
This month, I want to show you how to play minor seven flat five, and why it sounds so good.
Can you guess what the four names above have in common? Iāll tell you. They all have six syllables. Ar-nold-Schwarz-en-egg-er. 1-2-3-4-5-6. Thatās a lot of syllables to have in a single name. Iāve only got three in mine: Paul- Gil-bert. 1-2-3. All those names have double what I have. Iām a bit jealous, but thatās not why I brought this up. I want you to think about this: What does your brain do when confronted with a six-syllable name such as āminor seven flat five?ā I know what my brain does. It shuts right off. Thatās too many syllables! Especially when Iāve got simpler alternatives to rely on like minor and major (both with just two syllables). This leads me to a story.
A year or so ago, I was giving a lesson to a student. After exchanging a few pleasantries, he said that his regular private teacher wanted to know if I could play any m7b5 arpeggios. It seemed like less of a musical request and more like some kind of guitar-jousting challenge. Something like, āYeah sure, you can play widdly-widdly with your rock band, but can you play an arpeggio that takes six syllables just to pronounce?ā
I managed to squeak out something good enough to defend my reputation. But since then, Iāve delved much deeper into this arpeggio, and I truly love how it sounds. This month, I want to show you how to play it, and why it sounds so good. First of all, I have to comfort you by telling you that itās an easy arpeggio. Why do I say that itās easy? Because it only contains four notes. Only four! It has more syllables than notes, for crying out loud. We can breathe easily and safely turn our brains back on.
Now Iāll give you the benefit of my research and take you to Fig. 1, which shows the easiest fingering that Iāve found. See, I wasnāt lying. It has just four easy notes. This requires a couple of position shifts, but the shape always stays the same.
I should point out that Iām starting the arpeggio on the b7 (E), not the root (F#). The main reason for this is simply because I really like the shape. I think itās easy to play, easy to visualize, and still covers all the notes I want. If I rebuild the fingering to start on the root, the shape becomes more difficult and the sound doesnāt improve in any noticeable way. So Iām staying with the easy one!
Thatās a lot of finger talk. Letās turn on our ears and listen to the arpeggio in context, by playing it over a chord. Our chord will be a D9, which is a common sound in blues, funk, rock, and jazz. In Fig. 2 and Fig. 3, you can check out the voicing I use along with our arpeggio in context.
I think thatās a nice sound. But you may have noticed something odd. The chord is in D, while the arpeggio is in F#. How does that work? Here is where I should whip out some heady music theory to explain the details of chord substitution, intervals, and extensions. But Iāve made an executive decision to use a metaphor instead, and one that involves Ted Nugent, lots of food, and of course, the IV chord.
Playing a solo over the IV chord is like going to a Thanksgiving party at Ted Nugentās house. Hereās why: You know that Ted is going to have a turkey. Heāll have proudly plucked it out of the forest with his bow and arrow or possibly even his bare hands. Either way, rest assured that there is a turkey in the oven roasting away. So you, the guest, donāt have to bring any turkey to the party. You might want to bring some cranberry sauce, mashed potatoes, green beans, or strawberry rhubarb pie. But you donāt need to bring any turkey. Uncle Ted has that under control.
After much playing and listening, Iāve discovered that the same is true for the IV chord in a blues progression. The bass, rhythm guitar, piano, or organ will be playing the root (the metaphorical turkey) of the IV chord. So you donāt have to play it in your solo because itās already there. It sounds more sophisticated to play the musical equivalents of cranberry sauce, mashed potatoes, green beans, and strawberry rhubarb pie, while leaving the turkey to the accompaniment.
The notes in our F#m7b5 arpeggio are the cranberry sauce, mashed potatoes, green beans, and strawberry rhubarb pie. If you look at the four notes in this arpeggio they match up exactly to the notes in our D9 chord, with one exception. There is no D note in our arpeggio. Weāre not playing the root in our solo. We didnāt bring the turkey! If youāve studied music theory, you know this is called a substitution. If youāre a guitar player, you can just think of it as moving a shape a certain number of frets to get a nice new sound.
To digest this idea, letās repeat what we already did, but in some different keys. First play the chord, then play the arpeggio.
There is some math at work here, and Iām tempted to start rattling off some notes and numbers. But I think the best way to āget itā is just to play these examples a few times. Iām going to spare you the explanation and trust that youāll play these chords and arpeggios for five minutes. Even in that short time, the pattern should become quite obvious, and youāll no longer need any wordy explanation. Your fingers and ears will already have it. How do you know when you have it? Just try playing dominant 9th chords in some other keys and see if you can figure out where to put the arpeggio. Iām betting that youāll nail it. Iāll give you five minutes to test it out now.
Youāre back. Now letās do a variation. Since this arpeggio shape is fresh in your mind, I want to show you one more substitution idea. This is where guitar players have a maddening advantage over piano players. On a guitar, itās quite easy to play a chord and move it up and down chromatically. All you do is lock your hand into the shape and move it up or down a fret. On a piano, chromatic movement requires different shapes. This can be difficult to play and also difficult to visualize. I suggest taking 10 smug seconds to gloat about this. Piano players have so many other advantages, so itās nice when we can have one too.
All right. Gloating over. In a blues progression, there are lots of opportunities to do this kind of chromatic movement. It adds a nice tension and release to our old familiar progression. Now letās use the m7b5 substitution weāve been playing to outline some of this chromatic movement. In Fig. 4, I want to focus on the Bb13 chord. To outline this chord (without the turkey), Iāll play a Dm7b5 arpeggio. I want to use the same shape that I showed you earlier, but for variety letās start on the high note this time. Isnāt that cool? Iāve never sounded so sophisticated in my life. All I did was go up a half-step for a moment and leave out the turkey.
I was so excited when I started experimenting with this sound that I decided to search for more fingerings and variations. Iāll quickly show you a couple of my best discoveries.
First, I found a more typical fingering for a m7b5 arpeggio. I say itās ātypicalā because it stays in one position. For me, the fingering shown in Fig. 5 is not as easy to play at top speed, but itās in such a convenient location that I still find myself using it a lot. In Fig. 6 I play it over the IV chord and also over our chromatic chord move.
Please make good use of these powerful sounds, and if you missed my column last month [āThe Super-Hendrix Scale,ā July 2011], I encourage you to go back and have a look. Itās all about soloing over the V chord in a blues, and this will connect very well with the ideas about the IV chord in this column.
And if nothing else, remember that there are only four notes in an F#m7b5 arpeggio. Donāt let that long name clobber you.
Improved tracking and richness in tones. Stereo panning potential. 100 presets.
Can be hard to use intuitively. Expensive!
$645
Electro-Harmonic POG III
Itās been a very rainy, moody couple of weeks, which is to say, perfect weather for getting lost in the labyrinthine depths of the new Electro-Harmonix POG III polyphonic octave generator. The POG III is yet another evolution (mutation?) within EHXās now rather expansive stable of octave effects. But to those who know the POG through its original incarnation, or one of several simpler subsequent variants, the POG III represents a pretty dramatic leap forward.
Thereās a few things you should know about the POG III straight away. First, itās very expensive. At $645, itās 245 clams more than its predecessor, the POG 2, (which was already a considerable investment) and more than twice the price of the simplest POG pedals like the Micro and Pico. Cold hard cash isnāt all youāre likely to trade away, either. Extracting the most value and utility from the POG III takes time and effortāeven if youāre experienced with other pedals in the POG family. But for the guitarist and musician whose creations and pleasures transcend traditional playing styles and song forms, or for whom sound design is a primary pursuit, the POG III is a potential studio fixture and portal to musical parts undiscovered.
Copious Control
This is no cop out: The POG III has many more features and combinations thereof than can be mentioned in the space of this reviewāeven if we merely listed them. The manual that EHX included (and is a must-read) is 23 pages long. Itās digestible, certainly. But there is much to learn.
āThe Organ Swell reveals much about how rich and organic octave tones can sound in the POG III.ā
Even so, the POG IIIās 10 factory presets (you can create up to 100 of them) are great jumping-off points for crafting your own sounds and understanding the pedalās basic dynamics, functionality, and interactivity among the controls. The organ swell preset is a great place to start. Players and bands that use keyboard and synth pads behind their guitar phrases were among POGās early adopters. POG IIIās organ sounds are pretty impressive. And while few will be fooled into thinking you have the pipe organ from St. Stephenās Cathedral at your fingertips, the Organ Swell reveals much about how rich and organic octave tones can sound in the POG III. With precise timing and fretting, crafty chord phrasing and spacing, the right attack setting, and less aggressive guitar volume and tone settings, you can fashion a pretty convincing Bach organ arpeggioāparticularly if you add a suitably expansive reverb or delay.
Cooking Up Wider, Weirder Images
A very cool new feature on the POG III is the panning knobs that accompany individual bands. Panning each band as part of a stereo image adds dimensionality. But it can also lend a more organic āliveā flavor to a tone composite by situating fundamental sounds front and center, while sounds that serve as harmonic support can be mixed lower and reoriented spatially to offer more or less emphasis. These relationships can be enhanced and manipulated further by using the stereo spread control and the detune slider to create pitch modulation effects that range from mellow chorus to an almost rotary-speaker-like movement. This stereo mixing process is among the most fun and engaging parts of using the POG III.
Unusual filtering effects are here in abundance for exploring, too. Like so many modes on the POG III, the possible permutations feel endless, but here are some interesting examples.
⢠High-mid filter emphasis, matched to a quacky, fast envelope trigger, a sprinkle of perfect 5th, an even healthier scoop of +1 and +1 octave, and a strong foundation of -2 octave, all driven by a melodic pattern of staccato 16th notesāthe result is a strange percolating pattern of carnival organ sounds against an anchor of low-resonant cello tones.
⢠Shifting the filter emphasis to the low end with similar envelope sensitivity, bumping the -2 octave and fifths, and subjecting the dry signal to the same filtering effects yields tectonic sub-rumbles and swells that a film- or game-sound designer could use to suggest the propulsion unit for a city-sized alien mothership. Even leaning my guitar against my amplifier and bouncing a racquet ball against the guitar body sounds amazing here. (And yes! You should really try this!)
Granted, many of these sounds fall as much into the category of sound effects and design as much as music in the songs-and-riffs sense. But I think strength in one category can reinforce the other, and in the case of the POG III, there is enough range in both directions to intrigue players everywhere along the spectrum. It still excels at funky bass textures, twisted faux 12-string, and at providing ghostly, backgrounded high-harmony lines for leads. But these time-tested POG applications merely scratch the surface.
The Verdict
The POG has come a long way since its old bent-metal, big box days. The tracking is excellent, and thereās a lot less fighting against artificial, cheesy sounds once you grasp the finer points of crafting a sound and your dynamic approach. The POG IIIās complexity makes the going a little harder on fly-by-the-seat-of-your-pants intuitive tinkerers, and musicians with experience in synthesis will probably navigate the unitās features much more readily than some. As expensive as it is, itās probably best to be sure you can find a place for it in your work before you take the leap. But if you can afford $645 to take a chance, the POG III may illuminate whole directions you might not have considered with a less expansive effect.
Voxās Valvenergy Tone Sculptor
Two new pedals from the Valvenergy series use a Nutube valve to generate unique dynamics and tone ranges that can be used to radical ends.
When tracking in a studio or DAW, youāre likely to use compression and EQ on most things. Many enduringly amazing and powerful records were made using little else. And though many musicians regard both effects as a bit unglamorous and utilitarian, EQs and comps are as capable of radical sounds as more overtly āweirdā effectsāparticularly when they are used in tandem.
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they arenāt useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about ācinematicā effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcockās Psycho than Ridley Scottās Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
āRadical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.ā
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdriveāeffectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this testāa recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models canāt deliver? Well, for one thing, I found it relatively quiet, which is nice whether youāre shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuitāgenerated, presumably, by the Nutube. āColor,ā in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualitiesātypical of studio EQsāthat enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impactās use of Nutube engenders certain expectations. Itās easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. Thatās a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agentāadding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like youāve bled every trace of overtone from your signal.
The Smooth Impactās controls arenāt totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag modeās compression is more like what you get from tube saturation, and itās useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they donāt always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedalās sometimes studio-like personality.
Significantly smaller and lighter than original TAE. Easy to configure and operate. Great value. Streamlined control set.
Air Feel Level control takes the place of more surgical and realistic resonance controls. Seventy watts less power in onboard power amp. No Bluetooth connectivity with desktop app.
$699
Boss Waza Tube Amp Expander Core
Boss streamlines the size, features, and price of the already excellent Waza Tube Expander with little sacrifice in functionality.
Many of our younger selves would struggle to understand the urgeāindeed, the needāto play quieter. My first real confrontation with this ever-more-present reality arrived when Covid came to town. For many months, I could only sneak into my studio space late at night to jam or review anything loud. Ultimately, the thing that made it possible to create and do my job in my little apartment was a reactive load box (in this case, a Universal Audio OX). I set up a Bassman head next to my desk and, with the help of the OX, did the work of a gear editor as well as recorded several very cathartic heavy jams, with the Bassman up to 10, that left my neighbors none the wiser.
Bossā firstWaza Tube Amp Expander, built with an integrated power amp that enables boosted signal as well as attenuated sounds, was and remains the OXās main competition. Both products have copious merits but, at $1,299 (Boss) and $1,499 (Universal Audio), each is expensive. And while both units are relatively compact, they arenāt gear most folks casually toss in a backpack on the way out the door. The new Waza Tube Expander Core, however, just might be. And though it sacrifices some refinements for smaller size, its much-more accessible price and strong, streamlined fundamental capabilities make it a load-box alternative that could sway skeptics.
Micro Manager
The TAE Core is around 7 1/2" wide, just over 7 " long, and fewer than 4 " tall, including the rubber feet. Thatās about half the width of an original TAE or OX. The practical upside of this size reduction is obvious and will probably compel a lot of players to use the unit in situations in which theyād leave a full-size TAE at home. The streamlined design is another source of comfort. With just five knobs on its face, the TAE Core has fewer controls and is easier to use than many stompboxes. In fact, the most complicated part of integrating the TAE Core to your rig might be downloading the necessary drivers and related apps.
Connectivity is straightforward, though there are some limitations. You can use TAE Core wirelessly with an iOS or Windows tablet or smartphone, as long as you have the BT-DUAL adaptor (which is not included and sets you back around 40 bucks). However, while desktop computers recognize the TAE Core as a Bluetooth-enabled device, you cannot use the unit wirelessly with those machines. Instead, you have to connect the TAE Core via USB. In a perfectly ordered world, thatās not a big problem. But if you use the TAE Core in a small studioāwhere one less cable is one less headacheāor you prefer to interface with the TAE Core app on a desktop where you can toggle fast and easily between large, multi-track sessions and the app, the inability to work wirelessly on a desktop can be a distraction. The upside is that the TAE Core app itself is, functionally and visually, almost identical in mobile and desktop versions, enabling you to select and drag and drop virtual microphones into position, add delay, reverb, compression, and EQ effects, choose various cabinets with different speaker configurations and sizes, and introduce new rigs and impulse responses to a tone recipe in a flash. And though the TAE Core app lacks some of the photorealistic panache and configuration options in the OX app, the TAE Coreās app is just as intuitive.Less Is More
One nice thing about the TAE Coreās more approachable $699 price is that you donāt have to feel too bad on nights that you āunderutilizeā the unit and employ it as an attenuator alone. In this role, the TAE Core excels. Even significantly attenuated sounds retain the color and essence of the source tone. Like any attenuator-type device, you will sacrifice touch sensitivity and dynamics at a certain volume level, yielding a sense of disconnection between fingers, gut, guitar, and amp. But if youāre tracking ābigā sounds in a small space, you can generate massive-sounding ones without interfacing with an amp modeler and flat-response monitors, which is a joy in my book. And again, thereās the TAE Coreās ability to āexpandā as well as attenuate, which means you can use the TAE Coreās 30-watt onboard power amp to amplify the signal from, say, a 5-watt Fender Champion 600 with a 6" speaker, route it to a 2x12, 4x12, or virtual equivalent in the app, and leave your bandmate with the Twin Reverb and bad attitude utterly perplexed.
The Verdict
Opting for the simpler, thriftier TAE Core requires a few sacrifices. Power users that grew accustomed to the original TAEās super-tunable āresonance-Zā and āpresence-Zā controls, which aped signal-chain impedance relationships with sharp precision, will have to make do with the simpler but still very effective stack and combo options and the āair feel levelā spatial ambience control.The DC power jack is less robust. It features only MIDI-in rather than MIDI-in/-through/-out jacks, and, significantly, 70 watts less power in the onboard power amp. But from my perspective, the Core is no less āprofessionalā in terms of what it can achieve on a stage or in a studio of any size. Its more modest feature set and dimensions are, in my estimation, utility enhancements as much as limitations. If greater power and MIDI connectivity are essentials, then the extra 600 bones for the original TAE will be worth the price. For many of us, though, the mix of value, operational efficiencies, and the less-encumbered path to sound creation built into the TAE Core will represent a welcome sweet spot that makes dabbling in this very useful technology an appealing, practical proposition.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIRā¢, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex