Chris Loeffler

Robert Keeley Loomer Wall of Fuzz Reverb Pedal For reverb that looms and looms ... by Chris Loeffler Robert Keeley’s deep dive into pedal “work stations” marked a shift from individual effects pedals to multiple circuits sharing a single enclosure for a compact, flexible platform for multiple effects that play well together. After the initial gain, modulation, and delay work stations, he turned his ears toward artist inspired workstations, like the Monterey (Hendrix) and Dark Side (Gilmour), where players can effectively tap into a comprehensive palette of tones from a major milestone or album. The Keeley Loomer furthers that tradition by recreating the luscious wall of sound perfected by Kevin Shield in the seminals shoe gaze album Loveless. What You Need to Know The Keeley Loomer features two independent sections, Reverb and Fuzz. The fuzz side has Fuzz, Level, and Filter knobs as well as a three-way switch to select between Flat EQ, Full EQ, and Scooped. The Reveb side features Blend, Decay, Warmth, and Depth controls as well as a three-way toggle switch to select between the different Reverb modes- Focus, Reverse, and Hall. The Fuzz circuit is Big Muff Pi inspired, and is appropriately wooly and thick without sacrificing too much articulation and nuance. The sustain is off the charts, and there is an immediacy to the attack that is aggressive but organic, without too much gating. The Volume and Fuzz controls act exactly how you would expect, with the Volume knob taking the effect from dead silent to a healthy boost over the input signal and the Fuzz knob going from gritty with Humbuckers on the lowest setting to balls-to-the-wall fuzz at the highest settings The Filter control works like the similarly named control on the ProCo Rat, and is a variable filter sweep as opposed to the traditional Tone control that rolls off highs or lows. It doesn’t quite get as exaggerated as a traditional cocked-wah, but it does a great job of carving out the Fuzz’s position in the mix. The Flat mode has the typical fuzz characteristics of slightly enhanced highs and lows with a slightly reduced midrange, resulting in the most classic sounding fast mode. Single notes bite and there is little intermodulation between notes on most standard chords. The Full mode is significantly pushed in the midrange, although not nearly as exaggerated as a Tube Screamer-type circuit. This mode is significantly more impactful on single note leads to create an incredibly full sound, but gets a bit muddy the moment you introduce more than a root and a fifth in chords for rhythm. The Scooped mode dramatically cuts out the midrange for classic heavy tones of the 80s and 90s. It works perfectly for wall-of-sound rhythm parts, but has a hollowness that makes lead parts disappear into the mix without significant tweaking to the Filter control. The Reverb section is where things step out of what traditional effects do and is what takes the Loomer directly into the realm of Shoe Gaze. The Focus mode splits the decay of the reverb into separate delay lines with different times and runs them through a four-voice chorusing effect. The result is a dreamy, studio-quality reverb pad that can sound subtly lush or almost like a sea-sick wash of waves that warble and twist underneath the core tone. The Depth control set the depth of the modulation, and get s pretty extreme without ever coming off as significantly bending the pitch a la a vibrato effect. The Reverse mode isn’t a true reverse reverb, which wouldn’t even be possible to execute in real time, but rather several reverse delays played in succession to emulate the effect. Additionally, there is an envelope sensitive pitch bend that warps the reverb pitch down and pulls it back to the original pitch, emulating the whammy bar of a guitar. The Depth control adjusts the amount of pitch bending, with it going from a subtle bend in at 9, a full step at noon, and even more beyond. A fun application of this mode is to run the Blend 100% and the Decay at 0% for a literal reversal of every note you play. Trippy. The Hall mode is truly dense and features the ever-more ubiquitous shimmer feature that feeds the reverb line into an octave-up effect for a bell-like accompaniment to the base notes. It’s not quite as animated, sparkly, or synth-like as others I have played, but it also sounds less effected and more organic and warm, which really fits the sonic theme of the Loomer. The Blend control takes the Reverb effect from “not there” to 100% wet for synth-like swells. The Decay control adjusts the length of the reverbs, and is more than enough to play a note, grab a smoke (is that even a thing in 2018?), and come back to hear the end of the note in the Hall and Focus settings. I found the Reverse mode could actually use a touch more, but that could be because of the extreme settings and applications I most enjoyed about it. The Warmth control is well named, as it sounds a bit less effected than a traditional EQ across its sweep, and feels more like an intelligent enhancer than a straight logarithmic band adjustment. It sweetens the lows or highs, in my experience. The Keeley Loomer allows for adjustment of the circuit order (Fuzz>Reverb, Reverb>Fuzz), which is interesting and certainly opens up doors to even more out-there Shoe Gazey-ness, and also features an Expression Pedal input for on-the-fly tweaks to the Depth control. Limitations More of a “what if” than a limitation, if there was a way to store settings for each of the three reverbs the pedal would be even more versatile for live performances. Conclusion The Keeley Loomer is a Shoe Gazer’s dream, and is filled with a brooding vibe that looks to the past for inspiration and feels ready to inspire the future with its left-of-center reverb modes that would be amazing but underutilized in tamer settings. It’s an odd statement to make about an effect designed to recreate vintage rack units, but there is a unifying character to the Loomer that is utterly original, with a lo-fi via hi-fi sonic aesthetic. - HC- ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Robert Keeley Compressor Plus A compressor that's not a depressor ... by Chris Loeffler I've had a Keeley Compressor on my board since 2002. I've played the rest, and while they all have flavors I've enjoyed and certainly see being "the one" for different players, I've never seen the need to knock my first compressor (with only two knobs) off my board. Keeley has since expanded his pedal, first with two knobs, then with four, to address the myriad of guitar situations in which players may want to further tweak. His newest iteration of his flagship pedal adds a "plus" to the name and even more tweakability. What You Need to Know The Keeley Compressor Plus is a true-to-spec Ross compressor circuit with upgraded components for improved audio quality, reduced signal noise, and tighter specs. The Compressor Plus features controls for Sustain, Level, Blend, and Tone as well as a switch to select between single coil and humbucking pickups. The pedal is true-bypass switching and runs on a 9v power supply. The instruction manual provides three sample settings, starting with ‘always on’ compression, a general liveliness booster that's a tone sweetener for full, sparkly and slick sound that’s so uneffected most people wouldn't know the pedal was on until it was turned off. The other two suggested settings are more traditional, obvious compression settings, with musical squash and snap that goes from Phish-style lead smoothness to a Country-like quack. The Level control takes the pedal way beyond unity gain for a strong lead boost if that's your thing, and the Blend control really opens up new levels of subtlety (or not). The Tone control is musical across its sweep, with the lowest points creating the darkness associated with a classic Ross compressor and the highest points introducing new sparkle and spank to the tone. The Single Coil/Humbucker switch was a revelation, adjusting how the pedal accepted the incoming signal so that low output and high output pickup swaps could happen without needing to dramatically change settings. As an added benefit, I found this switch to be a way to determine the initial attack of the compression, regardless of pickup type. Limitations Honestly, I couldn't find one. If used after overdrive, it can darken up the tone a tad, but that's what the Tone control is for. Conclusion Robert Keeley has been making various versions of the Ross compressor for over 15 years, and the Keeley Compressor Plus is the obvious evolution of the pedal, with settings set to make any player, with any guitar, happy. - HC - ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Yamaha BBP35 5-String Electric Bass When you need to get slap-happy! by Chris Loeffler The YAMAHA BB series basses have been a benchmark for what a bass should be, and what bass players want. The BBs (BB stands for Broad Bass) offer the unsubtle punch players expect in a Fender with a more refined voice and expanded features. Yamaha’s newest take on its venerable workhorse adds clever twists to its established platform, with stealthy enhancements that make the Pro Series a contender for most value in its price category. What You Need to Know The BBP35 is a simple beast—a passive 5-string bass with a P/J pickup configuration, wired volume/volume/tone. But this year’s model brings subtle changes to the design that add to the instrument’s functionality and sound. One noticeable shift was Yamaha’s decision to use standard pickup sizes instead of the proprietary shapes of older BBs. While swapping out the stock pickups isn’t something most people do out of the box, it’s nice that they’ve made it more turn-key for those who feel compelled to customize. The Alnico V7 P/J pickups are placed in Fender-accurate positions to provide the tones you’d expect from a P Bass or the bridge pickup of a ’60s J Bass. The three-piece body is formed by a cross section of maple sandwiched by two pieces of alder. The laminate construction adds overall stiffness as well as bite to the midrange, which helps the BB to stand out in the mix, especially when fed into an amp with a touch of gain. The neck is slimmer than previous versions, but the five-piece maple/mahogany construction keeps the neck rigid, and the six-bolt mitered neck joint makes for a solid connection. The Vintage Plus bridge permits conventional top-loaded stringing or diagonal through-the-body stringing, which makes for a more relaxed break angle over the bridge, aiding vibration transfer to the body. The bridge plate is steel for brightness and clarity, and the saddles are brass for warmth and sustain. The unique two-sided saddles offer a rounded side that purportedly gives a softer attack, while the angled side is claimed to provide a tighter sound. On the review bass, the B-string saddle was flipped to the angled side. The open-gear-style tuners look perfectly vintage, but they’re lightweight to help balance the weight of the neck against the horn. Yamaha’s exclusive IRA (Initial Response Acceleration) treatment is applied to the instruments to mimic the break-in period by vibrating the instrument at specific frequencies to relieve internal stresses in the wood. While it’s hard to prove those claims without an A/B between the production model and a non-IRA-treated bass, my experience the BB certainly didn’t have the stiffness in response I’ve experienced with many instruments of all price points direct from the manufacturer.. The P pickup has the throaty bark and meaty grind of a classic P Bass with slightly more midrange peak than the classic it is inspired by. The bridge pickup represents the rounded snap of its vintage J forebearer, giving the BBP35 a more articulated voice for technical finger work and a more balanced B string. Like many 34” scale 5-string basses, BBP35 has a tendency to let the B get away from the rest of the strings in the neck pickup—but rolling in the bridge pickup solves this immediately, providing a versatile tone with great definition throughout the entire range. Limitations The BBP35 feels and plays slightly smaller in scale than other basses of its ilk, which may be a turn-off to players used to massive neck lengths. Conclusion The BBP35’s volume/volume/tone controls are simple but quite effective for dialing in a blend of the two pickups. The instrument is highly responsive to the subtle shading possible with the two volume controls—users who typically solo one pickup, or run both up full, will find a surprising amount of versatility in tone with volume and tone adjustments, a veritable Swiss army knife of greatest hits. The new neck shape is comfortable, especially for players used to shorter scales, and the fingerboard’s relative flatness opens the instrument up to more expressive percussive neck work. The BBP35’s makeup and assembly are top-notch, the tones are classic and useful, and it is a joy to play. - HC - ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Graph Tech Dry N Glide Musician Talc For hands dry as gin ... by Chris Loeffler Graph Tech's Dry N' Glide is one of those products that might be the final 2% you are looking for. Dry N' Glide comes in a 20 gram roll-on container. What You Need to Know A roll-on talc, Dry N' Glide is designed to keep your fretting hand unfettered from sticky sweat or soapy residue. Dry N' Glide isn't just baby powder; it is PH balanced to not create a reaction with the finish of your instrument while it neutralizes acidity in your hands and removes moisture. In practice, it reduces friction and makes maneuvering the neck of an instrument less cumbersome in humid situations. While I didn't view my hands as needing help in doing their job (especially in the relatively dry environment of the heated indoors during the winter), I immediately felt the benefit of Dry N’ Glide, especially when jumping down multiple frets. The roll-on application makes for even, controlled distribution of the powder that quickly disseminates across your hands as you rub your hands together. My experience during several week of evaluation was that there was no residue or buildup left on my instruments despite multiple applications. Limitations Things can get a bit gummy if you go overboard on application (which you would certainly know). Conclusion Graph Tech Dry N’ Glide addresses an issue that, candidly, I wasn’t aware existed. If your fretting hand has ever skidded along the neck of your instrument, you’ve experienced the exact problem it fixes. Body chemistry and your environment will dictate how big a difference Dry N’ Glide will make in your playing, but there wasn’t a condition in my evaluation where it wasn’t an improvement. HC - ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Yamaha LJ16BC Billy Corgan Acoustic Guitar An acoustic that's simply smashing! by Chris Loeffler Artist guitars are a mixed bag for this reviewer, with many either having nearly identical features to non-artist models with a significantly larger price tag and others being so specifically featured that no player aspiring beyond that artist would find the "differences" necessary in a primary guitar. While I am versed in the majority of the Smashing Pumpkins body of work (at least the first half dozen albums) I confess I wasn’t sure what to expect from a signature Billy Corgan acoustic guitar from Yamaha. The Yamaha LJ16BC Billy Corgan acoustic electric guitar features a 14-fret jumbo body with an A.R.E. (more on this in a moment) treated solid Engelmann spruce top, solid rosewood back and sides, a 25-9/16” scale mahogany and rosewood neck with an ebony fretboard and abalone fret markers. A passive Yamaha SRT piezo undersaddle pickup is the sole electronic addition to the guitar and it comes stringed with Elixir Nanoweb 80/20 Bronze Lights in a hard shell case. What You Need to Know Given the boldness of the rhythmic drive of much of his much, it makes sense that the Yamaha Billy Corgan acoustic is built on the foundation of a jumbo-style body, with a deep, full-frequency response that shines in aggressive strumming but articulates well with sparser, finger-picking playing as well. The slightly smaller scale of the guitar (surprising, when you consider the size of Corgan himself) led to a slightly less chest-vibrating experience than I’ve had with many Jumbos I’ve reviewed, but the tradeoff is a significant reduction in feedback when plugged in at concert volumes. The style of the guitar itself is attractive without looking significantly different from sima standard acoustic guitar, with the zero logo on the headstock being the primary indicator it is an artist series guitar. The brass bridge pins and a Graph Tech Tusq nut and compensated saddle were designed to work in concert with the L-series top bracing to increase the low- and upper-midrange presence, and my review experience, both unplugged and electric, proved these design intentions to be true with a full sounding, but never flabby, acoustic tone that still cut through other instruments. Yamaha's A.R.E. (Acoustic Resonance Enhancement) process is applied to the solid top, resulting in a more lived in and rich tone production. The passive Yamaha SRT piezo has no onboard controls, leaving sonic massaging to post production or your handy live sound guy, but my experience with the unaltered electric tone was more than satisfactory, especially at the pricepoint. Limitations While not a stark difference from any other acoustic-electric guitar I’ve played, I did still experience the ubiquitous quack of piezo pickups that most players will want to mix out later on. Conclusion Unlike the vanity projects that are artist series I described at the beginning of this review, I found the Yamaha LJ16BC to be a subdued, elegantly designed instrument that is a pleasure to play and listen to, regardless of the name that is (or isn’t) on the headstock. With an all-solid-wood body, tasteful appointments and finish, a pickup ready to be fed into your preamp of choice, and unique differences like brass bridge pins and the Tusq nut and saddle, the Billy Corgan signature easily transcends fan collectordom (although with such a limited production planned, I could see them all being snapped up for that alone) and reveals itself as just a damned good multifunction acoustic-electric guitar. -HC- Resources Yamaha LJ16BC Billy Corgan Acoustic Electric Guitar Product Page Buy the Yamaha LJ16BC Billy Corgan Acoustic Electric Guitar (MSRP $1,600, Street $999.99) at Sweetwater or Samash ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

APEX "Hyper-Ellipticals" Series Electric Guitar Strings Tightwire to the top! by Chris Loeffler "Apex” means the ultimate conclusion to a summit, be it physical or metaphorical, so it takes a bit of brass to make that the brand under which you will create and sell gear, especially in a market as crowded as guitar strings. How well does Apex hope to stand up to their name? An owner who has been responsible for over 30 years of string innovations for major manufacturers is certainly a compelling answer. Jeff Landtroop used his decades of playing and design experience to develop a new type of string that began with sound engineers and ended with professionals who lived and breathed their instruments; a string whose tension and manufacturing optimized what he viewed as the quitisessential stringed instrument experience. Harmony Central received both “Traditional” and “Hyper-Elliptical” strings for acoustic (12s) and electric (10s) evaluation. All string sets are shipped in sealed packages to prevent pre-installation corrosion or oxidation. What You Need to Know While all four sets were tested, the hyper-ellipticals electric set were chosen for reporting back as they all fell into a similar value-proposition under review. By that, I mean the Traditional electric and acoustic strings measured favorably against my standard testing strings (the differences, such as a slightly more robust low end and slightly more sizzle in the highs) and the Hyper-Ellipticals tested the same tonally but with more memory retention and general longevity before dulling. The Apex Hyper-Ellipticals electric guitar strings exhibited noticeable sustain and tuning retention in both the standard Fender Strat (straight Vintage Noiseless single coils) and Gibson Les Paul Futura (Burstbucker and Sidewinder P90) they were installed on as compared to the control group EHX standard electrics, Ernie Ball Paradigms, and D’Addario NYXLs. While the strings held their tension and returned to unfretted tuning during excessive string bending, they stayed soft and pliable to touch. It is a subtle distinction, but there is a consistent ease to the initial give during a string bend and the resulting “settling in” to the destination note that is noticeably easier. Both clean and overdriven amp settings revealed a balanced, full-frequency response (at least so far as two guitars that have already been setup prior to restringing can detail), and while the undeniable joy of a new set strings played a big part in my perception of their brilliance, the length of time they extended that physical and sonic experience wasn’t something I would say holds true to most strings I’ve played, especially at this price point. Limitations While the strings themselves are worthy of any stringed instrument, the Apex web presence leaves something to be desired. In over a decade of reviewing musical gear, I’ve never called out a manufacturer for their marketing, but the lack of explanation of technical differentiation and big-box retailer distribution means that the only way to get an idea of whether or not Apex strings are ideal is to take the (admittedly inexpensive) plunge and buy direct. Conclusion There wasn’t a single set of acoustic orelectric guitar strings I reviewed from Apex that didn’t hold their own against their peers; even those with higher MAP. Without vigorous testing (dozens of identical sets of strings under carefully controlled stress and frequency tests) it’s hard to make a statement about how all the “new tech” compares in terms or durability, but my review time extended beyond when I typically swap strings without the degradation in tuning stability or feel in bends I expected to experience. If you aren’t happy with what your current strings are doing for you, a set of Apex Hyper-Ellipticals may be what you’re looking for. I liked them enough that I didn’t swap them on my review guitars after the review period. -HC- Resources Apex Hyper-Ellipticals Electric Guitar Strings ($9.99 MSRP, $6.99 MAP) ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

The Value of Group Lessons When three's not a crowd ... by Chris Loeffler Anyone who plays an instrument has been asked about lessons at least one from a colleague who wishes to learn to play or a well-meaning coworker who is looking to give their children the exposure to music they never had. The challenge this presents to the typical musician is two-fold- gaining a mastery of an instrument by no means signifies a musician would be a good teacher, and non-musicians are seldom aware of (nor financially prepared for) the cost of private lessons. A solution to this, which is already common in larger cities but is a long time coming to smaller communities, is group lessons. While there are well documented cons to group lessons, such as less personal attention, shared curriculum, and the challenges of securing a space large enough to host a larger group, there are many reasons why group lessons are a superior option for people looking to learn to play an instrument in a formal instructional environment. Money… It’s a Gas As we’ve already mentioned, private lessons are expensive. Whether it’s a home visit or a small room in the back of a music store, lessons are likely to cost anywhere from $15-35 per half hour of instruction, plus whatever printed material the instructor uses to teach. Not every household has $60-150 per month for such an extracurricular activities, regardless of how much they may value the idea of musical literacy. Group lessons allow instructors to spread the cost of their time and the venue across many students, making it possible to charge $10 or less per student for their time, dropping the expense per student 30% to 300% while creating a possibly even larger return for the instructor. Obviously, there’s a point of diminishing return for the students as the size of a group lesson extends beyond, say, six students, but an instructor with a solid grasp of the number of students they can effectively teach at a given time can easily double their income by carving out two 45 minutes sessions in a day for groups of five as opposed to four half-hour private lessons at the going rate. Brothers in Arms Another benefit to group lessons is being a part of a peer group to support each other in the learning process. Whereas private lessons often beget private practice and a more focused but insular experience, group lessons allow students to share their experiences with the rest of the class; a built-in social group to share and practice your love of the instrument. Often, impromptu jam sessions take place among students immediately before and after group lessons, providing creative jumping points from the lessons being learned. While instructors seldom encourage students to reach out to them between lessons when they find themselves stuck on a particular concept, classmates are much more approachable and create an instant community bank of knowledge to reference. The result can be immediate feedback or correction for challenges in the lesson rather than needing to wait until the next formal lesson to seek clarity. Groups tend to naturally develop a pecking order based on passion and technical proficiency, with every student standing to learn something from the others. Imagine All the People More people in a lesson means more diversity. Diversity in musical tastes, cultural backgrounds, physical approaches to playing an instrument, and even in how theory is memorized and applied. The melting pot of musical inspirations and goals for the instrument make it impossible to not only discover new music, but to also consider new applications for playing and see your instrument from a different perspective. While a younger player may be trying to learn the latest YouTube indie hit, a player of a different generation who is also just learning their instrument may be able to tie the chord or melody to an older Beatles song, creating a greater appreciation for both parties’ understanding of song construction. An aspiring metal head has as much to learn as he has to teach from an AM country influenced player… we’re all working from the same handful or notes and chords. The result is a richer appreciation of music beyond one’s immediate goals and guaranteed exposure to what might be their new favorite inspiration. Let’s Do It, Together Between the financial savings, peer-group support, and expanded musical exposure, there are a lot of benefits to group lessons, and I encourage musicians and instructors to consider expanding this approach to lessons. Not only do group lessons create a more accessible entry for new players looking to learn an instrument, but they also build up a tight-knit community of new players that are more likely to stick with it, collaborate to create new music, and ultimately grow the presence of music in general in your community. - HC ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Lava Cable Blue Demon, Clear Connect, Ultramafic, and Van Den Hul Instrument Cables When geothermal energy is flowing... by Chris Loeffler Instrument cables are the (literal) lifeline between your instrument and amp, and while the impact they have on your tone is subtle when compared to, say, a ring modulator, they are often the elusive 5% of the tonal equation players are seeking to right as they dial in their rigs. Lava Cables, formed by CEO and veteran of the Afghanistan war through the US Special Forces Battalion, has been focused on marrying the highest quality materials with the staunchest design standards to offer players premium cables that are rugged and precise. I was sent four different types of instrument cables to compare and evaluate, all the same length; Lava Cables Blue Demon, Lava Cables Clear Connect, Lava Cables Ultramafic, and Lava Cables Van Den Hul. What You Need to Know When asked to review an instrument cable, the challenge is to suss out the subtle differences between what the cable offers (durability, construction, capacitance, the elusive “feel”) and how it stacks up to the dozens of brands (each with dozens of technologies) to achieve the seemingly simple task to sending an electronic signal along. As such, when comparing Lava to Monster to Cleartone to George L to whatever the forum-appointed how new thing, there are too many reference points to find common ground for everyone. By providing four different lines within their brand, Lava Cables offered the opportunity to understand how their cables compare not just against to competition, but also in comparison to their siblings. The Blue Demon cable has a 99.9% pure copper low strand count conductor, 23 pF/ft low capacitance, and a 93% spiral shield for RF rejection. The most affordable of the four cables reviewed, I found the Blue Demon to perform at least as well as the unnamed premium cables I have for reference. Running through Pro Tools, I did pick up a slightly expanded frequency range passing through as compared to my standard George L's, and there was a subtle shift in the speed of response. The Clear Connect cable, by contrast, features solder-free G&H Pure Plugs™ by Abbatron and Clear Connect Technology™ — a patented process where the connectors are high-pressure crimped onto the cable. The intent is a purer signal path , with more efficiency at 26 pF per foot capacitance. An increased 98% shielding, and 99.99% pure Oxygen Free Copper (OFC) for both the shield and conductor make for an even tighter-tolerance cable than the Blue Demon. While the Clear Connect passed the sonci test with flying colors, I was most impressed by the quality and durability of the connection given the solderless approach. In the past, I've used solderless cable kits with some hesitancy and have had more than a few dozen instances of chasing down a signal-killing break due to constant pedal swapping, but the Lava Cables Clea Connect felt solid even after intentionally stressing the connections for an extended duration. The Ultramafic cable is where Lava clearly jumps from premium to boutique worlds, with a specially designed purple outer jacket and dielectric, 18 AWG CDA102 (highest purity) silver plated low strand count copper conductor, and 97% silver-plated copper shielding with 99.99% OFHC silver. The Ultramafic felt even beefier than the Clear Connect both in its connections and in the cable itself without reaching the cumnbersome level of girth some overbuilt cables provide. While the Clear Connect and Blue Demon both sounded great, the Ultramafic was the point in the evaluation where the differences really became obvious. There was more low end, sparkle, and presence, and swapping back and forth between the Ultramafic and a Monster Jazz of the same side revealed the Monster cable to be dull and a bit more congested. The Van den Hul cable is the apex of the Lava instrument cable line, boasting state-of-the-art FUSION SERIES audio interconnects and loudspeaker cables from van den Hul. Triple-shielded, quad-core audio interconnects are specifically designed for both balanced and unbalanced use, with four stranded "Fusion Technology" conductors in a star quad configuration. The craftsmanship of the cable I evaluated far exceeded your garden variety instrument cable. I did notice the slightest drop in percieved mids when run into a clean amp, which I was also able to capture through inspecting the wave form, but I couldn't state with certainty how much of that change is the cable and how much was me adjusting my attack slightly to the cable. The cable is meant to be unidirectional, and was evaluated as such. Limitations While the boutique world has caught up and even exceeded the retail price of Lava cables, there’s no denying they are priced at a premium when compared to the standard music store imported instrument cable. Conclusion All four Lava Cables instrument cables reviewed were of incredibly high quality, both in terms of their construction and in the signal they passed through. I’m not going to split hairs as to how much the progressive materials and construction upgrades of the higher-end lines contributed to perceivable tonal differences as opposed to just being impressive specs on paper, but a blind comparison with a couple of local guitar players did skew towards them, so there’s certainly substance to the decisions.While a new player playing an imported Strat into an entry level tube practice amply not be a blend to coax the full benefit of the Van den Hul line, every rig would see benefit from Lava cables. - HC - Resources Lava Cables Instrument Cable Product Page ($18.95-$59.99 for 12" cable) ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Robert Keeley D&M Drive Sometimes it's best to shut up and drive ... by Chris Loeffler Dan Steinhardt and Mick Taylor, hosts of the YouTube series “That Pedal Show,” have long served the pedal-using public by providing deatiled and insightful reviews of the latest and greatest boutique pedals. Robert Keeley, one of the boutique pedal world’s earlier forefathers, decided to give a nod to their contributions by co-designing a dual-channel overdrive them that checks all the boxes to their exacting (if sometimes contradictory) wants and needs. The result is the Keeley D&M Drive. The Keeley D&M Drive features a Drive and a Boost side, with Gain, Level, and Tone controls for each, channel, independent true-bypass footswitches for both, and an effect order toggle switch. The Keeley D&M Drive is powered by a standard 9V power supply. What You Need to Know The Boost side (Mick) and a Drive side (Dan) are accurately named within the context of the pedal, but are somewhat more flexible than their names imply when compared to other pedals. The Boost side easily slides into low-to-mid overdrive settings by the time it eclipses noon on the Gain control, and the Drive side walks into classic distortion-territory on the farthest third of it’s Gain settings. The right-hand Mick channel (Boost) boasts a thick midrange might that is undeniably of the Tube Screamer variety, but with the more robust low end and open voice that is typified in Keeley’s high-end TS modifications. Like most boost effects, the Mick channel was made to goose an on-the-edge tube amp into creamy overdrive, creating bite and capably dynamic touch sensitivity without sacrificing the focus and punch of its roots. Dan’s Drive channel brings a broader range of gain (easily twice as much), with an an unapologetic overlap of overdrive and distortion. Its voicing adds sizzle and layers harmonic saturation to chords and individual notes, crossing over to full-blown classic heavy tones by the time the Gain is dimed. As dynamic as the gain structure is, Dan’s Drive comes alive when it is crunching through chords and cuts through leads. While both channels are extremely flexible and could cover nearly any genre of music, the secret weapon to the Keeley D&M Drive is the toggle that lets you select which channel comes first when both are engaged. This toggle is both incredibly useful and thematically on spot, given Dan and Mick’s self-professed love for stacking overdrive pedals. Running the Boost into the Drive channel creates greater openness and saturation, ideal for leads, while the Drive into the Boost results in a thicker, hotter tone that cuts through the mix. Limitations The Keeley D&M Drive requires an external power supply to work, a potential hitch to some of the bare-bones rock players who may be interested in the tones it creates but who only use batteries to power their pedals. Conclusion The Keeley D&M Drive pedal offers two classically voiced gain channels that complement each other as well as Dave and Mick do with the versatility to decide who goes first (a luxury its namesakes undoubtedly revisit regularly). The compact footprint and price savings represented by the marriage creates a compelling package that opens up four new tones (Drive , Boost, D>B, B>D) without bending over to make a change. The Keeley D&M Drive won’t change the sound of your guitar and amp wholesale, but it will add dirt and presence to what you already love and is the stuff of Rock and Roll dreams. -HC- Resources Robert Keeley D&M Drive Product Page Buy the Robert Keeley D&M Drive (MSRP $279.99, Street $229.00 ) @ Musician's Friend , Sweetwater ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

MV Pro Audio- An Industry Profile Changing with the times ... by Chris Loeffler Where Have All the Cool New Products Gone? No doubt you’ve witnessed first-hand the dramatic changes in musical equipment retailing over the past 10 years. A lot of those changes have been great for musicians, notably the explosion in convenient online purchasing coupled with free shipping and liberal return policies. Behind the alluring veneer of one-click purchasing and no-cost freight lies a not-so-subtle truth: Musicians have far less exposure than ever before to new and cool products. Blame capitalism: Unless a product generates a healthy financial return for retailers, it simply won’t make it into music stores. When dealers’ profit margins are reduced by free shipping, no-questions-asked returns, and a seemingly never-ending string of sales, special deals, and price-matches, the pool of products able to support that business model shrinks considerably. Hence the overabundance of familiar, global brands on store shelves, coupled with a definite lack of intriguing, innovative, boutique items. Certainly the Internet has provided ready access to a host of unique and specialized products and brands—witness the plethora of software developers who sell directly to end users from their Web sites. But it’s a lot tougher to pull that off with hardware, and if the products aren’t in stores, how do you find out about them? How do you test them? How do you compare their features? Traditionally, it’s been the responsibility of a distributor to generate product awareness—along with handling import logistics, warehousing, sales management, repairs, accounting, and much more. But the economics of retail have changed so dramatically that it’s no longer financially viable for a distributor to handle all these tasks—at least not in a traditional way. And that’s where the story of MV Pro Audio begins. Old School Distribution MV Pro Audio began life 10 years ago as the distributor of Waldorf synthesizers. Waldorf products were ideal candidates for traditional distribution: The company was based in Germany, with no local office to manage US sales. The products were sophisticated and relatively complex, so local training and support was essential. Perhaps most importantly, getting the products into music retailers required having a nationwide team of sale reps calling on stores and working their relationships with the retailers—something that would have been impossible for the Waldorf staff to manage from Germany. By the time Waldorf began shipping in earnest, the crash of 2008 hit, and retailers circled their wagons, greatly reducing inventory and limiting selection to proven sellers—Yamaha keyboards, Gibson guitars, JBL speakers, to name a few. The rest of the product world was generally relegated to minimal, if any, presence in the store, with retailers ordering lesser-known products only as they were sold to customers, often with the manufacturer or distributor drop-shipping the item directly to the end-user. While this tactic allowed many manufacturers and retailers to stay in the game, it resulted in a sales environment that is especially challenging for new companies to break into. It’s a classic chicken and egg scenario: retailers won’t carry a new product until there’s demand for it, and manufacturers and distributors can’t create demand if their products aren’t on store shelves for customers to explore. Manufacturers themselves can be part of the problem. In their desire to establish consistent worldwide pricing, they often presume that musical equipment retailers around the world all make the same profit margins (they don’t), or they overlook the ever-climbing costs of international freight (rising every year like clockwork) and import duties (which can add 5%-10% to the cost of the product). In other words, a manufacturer can get everything priced right for their home turf in Europe or Asia and completely miss the ball for the U.S. So how does an up and coming designer/manufacturer avoid the pitfalls and get their hot new widget into the U.S. market? New School Distribution MV Pro Audio’s solution is to provide a comprehensive menu of sales, marketing, logistic, and business services from which manufacturers can choose to customize their U.S. efforts. Custom packages tailored to the budget and needs of the manufacturer are the order of the day, so a company can look to MV Pro Audio for something as simple as a press release or as multi-faceted as a complete “company-in-a-box” solution, in which MV Pro Audio functions as the manufacturer’s U.S. division. One big benefit of the “all-in” cooperative model is that key decisions are made by the mutual agreement of both companies. The artificial wall between manufacturer and distributor is eliminated, which immediately puts everyone on the same page with the same goals. This model was chosen by one of MV Pro Audio’s newest clients, Cordial GmbH, a popular brand of premium audio cables in Europe. Almost completely unknown in the US, Cordial cables have been manufactured in Germany, hand-soldered, and outfitted exclusively with Neutrik connector more for the past 20 years. Cordially Yours Introducing a company with a 20-year legacy and 1,000+ products to the U.S. market might sound like a simple task. After all, if the company has grown and thrived for 20 years, they must have figured out a lot of the ingredients necessary for success. And, in fact, Cordial has done just that, having fully defined and refined their product line, their corporate ethos, their manufacturing, and more. But even with all that experience and success, the U.S. presents unique challenges. For starters, competition in the U.S. is stiff, with multiple name brands having well-established dealer and customer loyalties. Breaking through that requires a carefully planned strategy that motivates retailers and excites customers. Concurrently, everyone needs to understand that nothing will happen overnight, so costs must be carefully managed as the products get established. To this latter point, when the manufacturer and distributor work together as one company, pricing formulas are based on the manufacturer’s actual cost of goods, rather than on a number that’s inflated by the distributor’s profit. That automatically delivers savings at each successive step in the sales chain, which makes it easier to hit the four “touchpoints” of a successful pricing model: the manufacturer, distributor, and dealer all making enough profit to stay in business and support the products, and customers getting quality products at fair prices. The benefits continue. Advertising efforts are more easily coordinated when the marketing is jointly handled. Stock and inventory levels are more easily managed when the distributor doesn’t have their cash tied up in a warehouse full of goods that won’t get sold until the market is built. Manufacturers don’t ruin their chances of a successful U.S. entry by having established unworkable prices or profit margins. Language and cultural issues can be discussed and adjusted, as necessary, before the brochures and the packaging are printed. And perhaps most importantly, with everyone on the same page from the start, expectations on all sides can be managed—critical for the long-term success of the relationship and the products. Hot off the heels of a successful NAMM showing, MV Pro Audio continues to actively seek out manufacturers who are ready to abandon the old ways and embrace the new, with a goal of seeing store shelves stocked not just with products from the big guys, but from hip new manufacturers from all corners of the world. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Unique, Lightweight Celestion Speaker Offers Unparalleled Blend of Power Handling, Transparency, Tonal Nuance, and Dynamic Response Anaheim, CA (January 25, 2018) — At this year’s NAMM Show, Celestion, the premier manufacturer of guitar and bass loudspeakers and professional audio drivers for sound reinforcement applications, is pleased to debut the Neo 250 Copperback, a new type of Celestion guitar speaker intended to help musicians and amplifier builders optimize the native tone of their systems while also achieving maximum response to players’ touch and dynamics. While classic Celestion speakers offer the signature midrange presence and growling breakup that has led the music community to consider them one of the most important elements of British guitar tone, the Neo 250 Copperback is designed with a different goal in mind. That goal is to be more tonally transparent, allowing more of the best sonic characteristics of the amplifier and instrument to come through. With its overall light weight of under 5.5 pounds (thanks to a neodymium magnet), the Neo 250 Copperback likewise preserves all the intentions that the fingers of the musician want to express, with an exceptional level of detail and nuance. In contrast to other guitar and general-purpose speakers that boast transparency, the Neo 250 Copperback preserves the musicality and organic quality that makes Celestion so sought after. Without adding additional coloration, its tight lows, neutral low mids, open upper mid definition, and well-controlled high treble let the guitarist go from shimmering, bell-like clean tones to almost flute-like high gain, merely by tweaking the amplifier’s drive knob. Last but not least, the extraordinary power rating of 250 watts ensures the Neo 250 Copperback can comfortably be driven by the latest high-output and digital amp technology, which many higher-tech guitarists find appealing. At the same time, its efficient sensitivity of 100dB means it will sing clearly in amp setups and signal chains preferred by tonal purists. Whether it’s a driver upgrade or replacement in an existing amp or a completely original build, the Neo 250 Copperback is the best transducer to let amplifiers — and musicians — sound their truest. Specifications: Nominal diameter: 12”. Power rating: 250W. Impedance: 8Ω. Sensitivity: 100dB. Chassis type: Pressed steel. Voice coil diameter: 2.5". Voice coil material: Round copper. Magnet type: Neodymium. Frequency Range: 70 – 5,500Hz. Resonance frequency (Fs): 55Hz. Weight: 5.5lbs. / 2.6kg.

New Subwoofer Features High Performance in a Compact and Portable Package Costa Mesa, CA (January 24, 2018) – As QSC celebrates one million K Family loudspeakers sold since their introduction, the company is pleased to introduce the newest K Family member, the ultra-compact KS112 powered subwoofer. Joining the previously-introduced KS212Ccardioid powered subwoofer, the KS112 is the second model in the KS subwoofer series. With its innovative design, legendary QSC amplification and advanced DSP, the KS112 is the perfect choice for a variety of installation and entertainment applications for which high output, low frequency extension is needed from an ultra-compact and portable package. The KS112 features a single 12-inch transducer in a 6th order bandpass premium birch cabinet. On-board DSP provides variable crossover, delay, and savable/recallable Scenes for commonly-used applications while advanced thermal and excursion processing further optimize system performance. Two M20 threaded pole receptacles provide a positive, wobble-free connection to a threaded speaker pole in either vertical or horizontal deployment (pole not included). Rugged, low-noise casters are included, while a locking security cover and padded transport cover are available options. “With the introduction of the KS112, QSC offers users the ability to choose the perfect subwoofer for their application in a way never before possible,” says Chris Brouelette, Product Manager, Pro PA Loudspeakers. “From the ultra-compact KS112 and directional KS212C cardioid sub, to the portable KSub, punchy and powerful KW181, and KLA181 for flown applications, the wide variety of options available, all as complementary members of the K Family, present extraordinary and compelling low-frequency solutions for sound reinforcement professionals and enthusiasts of all kinds.” Musicians, bands, mobile DJs, system integrators and AV rental/production professionals alike will appreciate the performance of the KS112 for a wide variety of applications – particularly when paired with TouchMix Series mixers, further optimizing KS Series performance, or as a complement to K.2 Series loudspeakers. The KS112 also features the renowned QSC Global 6-year warranty with product registration. The KS112 subwoofer will have an estimated US street price of $999 and is expected to be available in the late spring of 2018.

Robert Keeley Caverns V2 Delay and Reverb Pedal Hello, hello, ... hello! by Chris Loeffler When it comes to delay and reverb effects, most players choose between a one-trick pony or an expensive multi-effect, but Robert Keeley decided to create a middle-ground where players can get an affordable, versatile delay with modulation and a few of the most common reverb settings in a single pedal. The Keeley Caverns V2 is a rethink of the original Keeley Caverns; a dual-function, reverb and delay pedal featuring 650MS of delay with analog-voiced modulation along with three reverb modes in single enclosure. The Keeley Caverns V2 features four controls and a setting switch for both the delay and reverb effects, optional true-bypass or buffered bypass, rear-mounted input and output jacks and runs an a standard 9v adaptor (not included). What You Need to Know The Keeley Caverns V2 allows each of the two effects sides, Reverb and Delay, to be activated individually or in serial via independent footswitches set for either true-bypass for unaffected tone when not on or buffered bypass to allow the reverb and trails of the final delayed signal to decay naturally. This means you can have reverb, delay, or both on at any given time for three new effected tones available without tweaking a single knob. The delay effect of the Keeley Caverns V2 features controls for Time, Repeats, Blend, and Rate, with Time, Repeats and Blend controlling the delays and the Rate selecting the speed of the optional modulation applied to the delay. The delay is voiced for a classic tape-echo tone, slightly darker than the original signal with slight saturation progressively added to subsequent repeats. It’s clean enough to do the rhythmic delay thing but warm enough to not get in the way of the direct signal for spacier passages. While it doesn’t have quite as much funk of some of the most stringent EP-2 tape-echo clones out there, it’s versatility is better off for it. The delay’s modulation can be set for Light, Deep, or Off via the three-way toggle switch to go from a subtle liveliness in Light mode to a swampy, Leslie-like warble in Deep mode. The slowest modulation speeds are slower than the longest delay time and the highest speed setting bounces the modulation LFO multiple times per second… all tasteful and organic. The delay in the Keeley Caverns forgoes the self-oscillation many players ask about but few actually use in exchange for delays that can be set to the edge of madness without ever losing control. The Reverb side is controlled by Blend, Decay, Warmth and Rate controls and comes in three flavors selectable via a second three-way switch: Modulated, Spring, and Shimmer. The Shimmer mode produces a reverb effect that is an octave above the dry signal to introduce an ethereal aural halo to what’s being played, the Modulated reverb features a choral thickening LFO that goes from warm to sparkling depending on the Warmth setting, and the Spring mode gives classic Fender-style spring reverb jangle with a pulsing tremolo to the wet signal. I found the Shimmer mode to hide a spacious Plate reverb behind it when the Shimmer was dialed back, and the octave itself is organic even at the highest settings, without the digital squeal and artifacts of lower resolution effects but soft enough not to sound like the 1-Up ping of a video game. The Spring setting is so faithful to my Princeton Reverb reissue tank that I was afraid if I kicked the pedal I’d cause it to rattle. The tremolo is subtle below noon on the Rate knob, but it's an authentic touch that I can't believe isn't more common. The Modulation mode is warm and thick with a touch of feedback swoosh that stands apart from the modulation on the delay side, so even though they each sound amazing on their own they don't get too soupy when used together. Limitations There are hundreds of tones to be coaxed from this little white box, but you’re going to have to bend over and tweak knobs to select between them. Conclusion The Keeley Caverns V2 pairs together two fantastic space-spacing effects engines that go well together but can stand on their own. The flexibility of both the Delay and Reverb sides is likely to get players of any genre through diverse set lists, all for less than two hundred bones. Given his pedigree in the world of analog devices, it’s heartening to see how damned well the folks at Keeley have tackled DSP and how they keep it sounding and feeling analog. If a handful of tweakable good delay and reverb tones will get you where you need to go, then the Keeley Caverns V2 might just be the best way to get there! - HC - Resources Keeley Effects Caverns V2 Delay and Reverb Product Page Buy the Keeley Effects Caverns V2 Delay and Reverb Product Page (MSRP $229.99, Street $179.99) @ Sweetwater , Guitar Center , Amazon ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Earthquaker Devices Westwood Drive You're guitar's gonna love this wood! by Chris Loeffler There are hundreds of overdrives available for guitar players, from circuits designed to mimic the sound of a specific amp to circuits designed to those that expand the overdrive opportunities of the amp you have, but only a few are as specific as to be designed especially to add grit without fundamentally changing your guitar tone. The Earthquaker Devices Westwood overdrive pedal is a medium-to-low gain pedal designed to add truly transparent crunch and grit to your guitar tone without the emphasized frequency spikes that accompany most overdrive effects. It features Volume, Drive, Bass, and Treble controls, silent true bypass switching, and is powered by a standard 9v adaptor. What You Need to Know Earthquaker Devices states the Westwood was specifically designed to drive both standard stacks and low-wattage amps, with active EQ controls for additional tone shaping to address the more constrained nature of many smaller tube amps. In my experience, most tube amps under ten watts, especially vintage ones with simpler circuits, tend to shine on their own but quickly become overwhelmed when fed overdrive or distortion effects. A push from a fuzzface-style fuzz or treble boost might create some ripping classic rock tones, but add more than a nudge in volume or narrowing of EQ and things become flabby and congested. Using a 1954 Magnatone and a Fender Champ clone as my small amp testing grounds, the Westwood sounded invisible when the Drive was rolled back and the tone controls were set at noon. There is a fair amount of volume on tap with the Westwood, more than most players will ever need, and the drive is incredibly responsive to both pick attack and the guitar’s volume control, capable of adding open sizzle to single coils in more subtle settings or full-on classic rock crunch to rhythm and leads when pushed past noon. With the gain sets below noon, the Westwood produces soft, tube-like preamp breakup without compressing too quickly andthe ability to go from clean to dirty just by digging into the strings. Things gets pretty hairy past noon for riff-rock ready punch that pushese the boundaries of classic vintage distortion. The gain structure is especially well balanced from low to high and is easily balanced to individual amps and guitar by the 2kHz Treble and 80Hz Bass controls. The Bass and Treble controls are center detented at noon for flat EQ and naturally add or remove presence to their respective frequencies without sounding effected, opening up some interesting opportunities in amps both big and small. Using my Les Paul, I found the slightly overdriven tone to liven up the guitars stock 57' Classic pickups, with just a touch of reverb creating some of the best unaccompanied “barely clean” tones I’ve ever coaxed out my smaller amps. The Champ clone really enjoyed a slight bump from the Treble control while the slightest reduction from the Bass control reigned in the low end looseness and allowed the natural mids of the humbuckers to push the distortion in a more pleasing way without causing the 10" speaker to strain unpleasantly (something they are known to do). This held true as well for my Vox AC-15, a notoriously fickle amplifier when it comes to traditional overdrive effects. Blending the gentle grit of the Westwood at unity gain with the excitable overdrive of the preamp resulted in a thicker, more complex overdriven tone without overtaking the classic Vox sound, and when the gain was cranked I felt like I’d immediately stepped up to an AC-30. Running into a Fender Deluxe Reverb for reference proved there was no smallness to be heard when the Westwood is run into a amp at standard gigging volumes. Limitations None. If you love your guitar and amp tone, the Westwood will make it better. Conclusion The Earthquaker Devices Westwood is a unique offering from a house as wacky as Earthquaker, neither a tweak on a vintage circuit nor a quirky noisemaker. It is a subtle, subdued pedal that does a lot of useful things without taking over your core tone, even when the gain sounds like an amp about to explode. Whether adding girth and crunch to a low wattage amp or getting stony grind with a clean amp, the Westwood layers gain and fine tuning without color or losing the touch of the amp. What the Westwood does is what I see people describe when they say they are looking for a transparent overdrive. - HC - Resources Earthquaker Devices Westwood Transparent Overdrive Product Page Buy the Earthquaker Devices Westwood Transparent Overdrive ($179.99 Street) at Sweetwater ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Harmony Central 2017 Effects Pedal Gift Guide for Musicians Because a guitarist can never have enough guitar effect pedals! by Chris Loeffler With more than 20 effects devices reviewed this year, many by Electro-Harmonix and Earthquaker Devices, some readers have asked “What’s up with all the pedal reviews?” The short, simple answer is that they are what our readers most gravitate towards, the manufacturers are the most frequent to submit review units for consideration, and at 1/5-1/30 the cost of a new amplifier of guitar, effects pedals are some of the most cost-effective ways for players to change up their sounds. As always, we receive no payment for product reviews and they are utterly decoupled from ads (although we’d love for them to!). Here’s a recap os one of the more interesting pieces Harmony Central reviewed in 2017… Ampeg Scrambler Bass Overdrive Ampeg came back strong in the bass effect world in 2017, with a strong, sub-focused offering for the four (or five, or six) stringed slingers looking to add character and crunch to their low end. Phil O’Keefe found a lot to love in the definition and bass-preservation of the new Ampeg Scrambler that may leave some guitar players wanting but shows their dedication to creating the ultimate bass tone today while mining the classic bass tones from the last fifty years. Read the entire Harmony Central review of the Ampeg Scrambler Bass Overdrive here Electro-Harmonix Operation Overlord Allied Overdrive Stereo Effect Electro-Harmonix has never been a company to veer away from extreme or exotic effects, so it was a bit of a head-scratcher to see such a straight forward looking offering when they released the Operation Overlord Allied Overdrive. After a thorough test drive, however, effects enthusiast Chris Loeffler reported back there was a lot more happening under the hood than one expected, including three different line levels to add grit to anything from a low output passive single coil to a full line-level synthesizer, plus TRUE stereo outputs for an overdrive that is anything but ordinary! Read the entire Harmony Central review of the Electro-Harmonix Operation Overlord Allied Overdrive here Earthquaker Devices Erupter Perfect Fuzz It takes a bold claim to name any version of the fuzz effect “perfect”, but if any modern manufacturer should take a shot at it, it might as well be the good folks of Earthquaker Devices in Akron, Ohion! The Earthquaker Devices Erupter perfect fuzz is a modern approach to achieving vintage fuzz tones, incorporating a built-in pickup load simulator to remove the fussiness of traditional fuzz circuits to signal chain placement, battery sag, and more for a fuzz that react and sounds exactly how it should no matter how many buffers you stack in front of it. The single fuzz control even has an indented section in the exact center of the sweep so you know exactly how Earthquaker thinks it should sound, but you can dial to the left or right for different shades of saturation and gating. Read the entire Harmony Central review of the Earthquaker Devices Erupter here Nexi Industries The Solution Nexi Industries launched The Solution board with an eye towards changing the way player use and interact with their signal chain, starting from the foundation up, literally. Phil O’Keefe spent hours evaluating how their alternative approach to crafting guitar tone can simplify the open-minded player’s rig without sacrificing flexibility and effect swapping. Read the entire Harmony Central review of the Nexi Industries The Solution system here Electro-Harmonix Blurst Modulated Filter The Elector-Harmonix Blurst modulated filter is probably the contender for “Most EHX-like Pedal Release of the Year”. Applying every type of trigger imaginable to a filter, from LFO to envelope to manual expression control, the Blurst is essentially the filter workstation for guitar players jealous of the controls typically reserved for synthesizer players without complicated controls or layered LED menus. Whether you’re looking to push the sonic boundaries of your instrument or explore the more subtle shades of filtering most effects ignore, the Blurst is the most accessible deep filter unit yet in floor format. Read the entire Harmony Central review of the Electro-Harmonix Blurst here Ampeg Analog Bass Preamp Bass players who are looking to inject the classic Ampeg sound into their rig without buying a new amp or breaking the bank should read up on the Ampeg Bass Preamp, the gateway to the classic Ampeg sound for under $100 bones. Read the entire Harmony Central review of the Ampeg Bass Preamp here Electro-Harmonix Canyon Delay and Reverb Another surprise from Electro-Harmonix this year the the Electro-Harmonix Canyon Delay and Reverb, an affordable digital multi effect crammed with nearly a dozen dead-on recreations of classic delay and reverb tones in a pedal smaller than the wallet in your pocket and cheaper than most single use delay effects. The Canyon make take the cake for the biggest bang for your buck in 2017l Read the entire Harmony Central review of the Electro-Harmonix Canyon Delay and Reverb here Earthquaker Transmisser Resonant Reverb If there was an award for most unique (or WTF?!?) effect of 2017, Earthquake Devices’ Transmisser easily claims that prize. Ostensibly a tricked out reverb for guitar players, the Transmisser introduces modulation, tone darkening, and filter sweeping to the reverb signal, nearly immediately taking over the guitar’s original signal and crafting dark, brooding pads that sound like transmissions from deep in the heart of space. There’s nothing “vintage” about the Transmisser, but it might be your quickest way to unique, psychedelic waves or post-rock dreaminess. Read the entire Harmony Central review of the Earthquaker Devices Transmisser resonant reverb here Totally Wyked Audio HS-02 Hot Sake Overdrive Considering distortion is one of the most common effects manufacturers offer, it is worthy of note that the Totally Wyked Audio HS-02 Hot Sake is the only dedicated distortion box Harmony Central chose to review this year. Its Manga inspired Eastern graphics and American designed and built production undoubtedly leads to a little confusion on the front end, but searing distortion tones and unique EQ parameters position the Hot Sake to be a future guitar tone hero. Read the entire Harmony Central review of the Totally Wyked Audio HS-02 Hot Sake here Electro-Harmonix Cock Fight Plus Fuzz Wah Last year saw the release of the Electro-Harmonix Cock Fight fixed was pedal, which left Chris Loeffler tonally satisfied but itching to access the sweep of the two analog filter circuits without purchasing an optional expression pedal. Electro-Harmonix got the note, and rather than telling reviewers to own their experience and live with the consequences of the standard form factor or investing in the expansion they released the Electro-Harmonix Cock Fight Plus, featuring the same great fuzz and filter circuits as it’s little brother in a wha-style enclosure, proving you really can have your cake and eat it too. Read the entire Harmony Central review of the Electro-Harmonix Cock Fight Fuzz Wah here Digitech Mosaic Polyphonic 12-String Perhaps realizing they’d put so much goodness into their Digitech Whammy pedal that most guitar players didn’t even dig in past the first setting or two, Digitech has spent the last couple of years pulling individual settings out of their pitch-shifting icon and creating use-specific stomp pedals out of them. Last year Harmony Central reviewed the Luxe and The Drop from that family, and 2017 saw Phil O’Keefe running the Digitech Mosaic through an extensive series of tests to see how much like a true 12-string guitar he could make his standard six string acoustic and electric guitars. Are you looking to add the color of a 12-string to your live gig without the expense or hassle of a new axe? Read the entire Harmony Central review of the Digitech Mosaic here Electro-Harmonix Green Russian Muff Fuzz Electro-Harmonix has been pumping out fuzzes longer than most of today’s players have been sentient beings on this planet, and Harmony Central always turns to Chris Loeffler to evaluate and discuss the finer nuances of shades of fuzz when it comes to the venerable, if often changing, Big Muff Pi. The Green Russian Big Muff Pi released this year nails the circuitry and sound of the military-styled green tank that infiltrated music shops in the early 90’s and became the sound of grunge and alternative rock for some of the biggest acts of that era. Collusion is not an option. Read the entire Harmony Central review of the Electro-Harmonix Green Russian Big Muff here MXR Carbon Copy Deluxe Analog Delay While Electro-Harmonix and Maxon were quietly keeping analog delay circuits in production throughout the early 00’s, it was Dunlop’s signing on of boutique effects legend Jeorge Tripps of Way Huge and their out-of-the-blue release of the MXR Carbon Copy analog delay that marked the resurgence of analog delay for the masses in the late 00’s. A lot has evolved in circuits since then, and MXR made it clear they’re not ready to sit idle and let technology pass them by with the upgraded MXR Carbon Copy Deluxe, which doubles the delay time to a mind-boggling 1.2 seconds, introduces true tap tempo, and moves modulation controls to the front of the box. Read the entire Harmony Central review of the MXR Carbon Copy Deluxe here Electro-Harmonix Battalion Bass Preamp Something must have had the great minds of Electro-Harmonix in an especially bellicose mood this year, as in addition to revisiting the Cold War fever dream of the Green Russian and the D-Day glory of the Operation Overlord they released a tank-studded bass preamp aggressively named the Electro-Harmonix Battalion bass preamp. Phil O’Keefe found the Battalion deeper than the average pedal, and pointed out how that flexibility could make for the most finely-tuned front end section a bass player has experienced or introduce some unwanted noise for people who like to tweak without taking the time to learn the complete signal chain. Read the entire Harmony Central review of the Electro-Harmonix Battalion here Way Huge Doubleland Special Overdrive It’s the final stretch of 2017, and the endless search for the fabled lawyer tones only forged in crystal lattices and buried in the blackest of epoxies continues forward. With dozens of pedals and amps claiming to have captured that particular lightening in a bottle (and typically price tags to match), it was refreshing to see the master of boutique mystery take the piss out of that tone with the punned Overrated Special a couple of years ago. In partnership with guitar magazine cover boy Joe Bonamassa, Way Huge released a limited number of pedals dubbed the Way Huge Doubleland Special, all signed by Joe Bonamassa and featuring dual Overrated Specials in a single enclosure with slick control adaptations to sliders to emphasize the set-it-and-forget-it intention of the first effect to be stacked with the second. Are there even any of these super limited units still available? Read the entire Harmony Central review of the Way Huge Doubleland Special here Earthquaker Devices Space Spiral Modulated Delay Earthquaker Devices set out to release a fairly standard analog-sounding delay pedal with limited delay time and a unique modulation section, and quickly found they’d stumbled across something special. Based on “crappy old karaoke chips”, the dark delay signal of the Earthquaker Devices Space Spiral goes far beyond the dreamy modulated repeats of the Deluxe Memory Man an into lopsided, angular pitch bends that leap and stagger multiple notes in more extreme settings. 60’s Sci-Fi nightmare escapes or The Edge like syncopated rhythms at the turn of a knob. Read the entire Harmony Central review of the Earthquaker Devices Space Spiral here Electro-Harmoix Tone Corset Compressor Suggestions of Victorian-era bondage in its graphics are completely at odds with the smooth, natural behavior that is the sonic core of the Electro-Harmonix Tone Coreset analog compressor. The surprisingly warm and expressive attack and release of the compression circuit require minimal tone submission, and are more like a gentle massage that a traipse in the clipped smack of rougher compressors. Read the entire Harmony Central review of the Electro-Harmonix Tone Corset here Earthquaker Devices Night Wire Harmonic Tremolo Phil O’Keefe drew the long straw when it came to deciding who would review the Earthquaker Devices Night Wire. With both amplitude (volume) and filter modulation happening at the same time, the genius ability to choose whether to choose either (or both!) as controlled by a LFO (typical tremolo tones), increase and decrease speed and depth with an envelope triggered by guitar attack (touch-sensitive ramping), and even freezing the filter section for cocked tones means everyone’s tremolo will sound different. Read the entire Harmony Central review of the Earthquaker Devices Night Wire here Supra 1305 Drive Players are usually trying to make their mid-sized amps sound bigger, so when Supra sent Phil O’Keefe the Supra 1305 Drive to make his amps sound like the raunchy, compact tube posters they are recreating for studio players, he really took them to task on how big “small” could sound. Apparently, gloriously lo-fi, rich, and raw enough to tour with the Stones. Read the entire Harmony Central review of the Supra 1305 here Earthquaker Devices Data Corrupter Analog Synthesizer If there was a “biggest barrier to entry/most worthwhile reward” category for 2017, one wouldn’t need look further than the Earthquaker Devices Data Corrupter. Despite an intuitive control layout, there just aren’t many (any?) pedals that get close to doing what the Data Corrupter does. Splitting the guitar signal into three channels (square wave, master oscillator, and subharmonic), the Data corrupter fuzzes, pitch shifts, and then pitch shifts again while adding gliding and LFO modulation to the oscillators for polyphonic recreation of monophonic inputs. Throw away for augmented jazz chords and consider embracing the corruption. Read the entire Harmony Central review of the Earthquaker Devices Data Corrupter here ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

2017 Book Gift Guide for Musicians Keep your coffee table and your musician happy... by Chris Loeffler As 2017 comes to a close, we're taking a few minutes to look back at the books we reviewed in the last twelve months in case you find yourself hunting for an affordable gift for your favorite musician, or even yourself. Pull yourself away from the various screens in your life to dive into some analog sensory experiences! Mixerman and the Billionheir Apparent by Eric Sarafin This semi-fictional book review opened up our year, following the ongoing journeys of internet/blog sensation Mixerman (since outed as engineer Eric Sarafin) as he engages in even more out-there musical enterprises with a rich middle-eastern trust fund kid in a series of face-palm worthy escapades that draws equal laughs and cringes from readers who are willing to stare too deeply into the insanity that is the world of record labels and fickle (privileged) artists. Read the complete Harmony Central review of Mixerman and the Billionheir Apparent here Mark Schulman's Conquering Life's Stage Fright Harmony Central's Dendy Jarrett shared his personal connection with stage fright in his February review of Mark Schulman's inspirational meditation on fears and anxiety, both on and off the stage. While written by a drummer speaking to drummers, the messages and stories Schulman shares in this brief book transcend instruments (and even music) and speak to the heart of matters and humanity at large. Conquering Life's Stage Fright is the perfect kick of motivation and perspective for anyone looking to break through barriers! Read the complete Harmony Central review of Mark Schulman's Conquering Life's Stage Fright here The Martin Archives by Grahm Nash Harmony Central's resident gear historian Phil O'Keefe was stoked to be an early reviewer of The Martin Archives when Backwing released the book early this year, and turned his critical eye to the book to assess its worthiness both as a definitive statement on the Martin Guitar instrument legacy as well as its aesthetic merits for coffee tables and general interest. His takeaway was the book achieves a thorough (if short of definitive) essay on the revered 185 year old company's output with enough eye candy to occupy a few minutes at a time and enough text to consume several evenings, making for a reading experience as deep (or shallow) as the reader wants. Read the complete Harmony Central review of The Martin Archives here Sex, Drums, Rock n' Roll by Kenny Aronoff I guess we weren't going to make it through a year of book reviews from music industry insiders without hitting at least some slightly PG-13 material, so here's a brief dip into the bluer side of the rock and roll lifestyle. However, Aronoff's recounting of excesses and bragging are just the thinnest veneer of bravado over a very American story of hard work, always being available for when the right opportunity presents itself, and the ultimate selflessness that is surrendering ego and wants for the art and the moment. Read the complete Harmony Central review of Kenny Aronoff's Sex, Drums, Rock n' Roll here The Fender Custom Shop at 30 Years by Stephen Pitkin While many of the books reviewed this year focused on more traditional narratives and thorough text content, Phil O'Keefe found The Fender Custom Shop at 30 years a refreshing visual treat to shamelessly focus on large, sexy images of rare and hard-to-find guitars with regular pepperings of text to support the luscious photos. Less a book to be read cover-to-cover than eye candy to ring that Pavalovian bell buried deep in the guitarists' id, The Fender Custom Shop at 30 is a celebration of three decades of amazing guitars. Read the complete Harmony Central review of The Fender Custom Shop at 30 Years here An Introduction to Music Technology-2nd Edition by Dan Hosken Ok, while most of the books we reviewed this year were focused on entertainment or narratives, An Introduction to Music Technology was definitley the most academic of those we reviewed. Aimed at musicians new to the technology behind their instruments or looking to get into recording and sound engineering, An Introduction is a mid-depth dive into a very wide pool that touches on nearly all aspects of sound production, capture, and reproduction. Less interested in being a manual for specific technologies or platforms, this book addresses the "hows" and "whys", giving readers a solid (if sometimes unfocused) understanding of what every piece of technology is doing to contribute to sound production that can be applied to any process, from synthesizers to audio interfaces to mixing and mastering. Read the complete Harmony Central review of An Introduction to Music Technology- 2nd Edition here Electric Guitars - Design and Invention by Tony Bacon If An Introdution to Music Technology is the most technical book we reviewed this year, Electric Guitars is the most detailed and focused. Following most major innovations in the evolution of electric guitars across brands and genres, including many interesting side-trips to features and technology briefly explored before being relegated to the novelty bin of guitar odds-and-ends, Electric Guitars offers most of the "whys" readers probably haven't even thought to ask about how the modern guitar came to be and what ergonomic, sonic, and aesthetic discoveries were made upon the way to today's most iconic musical instrument. Read the complete review of Electric Guitar - Design and Invention here See you all in 2018 with another great batch of books to review! Are you an author or publisher with a book you'd like considered for review by Harmony Central? Email us at admin@harmonycentral.com and let's talk! ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

The British Amp Invasion: How Marshall, Hiwatt, VOX, and More Changed the Sound Of Music by Dave Hunter Speaking of great books ... by Chris Loeffler Prior the introduction of electronics into instruments, the guitar was out of favor with most ensemble musical formats due to its limited sonic output; drowned out by horns, brass winds, and even larger bodied stringed instruments like the cello. The United Stated led the charge to electrify and amplify guitars in the 30’s and 40’s and brought the guitar back as a viable instrument in popular band music, finally allowing the instrument to keep step with its louder brethren and growing audience sizes. Overseas, however, a confluence of events conspired against the guitar joining the popular music of big band music of Europe; from the growing political unrest of the 30’s to the warring 40’s whose accompanying drought of new music from the US led to little cross pollination in an already artistically strained setting, and ultimately the resource-scarce reality of a post-war Europe in the early 50's. By the time most of Europe was rebuilding and could breath, the US music scene was dominated by brash guitar tones and a new genre of Rock and Roll by bands pushing tube-driven amplifiers to their limits. This rowdiness was, in part, defined by the technology that had been allowed to blossom in the relatively peaceful times stateside and fueled by artists who stayed out of the fight… technology that was sparse in reconstruction-era Europe and prohibitively expense to import from the US, resulting in a unique opportunity for European engineers to step in and fill. Thus begins the story of one of the biggest shapers of rock and modern music created in the last 70 years. Dave Hunter's exhaustive The British Amp Invasion documents the British amp industry, from the rise of Selmer and JMI in the mid-50’s to the resurgence of Orange in the 90’s and its newest incarnation of heaver amplifiers. The British Amp Invasion spans nine chapters and 168 pages with equal attention to text and photographs of vintage amps, circuits, advertisements, and more that focuses on builder intent, sonic trends, and the bands that made them famous. What You Need to Know Dave Hunter’s biggest strength is creating a logical, engaging narrative around how dozens of UK amp companies rose to prominence through correlating events of technology advancements, artistic and musical trends, and economic factors in a way that is as inspiring to read about as the music created with it and leads the reader to what feels like the inevitable conclusion of the modern state of amplifiers. The amp specimens shot for the book are in fantastic condition, and the circuit close-ups are a pleasure to behold. For those familiar with Hunter's other books, his writing tone is equal parts conversational and informational and his concise working results in one of the easiest gear history reads around. Notable points in the story begin with how parts availability resulted in circuits that began the drift from what were meant to be US design knock-offs, address how the steadfast desire to maintain fidelity to the US designs in the UK resulted in an even further drift from the new voicing and approaches being implemented in the US and, ironically how that resulted in the iconic British sound. Intimate anecdotes reveal the emergence of artists like Clapton playing amps “hot” in the studio for the first time to the birth of the full stack, with delightful recounts of of crotchety interactions between artists and amp designers. All major players are accounted for (both in the UK manufacturing side and the artists), and the story of US manufacturing and design growth persists in the narrative throughout if only to highlight the growing differences on opposite shores of the Atlantic. Limitations The narrative fizzles out by the time Hunter gets to the time period where boutique amp builders on both sides of the pond were emerging, and ends with little fanfare in the final chapter, reducing entire decades to a few sentences. Conclusion Amp geeks around the world with even a modicum of interest in amps from the UK are in for a rousing read of technology, artistic shifts, and are led to ground zero for what was the birth and maturity of the rock music scene through one of the most important gear signifiers in any lineup of the last fifty years. Techy enough to scratch the itch that speaks to the “whys” without ever requiring a background in engineering, Hunter knows how to walk the line between an entertaining and informative read and has a hell of a tale to share. -HC- Resources The British Amp Invasion: How Marshall, Hiwatt, Vox, and More Changes the SOund of Music Product Page Buy The British Amp Invastion (MSRP $29.99) at Amazon , Target , Backwing Books ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Electric Guitars: Design And Invention by Tony Bacon Your coffee table will thank you! by Chris Loeffler There are many books that follow the evolution of the guitar through a single manufacturer or artist, butTony Bacon takes a wider view with Electric Guitars: Design and Innovation, a 176 page mediation on where electric guitar design came from and a glimpse into where it is going, from Backstreet Books. Electric Guitars comes well-bound with a heavy-stock paperback cover and fully-color glossy interior papers in an over-sized, coffee table friendly format. What You Need to Know Tony Bacon’s newest book, Electric Guitars: Design and Innovation, is almost guaranteed to going to pique the interest of guitar players who are either curious about the evolution of their instrument of choice or engineers who love to geek out on the things that made (or didn’t make the cut) the electric guitar unique. Through a brief history of guitar design (with a focus on the electrification of the instrument) and interviews with guitar makers who have helped shaped the industry, Bacon takes the reader on a journey through the development of the modern guitar. Bacon explores distinct body shapes, from the prolific Strat and Les Paul style bodies to the more esoteric ones, like the Flying V or Razorback from Dean. In a narrative that is accessible enough for the lay-person but specific enough to educate luthiers, he also explores electronics, manufacturing methods, and nearly every piece of hardware that comprises an electric guitar. Fans of classic guitar designs can dig into the refinements that have been made over the years, and fans of the not-so-standard approach to guitars may find a few rarities they weren’t even aware of. Limitations I hoped to never be “that” person, but I felt the book could have benefitted from even more photographs and illustrations, especially when describing more obscure content. Conclusion While hardly a treatise on guitar design as a whole, Bacon’s focus on the quirks and hidden agendas behind electric guitar design is interesting, entertaining, and educational. The book is well written, reads way faster than it should, and is a quiet celebration of the most celebrated instrument in modern music. - HC - Resources Electric Guitars: Designs and Innovations Product Page at Backbeat Books Buy Electric Guitars: Designs and Innovations ($29.99 MSRP)- Amazon , Target, Elderly Music ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Electro-Harmonix Cock Fight Plus Fuzz Wah Effect Pedal The fuzz wah is flyin' at this cock fight! by Chris Loeffler It's not often, but ometimes you get exactly what you ask for. Almost two years ago I reveiwed the EHX Cock Fight fixed-filter fuzz pedal and was impressed by the quality of fuzz and dual filter circuits that were included (each one easily rationalizing the sub-$120 price); my only complaint was the requirement of an additional expression pedal to access the fluid wah-type sounds in real time. Fast forward to Fall of 2017 and I'm evaluating exactly that, in their newest release, the Electro-Harmonix Cock Fight Plus. What You Need to Know The Electro-Harmonix Cock Fight Plus runs on a standard 9v battery or included power supply and features controls for Volume, Drive, Tone, Bias, Bottom, Pre/Post, and Cry/Talk. The Cock Fight Plus expands on the original Cock Fight by ditching the Freq knob and movign the sweep of the filter to the treadle-pedal on top, like a traditional wah. The fuzz portion of the circuit is sculpted using Drive, Tone, and Bias controls, and can be placed before or after the filter section or removed from the signal chain. Drive adjusts the overall amount of fuzz gain, and is very interactive with the Bias control, which dictates the voltage the circuit receives. While the Drive control goes from nearly clean to saturated, rich fuzz, the Bias control changes the structure of the gain based on how much juice it’s feeding. All the way up, Tonebender and Muff-style richness and dimension lurks, but when rolling back the Bias the gain starts to gate, the distortion beings to simplify, and eventually the tone devolves into sputtery, 8-bit Nintendo bloops by the bottom of the sweep. The Tone control shows surprising restraint for Electro-Harmonix (famous for giving so much range that things can get a little crazy) and is gentle and natural across its sweep, never getting too dull nor too bright...just helping ease your tone into a sweet spot. The wah circuit is controlled by Volume, Bottom, and Mode controls and, unlike the fuzz, cannot be disabled when the pedal is on. The Volume control, logically, controls the effect's output volume (from dead quiet to double the volume of the original signal). The Bottom control allows for additional bass, typically cut in a wah-style effect, to be reintroduced, especially for bass or keyboard applications. The Bottom control is most effective with guitar when used in moderation, as things got a bit flabby with the control kept past noon. The Cry/Talk switch assigns one of two filter styles to the wah, which each merit individual discussion. The actual of the filter, previously controlled by Frequency knob, again is swept by foot now like a standard wah pedal. Cry Mode is a traditional wah tone, and likely the sound most people think of when asked to guess what the Cock Fight sounds like. Unlike many of the wah mainstays I’ve used, the sweep is surprisingly even and smooth and there weren’t any of the ugly points or harsh spikes I typically try to speed through. Hendrix, Zepp, Hammett…they’re all there. When in front of the fuzz circuit, the Cry mode is like a knife that cuts through the mix and beefs up the mids, just like a traditional Wah/Fuzz combo. The fuzz builds nicely around the filter and rounds out the edges. While the sound is very organic, even untrained ears will know something is happening beyond “distortion.” Depending on the guitar and amp, pretty much any point in the Frequency range has a valid application. Placed after the fuzz, the Cry mode's filter section really pulls in the tonal range of the fuzz and boosts a confined scope of frequencies for some interesting, if not exactly vintage, tones. It’s spiky and more aggressive, and has an almost “out-of-phase” quality to it at many points of the sweep. Talk Mode is a vocal, chewy filter setting that seems to recreate the vowel run A-E-I-O-U-W (OK… not a vowel) one would expect from the yowl of a golden-throated, baritone alley cat (but in a good way). Robotic, talk-box like tones seem to have a bigger smoothing effect over the attack definition, and it’s certainly the less traditional-sounding of the two modes. Placing the fuzz in the post position obscures some of this funkiness due to the gain, and Frampton-like “howling into a distorting loudspeaker”-type sounds are attainable; but in the pre-position, the filter gets a stranglehold over the fuzz and creates synth-like tones that would be as at home in an EDM recording as they would the world of rock. While this may sound dismissive or like a one-trick pony, I doubt there is a Cock Fight Plus owner who won’t find a way to sneak the Talk setting into a live performance for at least one song. Limitations While it's hardly a subtle effect, there is no visual indication of whether the pedal is engaged or not, so forgetful (er... drunk?) people who need LED feedback of what's on may be challenged. Conclusion The Electro-Harmonix Cock Fight Plus is still the rare example of an analog multi-effect that does everything right. The fuzz sounds and feels good enough to satisfy any vintagea fuzz snob, and the two wah modes are top candidates in their own categories. As if sounding great as individual components wasn’t enough, the circuits play together, providing a treasure trove of lead and rhythm tones. There will always be the temptation to overuse cocked wah fuzz settings to cut through the mix unit it becomes fatiguing - but hate the player, not the game! -HC Resources Electro-Harmonix Cock Fight Plus Cocked Wah Product Page Buy the Electro-Harmonix Cock Fight Cocked Wah (MSRP $164.70, MAP $123.50) @Sweetwater @Guitar Center ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Way Huge Doubleland Special Overdrive Pedal Bonamassa good .... by Chris Loeffler The elusive “D” sound, forged in crystal lattices and defined by smooth-but-rude mild overdriven tones, is one of the most sought-after sounds by players of classic rock and jazz. The craze has made kings out of boutique amp makers and put several effects pedal makers on the map, given the extremely limited availability and sports car level pricing of authentic original units. Way Huge, by way of Jeorge Tripps, brought its take on the Overdrive Special sound to the market a couple of years ago in the form of the Way Huge Overrated Special, and it has doubled down (literally) on the circuit in a limited collaboration with Joe Bonamassa with the Way Huge Doubleland Special. What You Need to Know The Way Huge Doubleland Special Overdrive is limited to a production of 1,000 units, shipping with a custom Pick Tin featuring 25th Anniversary Way Huge Picks, custom silver Jazz III Picks, and signed and numbered by Joe Bonamassa. The pedal features Volume, Drive, Tone, and 500Hz controls for both of the identical overdrive circuits, a switch to toggle between circuit selection or running the circuits simultaneous series, and a true-bypass foot switch. The Way Doubleland Special Overdrive is essentially two Way Huge Overrated Special circuits wired in series in a single pedal enclosure. While the pedal was designed for Bonamassa to address both single coil and humbucking guitars without needing an additional pedal, the circuits can be stacked in series for a more layered and thick tone. The throaty punch that was captured in the Overrated Special OD is alive and well in the Doubleland, with a vocal lower-mid focus and subtle bloom. I found the touch-response of the circuit to be looser than a TS-style overdrive but not quite as open as an original Zendrive pedal I compared it to. The 500Hz control, which fine-tunes the midrange frequencies, is crucial to determining whether the overdrive is being used for rhythm or lead tones, with the Tone knob itself offering typical high frequency filtering. There is plenty of volume on tap in each of the circuits, and the Drive goes from “Is this on?” to surprisingly aggressive, although most players seeking the D sound won’t tread much past the middle of the dial. Run in series, the pedal produces a significantly more saturated and compressed sound, interesting as its own thing, but sacrificing the dynamics that give the individual circuits their amp-like feel for a bolder, if simpler, statement. Limitations While it was intentional that one of the circuit’s controls were put in slider format for a set-it-and-forget-it setting, players who like to nudge controls with their feet in real-time during performances would be better served buying two Overrated Specials. Conclusion Given its limited production run and artist association, the Way Huge Doubleland Special Overdrive may well be sold out before publication of this review, which seems like a lost opportunity for sales but a fantastic marketing opportunity. There are few pedals as clearly defined and targeted as the Doubleland Special, and if you are a fan of Bonamassa or amps made by people named Alexander you’ve already likely pre-ordered one, and my hands-on review experience is that you won’t be disappointed, either as a collector or a player. -HC- Resources Way Huge Doubleland Special Overdrive Product Page Buy Way Huge Doubleland Special Overdrive (MSRP $428.56, Street $299.99) at American Musical Supply, Joe Bonamassa's site, or Musician's Friend ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

MXR Carbon Copy Deluxe Analog Delay Pedal Taking carbon copy to a whole new level ... by Chris Loeffler A personal aside (feel free to skip the next two paragraphs if you just want the review!)- Ten years ago, new-production analog delay pedals were as rare as hen’s teeth (aside from the EHX Memory Man, a pedal whose sound I love but low headroom doesn’t work for me outside of recording) and I purchased a Mason AD-900 (original two chip configuration) for around $250 direct from the factory in Japan and waited… and waited for it to arrive from a slow boat from the East. It was a fantastic pedal, and upon its arrival I was convinced I may be holding one of the last new production delays as NOS chips were disappearing, increasing costs at the same time a certain green modeling delay had essentially become the new standard for pedalboards. Around this same time, a former co-worker of mine had taken a marketing position at Jim Dunlop, maker of Dunlop, MXR, and Way Huge effects, and I stayed at his house while attending a music festival at Golden Gate Park. Well aware of my financially unhealthy relationship with effects pedals, he had a huge grin on his face when we met up the first evening and showed me what was part of the first run of the yet-to-be announced MXR Carbon Copy. The green sparkle on the enclosure was a slightly different hue than the final production piece, but otherwise there it was, a new production analog delay, with modulation, designed by none-other than Jeorge Tripps fresh from his tenure at Line 6, that had a target street price of $150 street. After a gentleman’s agreement that I wouldn’t let the cat out of the bag, he sent me home with the pedal. That marked, to me, the resurgence of the analog delay as a viable mainstay in the effects world. Fast-forward ten years later and we are in the renaissance of analog delays, with features that seemed impossibly incompatible withe the antiquated circuitry of analog circuitry (tap tempo, MIDI, delay times in excess of 1000MS), which brings us to the recently released big brother of the MXR Carbon Copy, the MXR Carbon Copy Deluxe. What You Need to Know The MXR Carbon Copy Deluxe is an all analog delay pedal with modulation available to apply to the delayed signal for sweet, undulating repeats. The delay line is controlled by Mix (blend), Regen (number of repeats), Delay (delay time) and a Tap-Tempo foot switch. The modulation side, previously set with trim pots inside the pedal, is now controlled on the front of the pedal, with Speed and Width settings to control how fast and deep the LFO bends the chorus effect. A Bright soft-push button was added to select between the darker tone of the original Carbon Copy and the subsequently issued Carbon Copy Bright, and a Tap Division soft-push button selects between dotted 8ths, 8ths triplets, and 16ths in relation to the tempo tapped. An expression pedal output between the input and output jacks allows for a number of functions, and internal controls for Dry Mix and Input Gain tailor the pedal for studio functions and non-guitar uses. The delay time in the MXR Carbon Copy Deluxe is double that of the original Carbon Copy at 1200MS, and in dark mode sits slightly back in the mix with nominal sonic artifacts even when turned all the way up. The delay has a slightly softener attack than the notes it is replicating, and sounds more similar to a vintage AD-9 than it does a DM-2. The Bright mode indeed increases the high-end of the delayed signal and brings it more prominently into the mix, a feature especially helpful for The Edge styled syncopated patterns. The modulation signal can be modified from anything from shallow, slow waves of pitch modulation to pitch-bending Leslie type sounds. I found it to have slightly less character than a Deluxe Memory Man but more stability and signal purity. The Expression Out jack can be paired with the (not included) DVP3 and DVP4 volume pedals from Dunlop or the M119 tap tempo switch from MXR. An expression pedal or external tap tempo can be used to toggle between two entirely different delay settings (all parameters can be adjusted except Mix and Regen), and the external tap tempo can also be used for hands-free activation of the modulation section or tap division. Limitations The MXR Carbon Copy Deluxe can be powered by a 9v battery, but the battery life likely wouldn’t make it through a gig. Conclusion The MXR Carbon Copy Deluxe has pretty much every feature available for an analog delay; luxuriously long repeats, low noise, flexible modulation, and tap tempo. It also sounds great, and the ability to toggle between the dark and bright modes gives the best of both worlds of analog delay smeariness and upfront, hi-fi tones. -HC- Resources MXR Carbon Copy Deluxe Analog Delay Product Page Buy MXR Carbon Copy Deluxe at Sweetwater (MSRP $328.56, Street $229.99) ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

How To Tune Your Guitar ...because you can't tune a fish... by Chris Loeffler First thing first… do you want to know something 99% of guitar players don’t know? I’m going to assume you responded “YES!” The question few people asks is, “Why is the standard tuning for guitar EADGBE?” Ascending perfect fifths would seem to make the most sense, but when one takes into account the size and playing position of a traditional guitar (horizontal neck), fourths create closer notes for easy physical fretting. Why not perfect fourths, then? While fourths would seem to be the logical order based on the evolution of stringed instruments, EADGCF is a ghastly tuning that would create a nightmare on the higher strings. Don’t believe me? Try it… I’ll wait. Ok, now that we’ve got that out of the way, let’s talk about the most important thing you can do to your guitar… tune it! Tuning typically starts at the top (low E) and works its way down. If you have a Chromatic or Pitch Tuner, tuning is as simple as feeding your instrument’s sound, either acoustically or electronically through an instrument cable, into the tuning device and turning the tuning peg on the string you are currently tuning until it matches the tuning device gives feedback that the string is in tune (usually through centering on a meter, arrows depicting the direction away from the desired pitch the string is currently tuned to, or lighting the corresponding note green to indicate you nailed it). How to Tune a Guitar by Ear? If you don’t have a tuner readily available, learn to get a perfect low E. Listen to the note, memorize it, and make it a part of your musical repertoire. Once you do, you can tune up from the low E, which you’ve tuned by ear, using the fifth fret to produce the pitch the next string up should be for the fifth, fourth, and third strings. When you get to the third string, place your finger down on the fourth fret to get the pitch for the second string (remember that whole “not perfect fourths” thing?), then return to the fifth fret on the second string to get the pitch for the sixth string. How well did you do? Compare the first and sixth strings for pitch and see how far (if at all) you drifted. What if there’s a piano around? You’re in luck! All you have to do is tune your sixth string to the E two octaves below middle C. From there, you can tune your guitar to itself or continue to match each pitch to the right notes as you go up the keyboard. Congratulations. You’ve got standard tuning down. Remember… the best playing and most expensive gear won’t get you anywhere if you can’t get in tune. -HC- ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.