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Oh, my.
But for better or worse, I like being reminded that superhuman geniuses weren’t necessarily super in every regard. Maybe because it gives the rest of us hope or reassurance? Plus, it’s too easy to typecast artists into archetypes, like so:
Paragon: Bach, Verdi, Palestrina, Beethoven
Punk: Berlioz, Liszt, Wagner, Boulez
Batshit: Schumann, Scriabin, Ravel
…regardless of historical truth. Which is inevitably more interesting.
So What’s your fave bit of Bach? I can’t stop listening to the Wachet Auf cantata. Especially the famous part that happens at 14:40 in this recording. It’s kinda my favorite melody right now. :pacman:
 You can TELL it’s Photoshopped! There’s no TBX! Thanks again to everyone who chimed in on the “What your favorite mod?” discussion. I got tons of great ideas from your comments.
Like this one, which I’ve been meaning to explore for ages: the Fender TBX tone control circuit, which appears in several Custom Shop instruments, notably the Clapton signature Strats. Like the G&L PTB circuit I’m so apeshit about, it’s a 2-band passive tone control — but one that sounds very different.
The PTB is a two-knob circuit that lets you siphon off highs, lows, or both. I’m agog at how well it works with humbuckers — you can get so many cool sounds by rolling off lows on the way to a fuzz, as heard here.
But TBX (it stand for “treble bass expander”) is a one-knob circuit, tbough that single knob rotates two stacked pots. The control has a center detente. Set here, it’s like a regular tone control, wide-open. Turn it counter-clockwise and highs vanish, per usual. (You could “tune” the roll-off frequency with various capacitors, though I went with the stock .022uF.) But when you rotate clockwise, the absence of lows makes glassy highs erupt.
 The dual pot cut highs or lows. Technically, it’s not a boost, but it sure feels like one. Dirk Wacker, my now-colleague at Premier Guitar, dissects the circuit far more capably than I can here. (And he goes way beyond in this subsequent article on TBX mods. Man, I have some catching up to do!) He makes a good case for replacing the stock resistor with another value, but I went with the original 82K to establish a point of reference. I’ll try his mod when I restring, and I’ll update you here.)
BTW, you need the Fender TBX kit for this project — it uses highly customized pots to work its magic, and a standard stacked pot won’t do. But it’s cheap: You can find the TBX kit, with the pot, hardware, and passive components, online for about $15.
I put it into the mongrel strat I’ve been using as my digital synth/looping guitar. I’d been using a Stellartone Tone Styler, a cool Vari-Tone variant that switches between multiple capacitors. I dig it, but it’s the old model which clicks, rather than fades, from setting to setting, and it requires a powerful twist of the wrist to go from maximum to minumum, which I do every time I grab an EBow. Since I hadn’t gotten around to replacing it with the smooth-action version, I figured I’d try the TBX.
And I’m glad I did. It’s a super-easy install, at least to the extent that any job that requires removing both strings and pickguard can be easy.And here’s how it sounds:
I’m going to keep this one around for awhile. You’re hearing it through an analog rig, obviously, but I want to find out whether that extra shot of highs does anything meaningful when playing digitally. I’d also like to experiment with different cap and resistor values.
And now I can’t help wondering whether this would sound cool with humbuckers. Anyone have any experience with that?
 Seriously, dude — where’s my band? Anyone have much experience playing solo instrumental guitar gigs?
Even though I’ve been playing since the Pleistocene, I’ve only performed solo once since I was a teenaged classical guitarist. But I’ll be making the stumble leap this Wednesday, Sept. 11th, when I perform north of San Francisco at the Sleeping Lady Cafe in Fairfax. I’ll be a guest at Teja Gerken’s monthly fingerstyle guitar showcase, performing alternating tunes with Teja and Mark Goldenberg. (Gig details here.)
Both Teja and Mark are gifted players and composers — check out the evidence here and here. I believe they’ll be playing acoustically, while I’ll be dragging up my whole frickin’ looping/synth rig. Because what could provide better counterpoint to an evening of refined and intelligent fretwork than a goddamned electronic racket?
Oh — that one solo gig? It too was a multiplayer solo guitar night featuring some astonishing players: Will Bernard, Jim Campilongo, and Buckethead. Will, Jim, and Brian were as amazing as you’d expect. Meanwhile I put everyone to sleep by performing the entire Bach A Minor Lute Suite on steel-string acoustic. (I’m sure the audience was duly impressed by my formidable memorization skills as they nodded off.)
I’m not repeating that mistake! This time it’ll be fuzz and feedback, with a double side order of ring modulation! :pity:
So got any survival tips for performing solo? Any good jokes for during the inevitable laptop crash and reboot?
If all else fails, I can borrow a trick that the late, lamented Danny Gatton once shared with me in an interview: A lifelong tinker, Gatton built a stompbox designed to blow the power in any club. If he didn’t like how the gig was going, he’d click it on, plunging the venue into darkness and calling it a night. (Or so he claimed.) Hmm — maybe that’ll be the next tonefiend DIY project….
 How am me make guitar thing better? What’s your favorite guitar mod? The kind that changes how you play. One you’ve become so accustomed to that you wince when you pick up an axe that lacks it?
I’ll choose pickup wiring mods as a starting point: During the year that Seymour Duncan sponsored tonefiend.com, I devoted many posts to the under-appreciated wiring schemes I found in the company’s wiring diagram database. Some faves:
…and of course, the suicidal soldering mission known as the Pagey Project.
I’ve still got the “advanced” version of the Pagey wiring in my nothing-special beater Les Paul, and I like it so much, I want to fix up the guitar so it feels as nice as it sounds.
But of all the wiring experiments I tried, my absolute favorite is one that doesn’t appear in the Duncan archives: the so-called “PTB” tone control (for “passive treble and bass”). It’s a cliché to call a neglected idea “ahead of its time,” but in this case, it happens to be true. Being able to roll off lows as well as highs is unbelievably useful when sculpting sounds. It makes me want to run into the nearest Bain Capital Guitar Center, grab players by the collar, and shout, “You need to know about this!” (But I probably won’t, ’cause G.C. customers aren’t accustomed to receiving that sort of personal attention, and I wouldn’t want to freak them out.)
Allow me to repost last year’s video, demonstrating the circuit in action:
Over a year later, I remain totally addicted to this circuit, and I recommend it to anyone who doesn’t require a guitar with independent volume controls per pickup. (Everyone, basically.) It seems especially relevant for drop-tuned and 7-string metal players who realize you must sometimes cut a little bass to keep the lowest register tight and articulate. And the circuit is a godsend when used with bass-heavy fuzz pedals (such as vintage-style Fuzz Faces). In fact, I’ve even been building the circuit into the front end of certain loud fuzz pedals for use with guitars lacking this magnificent mod.
But I remembered something interesting this week when I opened up the Hamer 20th Anniversary guitar used in the video:
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NOTE:Nothing controversial about this post — it only involves race, gender, and religion!
A few decades ago, the standard history of rock and roll went something like this: In the mid 1950s. black R&B and white country music collided. White kids went apeshit. Rock happened.
That may hold a bit of water as sociological history, in the sense that, yes, white kids got hip to R&B in the ’50s, and the term “rock & roll” was adopted to describe the resulting craze. But as musicological analysis, it’s bullshit.
Today the knowledgable listener is likelier to realize that all the ingredients of early rock and roll percolated throughout African-American music decades before Elvis. (How can anyone with ears not perceive Louis Jordan’s 1949 recording of “Saturday Night Fish Fry” as a fully realized rock & roll track?)
Nowhere is “white guy-centric” rock history more apparent than when discussing the legacy of Sister Rosetta Tharpe (1915-1973). How is it that she is perceived as anything other than a genre-defining rock guitar innovator? If you don’t know Tharpe’s astonishing guitar work, check this out (especially the segment that starts around 1:45):
Watching the footage of Tharpe’s 1964 performance in Manchester, England, you can practically feel her spawning a thousand British rock bands. (And how telling is it that one of her goldtop Les Pauls wound up in the possession of Big Jim Sullivan, the preeminent British session player of the ’60s?)
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UPDATE: My Premier Guitar Heptode Virtuoso review is live. Read and listen here.
I’ve got phase shifters on the brain, especially after encountering a couple of truly stunning ones. I just wrote a review for Premier Guitar of Heptode’s Virtuoso phaser, a superb clone of the old Maestro PS-1A. (I’ll link to the review when it goes live.)
It took me back to my Pleistocene pre-teen years, when I once spent hours in my local music shop playing an electric nylon-string through a big-ass PS-1A mounted on a music stand. Despite its size, it had few controls — just big colored switches that could have been swiped from one of the era’s cheesy home organs. It sounded glorious to my 12-year-old ears. I’ve never since held such a high opinion of my own playing.
I haven’t played a PS-1A since then, but the Heptode pedal took me right back. It really is a gorgeous-sounding phaser, and one that vanished soon after the debut of the cheaper, smaller, and awesome-sounding MXR Phase 90. The sound captivated me all over, though I’m not sure if I actually like it more than the Phase 90, or if it just sounds so cool because it’s a less familiar color.
 The plastic switches make it sound better. I dug out a few other favorite phasers, like the $89 BYOC Phase Royale that usually lives on my analog pedalboard. It’s yet another brilliant DIY kit from BYOC’s Keith Vonderhulls. It’s basically a Phase 90, but with all the cool mods, like mix and resonance controls, plus a six-stage phasing option. (The Phase 90 and the Uni-Vibe are four-stage, while the Maestro is six-stage). It’s a fun build, and an excellent next step for DIYers who have built a few fuzzes and are ready for something a bit more challenging.
I concluded my little phase-fest by unearthing my old Lovetone Doppelganger, a bitchin’ dual-LFO phaser from the late ’90s. Not to be confused with today’s Lovepedal brand, Lovetone was a British company run by Dan Coggins and Vlad Naslas. They specialized in large-format pedals with an almost absurd number of controls. (Their brilliant slogan — “Big Pedals to Trip Over” — is rivaled only by Zachary Vex’s “Crazy Effects for Rich People.”) I’d flip out when each new Lovetone pedal came in for review at Guitar Player. Even then, they were expensive, usually in the $400-500 range. Now, of course, they’re obscenely rare and valuable. I bought as many review models as I could afford, and to this day I regret not purchasing their Meatball, Wobulator, and Brown Source. I did, however, snag the Big Cheese, Flange with No Name, Ring Stinger, and this guy:
I haven’t heard the Doppelganger in years, and it was interesting to revisit it. See, while I always loved the ideas behind the Lovetone boxes and was happy to own them, I’d found that I just didn’t tend to use them a lot for gigging and recording. For me, they had tons of cool sounds, but often not quite the right one. But I’ve gotten better at dialing in tones in recent years, and really dug the sounds I got yesterday while making the video. Maybe it just took me 15 years to learn how to wrangle these beasts!
Anyway, the Doppelganger is now a Museum of Lost Effects inductee, and it’ll be joined soon by its big-box brothers.
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 I just bought 500 germanium transistors.
(Yes, as a matter of fact, I am insane. Why do you ask?) UPDATE: My Dunlop Fuzz Face Mini review is live at Premier Guitar. Audio clips included!
How and when did it get so frickin’ easy to procure great-sounding germanium transistors?
I’ve been building stompboxes for four years or so. I used to consume article after article detailing the sheer horror of dealing with germanium. Sure, those old-school transistors sound great, I’d read, and they’re necessary for vintage distortion circuits. But they’re unstable. They’re expensive. They’re hard to find. You have to sort through dozens to find the few good ones. And once you do, you must spend countless hours matching and biasing them for optimal sound.
I believed everything I read — until I finally admitted to myself that I seldom encountered any of those problems.
(If you don’t know much about germanium transistors and why they’re cool, here’s my manifesto.)
I used to buy germanium transistors from Small Bear and other parts sites, and was always happy with the results, even though I had to pay eight or ten bucks per transistor. (Small Bear even does the matching for you, offering sets of transistors suitable for various vintage fuzz circuits.) However, it was a little tough finding NPN (negative-ground) germanium transistors. In fact, Small Bear once rejected my order of a dozen or so NPNs because they were so scarce. (To his credit, Small Bear’s Steve Daniels explained that he restricted sales so that everyone who wanted to build a couple of great DIY fuzzes would have the opportunity.)
The workaround is to build pesky positive-ground pedals, or jigger with the schematic in order to use PNP (positive-ground) transistors in negative-ground circuits. (This site’s Fiendmaster project is an example of the latter workaround.)
Then some odd things happened:
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Any talk box fans out there?
Whew. Didn’t think so. I mean, doesn’t everybody hate those godforsaken things? Wasn’t it all downhill after “Tell Me Something Good?”
But did you know that the “talking guitar” has a rather exalted history four decades pre-Frampton Comes Alive? Check out this performance by Alvino Rey, the steel guitar genius who pioneered the technique.
I am TOTALLY going to have nightmares about Stringy for the next 10 years!
Rey worked his magic in tandem with his vocalist wife. She supposedly stood behind a curtain with a mic attached to her throat, the output of which modulated the guitar signal. (That’s what online sources say, though it sounds a bit fishy to me.) A similar technique — or perhaps the same one — was known as the Solovox. In this case, a small loudspeaker attached to the singer’s throat, “playing” the music through the vocalist’s mouth. More amazing/horrifying evidence:
That’s the basic principle behind the rock-era talk boxes, though they rely on a plastic tube inserted into the mouth rather than a mic pressed to the neck. The first commercially available model was Kustom’s The Bag from 1969, “immortalized” on Steppenwolf Live. The Heil Talk Box — the version of the effect most of us know and loath — debuted in 1973. Dunlop is still making them.
But I have a perverse affection for the Rocktron Banshee. It’s incredibly loud. It’s actually a small amp, quite capable of driving a speaker cab, with a blunt-force distortion tone. That extra power is useful for my preferred way of using a Talk Box:
How about you guys? Anyone have anything good to say about the talk box?
 As promised: an overview of Apple’s new Logic X Pro, with an emphasis on what’s new and cool for guitarists and bassists. Lots of movies and audio!
It’s here.
This is an exciting post for me, and not just because I get a desperately needed break from Klons and Screamers. I’m thrilled to bits about Logic Pro X and MainStage 3, though I’m still wrapping me head around them. (Yeah, I worked as a developer for both products, but I didn’t get a proper program-wide view until last week’s release.)
Also, it’s my first story for Premier Guitar, whose staff I’ve just joined as a senior editor. I’m stoked because it reunites me with PG editor Shawn Hammond and senior editor Andy Ellis, both of whom I remember fondly from my Guitar Player magazine days.
There’s much talent and coolness on the staff. I’m a happy little guitar nerd. Plus, the schedule is loose enough that I can still record, perform, and continue to work with audio/software clients.
What does the gig mean for this blog? Good things. I have no plans for a major course change — there are too many things I can only cover on a non-commercial site, including some of the topics closest to my heart. Meanwhile, working with PG will keep me more up-to-date on new music, new gear, and scurrilous guitar community gossip. In some cases, though, I may link to a PG article I’ve written rather than duplicate the work here. Today, for example. 🙂
As promised, the correct answers to the Klon vs. Screamer blind listening test posted exactly a week ago:
Example 1: medium gain, medium tone
Pedal A = BYOC clone
Pedal B = Klon Centaur
Example 2: high gain, medium tone
Pedal A = BYOC clone
Pedal B = Klon Centaur
Example 3: low gain, medium tone
Pedal A = Klon Centaur
Pedal B = BYOC clone
Example 4: medium gain, bright tone
Pedal A = Klon Centaur
Pedal B = BYOC clone
Example 5: medium gain, dark tone
Pedal A = Klon Centaur
Pedal B =BYOC clone
And the winners are…
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