Nate Garrett's mystical brand of metal mixes morose modulation with nods to EVH and James Hetfield.
Facing a mandatory shelter-in-place ordinance to limit the spread of COVID-19, PG enacted a hybrid approach to filming and producing Rig Rundowns. This is the 28th video in that format.
Guitarist Nate Garrett earned his stripes in the Arkansas metal scene alongside sludgy contemporaries Pallbearer and Rwake. He toured the States and beyond with Gatecreeper and Take Over and Destroy. He always played the support role. (Garrett claims in a Consequence of Sound interview to have played in 29 bands before Spirit Adrift.) He hammered away on his 6-string in the shadows, bringing to life other peopleās visions. It was time for his own story to be told. So, in the mid 2010s, he started Spirit Adrift as a personal creative space.
Garrett admits that when he started Spirit Adrift as a personal endeavor two things never entered his mind. First, he never planned on playing gigs. Then, he went full Spector and layered dozens of guitars, bass parts, and synth colors in his 2016 debut, Chained to Oblivion, making it nearly impossible to fully recreate with a band smaller than Skynyrd.
In 2017, he formed a 4-piece band and took his riff portfolio to the stage. The sonic consolidation and incorporation of others input pushed the band from its doomy, swampy roots and broadened it with a Master of Puppets-meets-Vol. 4 realm that featured chugging rhythms, guitar harmonies, and slicing solos. Later that year they put out the more svelte, menacing Curse of Conception and the further polished juggernaut Divided by Darkness in 2019.
Just after Spirit Adriftās fourth (and most eclectic) album Enlightened in Eternity was released, Nate Garrett virtually welcomed PGās Chris Kies into his home jam space just outside of Austin, Texas. In this Rig Rundown, the former one-man band opens up about turning to his heroes for gear guidance, formulating workarounds for dreaded bunk backlines, and explains (and demos) how a little chorus and reverb goes a long way in heavy music.
Click below to listen wherever you get your podcasts:
Another day, another pedal! Enter Stompboxtober Day 7 for your chance to win todayās pedal from Effects Bakery!
Effects Bakery MECHA-PAN BAKERY Series MECHA-BAGEL OVERDRIVE
Konnichiwa, guitar lovers! šøāØ
Are you ready to add some sweetness to your pedalboard? Letās dive into the adorable world of the Effects Bakery Mecha-Pan Overdrive, part of the super kawaii Mecha-Pan Bakery Series!
š© Sweet Treats for Your Ears! š©
The Mecha-Pan Overdrive is like a delicious bagel for your guitar tone, but itās been upgraded to a new level of cuteness and functionality!
Effects Bakery has taken their popular Bagel OverDrive and given it a magical makeover. Imagine your favorite overdrive sound but with more elegance and warmth ā itās like hugging a fluffy cat while playing your guitar!
Jeff "Skunk" Baxter expands his acclaimed first-ever solo album, Speed of Heat, with a brand new Storytellers Edition, featuring brand-new commentary tracks.
For over five decades, audiences worldwide have marveled at Baxterās inimitable and instantly recognizable guitar playing and generational songcraft. His output spans classic records as a founding member of Steely Dan and member of the Doobie Brothers in addition to hundreds of recordings with the likes of Donna Summer, Cher, Joni Mitchell, Rod Stewart, Dolly Parton, and many more. During 2022, he initially unveiled Speed of Heat, showcasing yet another side of his creative identity and introducing himself as a solo artist.
On the Storytellers Edition, his fascinating commentary pulls the curtain back on both the process and the message of the music. This version traces the journey to Speed of Heat and its core inspirations as shared directly by Baxter in the form of detailed anecdotes, candid stories, and insightful commentary on every track.
The 12-songalbum, co-produced by Baxter and CJ Vanston, is a riveting and rewarding musical experience that features a host of brilliantly crafted originals co-written by the guitarist and Vanston, as well as inspired versions of some of the great classics. Along the way, Baxter is joined by guest vocalists and songwriters Michael McDonald, Clint Black, Jonny Lang and Rick Livingstone. Baxter notably handled lead vocals on his rendition of Steely Danās āMy Old School.ā Other standouts include "Bad Move" co-written by Baxter, Clint Black, and CJ Vanston, and āMy Place In The Sunā, sung by Michael McDonald and co-authored by McDonald, Baxter and Vanston.
As one of the most recorded guitarists of his generation, Baxterās creative and versatile playing has been heard on some of the most iconic songs in music history, including ā9 to 5ā by Dolly Parton and āHot Stuffā by Donna Summer.
The stunningly diverse collection of material on Speed of Heat presents a 360-degree view of the uniquely gifted musician.
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Beauty and sweet sonority elevate a simple-to-use, streamlined acoustic and vocal amplifier.
An EQ curve that trades accuracy for warmth. Easy-to-learn, simple-to-use controls. Itās pretty!
Still exhibits some classic acoustic-amplification problems, like brash, unforgiving midrange if youāre not careful.
$1,199
Taylor Circa 74
taylorguitars.com
Save for a few notable (usually expensive) exceptions, acoustic amplifiers are rarely beautiful in a way that matches the intrinsic loveliness of an acoustic flattop. Iāve certainly seen companies tryāusually by using brown-colored vinyl to convey ā¦ earthiness? Donāt get me wrong, a lot of these amps sound great and even look okay. But the bar for aesthetics, in my admittedly snotty opinion, remains rather low. So, my hatās off to Taylor for clearing that bar so decisively and with such style. The Circa 74 is, indeed, a pretty piece of work thatās forgiving to work with, ease to use, streamlined, and sharp.
Boxing Beyond Utility
Any discussion of trees or wood with Bob Taylor is a gas, and highly instructive. He loves the stuff and has dabbled before in amplifier designs that made wood an integral feature, rather than just trim. But the Circa 74 is more than just an aesthetic exercise. Because the Taylor gang started to think in a relatively unorthodox way about acoustic sound amplificationāeschewing the notion that flat frequency response is the only path to attractive acoustic tone.
I completely get this. I kind of hate flat-response speakers. I hate nice monitors. We used to have a joke at a studio I frequented about a pair of monitors that often made us feel angry and agitated. Except that they really did. Flat sound can be flat-out exhausting and lame. What brings me happiness is listening to Lee āScratchā Perryāloudāon a lazy Sunday on my secondhand ā70s Klipsch speakers. One kind of listening is like staring at a sun-dappled summer garden gone to riot with flowers. The other sometimes feels like a stale cheese sandwich delivered by robot.
The idea that live acoustic musicāand all its best, earthy nuancesācan be successfully communicated via a system that imparts its own color is naturally at odds with acoustic cultureās ethos of organic-ness, authenticity, and directness. But where does purity end and begin in an amplified acoustic signal? An undersaddle pickup isnāt made of wood. A PA with flat-response speakers didnāt grow in a forest. So why not build an amp with colorāthe kind of color that makes listening to music a pleasure and not a chore?
To some extent, that question became the design brief that drove the evolution of the Circa 74. Not coincidentally, the Circa 74 feels as effortless to use as a familiar old hi-fi. It has none of the little buttons for phase correction that make me anxious every time I see one. Thereās two channels: one with an XLR/1/4" combo input, which serves as the vocal channel if you are a singer; another with a 1/4" input for your instrument. Each channel consists of just five controlsālevel, bass, middle, and treble EQ, and a reverb. An 11th chickenhead knob just beneath the jewel lamp governs the master output. Thatās it, if you donāt include the Bluetooth pairing button and 1/8" jacks for auxiliary sound sources and headphones. Power, by the way, is rated at 150 watts. That pours forth through a 10" speaker.Pretty in Practice
I donāt want to get carried away with the experiential and aesthetic aspects of the Circa 74. Itās an amplifier with a job to do, after all. But I had fun setting it upāfinding a visually harmonious place among a few old black-panel Fender amps and tweed cabinets, where it looked very much at home, and in many respects equally timeless.
Plugging in a vocal mic and getting a balance with my guitar happened in what felt like 60 seconds. Better still, the sound that came from the Circa 74, including an exceedingly croaky, flu-addled human voice, sounded natural and un-abrasive. The Circa 74 isnāt beyond needing an assist. Getting the most accurate picture of a J-45 with a dual-source pickup meant using both the treble and midrange in the lower third of their range. Anything brighter sounded brash. A darker, all-mahogany 00, however, preferred a scooped EQ profile with the treble well into the middle of its range. You still have to do the work of overcoming classic amplification problems like extra-present high mids and boxiness. But the fixes come fast, easily, and intuitively. The sound may not suggest listening to an audiophile copy of Abbey Road, as some discussions of the amp would lead you to expect. But there is a cohesiveness, particularly in the low midrange, that does give it the feel of something mixed, even produced, but still quite organic.
The Verdict
Taylor got one thing right: The aesthetic appeal of the Circa 74 has a way of compelling you to play and sing. Well, actually, they got a bunch of things right. The EQ is responsive and makes it easy to achieve a warm representation of your acoustic, no matter what its tone signature. Itās also genuinely attractive. Itās not perfectly accurate. Instead, itās rich in low-mid resonance and responsive to treble-frequency tweaksālending a glow not a million miles away from a soothing home stereo. I think that approach to acoustic amplification is as valid as the quest for transparency. Iām excited to see how that thinking evolves, and how Taylor responds to their discoveries.
The evolution of Electro-Harmonixās very first effect yields a powerful boost and equalization machine at a rock-bottom price.
A handy and versatile preamp/booster that goes well beyond the average basic boosterās range. Powerful EQ section.
Can sound a little harsh at more extreme EQ ranges.
$129
Electro-Harmonix LPB-3
ehx.com
Descended from the first Electro-Harmonix pedal ever released, the LPB-1 Linear Power Booster, the new LPB-3 has come a long way from the simple, one-knob unit in a folded-metal enclosure that plugged straight into your amplifier. Now living in Electro-Harmonixās compact Nano chassis, the LPB-3 Linear Power Booster and EQ boasts six control knobs, two switches, and more gain than ever before.
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the originalās on/off slider switch,) the LPB-3ās control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled āmaxā selects between 20 dB and 33 dB of maximum gain, and another labeled āQā flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPBās capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the āmaxā mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. Thereās no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. Thereās lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it upāeven before you tap into the massive flexibility in the EQ stage.
āThe preamp gain knob colors and fattens your signal as you crank it upāeven before you tap into the massive flexibility in the EQ stage.ā
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.