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Russ Loeffler

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About Russ Loeffler

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    Russ has been playing guitar since the late 70's. He started to become a "collector" of electric and acoustic guitars, as well as amps and effects, in the 90's.

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  1. This brass will kick your .... What You Need to Know If you are downloading Hollywood Pop Brass as your first EastWest instrument library, you will also need to install Play 6 on your DAW (digital audio workstation). Play 6 is an advanced sample engine that powers EastWest’s virtual instrument collection. PLAY 6.1.2 is the latest upgrade for Mac users running OS X 10.7 or higher, and for Windows users running 7 and above. PLAY 6.1.2 is available for free to all EastWest customers. System Requirements for Play 6: Minimum Spec: • Intel dual-core i5 (or equivalent) processor, running at 2.7 GHz (or above) • 8 GB of RAM or more • Mac OSX 10.7 (or later); Windows 7 (or later) with ASIO sound drivers • 7200 RPM or faster (non energy saving) hard drive for sample streaming Recommended Spec: • Intel Xeon E5 (or equivalent) running at a minimum of 2.7 GHz (or above) • 16 GB of RAM or more • Mac OSX 10.7 (or later); Windows 7 (or later) with ASIO sound drivers • 64-bit operating system; and a 64-bit host when running Play as a plug-in. • SSD (Solid State Drive) for sample streaming EastWest uses the Pace iLok system for license management. Licenses for EastWest products can be activated directly on your computer (called a machine-based license), or activated to an optional iLok key. Test Drive Through the HP Brass Sound Library I will cover the features of the HP Brass sound library later. First, I want to cover my reactions to a test drive through this unique library of brass section sounds. This quote comes directly from EastWest’s website. “HOLLYWOOD POP BRASS was created for one simple reason - there's just nothing else out there on the market that instantaneously gives you that fiery, punchy pop brass sound that made songs like Uptown Funk such mega hits.” This caught my attention because I have used different horn ensemble plug-ins (both synth based and sampled horn sections). These horn sounds, whether they were individual horns or horn ensembles, are usually focused on symphonic type sounds. The better, sampled horn sections sound good, but they don’t necessarily fit pop music with funk, soul, blue, or rock music styles. Sometimes, I felt like I was layering the horn section to a Roman army movie soundtrack over a James Brown record. There are some horn plug-ins on the market that focus on the funk and soul type sounds, but they tend to have synth engines and they sound like synthesizers. They don’t deliver the realistic horn ensemble sounds provided by HP Brass. I decided to set up a challenge for HP Brass before I began my test run of the sound library. I recorded a scratch track of live funk guitar rhythm on top of some drum loops as test base for a pop song. After I opened HP Brass in my DAW, I started with some horn section sounds (articulations) by adding some chords as backgrounds. Then, I added some horn “stabs” and licks via my keyboard midi for accents. I was immediately impressed with the attack and feel of the horns and how much they fit the funk vibe of the rhythm guitar. I scrolled through the various articulations and found that they provide a ton of options to deliver the feel of a real, live horn section. I found myself wanting to push the horn section further in front of the mix to bring up the dynamics and accents. I prefer playing plug-ins via midi through a keyboard, drum pads, or a guitar synth trigger rather than drop phrases and licks (OK - except for drum loops) . Having said that, the licks and phrases in the HP Brass library sound just as good or even better than the instrument samples. I added some breaks where I actually dropped out all of the instruments except the horn section to provide some dynamic emphasis between sections. HP Brass is truly a game changer with the punch and power of these horn section breaks. It didn’t take long to see where songs can be enhanced with the use of HP Brass for dynamic intro’s and song endings as well. Hollywood Pop Brass Features Hollywood Pop Brass Horn Ensemble: A 4-piece brass ensemble for all multi-sampled articulations that includes 2 trumpets, a trombone, and a saxophone. A 5-piece ensemble for all phrases and licks that includes 2 trumpets, a trombone and 2 saxophones. Multi-sampled ensemble sections recorded in the famous Studio 1 at EastWest Studios and stylized phrases and licks in multiple keys recorded in Studio 2. Hollywood Pop Brass includes these articulations: Sustain: Contains different types of sustained articulations: fast, medium and long crescendos, sustain accent, crescendo and diminuendo Short: Contains a variety of articulations that have a short duration, including marcato, stabs, staccato, and staccato repetitions. Effects: Contains instruments that feature special articulation techniques like falls and rips in various durations, as well as growls and trills. Legato: Contains an instrument that will playback true legato intervals when two notes are played in a connected fashion (legato), for every interval up to and including an octave in either direction. MOD Combo: Contains instruments that combine multiple articulations and uses the Mod Wheel (CC 1) to select between them. Phrases: Contains instruments that feature phrases and sub-phrases in various tempos. Each was recorded with multiple transpositions, and are mapped across the virtual keyboard on their respective root note positions for use in a variety of key signatures. Licks: Contains instruments that feature short licks (or "motifs") performed at 120 bpm that fall into 1 of 6 chord types. Keyswitch: Keyswitch contains instruments that combine multiple articulations into a single instrument and uses keyswitches to activate the desired articulation. Hollywood Pop Brass Mixer: The default settings for most of the sounds include trumpets, trombones, and saxophones at nearly equal volume levels with the “room” and “Surround” settings up full. These are great default settings straight out of the box. However, I liked the ability to control the balance between instruments and adjusting the “Room Setting” and “Surround” settings. I found that layering the horn section with a different instrument mixes and room/surround settings produced the feel of a much larger horn section. I also tried filtering out individual instruments and then stacking them back with multiple tracks in my DAW. This allows for even more control of the mix and placement of the horns on “stage”. Hollywood Pop Brass Player: The Player view is another option to use some of the DAW stacking and editing functions within HP Brass without having to use multiple tracks in your DAW. The Player view also provides more control with the waveform Sensitivity, Envelope, and Reverb controls. Limitations Some of the Phrases, Licks, and Keyswitch sounds can take a while to load. So, you may want to take advantage of loading different sounds in your DAW or using the Player view to move between instrument sounds Conclusions If you’re looking for a horn section that can deliver pop brass sounds without the expense and logistics of a real horn section, you can’t do better than Hollywood Pop Brass. This sound library will change the way you use horns as part of your compositions and music productions. You won’t hesitate to move this horn section to the front of the mix. Resources EastWest Sounds On Line
  2. Collings Guitar is located outside of Austin, Texas. When I began planning for a trip to the 2019 South by Southwest festival, I knew that I wanted to include a visit to the Collings shop on my itinerary. I called several weeks ahead to reserve a space for a tour of their shop. Shop tours are only held on Fridays at 3:30 p.m. So, it’s a good idea to reserve a space in advance. The Collings Guitar shop is located on Hwy 290 west of Austin, Texas. (512-288-7776) Bill moved from Ohio to Houston in the mid-70’s where he worked as an engineer with an oil field company by day. He built guitars on evenings and weekends. Within a few years he was building guitars for Texas musicians including Lyle Lovett. In the early 80’s he moved to Austin and set up shop with luthiers Tom Ellis and Mike Stevens. A few years later he moved into his own one car garage shop. As the company grew he moved to a 3,200 square foot shop outside of Austin in 1992. The shop grew in size and more employees were added. In 2005 built the current 27,000 square foot shop with CNC (computer numerical control) technology and modern machining equipment. Collings Instruments: Collings builds acoustic, archtop, and electric guitars as well as mandolins and ukuleles. They build some of the highest quality production instruments made anywhere in the world. Bill Collings was an engineer, designer, machinist, and an artist. So, he was constantly looking to improve the building techniques and quality of the his instruments. He pioneered the use of high-tech manufacturing equipment while retaining the use of hand-built techniques. Instruments move from “high tech” workstations to “hand crafted” stations and from one end of the factory to the other several times before an instrument is completed. The Quality Legacy: Bill Collings passed away less than two years ago. The reverence that all of the employees have for Bill was evident by the way everyone spoke of him. Nearly every workstation had pictures of Bill on the wall. The employees and luthiers at Collings are continuing his unrelenting efforts to improve the quality of the instruments they build. The wood for the bodies and necks is stored in a section of the factory where the climate is controlled and maintained at 49% humidity: Finished guitars ready for hardware assembly. Contrasting the modern equipment are workstations where luthiers continue to use hand crafted techniques: The top and bottom of guitar are glued and set in with tape. The binding of this guitar is finished by hand. Fretwire is installed on this neck with a hand press . A luthiers workstation. The luthiers were enthusiastic and willing to share their techniques. Collings instruments are expensive, but the tour only confirms that they are a great value. I recommend the shop tour, but need to warn you that you won’t leave without having a few instruments on your wish list. -HC- ___________________________________________ Russ Loeffler is a contributing editor to Harmony Central who covers trade shows and live events when he is not fine-tuning his guitar chops. He is also a gear head with a passion for good music, great tones, and music that is much easier to listen to than it is to play.
  3. During a recent vacation in Paris, I decided to see if there were any guitar stores to visit. A person needs a break from the great food, museums, and architectural wonders. After a few minutes of on-line searching, I noticed that several guitar shops had similar addresses. In fact, they were on the same street. Rue de Douai is narrow street located in the 9th district, north of the city center. There is a short section of Rue de Doaui between Rue Jean-Baptiste Pigalle and Rue Fromentin where there are a dozen shops with guitars, basses, and guitar related products. The idea of placing several guitar shops in one location may seem strange, if not redundant. However, each shop has its own niche and vibe. The shop owners and managers have an obvious pride in their inventory and the layout of the shops. Some of the shops had the feel of upscale galleries. The staff at these shops tended to provide service only if asked, but they were friendly and knowledgeable. One thing to note - it is not OK to grab a guitar off the wall without asking. This was a typical sign: Following is a brief run-down from my stroll down Rue de Douai: Guitar Legend (technically it has a Rue Jean-Baptiste Pigalle address) – They have a great Gibson and Fender selection including custom shop Fenders. They also have a good assortment of Fender and Marshall amps. Woodstore – This is not an acoustic guitar shop as the name might suggest. They have a nice selection of Fender’s and Gibson’s beyond the requisite Les Paul and Strat models. Centrale Guitars– This store includes three store fronts. One for electric guitars, one for acoustic guitars, and one for basses. They have a nice collection of mid-level guitars focusing on Epiphone electrics and acoustics as well as Takamine acoustics Centrale Gallery – This shop has a similar name and it is a few doors down from Centrale Guitars, but it has a focus on high end guitars including Gibson, Fender, Martin, and Taylor. The upstairs room is very cool. Acoustic & Jazz – They have large selection of acoustic and acoustic/electric guitars including Gibson, Taylor, Martin, Guild, Cort, Tanglewood and Takamine. Le Gaucher (The Southpaw) – This shop has only left-handed models of guitars and basses. There’s no better place to be a lefty. Guitar Collection – This shop features some one-of-a-kind custom guitars. They have some funky vintage gear as well. Metal Guitar – The name speaks for itself. Custom Shop - They have some guitars on display, but the focus is on strings and guitar parts for maintaining or customizing your guitars. L’ampli a Lampes (loosely translates to: "the amp has lamps” - or "the tube amp") – This guitar amp store is a great complement to the surrounding guitar shops. They have a fantastic selection of tube amps. ___________________________________________ Russ Loeffler is a contributing editor to Harmony Central who covers trade shows and live events when he is not fine-tuning his guitar chops. He is also a gear head with a passion for good music, great tones, and music that is much easier to listen to than it is to play.
  4. Making Better Art – Timothy Drury Combines His Love of Music and Visual Art When art and music cross paths ... Interview by Russ Loeffler Timothy Drury was born and raised in Los Angeles. Timothy has been adding to his resume since his first big break with Don Henley in 1989. He played keyboards on Henley’s “End of the Innocence” tour and went on to play on the Eagles “Hell Freezes Over” tour from 1994 to 2000. He has also played on tours with Joe Walsh, Whitesnake, and Don Felder. Timothy has several co-writes with Don Felder, former guitarist from the Eagles, on his recently released CD. He co-wrote Henley’s, “Everything is Different Now” and the song “That Made Me Stronger” with Stevie Nicks. Why and when did you become interested in music? When I was very young, maybe three years old or so, I was visiting my grandmother, Father’s mother, in Oregon and she had a big player piano in her living room. Apparently, I was fascinated by the sound of this piano and was very delicate when I first touched the keys and heard the sound that my fingers were making. Most young kids usually bash away wildly at an instrument when they first encounter it, so my grandmother thought maybe I had a special connection to this instrument. My other grandmother, Mom’s mother, was there as well and a few years later, it was she who bought the spinet piano that I first started playing on when I was five years old. The piano arrived at the house one day, and a week later, my teacher showed up for my first lesson. All of this was a big surprise to me, but I gladly dove in to the experience. So, I never stopped playing the thing for the last 50 years! Which instruments do you play? This is sort of a trick question these days since plug-ins allow all of us to play virtually every instrument, to a certain degree. That said, I play the piano, guitar, dulcimer, bass, percussion, and I’m a singer as well. How did songwriting become a major component of your musical interest and career? I started writing my first songs and melodies when I was about 11 or so, and then I was completely hooked. The fact that I could express my thoughts and feelings through the instrument was like having a special super power. That’s when it became more than just a great skill, but more of an emotional tool. As years went on and I continued to hone my skills as a writer, I was lucky enough to land a position as a staff writer at Warner Chappell, still one of the biggest publishers in the world. I was touring with Don Henley as well during that period, so I was writing and performing at a very high level, which all combined to make me a better artist and creator. In 2000, I wrote a song with Don Henley, “Everything Is Different Now” which wound up as a single, and was later included on one of his greatest hits records, “The Very Best of Don Henley.” I also wrote a song with Stevie Nicks that same year that was on her “Trouble in Shangri-La” album. That track was produced by Sheryl Crow, who I’d spent years touring with in Henley’s band. Most recently I co-wrote almost an entire album, nine songs, with Don Felder for his “Road To Forever” CD. I’ve written music for television and short films, music libraries, ad agencies, and continue to write specifically for my own multimedia performances as well. Why and when did you become interested in visual art? I’ve always been fascinated by paintings, photographs, and in particular, cinema, from a very early age. My mother turned me on to so many great classic films, which taught me how important the musical score in a film is to telling a story and having an emotional impact on the viewer. As far as my own journey as a photographer, it started when I was on the road with Henley in the late 80s early 90s. I was looking for a productive way to pass the time on the days off as I traveled around the world, so I bought a camera and started shooting, and I mean a LOT of shooting, on film of course. I shot literally thousands of rolls of black and white film over a period of years, and a style of my own started to emerge. I began doing photography shows around LA, where I was living at the time. People started noticing and collecting my work. I was commissioned to do portraits, album covers and advertising layouts. It became as important to me as playing and writing music. In much the same way that writing hooked me into music, shooting film and then learning how to process and print my own images in the darkroom hooked me into photography. How have you integrated your musical and visual arts during your career? Because of my love for cinema, I’ve always been intrigued by the combination of images and music. Once I started creating my own imagery, I thought it would be interesting to find a way to combine the two parts of my creative world. It was an abstract idea for many years, but one that wouldn’t go away. A few years ago I was preparing for a one-man photography show at a well-known gallery in Carmel, and decided that I wanted to perform music at the opening, while projecting some of my imagery, and also showing framed pieces on the walls. It was an ambitious undertaking, but it all came together wonderfully. Tell us about your new project, the Performance Cube. Since that gallery show in Carmel, I’ve been focusing on this idea of projecting my imagery while I perform and that has led to the creation of the Performance Cube. At that performance, I projected onto sheer fabric, so the images would appear on the fabric, and also on the wall behind the fabric, creating the illusion of three dimensionality. Through experimentation in my studio, I happened upon this idea of a cube-shaped, sheer screen, large enough for me to be able to perform inside. When I rear project images onto the back of this four-sided cube, the entire cube fills up with the imagery, while I’m in silhouette, playing the keyboard inside the cube. I thought it was stunning and unusual, and through continued tweaks along the way, I’ve really found out what works and what doesn’t. I’ve done several performances now with the Performance Cube here in the States and abroad, primarily at corporate events and tech-centric conferences. What are the sources for your music and the visual art? I use all of my own images, stills and videos, as a resource for the films that I edit together and project onto the Cube. The music is also all my own instrumental compositions, some of which were included on my CD “The Crossing.” and some that have been composed since then. Sometimes I have a backing track of stripped-down versions of my songs playing within the films, and I play along with that, live. I usually use a piano sound, or guitar-type sounds which I’ve been experimenting with quite a bit lately. How does everything come together? I edit all the imagery together in Final Cut Pro X and I play the plug-ins I use through Logic Pro X. At a performance, I usually run two MacBook Pro laptops, one to run the imagery to the projector, and one to play the plug-ins through. For piano sounds, I use Ivory from Synthogy. It’s an incredible collection of pianos that sound and play so realistically. I also use Omnisphere from Spectrasonics, which has an endless supply of inspiring sounds to choose from. Logic Pro X also has a ton of cool sounds. Where do you want to take your music and art in the future? A great question, but kind of hard to answer! It will be interesting to see where I go as an artist in the next five years, ten years…who knows? I’m always learning and evolving and exploring new ideas and sounds. I keep shooting images and videos and experimenting with time-lapse, slow-motion video, filters, and just using all of the tools available to me in order to try and express myself. I hope to be able to reach more and more viewers with the Performance Cube and as time goes by, look forward to increasing opportunities to share my vision of the world with audiences. PERFORMANCE CUBE PROMO 2 from Timothy Drury on Vimeo. Performance Cube Gear List: (2)Mac Book Pro Final Cut Pro X Logic Pro X Resident Audio Thunderbolt audio interface Korg Triton Extreme Panasonic PT AX200U HD projector 8’x8’x8’ snap lock aluminum frame, covered in sheer fabric Plug-ins: Synthogy Ivory Spectrasonics Omnisphere Vienna String Library ___________________________________________ Russ Loeffler is a contributing editor to Harmony Central who covers trade shows and live events when he is not fine-tuning his guitar chops. He is also a gear head with a passion for good music, great tones, and music that is much easier to listen to than it is to play.
  5. Expert Review: Epiphone Limited Edition EJ-160E Acoustic Electric Guitar A Great Take on an Iconic Guitar By Russ Loeffler John Lennon was not the only artist to play the Gibson J-160 (George and John received their first JE-160’s on the same day). However, for many Beatles fans (and gear heads) the J-160E is one of the most iconic guitars associated with John Lennon. Many players covet the Gibson J-160E, but the near-$2,000 price tag is beyond their reach. This is where the Epiphone Limited Edition EJ-160E comes in. The EJ-160E is a full-size Dreadnought with Gibson-style tuners and the classic Gibson Top Hat style volume and tone controls. The stacked P-100 humbucking pickup above the sound hole completes the guitar's historic look. The headstock and logo on the pickguard remind you that the guitar is an Epiphone, and the EJ-160E delivers all of this at an amazingly low street price of $400. Construction and Finish The EJ-160 comes in vintage sunburst or natural finishes; my review unit model was natural gloss. The guitar woods include a solid spruce top, mahogany body, mahogany neck, and rosewood fret board. The vintage-style trapezoid inlays on the fretboard, imitation tortoise pickguard, and classic bindings on the top and neck give the guitar an authentic 60s look and feel. The fit and finish on the guitar were nearly flawless - the only issue I could find was a very slight dimpling of the neck binding where the neck meets the body. Ironically, the one item that needed to be fixed was the Epiphone “e” logo on the pickguard because it was almost falling off. I tightened it down with a small dot of super glue. The guitar seemed to be almost in tune right out of the case (the case is optional), speaking to the quality of the setup job. My initial impression of the acoustic tone was that it seemed bright for a Dreadnought. The body is a full Dreadnought with some taper at the upper bout from the neck (1960’s Slim Taper D-profile body), but it felt smaller. I held it up to a Martin D28 and outside of the upper body taper, confirmed it's a full Dreadnought. A quick consultation with a tuner confirmed the tuning was almost a full step above standard pitch (so much for pitch perfect hearing!). After bringing the tuning back down to standard pitch, there was a slight buzzing in the E and A strings. I adjusted the neck with a less than a full rotation of the truss rod to eliminate the buzzing. These adjustments brought the guitar back into the dreadnought range of tones. However, even after adjusting the tuning, the guitar did not have the projection and bass response that I would expect. The guitar seemed “tight,” so I employed the old trick of hanging the guitar on the wall and subjecting it to a heavy dose of sound from some PA speakers for several hours to "age" it. The guitar did open up and, like many Gibson acoustics whose tone becomes sweeter with age, continued to improve with more playing. Let's Plug In! This guitar is truly an acoustic electric, but in different way from the now-ubiquitous acoustic-electric format with under the saddle (or below the top) pickups and volume/tone knobs on the guitar's side. The electric guitar volume and tone knobs tuners give the guitar its iconic look, but initially it didn't seem quite “right." That feeling went away after playing for just a couple of minutes, and I soon felt like I had been playing this guitar for many years. Reaching to the volume and tone knobs with my right hand felt very natural, and the D-shaped neck was comfortable once I'd adjusted the action. The tones were well-balanced with the exception of missing some of the lower tones, as expected from a Dreadnought guitar, and is not something you'd expect to find in a $400 guitar. Overall, the string definition wile strumming was articulate and clear. The guitar stood up to heavy strumming very well, and did not compress as I would have expected from a guitar in this price range. Single-note lines and fingerpicking tones were also nice and clear, but with slightly less volume than similarly-priced Dreadnoughts. Where the guitar really gets interesting and the sound comes alive is when you plug it in. I evaluated the EJ-160 through four different amplification systems: an acoustic guitar amp, directly into a PA, and also a couple of guitar amps. The guitar played well through all of these systems with very little feedback, even at high volumes. The sound was very much “acoustic” in each of the amplification scenarios. I experimented with some overdrive settings on the amps, and also played through different overdrive pedals. The guitar managed to avoid feedback fairly well at high gain settings, and I was able to control the feedback easily by muting the strings. The tone control proved to be very valuable when moving from acoustic amps and PAs to electric guitar amps; I favored the tone control in the 7 to 10 range when playing into acoustic amps and the PA, while moving the tone control down to the 3 to 7 range worked well with electric guitar amps. Overall, the guitar's build quality is terrific for the price. The look of the guitar is classic and more than handsome. It sounds good acoustically or plugged in, and has a versatility that merits some time experimenting with different amplification systems, including combinations of the pickup and microphones. This is also a stage-worthy instrument, especially if you want to cover some Beatles songs. If you’re thinking about getting one just to hang on the wall as part of your Beatlemania collection, you would be making a big mistake because this guitar needs to be played and heard. Resources Discuss this Limited Edition guitar on Harmony Central's Acoustic Guitar Forum Epiphone Limited Edition EJ-160e Acoustic-Electric Guitar ($665.00 MSRP, $349.00 "street") Official Epiphone Website Buy this Epiphone EJ 160e from - Musician's Friend Guitar Center ___________________________________________ Russ Loeffler is a contributing editor to Harmony Central who covers trade shows and live events when he is not fine-tuning his guitar chops. He is also a gear head with a passion for good music, great tones, and music that is much easier to listen to than it is to play.
  6. Fender Blues Jr. – The Fargen Hot Mod By Russ Loeffler I bought my Fender Blues Jr. in late 2001 because I wanted a compact, portable amp for casual jam sessions. The Blues Jr. I purchased has a blonde Tolex covering and it appears to be a “transitional” version of the amp. During this period, some were USA made amps with green circuit boards and some were Mexican made amps with cream colored circuit boards that began production in 2001. The serial number for my amp is post 2001 dating, but it is American made with the green circuit board amp. It does have the purported warmer tone of the green board version. I was impressed from the very beginning with the quality, volume, and tone from this little amp. Although my go to for playing is high wattage boutique amps, I have always enjoyed this amp. I replaced the stock Fender speaker with a Celestion Vintage 30 speaker about three years ago and found it was a huge improvement... I fell in love with this amp again. With the new speaker I stopped using the “fat” button and I enjoyed the clarity, warmer tone, and additional head room that came with the speaker upgrade. Last year at the NAMM show, I saw a little red Blues Jr. keep showing up at different venues. It was being used for lap steel guitar and also a pop/rock guitar performances. The amp sounded great in a large club without being mic’d. After some investigating, I ended up at the Fargen booth and learned that the amp had been upgraded with the “Fargen Hot Mod”. I also learned that Fargen Amplification is based in Sacramento, where I had just relocated. I snagged some business cards and left with a new project on my gear wish list. After a few emails, I ended up communicating directly with Ben Fargen. He was very responsive and even offered to drive across town to pick up my amp. Now, that is what I call great customer service! I declined his generous offer and was able to drop by his shop to deliver my Blues Jr. The Fargen hot mod includes a Mercury Magnetic transformer, plus select capacitors and resistors.It also includes the addition of a “presence” knob near the fat button. This hot mod is not cheap, but I still had the image and sound of the little red Blues Jr. from NAMM in my mind. I was considering the purchase of a 25W to 30W amp to fill the void between my Blues Jr. and my higher watt (and heavy) amps. If this worked out, it would eliminate the need for the next amp on my list. When I picked up the amp, Ben told me that I brought him a great stock amp.He said the original, stock Fender Groove Tubes still sounded great and the speaker upgrade was what he would have recommended.I told him I had a full set of JJ tubes ready to load into the amp and was going to see if I could increase the amp’s headroom.He didn’t think I would need it. When I brought the amp home, I was very impressed.I played it for about two hours with several guitars including Strat’s, Tele’s, Les Paul’s, a semi-hollow body, and an arch-top.The noisefloor of the amp was reduced significantly. At the same time, the increase in the head room of the amp was dramatic. The amp was “singing”.I found myself turning the reverb down from its usual setting because I didn’t need to artificially fill the sound. The new presence knob is a great addition for additional tone shaping. The amp reacted very well with the different guitars.It delivered the requisite spank for the Tele’s and produced bright to heavier tones with the Strat’s and Les Paul’s. It even proved to be a great jazz box with the semi-hollow body and arch-top guitars. I swapped out all of the tubes with JJ’s and was found only a slight improvement in sound. However, the new tubes provided even more headroom. This is one loud amp! It was difficult to get an overdriven tone with colder JJ power tubes even at high volumes. I tried different combinations of tubes and found that the amp sounds great with every combination. It just comes down to a matter of preference, with the neutral to warmer power tubes sounding better for my application of classic rock and blues tones. The next test for the amp was to see how pedal friendly it was. The overdrive pedals included a Zen Drive, King of Tone, Golden Cello, a mod’ed Sparkle Drive, and Route 66. As expected, the amp works best with transparent sounding pedals. The loudness of the amp is even more impressive with overdriven tones. I also played through different reverb, delay, chorus, and tremelo pedals.The added clarity, presence, and head room of the amp reduced the compressed and tanky sounds that were present before the mod. So, was this upgrade worth it? For me, the answer is a resounding “Yes”. Not only does the Fargen Hot Mod make the Blues Jr. sound much better, the mod has filled the gap between the pre-mod Blues Jr. and my larger amps. The upgrade has moved this little amp over the line towards ”boutique”. The best part is that I got this without buying another amp.
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