mississippi-hill-country-inspired duo, called Scissormen, and several of my drummers experienced these things, but not me. I typically just slept as well as a chronic insomniac can.
Until one night at the Railroad House Inn in Marietta, Pennsylvania. During the gig, I noticed placards on the tabletops for regular meetings of the Pennsylvania Paranormal Association. After the show, I asked the owner, “Is this place haunted?” And he regaled me with ghost stories, noting that a couple staying in the room at the end of the second floor hall, where a gray lady dressed for an earlier century occasionally appeared, had a tug of war with this haint over their bed covers just the week before. Then he added, “I don’t even want to tell you what happened in your room.” Of course, I had to know. Turns out, over a hundred years ago a traveler had been brutally bludgeoned there for the contents of his purse.
Suddenly, I was less tired then I’d thought I was. So, my drumming compadre at the time, R.L. Hulsman, and I, thought it might be nice to sit on the second story back porch of this beautiful structure built in 1823 and enjoy the sweeping woodland view with a wee dram of Jameson—my other frequent traveling companion in those days. It was a warm but beautiful night, with the stars and moon filling the sky like poetry, and one hour quickly become another and another. R.L. and I could chew the fat for ages.
“I saw a gray figure wearing a bonnet, a Victorian skirt, and a frilled blouse go by. I was silent.”
Then, to my left, at the end of the porch, where the window to the haunted room stood uncurtained, I saw a gray figure wearing a bonnet, a Victorian skirt, and a frilled blouse go by. I was silent. Surely, John Jameson and his sons were playing tricks on me. But after about 20 minutes, Rob leaned in and said, gesturing toward that window, “Hey, did you see…?”
“Yes!“ I shouted back. And after a wee bit more liquid courage we decided to investigate.
The door to the allegedly haunted room was open, and we bumbled in, checking the closet, looking under the bed, tugging the bedcovers to see if we’d get a tug back, and checking for the cold spots that seem to be everywhere on paranormal-investigation TV shows. We sat on the bed for a while, but nuthin’. So, we left, and it was time for me to go back to my murder-scene room.
I changed into my PJs, put a glass of water on the bedside table, and spent some time reading a railroad magazine. (Yes, I am also a hardcore train nerd.) The breeze from the open window was delightful, and I soon fell asleep, waking up about 10 hours later, after one of the most wonderful rests I’ve ever had on the road. We lit out for the next gig, relaxed and ready to roll ’n’ rock, in that order.
If you expected a cataclysmic encounter with the souls of the dead, I’m sorry to disappoint. This doesn’t mean I discount others’ experiences, because I have seen and experienced some strange things, indeed. Maybe this spirit was kind, as well as playful, and gifted me the night’s sleep she knew I needed. And while I never played the Railroad House again, I do treasure this night and the memory of the sighting I either did or didn’t have—just another weird tale from decades spent on the road.
- Ted Drozdowski - Premier Guitar ›
- Tuning Up - Premier Guitar ›
- Tuning Up: My Rigs by Decade ›
- Tuning Up: Proud Hoarders ›
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although that’s kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term “selenium rectifier” might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts that’s likely because you pulled one of these green, sugar-cube-sized components out of your amp’s tube-biasing network to replace it with a silicon diode.
That’s a long-winded way of saying that, just like silicon or germanium diodes—aka “rectifiers”—the lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the element’s atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, it’s not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
“Today they are usually relegated to just a few larger industrial and military applications,” Cusack reports, “but after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.”
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesn’t flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. It’s never harsh or grating.
“The gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character.”
There’s plenty of output available via the level control, but the gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character. Settings below there remain relatively clean—amp-setting dependent, of course—and from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly can’t be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice that’s an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there it’s still a very welcome addition to the market, and definitely worth checking out—particularly if you’re looking for subtler shades of overdrive.
Some of us love drum machines and synths and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.