An accessible entry to the Fender Effects family that were designed by in-house tone guru Stan Cotey,
Delay changes everything. Subtly sweetened leads, clucky country slap back, surfy swells, rhythmic dotted-eighths and huge ambient washes – it’s been a defining factor in just about every genre of guitar music. The Hammertone Delay provides up to 950ms of crisp and clean delays, lush modulation at the flick of a switch and three different delay types.
Glassy, shimmering, and bubbly, the Hammertone Chorus is a simple and powerful modulation device designed to deliver pristine choral sweeps.
The Hammertone Fuzz captures the iconic splat, saturation and horn-like sustain used on the formative records of rock’n’roll history. Despite its small size, this purple-tinged, psychedelic stompbox is feature-packed with three classic controls, two silicon diodes and an octave fuzz mode – allowing you to recreate the legendary sounds of the ‘60s and ‘70s or forge your own unique tone.
Aggressive and dynamic distortion can be elusive– with powerful tone-shaping EQ controls, top-mounted in and out jacks and true bypass switching, the Hammertone Metal delivers chunky high gain that sits perfectly in a mix and will integrate seamlessly into your rig.
The Hammertone Flanger delivers dramatic, rushing jet stream waves and subtler, swirling tendrils of modulation.
The Hammertone Distortion delivers the legendary distorted tones you need for nearly any style of music. The active 2-band Bass and Treble EQ controls provide modern tone-shaping flexibility.
Hammertone Space Delay
The Hammertone Reverb delivers three classic reverb effects – Hall, Room and Mod – in a compact stomp that will integrate seamlessly into your rig. Powerful damping control and tone switch offer supreme flexibility, while the Fender-designed on-board reverb tones are perfect for subtle to extreme ambience.
Whether you’re pushing your cranked amp into full-blown distortion or just adding some warmth, grit and character to your clean sound, the Hammertone Overdrive is an essential addition to your rig. This compact drive packs a big punch – the pre-gain mid boost adds the perfect edge for cutting through the mix.
Listen to the guitarist's new single that is raw, funky, edgy and inspired by Al McKay of Earth, Wind and Fire.
Andy Timmons has presented the first reveal from his upcoming new studio album titled ELECTRIC TRUTH, planned for a global release on April 1. Timmons offers, “This track epitomizes the record for me: A great band playing live in the studio - raw, funky, edgy…real. Very much inspired by the great guitarist Al McKay of Earth, Wind and Fire.” A pre-order will go live this Friday on www.andytimmons.com.
Reflecting on his connection to the instrument, Timmons shares, “Music and specifically the electric guitar has always been my solace and my foundation: something that I can always count on in good times and especially in bad. Something I can trust. In a world of so much misinformation and deceit I find music and playing music more important now than ever before. Electric Truth.”
Andy Timmons - "E.W.F." First track from "Electric Truth" CD Coming 4/1/22
He continues, “When my friend (producer and guitarist extraordinaire) Josh Smith invited me to his studio to record, I jumped at the chance. I was looking to do a record outside of my usual band just to change things up a bit. I was a fan of Josh’s playing, and really loved the bands he puts together so we decided I would just come out to L.A. as the “artist,” and he would produce and put the studio band together. We co-wrote a few things, and I wrote a few ballads as well. I’d say overall the record has a funky/earthy feel to it with plenty of melody. And it certainly rocks as well.”
Joining Timmons in the studio were drummer Lemar Carter (Joss Stone, Raphael Saadiq), bassist Travis Carlton (Larry Carlton, Robben Ford), and keyboardist Deron Johnson (Miles Davis, Stanley Clarke, Seal). Corry Pertile laid down vocals on a couple of tracks, while Smith performed on “Johnnie T”.
Diatonic sequences are powerful tools. Here’s how to use them wisely.
• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.
I prefer to not teach each position based on a modal name, as sometimes they are taught. Personally, I’ve found labelling of positions like that can lead to confusion when learning the modes in a harmonic situation. To further emphasize this, no harmonic context has been given (aside from the fact that these are all based around the parent scale of G Major to give us positions to work with).
The goal here is for you to learn the sequence, pick out what you like from it and then work it into different applications. These applications could be taking a sequence from one position into another position, seeing if you can keep the same contour. Most importantly, you can spend time starting and ending the phrases around certain intervals to emphasize the chord that you’re playing over.
A technical note before we get started: I’ve transcribed the various hammer-ons and pull-offs that I use when playing these phrases at full speed. However, the secondary goal here is for you to find your own way of playing the examples that suit your style and sound. I use a mix of legato, hybrid picking, and sweep/economy picking. My advice is to look at the lines and listen to them. See what feels right for you.
Despite what angry YouTube comments might say, technique is feel (and vice versa) We can talk about technique and all the ins and outs of it, but unless we try it and feel how it is to play, we won’t find our own path and sound. We won’t develop our own confidence. As the Zen saying goes, “The thought of your mother is not your mother.”
Let’s start in 3rd position, a fitting way to begin our exploration in G. Ex. 1 is a legato phrase that starts off with an eight-note pattern that repeats across adjacent strings sets. The final measure outlines a G major triad with a trick string-skipping phrase on beat 2.
Working through the diatonic arpeggios is a great way to create new lines and sequences. In Ex. 2, I go through Em7, Bm7, F#m7b5, and Cmaj7 before I outline an Am9 arpeggio.
Rhythmic variety is a crucial part of any well-rounded vocabulary. Moving between different subdivisions is a great way to inject new life into a lick. Ex. 3 moves between straight 16th-notes and sextuplets (or 16th-note triplets). Although the pattern is relatively easy to hear, it moves fast, so focus on discovering the best fingering for you.
Ex. 4 moves around quite a bit, between legato fragments and arpeggio fragments. In the middle we have a classic displaced ascending sequence of fours through the scale that starts in the end of measure 1. We also utilize some slides on different strings. Watch out for this! I’ve found in my playing that timing can go astray on slides.
Ex. 5 is built around finding 3-1-3 and 2-1-2 patterns within this position. These terms are based on the number of notes before you change strings. A 3-1-3 pattern consists of three notes on a string, then one note on the next string, and finally three more notes on the final string. A great example starts on the second note of the phrase (G) and ends on the F# before beat 3.
There are some shifty slides like the last phrase (watch the timing!) and there’s also a mix of legato and picking to emphasize certain parts of the phrase. The line ends with a large arpeggio based on Em7 and F#m7b5. Dig the 2-1-2 phrasing here!
Since we are roughly thinking in the key of G major, Ex. 6 is sometimes referred to as the “minor” position since we start on E, the relative minor of the key. This phrase is built on a sequence based around a 3-1-3 pattern and we aim to keep this sequence going throughout the whole position. This lick is a great one to move around the neck.
Ex. 7 runs away with an initial legato sequence similar to the one found in Ex. 4, however we keep it going through the whole position before ascending through a fragment based on Ex. 1. Then I fill in the gaps of each phrase with some chromatic notes. The goal here is to aim for evenness of timing on the 16th-notes.
With these licks—or even parts of them—you will be able to navigate the fretboard with ease. Just remember: These licks are simply raw materials. It’s up to you to make music out of them.