Jason Wilding

Jason Wilding

So, the title of "The world's luckiest guy who's employed by a Gear Company" probably went to me last week, actually, a few weeks ago but let's just say it wasn't completely obvious until Saturday night.

First, let's get a little perspective here. A lot of people think I get given gear all the time, I don't really - I have stuff here for work, that I have to use for promotional purposes - it's not mine and I have to hawk it round to various places, photographic, promote it - yeah I know, sucks to be me doesn't it. But it's not mine - I have to test run everything (in a live situation where possible) and one of the reasons I am still here after all these years is in part I never bullshit Brian, if something sounds great I tell him, and if it doesn't, I tell him twice. I don't tell everyone blindly how great our gear is, I will advise stuff that I think fits the player - I mean, anyone who is connected to me on social media knows I am very unflattering about tube screamers, which probably doesn't help our sales of the Clarksdale (our version of the 808 with expanded EQ and clipping options) much... but those people also know I am honest and I understand that each to their own... How many people do you know who love TS circuits? ;)

Getting back to the main part of this piece, I received the Wampler Bravado here at Wilding Towers in the UK on December 19th (which is actually my daughter's birthday so it stayed in the box that day while I was trying to be SuperDad). When I opened it, I must admit quite excitedly, I was surprised to see an America power cable in the box, so I looked on the side and saw the dreaded.... 120v. D'OH. Great. I had an un-useable amp. As you may expect, I text'd Brian and said "Well, that's a bit silly" (or something like that) and what do I do now, seems insane to send it back to the US... Over the next couple of days Brian had spoken to the transformer people, and the people who finalise production on the amp and I was told that it's a simple fix, the change over of a couple wires inside. That would be great, except I can't solder for shit. Great x2. Armed with explicit instructions on how to change it I dropped the amp off at my mate Bob's house, who is an audio electronics engineer, with the instructions and £20 later I have a 240v amp... This was December 23rd.The date of our last gig of the year - I got the amp fixed, I went over to my friend Ray's house to borrow an old yet delightful 2x12" cab with the view of giving it a run out that night. And then, 2 hours before I'm due to leave to the gig my car decided to die. Great x3. 

So, I didn't have the opportunity to test it that night, I borrowed a car from my lovely friend Kate and I went to the gig with my usual gear (which is a stock Fender BDri with a WGS Veteran 30) and as usual, my tone was lovely, mostly thanks to this little board of delight.

So, after Christmas I had time to play. I tested it with the Orange 2x12" (Celestion Vintage 30's inside), it wasn't great as they are designed to break up WAY early in the sweep, and I needed it clean. Unfortunately, they were soldered in so I couldn't swap then out (remember, I can't solder at all). Great x4. Here is where it becomes interesting. I have 4 WGS speakers here: the Veteran 30, ET-65, Reaper HP and the Blue Alnico thing, can't remember its name. So, I tried the Bravado plugged into the speaker in the Fender, first with the Veteran 30, then the ET-65, then the Reaper - all the time, comparing it to the 2x12" with the Vintage 30s. It quickly became a geek fest of tone, response, articulation, break up and everything else. Let's just take a moment to pass our good wishes onto my long suffering wife who had to listen to my crap playing, really loud, ALLLLLL day. 

Here is what I found.

The Celestion Vintage 30's are fabulous for that dirty thing, when using an overdrive to push it, the sound is incredible. But that's not what I want - I play in what is effectively a country/blues/rock band in pubs, so I need clean headroom. One can't play Brent Mason solo's when the amp and cab is clipping... So, I'm keeping that tone in the bank for when I need something more aggressive... The real magic arrived when I put the Reaper in. 

The Reaper. WOW. I just can't begin to tell you how perfect it is to my ears, for my style of playing, for my rig, in the places I play in. The Reaper is based on the G12H30 Anniversary edition, and it's perfect for this. Gone was the high end edge of the Veteran 30, gone was the break up of the v30's and here was the full spectrum tone of clarity and cleanliness of the Reaper.  It would appear that my speaker choice was made and I set off to the gig. 

When I arrived, I set up, level checked and over comes the bass player, Rick - who in my opinion is one of the greatest I've ever heard - he's so far in the pocket it's a thing of beauty, his tone is flawless, everything about his playing is perfect. Plus, I met him when I was about 15 so I've known him and played with him off and on for almost 30 years. He is a real tone chaser... he simply has the best tone of any bass player I've ever heard in a pub/club setting. ANYWAY... he asked about it, so I played a bit and he started to smile - we played with the bright control, the EQ and levels and we settled on position 3 for the bright switch, my guitar is quite dark (PRS Brent Mason) and I don't like harsh top end so my effects aren't set harsh... here are the settings (taken right after the first set):

We found that even at full brightness the tone wasn't sharp at all, it didn't bite, it didn't hurt (which it would have with the Fender), it just sounded a little more VOX like, which was as odd as it was unexpected (at that moment in time I was regretting not playing any Brad Paisley, but that's another story). As the gig went on, my I had a lovely time - my tone was INCREDIBLE. I have never, ever sounded like that before. Everything was clear, articulate and powerful. Everything was perfectly balanced and the levels across the entire spectrum was perfectly balanced. We had a great gig, loads of people danced, drunk people came up to me and were talking incoherently to me, but while shaking my hand and smiling a lot, so I'm guess they enjoyed it. I was a happy boy.

As we were driving home (across beautiful Dartmoor, 1am on a clear winters night but that's just me showing off about where I live, it's outstanding!) my wife said something that made me think. Now, my wife comes to every gig I play - let's face it, she didn't marry a guitar player to be sat at home on a Saturday night to watch the bloody X-Factor now did she - she knows my playing better than anyone - she's a great musician - piano player, and she is a fan of the music we play so if I have a great night, she tells me and if I don't, she tells me. She's always honest and is only interested in my development as a musician, so there is no bullshit.

"I've never heard you like that before, you sounded amazing. You must have known that because you were smiling all night and you played stuff I've never heard you play before". It would appear I'd been more thoroughly inspired by the amp than I realised. I'm pretty certain that this was the Bravado. It sounded SO good. The wife said it was amazing, the drunk people said it was amazing, Rick said it was amazing. I'm pretty certain that basically, the Bravado makes you sound amazing. I put it down to the following. I have 4 basic tones. Clean, Tumnus, and both channels of the Dual Fusion. I run them Tumnus -> c2 DF -> c1 DF. So, I run clean, I run Tumnus, I run c1 DF, I run c1 DF with the Tumnus, I tun c1 and c2 of the DF stacked, and I stack the Tumnus into that... basically, I use a LOT of variations - we are a cover band, and there's not a lot worse than a sole guitarist bands who only have 1 tone. With the PRS (that is extremely versatile) I have so many tones, I can't actually begin to count them and every one of them was utterly perfect. Previously I would have a great clean tone, nice OD tone or a nice face melting tone. I could never balance them all out and them all sound amazing. Not even good. Sometimes, the higher gain stuff was pretty muddy, still nice, but muddy.

So, if you want an amp that is clean, all the way (well, as much as it can be) that EATS pedals for breakfast and can take everything from low gain all the way up to the other end, this is probably the amp for you. It ain't cheap, but if you have a £2K guitar and a £1K of effects (like many players in my postition have), why put it through a £1K amp. By my reckoning, people often buy an under performing amp, just because they have a famous name on them. With the Bravado, you will never sound better, providing you have the right speaker. This is why SO many high end amp makers appear to have own brand speakers, they get companies to make a speaker to their spec and then stick a label over it... Maybe we should do that!

Speaking of all this (pun intended), Rick and I are making a 2x12" - the WGS Reaper is going in as is the ET-65. It's based on the spec of the Wampler cab, can't wait to play it out. Keep an eye out for the amp, it'll be in stores - selected stores - try it with pedals in front of it... Outstanding.

 

As you all know, we had a little bit of a spring clean towards the latter end of last year that meant the entire line/range had a facelift! It was exciting times that if we are honest, was culmination of many many months of work that saw everything change. It was quite a massive undertaking doing it all at once to be fair! All of our pedals now have top jacks and relay based soft switching (with the exception of the minis due to space constraints, having said that, the stomp on the newer Tumnus is slightly better than the older one). Each had a new paint job, new logo, refreshed under graphics, clearer labelling, better in-box manual, new box, new bag and even a Wampler branded battery!! 

This does not mean they are all now v2.

With the exception of The Faux Tape Echo and Pinnacle Deluxe, all the circuits remained the same. 

Many of our dealers have been advertised the older pedals as v1 and the newer as v2 purely to separate the two and allow a slight discount on the older models to move them on in favour of the newer ones. 

For example:

So, in a nutshell here is the official word. The ONLY pedals that are v2 are the Faux Tape Echo and Pinnacle Deluxe, everything else has just been brought into line with the pedals that have been released over the last couple of year.

So, unless it has v2 on it - the circuit is the same, it is not a v2 in any way and tonally; it's effectively the same as the previous models.

I hope that clears up any confusion!!

 

Bravado 40w Amp

November 24, 2016

 Brian Wampler has taken his intimate knowledge of circuits and built the Bravado from the ground up, designed to be the ultimate high-headroom clean pedal platform.

The Bravado is equipped with 6L6 power tubes and delivers 40 watts of clarity that works well with nearly every pedal, making it sound exactly how you expect it to - perfect. Unlike almost every other amp on the market, the Bravado is engineered to give players warmth and natural tube compression that gels with all types of pedals, whether a simple boost or massive distortion.

When it comes to the EQ, the Bravado provides a multitude of tweakable tones. A wide range three-band EQ sculpts any pedalboard while the tube-buffered effects loop is a nice warm place for your delay/reverb effects.

The Fat switch which gives your signal chain a ballsy push in the midrange without being nasally. Three positions provide varying levels of midrange enhancement and extra gain for players looking for a brawnier tone.

Wampler found that amps with bright switches were either too bright or too dark, and so a multi-position bright switch rounds out the EQ controls. Six positions of brightness let you dial in just the right amount to liven up your chain before the power section gives it what for.

The Bravado is expertly handwired, point-to-point, in Los Angeles, CA and loaded with top-shelf components for optimal tone.

The Bravado will be available in a 40w head (2x12" cab available) and 1x12" 40w combo!

Full details will be published on the main web site product pages soon, with pre-order links and confirmed release dates! 

Tone chasing just went to the next level!

Here's a nice story...

Many of you are probably aware that we run a gear/tone group on Facebook. We call it the Wampler Pedals Tone Group (I know, how dazzlingly original is that?) and we made it because, well, most gear groups on Facebook appear to be frequented by people who I can't accurately describe here and still keep my job!

We had no idea how it would turn out, if we would have to delete it because those same kind of people came in but I don't know how, but it appears we got really lucky as it appears that the vast vast vast majority of the 6000+ members we have are just great people, looking to talk gear and pedals, and are not interested in being know it all show offs who state opinions as facts!

Since we started the group a couple of years ago you get to recognise certain names and then over a period of time you actually get to know them... You get used to seeing them about!

One of the first people I remember noticing was Huey Falls, purely because every post he made he signed it "SGT Huey Falls USMC Ret." - A man who is obviously extremely proud of his service, and rightly so! I got the impression after chatting to Huey within thread over the months that he wasn't a well man, I had no idea (and still don't) if this is due to his service or something after, I think he's blind also... Anyway, that's how I got to know Huey, albeit not at all, just online in a gear group, you know what I mean.

It was a few weeks ago I noticed I'd not seen him around for a while, and then a day or so later one of our members, Kevin Harrington, made this post in the group - Kevin knew Huey through the group only, and somehow found out he was about to undergo an amputation on his left leg, below the knee. He knew Huey was gassing for a new fuzz, a Velvet Fuzz no less, so he set up this go fund me to help Huey out and it was posted into the Tone Group.

Due to the extreme generosity of the members of the tone group, the $250 goal was quickly reached and breached. It looked like Huey would be his pedal after all!

Now, Alex and I had been watching this for a while and once the target was breached we talked to Brian, and we came to the conclusion that it would be best if we donate Huey a Velvet and then donate the money raised to Huey's charity of choice. Everyone in the group thought this was a grand idea!

So, thanks to the generosity and community spirit of our tone group, Huey's favourite charity of choice is $355 better off and he has his pedal! What a wonderful little community we have here! Thank you Kevin, this is all your doing. You're one of the good ones.

 

 

I was checking out the wonderful "The Guitar Hour" last week (hosted in part by signature artist Tom Quayle) where the guys went to a luthier and filmed and dissected a full set up on guitar. It's compelling viewing and fascinating to see what happens when a professional does the job perfectly! If, like me (having worked in guitar shops for years and having set up thousands of guitars in my time) you thought you know it all, then this will be a real eye opener for you.

Part 1 - The Fret Dress - The thing that always made me really nervous! 37 minutes.

Part 2 - Taking you through the first part of a standard set up. 35 minutes!

Part 3 - The rest of the standard set up. 36 minutes.

 

Thank you to Tom, Dave, Dan and David for letting us publish on our blog, it's much apprecaited! You can check out The Guitar Hour here.

Power, power, power… This has to be the most asked question we get, well, the many variations of it anyway… I’m not kidding when I say it’s probably a daily event that one of us answers the question! So, I’m going to consolidate the headline points into here so hopefully we can provide you with the one stop place to get all the information! A few weeks ago, our friends over at That Pedal Show produced the ultimate geek-out about power, but running at 37 minutes, many didn’t get to the end so I am consolidating it here to make is easy to grab the basics, with a little of my own perspective to keep it relevant...

What power do your pedals take?

ALL of our pedals are designed to run at 9v DC, center pin negative (The DC and center pin negative is essential). Some of them can be run at 18v (you can see a list of those in our FAQ section here). So, most power adaptors will be just fine. We don’t recommend specific ones, but any one made by a reputable company should be good. If you need to double check, or a second opinion, you can ask us or any gear forum, or your local store! There’s always a load of people willing to discuss power... 9v is the amount of power (voltage) the pedal takes to work under standard operating conditions so if you want to hear it like Brian hears it, run it at 9v. However, Tom Quayle uses his Dual Fusion at 18v and I find it works best for me at around 15v. 

What are mA?

Well, basically, this is how much juice your pedal is taking from the supply. This is the current. So, if your pedal takes 30mA, a 700mA adapter will be just fine. Anything up to the amount listed on the adapter theoretically will be good. You won’t melt a 30mA pedal down by putting a 700mA adapter in it, the pedal will just take what it’s needs and the rest is just not used. So, if you have 3 drive pedals; one at 30mA, one at 15mA and one at 25mA, your total draw will be 70mA which in theory still leaves 630mA ‘headroom’.

A simple way of putting it is that the voltage is the strength of the current and the mA is how much of it is used. Most plugs here in the UK have a 5A – 13A fuse in them, the US usually has 15A, so even if you are chain up a lot of 50mA pedals, you can draw tons of them at 9V until you start to run out of “headroom” from that plug. Hope that makes sense... 

*One thing though, I wouldn’t try to push the adapter to the limits, leave some room. I’ve heard it say that if you draw over 60-70% of the adaptors power, you might see a drop in basic voltage which will affect the way the pedal sounds.

What is center pin negative?

Well, the tip of the plug (barrel type, usually 2.1mm) that goes into the pedal has two connectors, one on the inside and one on the outside, the one on the inside is the negative and the outside is positive. Who ever thought this up was clearly insane, it would be better to have the hot part on the inside out the way, but there you go. All of our pedals take DC, if you put AC into it smoke will appear, you will hear a pop and then you’ll have to send it back to us to be fixed – and the smell… it’s horrible. Remember, it's the magic smoke in the pedal that makes it sound so cool, so if you put the wrong power in and the magic smoke is released then it won't work anymore!  We ensure there is protection inside each pedal if AC is put in, but all it does is limit the damage, it doesn’t resist it. So, please please please please do not put AC into the pedal! It’s highly unlikely that a warranty claim can be made due to incorrect power being applied.

What is isolated power?

Basically, it’s the process of separating the power from each circuit from others present in the signal chain. Some pedals disrupt others (especially if you mix up analogue and digital) so the best thing you can do is completely isolate them from each other. Now, I could talk for hours and hours and we’d just scratch the surface, but I’ll keep it simple. If you are running pedals that are friendly to each other (modern overdrives/distortions) you should be fine to daisy chain them together (providing the above criteria is met). However, if you stick a digital pedal in the chain noise can be picked up and amplified by the ‘gain’ pedals. During the episode of That Pedal Show, Dan said that this is because digital pedals dump a lot of noise on to the ground (I didn’t know this) – isolation will take that away and doesn’t allow a pedal to disrupt another across the ground. Some people call this clock noise, some digital noise… it has many names but the only thing you need to know it’s just not a nice noise at all and you don’t want it. The more you isolate, the quieter your board will be!

So, there are the basics of the power conundrum. This is just scratching the surface but it should give you enough information to keep you ticking over (but not with clock noise) and have a happy, yet quiet, pedalboard!

 

Another Free lesson!

August 17, 2016

Lesson 2: The Major / Minor Pentatonic

Breaking out of the pentatonic boxes doesn’t mean that you have to totally change the way you play guitar and start all over again, in fact, it’s very much the opposite! It simply means that you use your pentatonic knowledge as the foundation to build a more varied library of ideas. 

In this lesson we will be taking the minor pentatonic shape 1 and changing one simple element to create a whole new sound and scale shape. We take the b3rd of the scale and sharpen to create a natural third instead. This essentially means that we have brought in a major element to the minor pentatonic scale, hence the name major / minor pentatonic. There are two ways to play this shape, which you can see here:

The Theory

In terms of how to use this scale, we need to understand a simple bit of theory. This scale uses the following notes:

Scale Construction

1st, 3rd, 4th, 5th, b7th 

Within these notes we have major and minor elements. The root, 4th and 5th are all good in both major and minor, but the 3rd is major and the b7th is minor. Therefore the ideal chord and sound to use this scale is shape is a dominant chord. If you look at the chord construction of a dominant 7th chord you get this:

Dominant 7th chord

1st, 3rd, 5th, b7th

 So this works perfectly! As it works so well over the dominant 7th chord this scale is perfect for blues and funk, so jam away to those style backing tracks. If you are playing over a 12 bar blues, remember that this scale fits perfectly over the root chord, but not as well over the there chords… so just tread lightly as the track progresses!

More about Your Guitar Academy!

Your Guitar Academy is the UK’s central hub for learning guitar. They offer an online subscription-based range guitar lessons called “YGA Pro”, as well as private guitar tuition in several parts of the UK including London. They welcome students of all ages and abilities looking to learn and improve, from complete beginners to experienced players. They’d love to hear from you!

Free lessons!

August 09, 2016

Lesson 1: The m7b5 Arpeggio...

Breaking out of the pentatonic boxes doesn’t mean that you have to totally change the way you play guitar and start all over again, in fact, it’s very much the opposite! It simply means that you use your pentatonic knowledge as the foundation to build a more varied library of ideas.

In this lesson we will be taking the C#m7b5 arpeggio (a half diminished arpeggio) and add it to the pentatonic box 2. We’ll get into the theory in a minute, first of all, let’s learn the shape:

Our second task is to layer this new shape on top of the B minor pentatonic shape 2. Theory aside for the moment, this layering effect will allow us to quickly call upon the m7b5 arpeggio without having to think too hard about it! The little exercise we looked at in the video is as follows:

Tab for arpeggio

The Theory

So, for those of you who like to know what’s going on behind the scenes, let’s talk about the theory behind this concept. We are using the key of B minor for now. If you are a pentatonic player you probably know that if someone shouts B minor, you pop your first shape of the pentatonic on the fretboard on the 7th fret and away you go! Well, thew other thing that happens when the key is called is that you can harmonise the B minor scale to create a series of 7 chord shapes. These are <em>B minor, C#m7b5, D major, E minor, F# minor, G major, A major and finally back to B minor</em>. Each one of these chords uses only the notes from B minor to create the chord, and therefore they work perfectly together in key.

All we are doing is taking one of these chords (we could take any), in this case the C#m7b5, and playing through it over the B minor backing track. We know every note will work as the notes are built from the B minor scale. The cool effect you get is that of a bit of tension, as these notes spell out a chord that may not be playing underneath (unless you beautifully land it on the correct chord). This could be a bit dodgy sounding if you just keep going up and down it, but used conservatively and resolving to the pentatonics after each lick, provides a cool sound that adds a bit more spice to your playing and gets you out of those pentatonic boxes, even just for a moment!

More about Your Guitar Academy!

Your Guitar Academy is the UK’s central hub for learning guitar. They offer an online subscription-based range guitar lessons called “YGA Pro”, as well as private guitar tuition in several parts of the UK including London. They welcome students of all ages and abilities looking to learn and improve, from complete beginners to experienced players. They’d love to hear from you!

As I watching the news here in 'sunny' England yesterday i was confronted with a picture of a rather serious looking Robert Plant and Jimmy Page and the headline of "Stairway Heaven in copyright trail".  I expect like most people did, I just rolled my eyes and thought "... not again" but then the more I thought about it, the more ridiculous it became.

Before I start, let's look at a couple of copyright trials in terms of music in recent years. Famously Joe Satriani took Coldplay to court because of the claims he made that their song "Viva La Vida" from 2008 was based on his 2004 track "If I Could Fly". Here they both are....

I can hear some similarities in the two, but I'm not certain enough to bring about a court action. Now, I love Satch - big love for him and his career but I don't get this - there are parts of the Satch song I can take over to the other but for me it's not that obvious... Waaaaaaay back in the 90's I worked in a music shop in Exeter and Chris Martin was a regular in there as a young 17/18 year old music freak. I remember him having a talent several miles wide and hated it when I dropped Vai and Satriani licks in when there was a shop jam happening. He just didn't like that style of music and never listened to it... But, that's incidental. Anyway, it is strongly rumoured that this was settled out of court under the banner of being "dismissed".

George Harrison was famously found to have subliminally plagiarised "The Chiffons" track "He's So Fine" for his track "My Sweet Lord"... now, this one I can hear completely. Have a listen to the melodies throughout... I do find it 'amusing' that after the case was found against Harrison he went on to buy the publishing company that owned The Chiffons track!

So, Stairway to Heaven. Apparently, this copyright infringement action has been brought by Michael Skidmore, a trustee for the late Spirit guitarist Randy Wolfe, who played on the same bill as Led Zeppelin in the 1960s, and claims he should be given a writing credit on the track. Let's have a listen to them put together (man... I love the internet).

I think everyone can hear the hooks in the intro being similar. But let's be honest, it's not exactly an uncommon progression/feeling in either of these songs is there. At what point does a song become solely identifiable from one section of the track, in this case, it would appear to be the intro and maybe a hook in the middle. At what point do we draw the line at what is obviously an inspiration and what is blatantly plagiarism. As I said above, Zep and Spirit shared the the same bill in 1969 and Spirit played Taurus that day. Could it have been the case that Page heard it and it stuck in the back of his head? Probably. Could it be the case that Page/Plant sat down in that cottage in Wales and said "Remember that band, Spirit, we played with them a couple of years back - they did a song called Taurus and it had a couple of great hooks in it, let's use them in a new song"... Unlikely. I mean, it's not as if Zep were struggling for hooks or general abilities for songwriting was it?

I'll think I'll just leave you with this to think about before I start ranting about lawyers and the pointless pursuit of money, something for nothing and creativity...

Actually, I'm not going to rant but I will say this... If this is decided in favour of Spirit on May 10th, I will just transfer all my future gig earnings to Messers. Gilmour, Vai, Satriani, Mason, Reed, Edge, May, Paisley, Smith, Murray, Bettencourt, Gill.... and everyone else's who's licks I've picked up over the years and are all bastardised together to make me sound like me. I wonder if I can just set up a direct debit to their accounts, or maybe I should just stop playing. Maybe the fear of litigation will stop is all from playing soon anyway. How I wish I was the person who can claim rights to the 12 bar progression... Imagine that!

I’ve not let the contentious me out the box for a while but something has happened recently that’s made me a little prickly.

Guitar solo competitions. I hate them. I really really hate them. When did playing the guitar, or music in general, become a competition? Are we expecting to have it put into the Olympics? Man, if it does, I pity the people who have to dope test some of the pros! Lolololz, no – obviously, I put that in to make myself smile as after today, I’m kind of struggling… and before I start, have you noticed that it’s always the same people entering these things? Always the same guys winning, always the same faces submitting? I’m actually bored of the sight of some of them by now.

OK, so – today. Facebook lit up this afternoon (my own profile included) with the video of someone who was awarded 2nd place in a solo competition (as usual,Wampler Artist Levi Clay broke the news as this is a pet hate of his). The solo was awesome, the level of composition was fantastic and so far as musicality goes, I loved it. The trouble was, he was miming and if you pay attention you can see (and hear) that to play that fast at that level of gain you just can’t play that cleanly and accurately without cookin’ the books a little (I mean, I’ve watched Vai play “Building The Church” at a distance that I could see the hairs on the back of his hands and he wasn’t that clean and accurate, and let’s face it, love him or hate him, the one thing you can’t deny is that Vai has flawless technique). I’m pretty certain this guy he’s either slowed the track down, played his part and then sped it up again or even fired off some midi thing here. It’s just too perfect… When you watch the video closely, you can see that his picking is off, his vibrato is off, his whammy work is off and his left hand cannot keep up with it either. When you look at his other videos, he’s no where near as good on those videos either…

Let’s take a look at what this guy won. Mesa Boogie (Mini Rectifier & Cab) + Bare Knuckle (set of pickups) + Toontrack Ezdrummer 2 + Gruv Gear (set of accessories).

Yeah. You read that right. He won that by cheating – or did he?

Looking at the rules of the competition there is nothing in them about slowing stuff down, using technology to help the player along or anything like that, so, if this is about composition, then fair play – the boy done good. However, if you watch a load of videos for a solo competition would you not think that it was a prerequisite that they should be able to play it? As Levi mentioned – can you take a Beethoven written oboe solo seriously knowing that he couldn’t play oboe (I have no idea if he could play that instrument or not) but what is the expectation when it’s a “submit you playing the solo on a video” type thing? I expect, like me, you would expect to see someone playing, live, the solo they constructed.

Here is the problem. Legally, as per the terms of the competition, he’s not actually done anything wrong. But try telling that to the guy who missed the prizes by one spot though – Mr 6th place. He is the guy who actually wrote and played his solo live and has got nothing. Is that fair? The first thing that went through my mind is that if this guy is allowed to keep his prizes then we should give the gold medal back to Ben Johnson (sorry to you real young’uns, you might have to Google that one), give all 7 tour titles back to Lance Armstrong (if they have the balls) or allow Sharapova the chance to compete on the tour this year and grunt herself to a lot more sponsorship money while sitting around in her bikini for the paperazzi?

Fortunately, me being me and my habit of social networking, I was able to talk to one of the judges who is a mate of mine (who I didn’t realize was a judge when I originally ranted) and he came in with “Honestly when I find 20 minutes on tour to judge a thing like this I trust the top 10 entries to be correct and fine. Actually I DID doubt ****’s entry at one point at one lick but I thought maybe that was just an overdub and I honestly don't care about that too much. It was almost inhuman clean but I know several players that can do that, so I trusted the competition and awarded him with points. If he faked it he did it really well, and I fell for it in the little time I had judging this.”.

Before I spoke to him, my initial reaction to this whole thing was “The judges need shooting” but the reality is that not only were the rules poorly put out, the decision about who put the top ten together wasn’t done by someone good enough to spot a faker and in fact the whole concept is just crap. Totally crap.  I understand how tiring it is for people as many years ago I judged one of these things in a competition we ran. I can tell you now that the process of reviewing and deciding the entrants is one of the most soul sucking things I’ve ever done. You get SO bored of the backing track you are ready to kick a kitten after about 10 minutes. I can understand how they didn’t see it, but surely when you get to the top ten the people who are responsible for putting those in front of the judges should be in a position to weed out the good from the, well, morally unacceptable. But they didn’t and now there is a social media firestorm happening and it’s going to look bad for the judges and the fine companies who sponsored it. They’ve been let down as much as we have (although not as much as the poor sod in 6th place who got nothing).

So, did he cheat? Is he wrong? Did he fool the panel? Should he give his prizes back? Before you sit there and think “well, he didn’t break any rules” consider this. In the thread on You Tube under a post from someone congratulating him on his work did he openly tried to take credit for the backing track as well by stating this? (The backing track was provided by the competition sponsors) “Very much appreciated for your compliment and watching, I wrote all the Time signatures, Chord progression and my guitar solo on some piece of papers in my way, I will translate them on Guitar Pro @ some point.” Or was he just saying that he wrote all the charts and progressions out to work out his solo? I don’t know – it’s hard to tell really. I guess the devil is in the details with these things. Which is where this whole thing went wrong. There was no detail and if this guy has been rumbled, he has a really good case for not sending his prizes back.

I’m not going to point you towards the competition, it shouldn’t be hard to find if you really want to see for yourself, but I’ll leave the final word to Levi - if you do go on to watch Levi's full rant about this - I must warn you, it is NSFW, Levi is passionate about this and he pulls no punches.