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:
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!
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When you think of tone, what comes to mind? For me it is all encompassing, from the wood the guitar is made of, the pickups, what type of wiring is setup, the string brand and gauge, to the cables, to each pedal and what it does to the signal, the pre-amp and power amp, the speaker, the wood that the speaker cab is made up. For me tone is the culmination of the effort you’ve put into selecting each part of your signal chain, and factoring in the tonality of your individual playing style and how it reacts to different gear.
I’m also 30 and a total gear nerd, and I love that stuff. My thought processes have changed over the years. When I was 15 and learning and playing punk rock and Red Hot Chili Peppers, Rage Against The Machine and Incubus covers, my friends and I always had the same frame of mind: Hottest pickups and amps you could get in your hands, and ALL KNOBS ON 10! Our guitar volume was either on 10 or 0, and there was no in-between unless by accident. At that point we didn’t even see the need to have a tone knob, because it was never below 10 (and we dreamt of custom guitars that included no tone knobs, just volume). This served me well for many years until I grew up some and learned the subtle differences just those two knobs make on you overall sound and some of the amazing tones you can get by adjusting them in small increments.
Today, I set my amps pretty neutral EQ-wise to be pedal-friendly, except for the fact that I add a touch of extra treble and cut the mids a bit to use pedals and my guitar to fill in those tone frequencies. I normally roll the tone knob back on my guitar to about 7.5-8 depending on the guitar at all times (more with Tele’s than my Les Paul), reserving that extra bit of top end for when I really need to get out front in a hurry, or if I’m in the middle of playing and it sounds too muddy I’ll roll it up without having to change anything other than my guitars. This works on the other viewpoint as well, so if I’m changing guitars and something is too bright (my Strat bridge pickup) I will roll it down a bit more. That’s how I approach the tone knob when playing personally, but it’s definitely not a hard fast rule.
When talking with Brian and Jason, they both still keep their tone knobs on 10 and never roll them down, though they do use their volume knobs pretty heavily. How do you use the Tone knob on your guitars?
For the sake of discussion, here’s Joe Bonamassa discussing how he uses the knobs. He forgot to add that the interaction with the pedals is a thing of tonal beauty as well:
I’ll be the first to admit it, I’m a GAS addict. That’s the lovely acronym for what we lovingly call the addiction that is Gear Acquisition Syndrome. I love trying new gear and getting my feet wet when it comes to everything out there. I just love to experiment and soak up the tones of all of the different offerings on the market. Two things in particular that are my main focal points for frequent GAS attacks are Fuzzes and DELAYS. Fuzz is a whole other topic that is left to another blog (there’s so many different styles that I could probably take up several blogs gushing about the glory that are all things fuzz pedals. Delays on the other hand are the stuff that dreams are made of. There are multiple sounds you can achieve with delays that aside from some reverbs (which technically are a form of delay) you can’t replicate using any other effect.
A good friend and I were discussing delay’s the other day, and it’s amazing the number of delays that came up in the conversation that we each believed to be fantastic, whether we had both played the same unit or we compare and trade delays so we can test them out. The question arose between us as to whether you can have too many delays? We both quickly said “NO!” and moved on. Upon thinking about it for a longer period and experimenting with different delays, I came to the conclusion that there’s really no set rule on it, it’s all based on your moods and what you’re going for.
Looking at some of the main delay uses that many players would have a delay for (slapback, added depth for a solo, rhythmic dotted 8th’s, ambient and dreamy melodies, and then oscillation off of the top of my head that I use right off hand) I came to the realization that with one great quality delay pedal that you can hit most if not all of those categories. It made me want to downsize my rig (from pictured at the top of the page) to a much more condensed board with just essentials to push myself.
At the same time, GAS had me fighting the idea of taking pedals off of my board. I quickly started weighing the pros and cons and alternatives and these were what came to mind:
Pros of Multiple Delays:
- Quick and Easy – If I have more than one delay then I can set and forget them for my most common used delay settings and just kick them on when I’m ready. This is vital when changing songs or to other parts of a song because the settings are ready and you don’t have to fool with twisting knobs.
- Broader Coverage – By having different delays on your pedalboard, you can pick and choose varying flavors of delay to cover a broad spectrum of tones. You could pair a digital delay for dotted 8th notes with a warm analog delay for a great warm slapback, or a EP3 style pedal with a really warm preamp for solos with an ambient delay (with reverb even…Ethereal anyone?). The choices are endless in terms of mixing and matching delay types and sounds.
- Experimentation – Just like the previous part mentioned covering a lot of tones, you can mix those two delays with oscillation or dotted 8ths with triplets for a wall of sound. Stacking pedals is half of the fun, and the combinations can get really wild.
- Pedalboard Space – This is the biggie. Multiple delays means taking up extra spots on your board that either require you to give up other pedals to fit on there, or requiring a bigger board. Bigger board means more weight and more to deal with. Power can also be a big issue. If you power source is maxed out, then comes the struggle of figuring out how you’re going to power the extra pedal(s). Daisy-chaining delays is typically a no-no due to noise, so there’s that too.
- Knob Twiddling – Another main part is that with more pedals comes more tweaking, which can really detract from playing. I’ve spent many hours endlessly tweaking when I should have just plugged my Faux Tape Echo (my personal favorite delay) in and spent the time PRACTICING. I’m guilty of tweaking way too many settings because I want it how it sounds in my head. I can usually find it quickly once I’m familiar with a delay, but until that point it takes more time.
- COST – Pedals are expensive! Granted not as expensive as guitars or amps, but with several pedals you can buy a nice guitar or amp (or in some cases and decent car).
These are in their own category in itself because of the array of units and functionality out there. There are pros and cons to them along with multiple delays. They are usually very convenient because they’re completely loaded with various parameters and algorithms to tweak for nearly any delay style you can imagine. The appeal of such a pedal in one unit is hard to beat. That being said, they’re typically quite expensive and then you have what you have. They typically have banks of presets to choose from, but in a gig situation they aren’t always the easiest to tweak if you need to. At the same time, you have a boat load of options right there while only taking up a bit of room.
What are your thoughts? How many delays are enough? Will one suffice, or do you prefer multiple delays, or all-in-one units for complete tweakability? Let us know your thoughts in the comments.
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!
Since early on, Brian has been a major fan of country music, and the one person synonymous with country music and Nashville is one of the most renowned studio musicians in history, Brent Mason. Brent’s style, touch and phrasing are unparalleled, where each note is played exactly how and when it should be with complete precision. Recording so often with many different artists, Brent wanted his dirt tones to be highly tweakable to allow his guitar to fit perfectly in the style and character of each individual song he works on. Brian originally created the Hotwired v1, which was meant to the THE pedal for chickin' pickin'. Fast forward a few years and the country music industry has changed, so the tools had to change to keep up to date. After discussing what Brent wanted, the Hot Wired v2 was born.
Our favorite part of the Hotwired v2 is its ability to adapt to just about any genre of music (even some degrees of metal!). The clean blend on the overdrive side allows the player to specifically tailor the precise amount of overdrive they want blended with their natural tone, so it’s similar to running a dirty and clean stereo amp setup! The distortion side is also very versatile, and allows you to cover loads of classic rock, country, and even harder rock tones.
Volume: This knob controls the overall level of the overdrive side of the Hotwired v2. Counterclockwise will give less overall output (fully counterclockwise will have no output), where turning it clockwise will allow you to reach unity in correlation with the overdrive knob, as well as providing a boost to the front end of your amp to push it into natural overdrive.
Overdrive: This control dictates the overall amount of clipping that is happening on your signal. It can go from the lightest, edge of breakup tone to a very saturated overdrive tone and all levels in between. Counterclockwise will yield less gain, which is great for adding just a bit of punch to lead lines and fattening up your attack. Turning the knob clockwise will up the saturation, but still retaining the overall characteristic of your guitar’s natural tone.
Blend: This knob controls how much of your clean signal is blended with the overdrive signal from the Hotwired. Fully counterclockwise will result in only your clean tone passing through with no effect, and turning the knob clockwise will begin to introduce your overdrive tone mixed in with your clean tone. Fully clockwise will yield only your tone passed through the overdrive side of the Hot Wired. This knob allows you to have complete control over your tone with the right blend of clean sparkle and gritty crunch to suit any situation. The effects are most noticeable with the overdrive knob turned up, but the key is finding the sweet spot on the overdrive knob in conjunction with the blend to get the deepest, most three-dimensional overdrive tone that Brent has used as his characteristic tone for years on end on countless records.
Tone: This knob controls the overall high-end frequencies that are present in your overdrive tone. Fully counterclockwise on the knob will give a much mellower, darker tone which is great for jazz and smoky blues. Turning the tone knob clockwise will add in high-end content which provides a sparkle and depth to your notes, allowing you to cut through the mix at just the right amount of high end. The tone knob works in conjunction with the switch to provide loads of tone shaping options. We suggest setting your gain level and the fatness on the switch position, and then starting at Noon add or remove the highs from your tone.
Normal/Fat/Fatter switch: This switch allows the player to fine-tune their overdrive tone in conjunction with the tone knob. On the normal setting, there is no effect on your tone, it’s just the base signal from the overdrive knob and wherever your tone knob is set. The Fat setting adds an low-mid punch that works exceptionally well paired with brighter guitars to fatten up your tone. On the Fatter setting, it’s designed to make your tone sound MASSIVE. The lows and low-mids are the most pronounced in this setting, creating a much warmer and thicker overdrive tone.
Channel 2 (Distortion):
Level: Just like with the overdrive side, this level controls the overall output of the distortion side of the Hot Wired v2. Being a distortion, there’s plenty of gain on tap to give a great lead boost with the gain on tap, and unity is directly correlated with where the distortion knob is set. If the distortion is set lower, then you will have to compensate by raising the level. As the distortion goes up, you can back down the level to reach unity.
Tone: The tone controls works in the same fashion that the overdrive side does. Counterclockwise will result in a darker distortion tone (great for single coils), where turning it clockwise will give more brightness to your signal for darker guitars. We suggest starting the tone control at Noon and adjusting to taste based the tone you’re looking for and what guitar you’re using.
Distortion: This knob controls the overall crunch and amount of distortion that is happening on your signal. The gain range goes from slight breakup to full on rock glory and all things in between. It’s based on a Plexi-ish tone, but with a much more neutral tonal profile and less aggressive clipping. The distortion tone is based directly on where the tone knob and normal/fat/fatter switch is positioned. It can go from a light crunch to a fat wall of searing tone.
Normal/Fat/Fatter switch: Just like the overdrive side, the distortion side has a 3-way switch to adjust the low and low-mid presence of your distortion tone. Normal will have no effect, Fat will increase the “oomph” of your tone and fill out your sound more, and Fattest will give a great wall of fat sustain.
- 5” x 4.5” x 1.5″ in size (114.3mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- Power draw: 17mA – The Hot Wired v2 can be run on an internal 9v battery, or a Boss-style negative center tip barrel connector. The Hot Wired v2 can be run at up to 18v, doing so will increase the headroom of the overdrive and distortion.
- Completely true-bypass, Handbuilt in the U.S.A.
- Built to the exact specifications of world renowned session artist Brent Mason.
- There have been 2 versions of the Hot Wired, with v1 having several different graphic iterations before settling in on the current closest graphic layout. The v2 is the most up to date version.
You can read more about the Hot Wired v2 or purchase factory direct HERE
2016 has been a year of sadness, where musical legends that defined our childhoods have been taken from us, seemingly out of nowhere. Today is such a day, where country music has lost one of it’s forefathers. One of the infamous outlaws if country music, Merle Haggard has sadly left this world at the age of 79, and of all days to leave it happened to be on his birthday.
Merle’s contributions to country music spread far and wide, being a successful working and touring musician for over 50 years, standing beside other legendary country music giants such as Willie Nelson and Johnny Cash to pioneer what many of us define today as “real country music” and the subsequent sub-genre of Outlaw Country, which mean that the artists didn't care about pleasing everyone, but more so for speaking their mind and living how they wanted to. Despite growing up a troubled teen, he learned valuable life lessons that he used to craft some of his greatest songs. The Hag was elected to the Songwriters Hall of Fame in ’77, and also the Country Music Hall of Fame in ’94, and his songs have stood the test of time to today. I think it’s safe to say that nearly every musician who plays country music could play “Workin’ Man Blues” in their sleep.
Despite surviving a bout of lung cancer years ago, Merle had been sick recently and it was his time to go. We send our condolences to his family and the country music community in their time of loss, and we raise our glasses to toast the poet for the common man.
I’d like to leave you with this rendition of some of my favorite artists paying homage to Merle Haggard in the best way possible, which is through music.
Several years ago, Brian created an overdrive called the Cranked AC, which was loosely based on the legendary Class-A amps many famous users such as the Brian May, the Beatles, Tom Petty and the Edge used to achieve some of their most signature sounds. The Cranked AC mimicked those tones to a degree, but not as much as Brian wanted for a true amp-in-a-box. A Class-A style pedal was one of the most requested pedals for years, thus the Thirty Something was born.
Our favorite part of the Thirty Something is its ability to be paired with any amp and guitar and still obtaining that great glistening clean tone that made those old amps so great. We really wanted the clean tone to be the foundation of the pedal, then identified the characteristics of those classic overdrive tones to create the pairing that we feel nails those fantastic clean and overdriven Class-A tones.
Volume: This knob controls the overall output on the Thirty Something. It has plenty of volume on tap to boost your amp into natural overdrive, or to set as another “gain channel” for your amp. The volume is directly affected by the amount of gain that is set, so more gain may result in needing to adjust the volume down, where less gain will warrant raising the volume to get the proper volume to overdrive ratio.
Bass: This knob controls the overall low-end frequency of your overdrive signal. This really helps to tailor the Thirty Something to whatever amp and guitar you are using. For darker amps or some guitars with humbuckers, you may want to reduce the bass to prevent it from getting “woofy”. When using an inherently bright amp or singlecoils, the bass control can be used to thicken up your tone or fill out the sound if playing at lower volumes. We suggest starting at Noon and adjusting to fit your guitar from there.
Treble: This knob controls the overall high end frequencies present in your overdrive signal. This works exceptionally well paired with dark amps or humbuckers to sit better in the mix, or rolling it off will help with spikiness from too much treble from singlecoils. This control works at a different frequency than the Top Cut, as it’s more based on the high and upper mids. We suggest starting at Noon and adjusting based on what type of tonality you’re looking for.
Top Cut: This knob is similar to those old Class A amps that were inherently very bright (the Thirty Something is also inherently bright), and it allows you to roll off some of the upper high end frequencies which can be brittle or too aggressive for use with some guitars (singlecoils especially) or amps. Fully counterclockwise none of the frequencies are affected and everything is neutral. Turning the knob clockwise will begin to roll off a bit of the top high end to smooth out your tone. We suggest starting it fully counterclockwise and adjusting from there to suite your needs.
Gain: This knob dictates the overall amount of overdrive present in your signal chain. The level of gain is dependent on what position the Headroom Switch is set to. The Thirty Something goes from a clear, chimey clean tone enhancer with loads of cut like those old amps all of the way to full on saturation and copious amounts of overdrive. It can go from Edge-inspired riffs with delay to Brian May-inspired crunch with the turn of the gain knob. As you increase the gain, the volume will also raise and likely need to be adjusted. We suggest starting around 9am and exploring the cleaner-side of the gain range, then cranking it to get those soaring lead tones that defined some of rock’s early years.
Boost Level: The boost knob is based around a Top Boost like many players used on those Class A amps to boost them further into overdrive. This boost accentuates the highs and high-mids to increase the gain and punch of the overdrive and add sustain and a clarity to jump out front in the mix. Being an independent boost, it can be paired in front of any pedal to add that extra high-mid crunch and cut.
Headroom Switch: This switch selects between two different gain settings on the Thirty Something. Set on 15, the Thirty Something will clip into overdrive faster because it’s a "smaller wattage” amp-style compared to the 30 side, thus having more gain on tap and achieving it quicker. On the 30 side, there is much less gain and it stays cleaner with just a bit of added grit like an old 30w Class-A amp (which were loud and clean). This switch directly affects how the gain knob reacts, so we suggest starting on the 30 side (cleaner) and switch to the 15 for more gain.
- 5″ x 4.5″ x 1.5″ (88.9mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- Power draw: 13mA – Powered by a 9v center negative tip cable (Boss style) or internally via a 9v battery. The Thirty Something can be run from 9v up to 18v and anywhere in between. Increased voltages will lead to higher headroom and less gain.
- Boost can be used when main pedal is off to drive amp/other pedals
- True-Bypass switches
- There have been two naming iterations of this pedal. The first with the name being the “Ace Thirty”. Due to a nasty-gram from a certain company (long story), it was lovingly renamed the Thirty Something. There is no difference in the circuits whatsoever, it was merely renamed.
You can read more about the Thirty Something HERE and also buy factory direct.
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.
The Faux Spring Reverb was developed because Brian wanted a flexible, but authentic-sounding reverb without having to lug a reverb tank around. The idea to put it into a pedal format made it easy to travel with and allowed flexibility on the fly instead of having to go over to the amp to adjust. The FSR is a digital reverb, but it has an all analog signal path, so your base tone remains the same with the added reverb effect being blended in. This works well because it allows more flexibility to tweaking the reverb signal to exactly where the player wants it.
Our favorite part of the Faux Spring Reverb is it’s natural sound and feel. It feels and reacts like a reverb tank, but allows you to adjust the tonality to fit any amp and guitar, going from a light room-ish vibe to add depth, or full on surfy wash.
Level: This knob controls the amount of reverb that is merged with your analog signal. This ranges from no mix at all fully counter-clockwise, to a full canvas of reverb that adds depth and feel to your tone like having a spring tank nestled on top of your amp. The key to reverb is finding the sweet spot where it’s got the depth that you want without drowning out your guitar tone (unless you’re using it for ambient washes). This allows you to tailor it precisely to the amount of reverb you want. We suggest starting it at Noon, setting your shade and depth, then adjusting the level to the desired effect level.
Shade: This knob controls the overall tonality of the reverb signal (it does not affect the dry signal). Setting the shade counterclockwise toward the dark side will yield a mellow, warmer reverb tone that sits nicely in a mix for added depth, without overpowering the guitars original tonality. Adjusting it clockwise toward the light side will give a more out-front and noticeable “spring effect” for your reverb tone. The darker setting is great for just adding a bit of depth in a dry room, where setting it lighter will give those classic surf tones of the reverb tanks. This knob changes the effect of the Depth knob, so adjusting each to find the right balance is key. We suggest starting it at Noon and adjusting to match your guitar and what type of atmosphere you'd like to create.
Depth: This control dictates the length or amount of time the reverb signal continues on before fading out. The max reverb time is 2.8s, so there’s plenty on tap to get a great ambient wash. Turning the knob counterclockwise will yield a quicker reverb effect and fade quickly as well which is reminiscent of a smaller spring tank. This setting works great for country picking with the shade knob on the lighter side. With the Shade knob darker it will be a more mellow feel, where it provides an ambient undertone that makes your guitar tone a more three-dimensional. This control is interactive with the other knobs, so adjust the shade will dictate the character of your reverb. The depth will then dictate how much decay occurs, and the level can be used to set it from light to heavy mix for any combination of great reverb tones.
- 5″ x 4.5″ 1.5″ (63.5mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- Power draw: 78mA – Powered via 9v negative center tip (barrel plug like Boss). NOTE: You cannot use a battery with the Faux Spring Reverb, and it should not be run at a higher voltage than 9v.
- 8s max reverb time
- True bypass
- There have been 3 color variations on the Faux Spring Reverb. Early versions had a silver case with black knobs and lettering, later versions had a dark greenish-brown with white knobs and white lettering. The latest version has a brighter green with white knobs and lettering, and the Tone knob has a graphic denoting lighter or darker.
You can read more about the Faux Spring Reverb HERE as well as purchase factory direct.