You could WIN a Greenhouse Effects Deity in This week's All-new giveaway! Ends December 15, 2021.
An immersive reverb with a carefully selected palette of other secondary fx and features that extend a strong foundational reverb tone to new perspectives of creativity.
3 modes offer luxurious options for exploration like a rotating room effect, adjustable up and down octaves and modulation that can be triggered dynamically. The Deity is also packed with extensive controls for the most impactful parameters for each effect to insure that every great sound is deeply adjustable where it counts.
Download the DEITY USER MANUAL
NATURAL MODE - Natural sounding Room/Hall Reverb with optional rotating room effect.
DECAY - Sets the Length of the reverb trail. Set to zero in order to eliminate the reverb and get the modulation to effect your clean signal instead.
TONE/OSC Tone control (LPF) - for the Reverb trail. When set to zero (counter clockwise), a slow oscillation begins that sounds as if you're spinning slowly. At this setting, the Low Pass Filter is Self Oscillating from zero to max at a rate of 4 seconds per cycle.
MIX - Pans between 100% dry and 100% wet signals. In order to get more pronounced modulation set it beyond 12 o'clock. Use it to isolate the clean signal from the Reverb or to blend in your clean signal with the additional octaves.
PRE DELAY - Changes the size of the perceived space/room. At minimum, it makes the reverb come in immediately after you pick a note. (This control also helps in keeping the reverb trail out of the way of your dry signal, making it sound clearer).
SENTIENT MODE - Deeply immersive reverb with added modulation. A cross between tremolo and filter. Control the modulation with your playing dynamics or by using the LFO controls.
DEPTH/LFO - Determine how deep the modulation effect will be. When this knob is set to max, the LFO is initiated and the depth is maxed. The rate of modulation can now be set by the sense/rate knob.
SENSE/RATE - Determines how sensitive the Deity will be to your playing dynamics. When knob 2 is set to LFO, the sense/rate controls the rate of the modulation.
ETHEREAL MODE - Heavenly reverb with added choir-like octaves and independent octave volume controls.
OCTAVEDOWN - controls octave down volume.
OCTAVEUP - controls octave up volume.
FOOTSWITCH - To choose between True Bypass & Buffered Bypass with Trails, hold the footswitch for 3 seconds. The LED will indicate the switching method by blinking in Red for Trails/Blue for Bypass.
Relay True Bypass - (A more reliable, more durable footswitch)
Mojo Hand FX has unveiled the Sericon, an overdrive pedal with three separate controls for gain manipulation; Drive, Gain, and Blaze.
The Sericon overdrive is an interpretation of the gold standard of overdrives with more gain shaping options than other “Klones”. It has a highly tweak-able, interactive mystique all its own, with three separate controls for gain manipulation; Drive, Gain and Blaze. All types of drive are on tap, ranging from clean always-on boost to edge-of-breakup to all out shred.
- Controls for 3 stages of gain manipulation: Drive, Gain, and Blaze
- Post Gain control for treble and level
- Blaze control is a unique interactive third gain stage affecting low end and mid
- 9v Standard center negative power supply only (not included), no battery provision
- True bypass with soft touch silent switching design
- Individually serial-number plated limited production issue
- Made in USA, lifetime warranty
- Dimensions: 4.7” L, 3.69” W, 1.37” H
$199 MAP/ street price. Go to mojohandfx.com for more info.
- Develop a better sense of subdivisions.
- Understand how to play "over the bar line."
- Learn to target chord tones in a 12-bar blues.
Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.
So, what is bad time? It's when people rush and speed up the tempo or drag and slow the tempo down in an unmusical way. If your quarter-note pulse is uneven, you can't lock in with what the band is doing because the time keeps moving. If somebody's fills are all wonky and don't land right, that usually means they are not subdividing and are just stuffing notes into the measure haphazardly. These players don't realize what is happening. Don't be one of these players. To develop your own pocket, you will need two things: your guitar and a metronome. A better groove, and a better ability to subdivide the beat, will lead to better phrasing and more control of what you want to play.
The first three examples are designed to eliminate your reliance on the first beat of the measure. Practicing with the metronome on all four beats of the measure is a very common way to practice scales and chord progressions. Remember that in most styles of music, the snare drum is on beats 2 and 4 of the measure. Practice with your metronome as if it's a snare, where the click is on 2 and 4. (A note about tempo markings: Usually the tempo is listed at a quarter-note level, but with the metronome on beats 2 and 4, it's marked as a half-note. So, if the half-note tempo is listed as 120 bpm, the quarter-note tempo would be twice that, or 240 bpm.)
Ex. 1 is a G7 arpeggio played in 3rd position, with half-note tempos of 100, 125, and 150 bpm. The recording of this example has a count off with the clicks on 2 and 4. If these tempos are initially too fast, start with a slower tempo where you can play the example cleanly, putting each note directly in between the clicks of the metronome. You can even start with just a single note at a comfortable tempo, getting used to what it sounds and feels like to put a note directly in between the metronome clicks.
Ex. 2 is the A minor pentatonic scale (A–C–D–E–G) in 5th position, played first in half-notes and then again in whole-notes. This example is designed to help you switch gears between different rhythms.
Ex. 3 is the C major scale (C–D–E–F–G–A–B) in 7th position played in half-notes and whole-notes, but at faster tempo. If you practice different types of scales and arpeggios in this way, you'll discover spots where you may rush or drag the notes.
The last three phrasing exercises are intended to eliminate your need to play on the first beat of the measure. Played over a 12-bar blues in A, each example uses a different rhythm or phrasing structure where you will need to count a lot of empty space to play these rhythms correctly. Ex. 5 is deceptively simple, where you play only on beats two, three, and four of each measure. It takes more concentration than you would think, so be careful that you don't fall back into playing your usual stuff.
Ex. 6 will develop your ability to play over the bar line, which is simply not starting or ending your phrases directly on beat 1. There's a lot of space to count, starting each small phrase on the "and" of beat 3, and finishing on the "and" of beat 1 in the next measure.
Ex. 7 aims to expand your phrasing, creating longer lines by playing a two-bar phrase almost entirely in eighth-notes. The challenge to this exercise is beginning on the "and" of one in the first measure and ending on the "and" of four in the second measure. In each of these examples, practice each rhythm by itself on a single pitch with a metronome, focusing on counting the spaces and playing that specific rhythm. Then, try adding different chord tones or scales when that rhythm becomes internalized.
After working on these examples, play over a track and focus on one concept at a time to see if you really have it under your fingers and in your ears. Always remember to keep things simple to begin with. There's plenty of time to make things complicated later on. Cheers!