Alex Clay

Alex Clay

I’ll come outright and say it: I love looking at and learning about gear. Gear porn makes the day go by so much faster, and it’s interesting to see what various players choose to have on their board, why they chose it, what worked with each rig and what didn’t. Off the rack guitars, custom guitars, pawn shop finds and killer deals. All of it. From the simplest rig to the biggest rig, each setup tells a little something about that player and what their tastes are, and often it either spurs GAS or makes you curious about something else. Down the rabbit hole you go. I’m apparently not the only one either, seeing as gear culture is probably more at the forefront than ever. If you had to take a guess, how many FaceBook discussion groups would you say there are associated with tone in some fashion? You’re talking brand groups, podcast groups, general discussion groups, groups dedicated to a certain style of guitar or style of music?  I’ll guess on the low side and say hundreds, and those are just the ones I’ve seen personally or been on. That’s not even touching on other forums outside of FaceBook, or places like TGP or TDPRI or ILoveFuzz (all interesting boards for sure). It’s become a global culture, where if you’ve got a musical instrument and the internet, there’s a good chance you see or experience something gear-related throughout the day. I’ll admit that I’m so enthralled with gear that I often forgo watching TV to check my phone to see what the latest thread or blog or article discussing new releases have popped up. It’s truly an addiction, one that I barely keep at bay on most days. 

Most of these groups and pages have quite a varied group of members, with diverse backgrounds that range all over geographically, and with that comes the differences in cultures and varied view on race, religion, and many other variables. Thankfully, most of the places that I frequent don’t pay any attention to any of those external factors, and the focus remains on gear. Other than the subjective opinions that come up about that gear, they’re normally friendly and great environments. But not always. I’ve noticed a trend on so many groups lately that it’s become second nature to expect it to happen, and it eventually will. Inevitably there will be a member that will join, and they do NOT agree with opinions that go against their own. They disagree with a post or take a cheap shot at another member, and things devolve from there. I’m not talking about trolls necessarily. (I wrote another blog on that very topic, you can check that out here). These are people who are whole-heartedly invested in their belief, and if you question or bring up a counter-point, an argument inevitably ensues. I’ve found this especially prevalent on certain hot topics, such as discussing Klon Centaurs, Relic Guitars, or specific guitar brands and their quality. Any of those topics will ignite a burning flame in someone, who can DEFINITELY hear the magic in the diodes, or who only buys from a certain place of origin because they’ve got a stigma in their mind that guitars from XYZ are just garbage, no matter what.

I’ve come to ask myself this question on a regular basis: Are we taking gear and gear discussions too seriously? We all want to chase those ever-elusive tones, but how we each do it is going to depend on a lot of factors. Personal tastes aside, monetary reasons can put a big damper in our plans. Yes, we’d all love a Dumble or vintage Les Paul or Strat, but that’s usually not in the cards for the average player. So, we chase those tones we have in our head with the funds we have at our disposal, and luckily there are enough brands with various offerings that can get you close to that (some closer than others). Opinions are like buttholes though, everyone’s got them. I think we can all agree that not everyone is going to agree on loving all the same things. Variety is the spice of life and all that. But when I brought up selling my Centaur in my last blog, I was met with various comments regarding whether that was a good move or not. Some agreed totally, agreeing with my point that the used prices are a bit absurd and that they were able to find a great alternative for a fraction of the cost just like I did. There were a few people, however, that went out of their way to express that I was wrong and my thought process was off and that the price truly is justified and it’s the greatest in the world. That’s great, more power to you. If that’s what hit’s the spot then cool, go for it. Some got so heated in their beliefs that they felt they needed to convince me I was wrong, and subsequently various members started arguing, which led to people almost being banned from that group. Why in the heck is that so important that it’s worth getting into an argument over?  

Another example that I see frequently posted are the users posting pictures of large pedalboards with a wide range of effects, with comments to follow saying, “All you need is a guitar and an amp” or “You must be compensating for lack of skill” or “I only use amp dirt and a single delay”. I completely understand and can appreciate the traditional minimalist approach. Times change though, and if you’re in a band that covers a large variety of music, you’ll need the tools at your disposal to achieve whatever the song calls for. On the flip side, there are the players that flaunt their gear choices, going specifically into how many amps and how much each one costs (usually equaling a lot). That’s great, we get you have money and appreciate discerning tastes in gear. Owning a small fortune in gear doesn’t equate to knowing everything about tone. Just because something costs exponentially more doesn’t necessarily make the tone that much more superior, nor will it make someone play better. I refer to the video of Joe Satriani playing a cheap knock-off guitar into a Peavey Bandit and RP200. Granted, it didn’t sound like his rig, but raw talent got it close enough that you could immediately identify what was being played (Surfing with the Alien). It’s all just trivial, and it doesn’t matter if you invested $400 in a guitar or $4,000, if it hits the spot then that’s all that matters. Knocking another player’s rig solves nothing and if anything rains on their parade, instead of appreciating the effort they put into it and moving on. 

Lately, the big topic everyone has been discussing is Gibson’s current releases and the quality control, after a recent catch showing an advertisement for their new Les Paul that had dings in it. Many people were immediately dogging Gibson and discussing how overpriced their models are and the subsequent decline in attention to detail. There were some extremely heated arguments regarding the amount of money spent on Gibson’s, some saying they are still fantastic guitars and still an icon of sorts, where others were saying they are complete garbage and trashing the brand and people who appreciate their Gibson guitars. Around the same time, Fender released their Brad Paisley signature guitar, and the internet lit ablaze at the cost of the instrument being too high because they’re made in Mexico, the fact that it didn’t feature a rosewood neck like the one it was paying homage to, and the fact that it didn’t have a G-bender. Let’s look at just those 3 things and break them down. Brad wanted them to be affordable, hence having them MIM. That doesn’t mean cheap, that just means more cost-effective than labor costs in the US. Regarding the neck, Brad doesn’t like rosewood, if you look at his current touring guitars there are only a couple of them with rosewood necks. He’s always been a fan of maple. Lastly, the G-bender mechanism Brad uses is from Charlie McVay, a small business owner who literally couldn’t produce that many benders to suit Fender’s needs, let alone at a cost-effective level. Yes, there are other companies out there with alternatives, but there’s also the issue of consistency and longevity and added cost, which all adds up to a more expensive guitar. I guess my point is that until all of the facts are known and verified, or unless someone has experienced using the instruments themselves, passing judgment just comes off as trolling and disconnected. 

So why did I write this whole thing? I don’t know, maybe making the issues stare people in the face will make them realize what’s going on and thinking before just posting the first thing that comes off the top of their mind? One can dream. I’d like to just reinforce the point of taking gear discussions a little more lightly, most people are there to learn and enjoy guitar and gear with like-minded people. Not everyone will agree, and that’s totally okay. How you respond to the disagreeing part is what sets people apart. So sit back, enjoy soaking in the info and comradery over our favorite instrument. To summarize, I’ll leave you with this quote from Travis Feaster: “If you’re offended, I forgive you.”

Expectations vs. Reality

September 14, 2017
We all do it…we all have one dream (or multiple dreams) that are on our bucket list as something we’d love to experience in our life time. Could be meeting your favorite guitarist in the world, or getting to see or even hold a guitar that is priceless, cost-wise or because of the history and sheer mojo instilled in it. Could be seeing a band you’ve always hoped to see, and the idea of all of these things combined provide a bit of “light at the end of the tunnel” and a thing to strive for as we progress through life. Now let’s look at the flip side…a company announces a signature pedal of your absolute favorite artist in the world. This artist has had a massive influence on your playing, and now there’s a new pedal that can help chase the tones to sound just like that artist! New signature guitar as a homage to your favorite classic guitarist, with the accoutrements that make it feel and play exactly how that artist would have (or does) currently play. How about finally acquiring that magical piece of gear…the one that has seemed so unobtainable for so many years and is held in such high regard that you’d have to either sell an organ or steal it to obtain it? The satisfaction of finally reaching your goal is unrivalled, or even finally solving that curiosity to see if whatever “it” is, is as good as everyone makes it out to be. 
 
Now, let’s take a step back to reality and put things in perspective. In many cases listed above, the down and dirty of the situation is that unless you’re born with a horseshoe up your butt, these things take time (sometimes a LONG time). Yes, there are occasions where luck just makes things fall into place... “right place at the right time” type of stuff. Those times are magical and should be cherished, but definitely not betted on. My Mom always told me “Son, you’ve got to make good times happen. The world isn’t going to make it easy, so you have to enjoy it while you’re here because you don’t know when you’re gonna go.” And she’s right (like she usually is admittedly). Life is fleeting, and despite how it may seem long on some days/weeks/years, it’s short in the grand scheme of things. We all hope to be a perfect bill of health and live until we’re 100, but life throws curveballs. There are ups and downs aplenty, and our own versions of ups and downs differ completely.
 
Why am I talking about all of this you ask? It’s because there have been a lot of things going on recently where I, and many others, have had to step back and find the positives in a world full of negatives. TV, FaceBook, negativity is everywhere and you have to go out of your way to avoid it in most cases. So, what does that mean in the grand scheme of things related to guitar and music and all that? What I’m trying to say is that if you want something to happen, you’ve got to *make* it happen. If you want something, go get it! Want an original Klon Centaur, or a custom guitar? It might take months or even years, but set aside a bit of cash each week from your paycheck. Even if it’s $10, $5, or just spare change as you go along. It may take forever to get it, but if you hold steady and don’t touch that small pool of funds, it will eventually lead you to get what you want. Now, will the outcome be worth the investment? That’s really where it comes down to it. The expectations vs. reality part is that whatever you’ve saved for could very well be the absolute best thing in the world, and fulfil the void that has been in your soul that you didn’t know existed until you got the piece of gear. 
 
There’s always that other possibility though, that it could not be what you were looking for, and the reality sinks in that hype and the hive-mind has kicked in to take something that truly is really good, and boost it to legendary status based on lack of accessibility and subsequent costs. This personally happened to me after I grabbed a Silver Centaur at a *relatively* good price (compared to the others). I wanted a Centaur as long as I could remember, and over the years I had tried pretty much every Klone on the market. Some stood out above the rest (as they always do), and I sold the ones that weren’t where I wanted them and held on to the couple that hit the spot for what I was using them for. I always had that urge to try the real thing, and it was an insatiable desire to try it that kept me pushing. I finally saved up and found one in good condition, took a gamble and went for it. Got it in, plugged it in, and spent 3 hours just jamming my heart out. I loved it…at the time. I held onto it, and as I played more in the coming weeks, I found myself not switching it on that often. Then time passed more, and I wasn’t using it at all except for the buffer. At this point, the honeymoon phase was over, and I came to realize that I just couldn’t justify owning something so expensive that I used so little. I realized after it was all said and done that the other pedals that pay homage to the circuit got SOOO close (within 5%, to me) that it wasn’t worth it for me personally. Maybe it was bragging rights? I don’t know, but I just couldn’t bring myself to keep it, even as a collecting/investment which was what multiple people recommended. My results won’t mirror everyone’s result… there’s a lot of love for the Centaurs, and they are really great boost pedals. To each their own, I’ll stick with the Tumnus. The point being is that I had the need to experience that for myself, no matter what people said regarding how close other circuits were. The reality was that it’s a killer circuit, but for considerably less money something very, VERY similar could be acquired.
 
Keeping with the whole expectations vs. reality theme, let’s look at signature gear (again, your mileage may vary greatly). If it’s not apparent at this point, I’m a MASSIVE Brad Paisley fanboy. Not stalker level at all, but I’ve been a massive fan since about 2003. So much so that when I got his Mud on the Tires record, I dove into his recordings up until that point and it converted me to loving country music (to this day). In 2006, my graduation present from my parents was a Crook Custom Guitar (I think Dad was just tired of me never putting his tele down, and he wasn’t into PRS’s much). I talked with Bill for hours and finely tuned it down to exactly what I wanted, which leads to the first prototype of his green and silver sparkle paisley finish (you can see it here, that photo is actually the one my wife took). My Dad also had one built and we took an 8-hour road trip to West Virginia to pick them up. Again, I told you I was a fan. You know what? Those Crooks sounded like amazing Telecasters! Like the best ones I’ve ever played, even to this day over a decade later. But at the time, aside from the G-Bender, it didn’t rocket me into sounding exactly like Brad Paisley…just a bit easier to poorly rip off his licks. However, the design, from the feel to the sound to the aesthetics of the birdseye maple board and finish all made me want to play more.  I knew going into it that it wouldn’t make me sound exactly like Brad, but it’s about that endless chase for tone, and that was one of the keys to it. 
 
Fast forward to 2010 as I’m frequenting TDPRI and I discover that this company called Wampler Pedals were coming out with a signature pedal for Brad, called the Paisley Drive. My GAS ignited stronger than ever, and I immediately had to have it. I received it for Christmas that year, and guess what? I sounded a lot like Brad Paisley (tone-wise), or at least my closest approximation of it! I was so in love with it that I had to grab an Ego Compressor and a Pinnacle. A few years later I acquired a Dr. Z RXjr (my first boutique amp) and at that point, I was about as involved as I could be. The thing that I realized moving along is that yes, all of the tools gave me the ability to get in the realm of what I was chasing for, but it also solidified the old saying of “tone is in the hands”. Even with all the tools at my disposal, I could only approximate within a certain percentage of covering his tone because a lot of it has to do with the style he uses, from his choice of notes, picking habits, personalized tricks (like transitioning through speedy passages by incorporating open string licks or the G-bender) and the overall personal touch that is very difficult to master.
 
I’m sure you already know all of this and think I’m crazy, but we still receive questions from people saying “I have XYZ pedal, why don’t I sound like that artist?”. It’s a combination of a lot of things, gear and technique all play a factor. When a company releases a pedal, or guitar, or amp, for an artist it’s designed as something specifically at the request of or for the artist to aid in their quest for tone. In some cases, it’s the basis of their tone and rig, but in other scenarios, it’s one effect of many that the artist uses in their tonal utility belt. Many artists change gear like they change their socks, so any given night they could have a different set of pedals or different amp to do what they want to do. Yes, these pedals are designed to get *that* or group of sounds, and still be versatile to achieve said sound in a plethora of various configurations of rigs. The reality is that sometimes it nails it, sometimes it doesn’t. Therefore companies (us included) try to show many different tones from many different demo artists to try to give the most comprehensive portrait of what the pedal will sound like. In the end, it comes down to the player’s rig and technique and tweaking to see if a pedal fits the bill. Again, those demos are designed to bring the distance between expectations and reality closer together. Will you like some demos but hate others? Sure! Could you get the pedal and love it? That’s always the goal. Could you try it and hate it? We hope not, but tastes vary we appreciate you at least trying them.
 
Finally, let’s talk about music events. This is a topic that comes up constantly between Brian and Jason and I, regarding the desire to see an artist when they’re in the area and the reality of obligations, time-wise or financially. Concerts are expensive, and depending on the artist the can be REALLY expensive. Several of our favorite artists have been touring in our general area lately, and the desire to go see them has been overwhelming. Back to the Brad Paisley thing, Brian met him by throwing a modded pedal on stage with his business card attached, and his tech ended up picking it up. Most of Brian’s story revolves around being out there and meeting people and being in the right place at the right time. It’s proof that sometimes if you take a chance then it could pay off in the long run. Not all of us build and mod epic pedals though, but we all love to see our favorite artists nonetheless. I can’t count the number of times each of us has passed up going to see a band, and have kicked ourselves ever since. So I say this, if you can swing the money, do it. Don’t regret it, take the leap and go see the ones you’ve always wanted to see, they won’t always be around (playing together, or alive) so you must seize the chance while you can. 
 
You don’t know if it’ll end up being the dream you always hoped for, or completely underwhelming. You’ll never know until you try and make good times happen.
Music culture has changed a lot over the years, and to accompany the shift in musical preferences the gear community has also shifted to meet the needs of all players. It doesn’t matter whether you’re looking to play I-IV-V blues tunes in a dive bar, play to 10,000 people in a stadium, or to make speaker-destroying noise in your room, we’re currently in the golden age of guitar effects where nearly anything is possible. Want to make your tone sound like one of your guitar hero’s? Easier than ever. Want to make your guitar sound absolutely nothing like a guitar? Done. There are so many effects on the market and constantly in development that if you can dream it, there’s a good chance you can achieve it.
 
Recently there has been a slew of unconventional products released by various companies, and the reaction has been a mixed bag at best. There are people who absolutely love some of these pedals and immediately want to purchase them, and there’s also the counter group of players who despise the idea completely and think that the designs are garbage* and want nothing to do with them. It’s a stark line drawn in the sand, and admittedly I’ve found myself hovering over top of the line in regard to a love/hate feeling for some of the noisemakers and more out-there effects. They’re so bizarre that they’re repulsive but intriguing at the same time. Usually, for me, all it takes is one demo with a single cool sound to catch my ear and then the GAS just grows from there.
 
My first thought with a pedal is normally “How is it versatile enough to be usable in multiple musical contexts, while also not overlapping too much with the stuff I already have?” Noisemakers blow that out of the water typically because despite my love of a plethora of different genre’s and styles, noises aren’t in there (except for self-oscillation on a delay, which isn’t everyone’s cup of tea either). All that being said, I do totally get why they’re interesting. There’s NOTHING like some of the current pedals being released, or rather nothing widely available at a reasonable price. Curiosity above all else makes me wonder what cool sounds I can coax out of these pedals, even though they’re not in my wheelhouse in the least bit. I’ve seen a lot of comments regarding the musicality of such noisemakers, and if they’re just noise for the sake of noise. That’s to be debated because tone and musicality are generally one of the most subjective things in existence. Out of all of this, I broke it down into two groups of mindset, but there are a lot more people that fall in between or don’t fit into it at all.
 
Ode to the Classics - The classics are classics for a reason, these guitar heroes and their tones are what sparked generation after generation of players to want to pick up a guitar. Many of their setups have become the go-to standards for measuring tone, from EVH’s “brown sound” using hot-rodded plexi’s to Eric Clapton’s “Woman Tone,” and how many people try to nail SRV’s tone…thousands? Literally hundreds of artists that created their niche at the time of their heyday have sparked the love of many players who desire to chase those tones. As we all know, a lot of tone is in the fingers, but that’s part of the equation. The tools were limited years ago, so the players used what they had and literally pushed them to the boundaries at all times. Now there are a plethora of options (amps, pedals, modeling software, etc) designed to take those vintage and sought-after effects and make them accessible in the modern world. All the same while, vintage instrument prices are soaring through the roof because players want that authentic “mojo” that older equipment has.
 
Free Spirits - On the flip side of the coin, you have no non-traditionalists and players who don’t want to sound like anyone else. Guitar and music are voices to the world, and in many cases copying others can make the feeling seem less authentic. Having so many great tones already defined by artists and genres, it’s forced gear companies to think outside of the box in terms of users want to leave their unique mark on the world in their own way. This has led to an influx of stompboxes that give more control than ever to shape tones. Look at Chase Bliss Audio, Montreal Assemble, Hologram Electronics…the list goes on and on. These companies are leading the forefront in terms of “out of the box” tones and tweakablility, with some truly mind-bending effects being created on a daily basis. It’s allowing true artistic freedom by not having any boundaries in the least bit. This can be a bit terrifying for some (me included) because there’s no telling how you can get to a tone, no guarantee that you can replicate it, and that’s the beauty of it. There is no box, so to speak.
 
So where do you fall on the spectrum? Are you a traditionalist with tones built on the foundation of some of your favorite players, or do you like going outside the box and defining your own style, even if it defies convention? Somewhere in the middle? Don't care? Let us know in the comments!
 
*The original words were substituted due to the obscene nature of some comments left online in some comment threads.

Gigging - Part 2

August 31, 2017
Following up on my last blog regarding the shining example of where things can go very wrong at a gig (you can read that here: http://www.wamplerpedals.com/news/blog/general-chat/gigging-what-not-to-do-part-1) , I’ve compiled this quick list with the help of some friends from the industry regarding things that will help prepare anyone for a successful gig.
 
1.    Know the material – Practicing learning and knowing the songs back and forth is a major thing. If you’re not comfortable with a part, discuss it with the band and see what options there are. In the end though, there’s nothing that can replace good practice. Practicing the full set will help get the bugs out of the performance. Your singer can even practice the banter with the crowd during each set. Locking down that show to where it’s second nature will make your performance and the audience’s experience much more enjoyable for everyone. In the end that’s the main goal, right? We all love playing music and the audience is there because they love the music. It’s far more fun when you don’t have to worry about whether you recall the chord changes in the verse or what key the solo is in!
 
2.    Be Prepared – I’m sure you’ve heard the old saying of “It’s better to have it and not need it than need it and not have it.” This doesn’t necessarily mean you need to pack an extra amp and 15 guitars, but you can if you want! We do our best to maintain our gear, but often it’s at the least opportune timing that something is prone to failure. Having a few backup items can really help when the time comes and you’re in a pinch. An extra set of strings, extra picks, extra patch cables and long cables, a headstock tuner, super glue, a multi-tool, and even in some cases a fallback for when an amp goes down. If your amp goes down mid-gig, it’s not a bad idea to have some backup setup, maybe a cheap cab sim that you can run directly into the mixer from your board. The hopes are that you’ll never need it, but again it’s better to have it. Having trusted and reliable gear will cut out a lot of worries. Make sure you’ve got solid patch cables that can handle a bit of contorting and movement. If you notice a short at any point then troubleshoot or swap it out. If a guitar has a problem, it’s good to bring a spare just in case as well.
 
3.    Tuning – This seems like a no-brainer, but there are still some that jump in head first without tuning, and that’s completely preventable. Take the time to ensure each band member with applicable instruments are in tune (also part of #2). There’s nothing worse than an out of tune instrument. Pedal tuners and headstock tuners are cheaper and more reliable now than ever. They’re also great because you can tune silently so you’re not bothering the audience while you’re getting setup. If you’re having problems with your guitar staying in tune, throw on a new set of strings and stretch them properly before the gig. If there’s still a problem it may be worth taking it to a tech to see if it needs a setup. Also, if you have songs in different tunings, be prepared to either tune quickly and quietly, or have a backup guitar that’s already in the alternate tuning (see #1).
 
4.    See #1
 
5.    Stage Prep and Presence – Before getting to the gig, practice setting up and tearing down your rig. Getting it down to a science will make it quick and efficient (especially if playing with another band at the gig). It’s a good idea to get a feel for the stage if possible. When plugging in your guitar, be sure to loop it through your strap to ensure that when it’s stepped on, that it won’t rip the cable out of the input jack. Make sure cables going into and out of your pedalboard are away from high traffic areas if possible. You don’t want your drummer or singer stomping on the output cable and breaking the jack on your pedal. Aesthetics are a big part because the audience will be looking at the band as their source of visual entertainment. That may seem contrived or like selling out, but people judge with their eyes first (it’s just the way the world is now). Trying to keep a cohesive attire that’s appropriate for the gig is great. Stage presence, lights, all of it adds up to the combined experience for the audience, so plan accordingly to give the best visual representation of where you want the band to be. Again, it’s leaving a lasting impression on the audience as to what they will remember. 
 
6.    In the Mix – After setting up, it’s good to test the mix with a soundcheck. Be sure to take the time to setup each instrument so the level sits right in the mix. Nobody wants to hear only one instrument drowning out the others. If you can find a way to do so, step back from the stage to where the audience will be to see how it sounds. Having the levels right can really make a dramatic difference, especially when it comes to guitar tone. Depending on the height of the stage, you don’t want to blow the ear drums of the people in the front row, so the position of the amp makes a difference too. An important thing to remember is that your tone at home is going to be very different than in a live situation. Each room has its own contours and obstructions that absorb or reflect the sound, and the natural compression of the speakers and the added character of a louder amp will make your drives sound different. All of those goes back to #1 (can you see a pattern yet) where practice makes perfect and eliminating variables can make for a smoother gig. Usually, more often than not, the venue that you’re playing in won’t need a 100w half stack. Finding a nice combo amp (1x12 or 2x12, etc) makes for easier portability and less overkill on volume. 
 
7.    Identify Yourself – It’s good practice to make sure that your band’s name is very easy to see, so that way it leaves an impression and something memorable. If you can have it advertised by the venue, perfect! The goal is to create brand/band awareness to create an image for the band and subsequently what kind of a show people will expect when they see or hear the name. It’s not a bad thing at all to promote your social media pages, so long as it’s tastefully mentioned. Having a defined name that’s memorable and easily searchable will make it easier for users to find your page and your music going forward.
 
8.    See #1
 
9.    Promote the Venue – Venues have bands come play because it offers a show for their patrons. The end goal is that everyone likes getting paid, so the more the venue makes, the higher chances there are of being asked to come back and subsequently fostering that relationship with venues. While we’re on venues, it’s not a bad idea to have a contract signed by the band and the venue owner, just to be covered. You never know sometimes…
 
10.    Promote Yourself – The goal is always to spread the word and help people identify your band. Taking the time to make sure your band’s name and social media usernames are present makes a significant difference in our age of technology. You want to be easily searchable, so a banner or something that has the username of your pages is great to have posted somewhere for people to easily see. Have the singer promote the pages and repeat the band name periodically through the gig to leave that impression on people’s minds.
 
11.    Make People Move – People come out to have a good time, and they’re choosing to spend their money and time to see a show. Playing covers establishes a connection for a feeling of familiarity, and depending on the song it can make people dance (fast or slow songs), sing along, etc. Original songs are fine sporadically mixed in, but when just starting out it’s good do have a set of songs that will keep your audience entertained and wanting more. As much as it may not be fun to do, top 40 songs and songs that are currently relevant go a long way. Not saying that originals are terrible in the least bit, but gradual introduction will go a lot further to building your audience. If you can get people moving and involved, you’ve done your job! 
 
12.    Be good to your audience – I recently saw a video of Nickelback in Portugal that was having rocks thrown at them. Despite the hate they receive, they were there to play their music and the people paid to see them. After the second song, the band gave them the middle finger and walked off the stage. I know I’m beating a dead horse here, but keeping the audience happy is an integral part of any gig. Reading the crowd and gauging their responses as you go along is key. If things aren’t going so well (maybe a low-key crowd, etc), have a few songs that are a bit different than ones you played before. 
 
13.    See #1
 
14.    Play for the Song – We all want to include massive solos in songs, mainly because they’re insanely fun to play. That being said, knowing when to play is just as important as knowing WHAT to play (see #1). Just like Miles Davis said: “Don’t worry about playing a lot of notes. Just find one pretty one.” It’s okay to embellish some, but it’s also good to let the song “breathe” so to speak. 
 
15.    Have Fun – The main thing is to have fun! Yes, it may be a gig that will put food on the table, but most of us picked up the instrument because we love it and love playing. Most of the things listed above are all precautionary and once you do a once-over on your rig they’re done for good. Play the music you love, soak in the moment and enjoy yourself. You put in the work to get there, you deserve a bit of fun!
 
These are definitely not all of the things that can help create a successful gig, but it at least gets you started!
Gigging… the term is often very fluid in its definition. When someone says they are going to a gig, it could mean a lot of things: It could be a massive outdoor show with thousands of audience members in attendance, or a small obscure bar on a weekday night with a hand few of people listening and all sorts of other things in between. Either way, no matter where you’re playing, it’s in front of a group of people outside of a controlled environment (practice space, home, etc.). Getting out there and playing music in front of an audience is an unrivaled feeling. Equal parts excitement, nervousness, focus and a plethora of other emotions washing over you in waves before, during, and after the gig. A great gig can truly connect with the audience and it just feels like the crowd and the band become one cohesive unit, moving and singing together that everyone can feel the collective sonic aura that is in the air. It’s a truly awe-inspiring moment. Conversely, a poorly executed gig can really wreak havoc that could prolong past the gig in question. Bad gigs turn away customers, which in turn hurts the venue and the band's subsequent change of returning (and even procuring other gigs). I’m not necessarily saying that a bad gig will ruin everything, but with a few minor tweaks and preparations, it can eliminate variables that are possible to mess up. 
 
I’d like to share a story about a gig I recently attended that sparked this blog piece. My wife and a few friends of ours went out to celebrate my wife’s birthday. We ended up at a local restaurant and bar that has been known for having quite good bands play in the past. Everyone ordered drinks around 8 pm with the band starting at 9 pm. We had no clue who the band was, the sign only said, “Live music”. At around 8:15 a few guys started showing up, one carrying pieces of his drum kit, the other carrying a combo amp with a Mesa/Boogie cover and a small pedalboard (We’re guitar players, I can’t imagine I’m the only person who scopes out other rigs at places).  The drummer sets up and begins testing his snare and it was easy to tell outright that he was a heavy-handed guy. The guitarist pulls out his sticker-covered black 70’s-era headstock Strat with the string ends flopping around the headstock. He proceeds to tune (unmuted) and starts riffing. I’m not talking about just quiet noodling; the guy was full-on digging in with his Dunlop Crybaby Mini and Boss DD7 raring to go. Finally, about 8:45 they stop and go to the bar.
 
Prior to taking positions at 9 pm, each of the band members takes between 3-5 shots each of some sort, then they head up and start their set. Prior to playing a single note, the bassist proceeds to inform the crowd that they were playing all original music and no covers, or as they like to call them “Future covers.” They proceeded to play a ska/reggae song that was… okay. The guitarist took an extended solo that lasted about 7 minutes with his wah and delay on with the mix set REALLY high no tap tempo, off beat). After finishing the song, they followed up with reinforcing they were playing future covers, and noted, “One day other bands will be covering our songs. Just remember Led Zeppelin had to start out playing original songs too.” … more on that later. After the first song, the bassist and the guitarist switched and started playing the other’s instrument for the remainder of the time we were there. Into their second song, the bass player started getting a little wound up. The rest of the band was low-key and had a swing feel, where the bassist was jumping around like he was at a punk gig. Amid his carrying on, he proceeded to jump on his cable and rip it out of the input jack. We’ve all been there… you know exactly what that sounded like. He fumbled for a moment then mid song you could hear him crackling the amp trying to plug the cable back in. We endured a few more songs that were accompanied by cliff notes such as, "We wrote this one while we were doing acid on the beach in Australia" and similar things. At 9:45 we decided to move on a check out what else was going on in the city, so we departed.
 
Ever since that night, I’ve been thinking about what went on and how they could have prevented or improved the experience with a few adjustments in the process. In my next blog, I’ll run through a few good practices and tips and tricks of what works and what doesn’t after discussing the topic with colleagues who gig regularly in all sorts of venues.
 
Part 2, coming on Thursday. I know, exciting isn't it! :D
“Relic” guitars have become an ever-growing popular trend in gear culture lately, and with any trend, there’s always a division of people who love or hate it and all things between.  For those wondering, a Relic is an instrument (the term applies to more than just guitars) that is intentionally beaten up, scratched, chipped, dented and made dirty to simulate extensive use and abuse on the road for decades. There are varying ranges, from barely noticeable light wear to full-on beat to death, where some extreme cases look like they tied the guitar to the back of a truck and proceeded to drag it down a gravel road for a dozen miles or so. There are very well-known companies that have sprung up over the past few years that their business model is making a brand-new guitar look like it’s 50 years old and seen some sh*t.
 
The interesting side of it is that it’s a very divided line of people that either loves them or despise them. I’m on the like/love side of relicing, but my motto is always that everything is great in moderation (more on that later). Nothing truly beats the feeling of a brand-new guitar. Pristine paint, smooth neck in flawless condition, hardware that is still shiny with no fingerprints on it…. even the smell of a new guitar is fantastic. There’s nothing like finding that blank canvas, ready for hundreds of hours of blood, sweat, and tears to be poured into it during its journey with whatever player acquires it. There’s also something to be said about preserving that majesty. There are a plethora of waxes and polishes and lemon oil for the rosewood fretboards… all steps to try to keep the cherished instrument in the top quality that it can be in. 
 
After some time though, despite our best efforts inevitably you’ll encounter that first dreaded ding. It’s a truly sickening feeling in the pit of your stomach, where you can feel all your nerves firing in your body as you brace yourself to check what awful fate befell the spot that just took the brunt of the impact. If you’re lucky, it’s a surface ding or scratch where it’s nearly invisible to the naked eye, and it requires odd light angles to be able to truly see it.  In the bad scenarios, you’re looking at potentially evasive maneuvers to attempt to fix whatever happened. Therein lies the problem: it’s something that is gut-wrenching and makes you just feel like crap as soon as it happens. It’s the curse of a gorgeous guitar: it’s pristine and amazing, but if you ding it up then it detracts from the overall look (and the feel if something happens to the neck), and it also affects resale value in the end. I know, I know… the person with the most guitars wins, right? But sometimes a fit of GAS strikes, or just life, in general, brings up the need to move some gear, and the condition it’s in plays a huge role in that sale.
 
Then there are the old favorites. Some of them earned their badges along the way in smoky bars, gig after gig every weekend. The road warriors, the guitars that have some love… dents, dings, paint missing, dirty fretboard…the opposite of pristine. You can see a lot of famous guitar players with guitars that they’ve obviously played the life out of to the point where they are barely recognizable from the original: SRV’s Strat comes to mind, same with John Mayer’s Strat. Keith Richards tele, Muddy Waters tele, Rory Gallagher’s Strat, Brad Paisley’s ’68 tele, Willie Nelson’s “Trigger” … the list just goes on and on and it’s impossible to list all of them. These guitars have had hundreds of hours of playing and thousands of gigs to get them to look like that, and they have become signatures for each of those artists to where they’re instantly identifiable (because those beat up guitars ooze vibe and look incredibly cool). 
 
The reality of the situation is that not everyone can put that much time into their instrument, and subsequently personalize it to its full road worn glory through their own personal musical escapades. I’m not going to get into details of poly vs. nitro, but that plays a huge factor when it comes to the natural wear of the finish on a guitar. I’ll use myself as an example of why I love relics, and I think that a few people may be in the same boat. I’m a 31-year-old IT desk jockey that enjoys jamming on the weekends. Rarely gig anymore due to work and family obligations, but playing guitar is still my outlet that provides stress relief more than anything in this world. I love the look of a well-done relic, but I literally will never be able to do that naturally to a guitar. There are a lot of my friends in the industry that has been playing for a very long time, and despite them gigging all the time their guitars haven’t worn very much at all after a decade or more of heavy use. The reason being that many builders/manufacturers have improved the processes and quality of the finishes they’re applying, and subsequently they’re less likely to fade/chip/etc. compared to the materials used 30, 40, and 50+ years ago.
 
The number one thing that we see people say that are anti-relicing is “just play the crap out of it and let it wear naturally. It looks fake, etc.” If you refer to my scenario above, that’s just not an option for me or many others. Relic’s provide the ability to experience the feel of a worn-in instrument in a scenario where it couldn’t happen naturally. Again, I work a desk job and personally can’t guarantee that I’ll get another 20-30 years to attempt to relic something myself naturally. We live in one of the greatest technological times ever, and if the craftsmanship and skill are there, why wait 30 years when you can have the guitar that you’ve wanted, often immediately available (or whatever build time some shops may take, which is 9/10 times always less than 20-30 years)? If a relic is not someone’s favorite thing, then there are a plethora of builders that can create a pristine, immaculate work of art to suit those tastes as well. There are people that wouldn’t like those guitars just as much as there are people who don’t like relics. That’s the beauty of guitar gear, is that everything is subjective, and I can guarantee that not everyone will agree with each person’s gear habits. That’s completely cool, and that’s what makes us unique!
 
Back to why I like relics: I’m a bit clumsy. There, I admitted it. I’ve made my fair share of “oops” moments that sometimes ended up with no issues at all, but I’ve also had some doozies (spinning a PRS and the strap coming undone, with it subsequently hitting the floor and beating up the back… I’m particularly not proud of that). I’ve been playing my Crook Custom paisley telecaster and bumped up against a desk and put a ding in it that made me sick to the stomach. However, with a relic guitar, it's already beaten up! That dreaded first ding mentioned above is nothing but a beauty mark to personalize it and add its own story to the life of the guitar. I’ll never forget my Jason Wilding saying that the moment he gets a new guitar, he drops it on the floor to get that first ding out of the way. I was appalled at the notion of that, but the more I thought about it that’s one of the most liberating feelings imaginable. Not having to worry about whether you bump into things and what aesthetic damage will occur is such a free feeling. Guitars are tools and should be treated as such I suppose.
 
I mentioned earlier about “everything is good in moderation”. This is where I’m sitting with the whole relic thing: If it’s done tastefully and in a realistic fashion, then a relic can be a gorgeous thing. I’m not a huge fan of the heavy relics, but that’s just a personal thing. I can respect that people like those and would never put anyone down for liking those. The key thing that sets these custom builders apart is the attention to detail. Doing your research and seeing what builder fits best to your end goal is the key to a great finished product you're happy with. The other option is DIY relicing which would save some money, but there’s a learning curve and it may take a few trials and errors to get the technique down to fit what you’re going for. If you want to get into relicing your own gear, I highly suggest perusing the catacombs of Google and TheGearPage.net and other forums like that to see what has worked and what hasn’t for others before diving head first into banging up your favorite instrument. Buy a couple of cheapo guitars and see what kind of trouble you can get into, what methods work and what doesn’t. It can get expensive, but the feeling of completing a DIY project successfully is unparalleled.
 
To summarize, yes, I’m looking at it a lot aesthetically. That’s not necessarily the main thing with relics, but that’s a large part and the first thing that people comment on is the visual aspects of it. I didn’t even touch on the ways that the neck can feel even better when it’s bare wood, or how having some of the finish off of the body can let the wood breathe a bit and add some sustain…etc. That may seem like voodoo to some people, but if others think it makes a difference, then why argue? I guess my main goal with this entire article that I’ve rambled on about is that whether you like relics or not when you see one that you don’t like, don’t automatically bash it. If it’s not your thing, then it’s easier to skip over the thread and ignore it than to just openly bash someone’s happiness. I've got guitars that I try to keep in pristine condition, and I've got guitars that I really don't care if they get dinged up or bumped into things. There doesn't have to be a clear line drawn in the sand on the subject, you can like or not like any of what I just wrote and there's no problem with that. Tone and gear preferences are purely subjective in every sense of the word, so have some fun with it!

Death and Music Sales

August 07, 2017
In the past few years, the music community has been hit extremely hard with deaths of many famous musicians from a multitude of genres. Several led a good life, but many left this place way too soon for reasons we will likely never understand. There has been a multitude of tributes and great homages to these artists, which is fitting for the impact they left on so many.
 
Seeing as we like keeping our followers informed, we often share music news that may be interesting to people who like our page, because we personally find it interesting. This could be humor (we try to keep it light), some in-depth questions regarding personal preferences in gear and popular gear culture, and even the sad news as well.  One thing that I started to notice is following a celebrity death, their music sales would be trending in the music store (I’m an iPhone guy, so I’m referencing Apple Music/iTunes). When you go to search, Apple comes up with a list of the top 10 most searched items, and consistently after each musician passed, their name or bands they were in are at the top of the trending searches.
 
I started noticing this trend in 2015, and it’s stayed consistent after each high-profile death. Why is this? The very first thing that could be said is profit. It’s an opportunity to cash grab and make some extra money from the tragic event. I’d like to think that isn’t the culprit, but in today’s world, it’s too real of a possibility. I’m one to try to find the silver lining in things, so I’m going to look past the $$$ and focus on what I’ve noticed the past few years, and how it may have a ripple effect down the line.
 
So why the sudden surge in interest in their music after the artist has passed? My first guess is nostalgia. During my life, I’ve drifted from one genre of music to another in phases, but I always love the “classics” that defined various parts of my life, and those songs/albums will always act as a bookmark of sorts to a memory (good or bad). Being 31, Linkin Park’s first two albums left a mark on me during my awkward teenage years, so when I heard about Chester passing, I immediately went back and grabbed those two albums on iTunes and had a bit of a nostalgia-fest. When I first started playing the guitar, the album that drove me to want to play non-stop was BB King and Eric Clapton’s “Riding with the King”. When BB passed in 2015, I took it a lot harder than I expected, because I felt as if I had known him because of spending so much time listening to his old records and trying to (admittedly) openly steal his licks. Again, it was a resurgence that made me go back and listen to those records, and if I didn’t have them then I downloaded them to fill the void that my heart felt like it had after losing a piece of my upbringing.
 
Another reason potentially behind the increase in sales is curiosity. I’ll be the first to admit that I liked a few of Prince’s songs, but it wasn’t until his death that I really became interested and started studying his catalog. He was a renowned guitarist and songwriter, and I was curious WHY? I spent about a month learning some of his songs and I totally understood it…there was an undeniable groove and feel to his music that set it apart from everything else.  This made me think that if it did that for me, my hopes were that it also sparked others who may not have been interested before to check out his music. This is a bit of a silver lining that is overlooked but hopefully is true.
 
With every famous musician’s death, the subsequent reaction is a boost in their music sales. In that case, I would hope that a young kid just learning to play music or write songs would see that potentially unfamiliar name on their trending list, and check out an artist they would otherwise have overlooked. Again, I think I’ve romanticized this in my mind, but if a single young kid can be exposed to great music, that it may change their life and push them to become the next Prince, or BB King or Chris Cornell, etc. then their music has made an impact (which I like to think was the goal in the first place for many artists).
 
 
 

Top Tone Tip!

July 03, 2017

Recently I truly haven't had a lot of time to play lately, so when I do I've been trying to kick the habit of messing with my board and pedals so much and just focus on playing. That being said, I still like to use some varying flavors of pedals, but not like I normally would if I had my full board on hand. My solution was simple, and it went against everything I know about proper board setup and powering them: I sat 3 pedals on top of my amp (Compressor, OD and Envelope Filter), used a OneSpot to daisy chain them, and let loose and played like crazy. I set and forget them and only adjusted the Q of the filter occasionally and that was it. It was kind of liberating, and it was really nice having the pedal right there *if* I wanted to mess with it.

This kind of followed suit with my growing desire to minimize my gear and try to stop tweaking my settings constantly. If the knobs are there, inevitably I'm going to mess with them. Having them on top the amp wasn't beneficial at all for cutting them on and off, but quick changes on the fly were drastically improved. I saw a rig rundown for Billy Sheehan and noticed he keeps his pedalboard on top of his amps as well, and I totally get it now. 
 
So my question is, could I get away with just those three pedals at the jam we're having at my buddy's house next weekend? I'm seriously considering it. I do know that it is a bit noisier because of daisy-chaining, so a tiny board and a isolated power supply may be in the works. The main thing is having a solid amp to do this with, because if you're not in love with your amps base tone then it's not a situation that could easily work as well on some amps. The Bravado takes pedals like a champ, so that part is sorted.
 
What do you think of the idea of just a couple of pedals on top of the amp setup? What amp/pedals combo would you choose?
In this age of modern technology, information has never been more readily available and at our fingertips. There have been forums around for many years for all sorts of music-related topics. TheGearPage.net, TDPRI, DIY forums for learning to build pedals to name just a very few of the more popular forums out there that people have been frequenting for years. Now the newest evolution is the creation of guitar groups on Facebook (one of which we created and maintain). If you can't find information regarding a question or if you're trying to find a solution to an issue, there are a plethora of resources to choose from to share experiences and ask questions to a group of players of all skill levels from around the world.
 
These resources have helped so many people gain a wealth of knowledge, along with making new friends in the process. That's the intended goal of guitar groups, is sharing and coming together over our favorite instrument. However, there' s a flip side to such a great gathering place for musicians. Along with knowledge also comes a not so friendly side. I'm talking about trolls, bullies, jerks... whatever you want to call them. These are the people who judge (based on their own self-established authority) that a topic or picture is unworthy of the groups time, or if they don't agree with something that the group doesn't either or that the poster is a [insert vulgar adjective and noun here]. We've ALL been there and seen it happen. It's aggravating from anyone's perspective, but it's really disrespectful or hurtful sometimes to the people who are on the receiving end of the objection or trolling. If you have friends or people who want to defend the receiver, it grows out of hand VERY quickly.
 
This scenario has had me thinking a lot recently, and wondering WHY people feel they have any right to criticize or put down another person for wanting to learn or share something. TONE IS LITERALLY ONE OF THE MOST SUBJECTIVE THINGS IN THE WORLD. Nobody is right, nobody is wrong. It's whatever makes the player happy in their own chase for tone...there are no rules. Yes, there are common practices, but if players feel the need to switch it up and they dig it, then go for it. Nobody should be harassed or belittled for getting enjoyment out of their gear. So what if someone doesn't like relics or thinks Dumble amps suck, or they love Joyo pedals and think any pedal over $50 is a ripoff? There's a nice way to put it without being a jerk about it. Respect and tactfulness are lost arts these days.
 
What's the deal then? Why are people so quick to turn a friendly conversation into an all out war with words on a subject that's so subjective and different for everyone? The truth is we'll never know. Maybe they're just having a bad day (which we're all entitled to) and it's just the wrong place at the wrong time and that thread sets them off. That doesn't make it right, but it happens. Maybe it's jealousy? Unfortunately this is part of it as well, and with different incomes and lifestyles comes different opportunities for gear that won't always be available for everyone. There still should be no animosity over it, that's just the way the world is in all walks of life, certainly not just gear. What each person does with their own money is their prerogative, but not everyone sees that the same way. 
 
So how do we combat this? Number one advice (you probably already know it) is don't feed the trolls. Getting angry and quickly responding usually escalates and feeds into their destructive behavior. Ignoring rude comments as if they don't exist doesn't feed into whatever trip their on, and it will quickly fade into the sea of comments. Another way we handle ridiculous comments on YouTube or Facebook (which any company gets on a regular basis, you'd be amazed at some of them) is to just kill them with kindness. A simple "Thanks!" or "Cool, thanks for the input" ends the conversation by taking the high road. Either way, meeting negativity with more negativity won't solve the problem, and it usually just adds fuel to the fire. Following the old saying of "If you don't have anything nice to say, don't say anything at all" is a simple way to approach it, and that's how most people normally operate. If the average person isn't into a thread, they move on to another that they are into. 
 
If you see someone being bullied or a troll bringing a thread down, take the time to let an admin of the group/forum know what's going on. The end goal is to keep these great places of knowledge thriving and positive, and even a quick message can keep a bad apple from ruining the bunch.

Tone sculpting has become a bit of an art, and many players pay so much attention to all facets of their board and guitar. Every link in the chain adds up to the overall tone you’re going to have coming from your amp, and small adjustments in your chain can make a big difference e in the long run.

Picks – There are thousands upon thousands of options for picks, ranging from extremely cheap budget picks all the way to expensive boutique picks that are worth almost as much as some pedals are. If you’re ever looking for a quick adjustment in your tone for something different, try a different pick shape or material. Different material will have a different tonal result on your pick attack, the harmonics and even feel of your playing. Metallic picks (using coins, etc) will have a brighter, chimey-er tone, where using some wood picks will yield a much darker tone. There are a plethora of options in terms of the material used to create them, so do your research and find which material yields the tone you’re looking for. Different thicknesses will make a large difference as well. It’s a fairly inexpensive way to for you to approach your tone differently. Also, if you don’t normally use your fingers, try it! Your fingers and fingernails have their own unique tone, and can resonate differently than a pick can. Switching up your right hand technique can really help you break out of the box tonally and technically.

Cables and Buffers – These are a foundation part of your tone, so great cables can make a huge difference. Again, there are a plethora of options out there for soldered and solderless cables, along with varying ends and methods of creating those cables, along with shielding options and types of outer casings for enhanced durability. The key to finding a great cable is finding a set that creates minimal signal degradation. The cheapo $5 patch cables can suck some tone and cut your high end, which after going through several of those cables will yield a more muffled, dull bypassed tone. Buffers also play a huge part in keeping your tone pristine. Buffers alter the impedence of your guitar signal, which helps it travel through your board easier. Just remember that some pedals (fuzzes and wah’s) aren’t fans of buffers, so place them before it. The best judge of whether you need a buffer or not is to take a short guitar cable (10’) and plug directly into your amp and play. Now plug into your board and see if the tone sounds muffled or like a blanket is lying over your amp. This would be due to signal loss from not having a buffer or needing better cables.

Speakers and Speaker Cabs - Of all of your tonal puzzle pieces, these are literally the devices that project your sound into the world, so choosing the right speaker for the application can play a huge role in turning great tone into STELLAR tone. There are more options than I can possibly put into a single blog, but there are hundreds of speakers from various companies that can accentuate the amp it’s paired with, and subsequently the pedals and guitar that are running into it.

The key to finding the perfect voicing for the sound you have in your head is realizing what you’re intentions are for the amp you’re using. If you want clean headroom, your speaker choices can differ greatly from an amp that you’re intending to use as your dirt tones. Choices can be affected by what configurations you have as well, so a single 1x12” cab will sound different from a 2x12” and a 4x12” (or 4x10”, or countless other options). Having a cab that holds more than one speaker is beneficial because it allows you to mix speakers to fit the perfect application. One speaker may be designed for more aggressive lows and highs with less emphasis on mids, where you could pair that with a more mid-focused speaker to fill out your sound tonally.

When choosing your speaker, you need to pay attention to the outputs on your amps and what ohms they can put out, as well as the speaker and make sure they match up. If you’re not sure exactly how to do this, the easiest method is to email the company and let them know what amp you’re using and they can recommend the right product and ohm rating for you. Your amp can sound completely different based on whether you’re running at 4ohm, 8ohm and 16ohm and doing the research between the various options and what works best for your amp will yield some really fun and great sounding results.

Along with proper speaker choices, deciding on the right cab (as mentioned above) will play a part in your overall tone. Horizontal cables vs. vertical cabs can make a big difference on the tone you and the audience are hearing, along with which way the cab is facing and whether it’s tilted, off the floor, or even facing a different direction. The last thing the front row of a gig wants is to have your speakers blaring directly in their faces. Tilting the cab back (on combos) or getting the cab off of the floor will help diffuse some of the sound and disperse it into the air instead of directly at the audience’s faces.

Mix it up a bit – Do you normally run your delay into the FX loop? Try placing it before your dirt pedals for a completely different set of tones. There are typical “guides” and thought processes that come to mind when laying out a pedalboard, but when it comes down to it there are no rules, and what’s right is whatever sounds best to you. Experiment with signal chain order, especially stacking different pedals into each other to see what sonic tones you can coax out of something that would seem so unorthodox.