Friedman IR-X
The Friedman IR-X dual-channel tube preamp is an entire Friedman rig in a compact pedalboard-friendly package. Powered by two high-voltage 12AX7 preamp tubes, each channel delivers the harmonic richness and touch response of Dave Friedman’s finest designs. DSP IR cabinet/power amp simulation sends a studio-quality mic’d-up tone to your DAW or Front-of-House.
IR-X isn't simulating a Friedman tube preamp. It is one. While many available preamp pedals utilize tubes to 'warm up' their digital or solid-state circuit, two glowing hot 12AX7 preamp tubes, running at the proper high voltage, are this pedal's beating heart. A genuine preamp in every way, IR-X delivers all the tone, response, gain characteristics, and harmonic complexity you expect from a Friedman design.
IR-X boasts two fully independent foot-switchable channels. Like the famed Friedman flagship amps, channel one takes your tone from bluesy, British-voiced cleans to a muscular Plexi-style roar. Engage channel two for the Friedman signature higher-gain voice and all the percussive punch, note clarity and singing sustain that comes with it.
Both channels feature their own independent and highly tweakable Boost circuits. This essentially gives you four channels, accessible with the tap of your toe.
All great tube amps need a great speaker cabinet, and whether sending your signal straight to the board or silently playing through the onboard headphone output, IR-X gives you a selection of Dave Friedman’s favorite IRs. Select the IR per channel using the 3-way mini toggle switches or load your own quickly and easily via IR-X’s editing software. You can even disengage the onboard IRs entirely to use IR-X’s tube preamp with another IR loader.
IR-X gives you astounding tonal control, but its included Friedman IR-X Editor software takes it to a new level. With it, you can tweak each channel’s power amp simulation via the thump and presence controls, load your favorite IRs, activate the Boost Lock feature, select loop ON/OFF and save it all to 128 MIDI presets.The IR-X software includes 12 free Friedman IRs to choose from.
IR-X is MIDI-capable. Whether pulling up presets with a pedalboard controller or switching channels with the laptop running your entire show, IR-X is ready for the job. It truly is the perfect marriage of modern control and classic tube tone.
The IR-X’s transparent effects loop allows you to easily integrate your favorite effects with everything from the most straightforward setups to the most complex digitally controlled rigs.
Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Pasadena Rose
Vol I is a true Non-Master Plexi stage, with full range of tones from warm, detailed cleans, to punchy natural overdrive. Pull Bright for extra shimmer with humbuckers or neck pickups.
- Vol II picks things up from the 1978 Brown Sound explosion through the next decade of Sunset Strip decadence and beyond. Choose between 800 or Mod modes for the ultimate in flexibility (footswitchable).
- 800 mode is designed for a great rhythm crunch, and takes all your boost/OD pedals like a champ worthy of it’s name.
- Mod mode is higher gain for thick, sustaining leads, and rip-your-face-off riffing. Use 800 for rhythms and Mod for a lead boost, or live in your favorite mode… your choice.
- Our unique Master Volume circuit is coupled with Vol II, and additionally a “Jose”-style Saturation circuit on Pull switch to achieve authentic overdrive tones at bedroom levels, or push clipping to the hilt at full power.
- Classic cathode-driven Treble, Middle, and Bass EQ, with additional Presence and Depth controls on rear panel to shape power amp response.
- Rear panel Effects Loop ready for your favorite reverbs, delays, and sound toys of all sorts (Buffered loop optional).
- 50 watts RMS power, 2x EL34 power tubes, 3x 12AX7 preamp tubes
-Available as a small box head (20”L x 9”H x 8”D) in your choice of Red Garnet, Purple Levant, Vintage White, or Classic Black tolex. For custom options, please inquire directly.
45+
Best of Both Worlds: Non-Master Volume vintage tones, along with footswitchable Gain and the most transparent Master Volume circuit possible.
Dynamic, musical, and responsive. While it's essentially a two-channel amp with switchable overdrive, the Gain & Volume controls work a little differently than others, taking you on a trip thru time along the way.
- Many Master Volume circuits can limit and degrade tone... we've gone ahead and designed this amp with that in mind, featuring the most transparent and natural-sounding master volume possible. It’s like a built-in attenuator without any of the drawbacks; Your tone stays thick & chewy with all the harmonic content you could ask for, even at bedroom volumes.
- With OD off, the Volume control functions like a classic 1965 non-Master amp, covering a full range of tones from beautiful, warm cleans to bluesy breakup and fully-cranked Plexi tones at max. Try some Jimi with a Strat here, or grab a Les Paul and crank it to 10 (the Mid control sounds great boosted here too, just like an old Marshall).
- With OD engaged, the Gain picks up and takes you into the next decade, where overdrive builds on the clean foundation like a warm blanket, and gets thicker and chewier along the way. Some of the in-between tones are really killer here, maintaining clarity along with some dirt & drive. Plug in a Tele for some Keith, or humbuckers for Eric… they’re all here. Set the Volume where you want it for clean tones and switch in the Gain for dirt, or crank the Volume for a classic dirty rhythm tone and push it over the top for leads.
- Rear panel features Presence, Depth, FX loop, footswitch jack, 3-way impedance selector, and dual speaker outputs.
Breedlove Organic Artista Pro Concert CE Acoustic-electric Guitar - Burnt Amber
Myrtlewood grows in Oregon along a 90 mile stretch of the Pacific Ocean coast. It is Breedlove’s favorite tonewood for backs and sides. In addition to its highly varied color patterns extenuated by the thin Burnt Amber Burst finish, myrtle delivers surprising energy and extraordinary tonal balance. To further boost the high-energy sound, we chose a European maple neck—which is denser than mahogany—and an Ovangkol fretboard and bridge. Of course, the top is European spruce for responsive, powerful projection. We spared no detail, including brass inlays, Fishman Flex Plus-T Electronics, and a travel-ready hardshell case.
Breedlove Organic Wildwood Pro Concert CE Acoustic-electric Guitar - Suede
From the Congo River Basin Rainforest, the FSC Certified all African Mahogany Organic Wildwood Pro cutaway acoustic electric guitars deliver an abundance of warm, rich tone. The natural suede finish and elegant black binding accent the grain of the mahogany, which is native to the world’s second largest rainforest. Professional quality gig bag included with all models.
