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Ara Ajizian

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  1. Breathe new life into any J-style bass with this matched set from DiMarzio. As a relatively new bassist way back in 1994, I found myself in need of a "real" instrument. My band at the time was gigging regularly around Las Vegas, and I was having problems with the neck on the inexpensive, overseas-made bass that had replaced my first pawn shop special. After spending some time at the local music shops playing different basses, I came to the conclusion that a Fender® American Standard Jazz Bass™ was going to be my instrument. I settled on a black one with a white pickguard (which would one day be signed by John Entwistle, but that's another story) and rosewood fretboard. My best friend and guitarist Ed loaned me some scratch, and Pat Kahn at Desert Music gave me a great deal. I walked out of the store beaming and ready to take on the world. For 20 years now, that bass has served me well. For much of that time, it was the only bass I needed, but as my musical interests expanded and I found myself playing heavier music, I'd often default to the five-string Epiphone Thunderbird Pro I picked up, which had a bit more output and growl that drove my Ampeg SVT Classic nicely. It wasn't that my Jazz Bass sounded bad all of a sudden, it just didn't sound right anymore for what I was doing. Although I love the Thunderbird, I really only like to play five string when needed, and I missed the comfort of my old four-string friend. Finally, I decided that some new pickups would get it back in the game. I spoke to some bassist friends, did my research, and decided that DiMarzio's DP149 Ultra Jazz pickups were my best bet. The DP149 set maintains the classic look of your original Jazz Bass pickups with outstanding tonal range. What You Need To Know The DP149 Ultra Jazz set consists of a matched pair of hum-canceling DiMarzio neck/bridge pickups, designed to fit Fender Jazz Basses. There is a slight difference in the size of each pickup, so be sure these will fit your J Bass as some don't have this offset size.Installation was straightforward and simple (I'll cover this process in a later article) if you're comfortable with a soldering iron. Otherwise, you'll want to have them installed professionally.This set retains the traditional look of the original Jazz Bass pickups.Tonality is a much different story, as these pickups were an immediate and noticeable improvement over the aging stock pickups in my Jazz Bass.The first and most obvious change was in the output. The DP149 set delivered a much more pronounced and bold output with no hum evident whatsoever. With the volume knob now my new best friend, I'm able to drive my Ampeg when I want but back off when needed and still maintain clarity and punch.Across the frequency spectrum, everything about these pickups just sounds better. The lows are deeper and warmer, while the mids cut through nicely and the highs and harmonics are pronounced and pleasing.The response of the DP149 set is outstanding. I play mostly fingerstyle but incorporate a pick as well, and the dynamics of each style of playing are enhanced by these pickups. The percussive thump I'm after when playing with my fingers is in-your-face and cuts nicely, while the attack of my pick is crisp, punchy and defined.Midrange used to be a problem for me with the stock pickups, but not anymore. When incorporating my fuzz pedal, the DP149 set gave me all the growl I was after but held on to the low end without getting muddy.I'm getting a lot more use out of my volume/tone controls with this set, whereas before everything pretty much had to be dimed for a decent sound.Limitations If anything, these pickups removed the limitations I had with the stock pickups on my Jazz Bass, so it's hard to find anything limiting about them.Again, if you're comfortable getting into the guts of your bass and wielding a soldering iron, installation is easy. Otherwise you'll have to pay someone to put them in.Conclusion I got my baby back! I'm admittedly a loyalist when it comes to my instruments, especially basses. If it works well, I play the hell out of it and do my best not to muck anything up. But as much as I loved playing my trusty Jazz Bass, it just wasn't getting the job done tonally anymore. It pained me to feel like I was losing my connection with this instrument that's been there with me practically from the start, but now that pain is gone thanks to the DiMarzio DP149 Ultra Jazz set. I can now pick it up and play it with the same level of excitement and enthusiasm I had the day I bought it 20 years ago. If your Jazz Bass is in need of some new life, I highly recommend this affordable upgrade. Resources DiMarzio DP149 Ultra Jazz Bass Product Page Buy the DiMarzio DP149 Ultra Jazz Bass Pickup Set at Musician's Friend Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  2. For bassists, there are several advantages to using a bass compressor pedal in a live setting. Low frequencies carry the most energy in music, and as a result, loud bass can easily overwhelm a mixer and reduce the available voltage required for other instruments. By using a bass compressor pedal with the proper settings, you are sending a more controlled and manageable signal, which any sound guy will appreciate. Bass guitars also have a tendency to produce uneven output voltages from string to string and fret to fret, which a bass compressor pedal that is properly set up for a live setting can help manage. A smoother sound is achieved thanks to this consistent output. Increased sustain is another benefit, achieved by raising the overall average levels when combined with a long release. To get the most out of a bass compressor pedal, obviously it needs to be set properly. These parameters for live bass compressor pedal settings will give you a good starting point. On most bass compressor pedals you will have attack, release, threshold, and ratio controls. Some bass compressor pedals also have an adjustable knee, which is how steep the gain reduction curve is. For starters, try these basic settings: a relatively fast attack of approximately 25-50 milliseconds; a medium to slow release, somewhere in the neighborhood of 500 milliseconds to one second; and a ratio of 4:1. You should note that 4 volts of input will give you 1 volt of output on a bass compressor pedal. Set the threshold so you can see a fairly constant gain reduction of 2-3dB. This setting will tame attacks and provide a fairly good sustain. A rule of thumb for setting attack on your bass compressor pedal is as follows: to tame attacks, set a fast attack. To accentuate attacks for slap techniques and popping techniques, set a medium release at 100-500ms. It’s best to use your ears and listen to the attack without changing any other setting until you hear the attack you want. For more sustain, use higher ratios and longer releases. Don’t set your ratio too high or you’ll lose your dynamics. Finally, use a hard knee to tame attacks on your bass compressor pedal. Where you put the bass compressor pedal in the signal chain depends on your application. If you want to control input level to your bass rig, console or recorder, put the bass compressor pedal right after the bass and before the preamp. If you’re using it for speaker protection, connect your bass compressor pedal between preamp and power amp. Avoid using it in the inserts of the console. If the FOH engineer reduces your fader level, you’ll still be hitting the bass compressor pedal just as hard, which means your signal will become even smaller. The MXR Bass Compressor is a great option for live bass performances.
  3. There are certainly enough overdrive pedals on the market these days, and most of them get the job done admirably. In this sea of comparable pedals, there isn't a lot that sets them apart. The Lumberjack Log Overdrive, however, is a different breed of overdrive pedal that uses a logarithmic curve as opposed to a linear curve as most overdrives do. There's some science in there that needs explaining, but the sonic result is a very unique and responsive overdrive effect that responds to your playing dynamics. Bassists will also want to check out the Lumberjack as it works really well without disturbing low frequencies. What You Need To Know First, it's helpful to understand what sets the Lumberjack apart from other overdrives—its logarithmic curve. Typical OD pedals use a linear curve, where each point is equally spaced from one another. In a logarithmic curve, we're dealing with multiplication rather than addition, resulting in a much smoother curve. If you think about it in visual terms, our eyes process light logarithmically, which allows us to see greater detail between light and dark areas within our visible spectrum. If they processed linearly, each increase in light would be much more intense, eventually overwhelming our eyes. Sonically this can be desirable, but that's not the way the Lumberjack behaves.The Lumberjack has three controls: Volume, Boost and Log Factor. Boost controls your input level, Volume the output and Log Factor the amount of logarithmic distortion.What's interesting about the Lumberjack's tone is that rather than overwhelming your signal, it seems to harmoniously co-exist with it no matter the setting.Lower settings of the Log Factor control give you a splendid clean boost that really brings out the best in your guitar's sound.As the Log Factor control is brought up, you get a dynamic overdrive that sparkles with harmonic overtones and cuts through like a razor. There's a fantastic range of sounds achievable both for chorded and single notes, from torn-speaker fuzz to warm drive that maintains note clarity.The Lumberjack is also a very bass-friendly pedal, as its wiry drive sits on top of your low end. I highly recommend for bassists looking for a gritty, tube-like addition to their sound that doesn't disturb the bottom end.The Lumberjack includes a power supply and is true bypass.With a street price around $60, it's a steal. Limitations The Lumberjack is very good at what it does, but don't go in thinking it's your standard OD. Because of its logarithmic curve it behaves and sounds differently. Not really a limitation per se, but an expectation setter.Conclusion Boost, overdrive and fuzz are all close cousins to one another, and I found that the Lumberjack does a great job dancing between all three. Although it's labeled as an overdrive, which is certainly does, the tonal character to my ears sounds more like a well-behaved fuzz pedal. It's capable of many things, from a transparent clean boost to a killer bass fuzz, with all sorts of overdrive options in between. It truly is a modern player's overdrive pedal and makes for another winner from Electro-Harmonix. Resources The Electro-Harmonix Lumberjack Log Overdriver at Musician's Friend Electro-Harmonix Lumberjack at ehx.com Electro-Harmonix Lumberjack Demo Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  4. Michael Kelly Guitars delivers five gorgeous tributes to the Golden Age of guitar making, each with its own style and strengths. Some of the most sought-after guitars ever made were constructed in the 1950s, from Stratocasters to Telecasters, Les Pauls to Flying Vs, along with inimitable hollowbodies. It was a time when the electric guitar was fluorishing and finding its way into the hands of players across the country. It was the birth of rock and roll, and these instruments became as important to that movement as the songs themselves. But the guitars of the 1950s aren't only valuable for sentimental reasons. Perhaps because it was a simpler time, before guitarists needed a million tones at their fingertips to feel creative, the instruments of that era imparted an unforgettable style and the fundamentals of great tone and playability. With that in mind—as well as the need for modern players to have tonal flexibility—the Michael Kelly Guitar Company has introduced the 1950s Series. Consisting of five unique models, this series embodies the best of both the era that inspired them and today. What You Need To Know The 1950s Series consists of five models: the 1952, the 1953, the 1954, the 1955 and the 1957.Shared features among all in the series include exotic wood tops (flame or quilt maple), bolt-on neck construction, 3-way pickup switching, inline tuners, dot inlays, body shape with contoured arm cut, master volume/tone controls and coil taps for extended tonal range.All models except the 1954 are offered in different finishesBecause each of these models has its own unique flavor, I thought it best to provide a breakdown of each one. 1952 Though its $449 retail price tag certainly qualifies the 1952 as an entry-level guitar, its fit, finish and features are those of guitars typically priced much higher. The dual MK PAF-Plus humbuckers provide a wealth of tones, from twangy cleans to saturated metal punch, thanks to the aforementioned coil tapping available on all the 1950s Series models. Its maple neck and fretboard are comfortable, with a 12" radius that facilitates both chording and playing leads equally. And at this price point, the flamed maple top with white binding on both the Natural and Deep Cherry Red finishes is an added bonus, imparting the look of a fine instrument that's worth much more than its price tag. 1953 The 1953 model screams vintage every step of the way, though it's definitely no one-trick pony when it comes to tone. This beauty boasts a T-style single coil pickup in the neck position and a stacked single coil at the bridge, arming you with classic, shimmering, California-style cleans as well as thick 'bucker tones for days thanks to its coil tapping feature. The 1953 is built with an alder body and flamed maple top available in three finishes: Black Vapor, Caramel Burst and the gloriously vintage-looking Blue Jean Wash. All three have a maple neck, with rosewood fretboard on the Black Vapor and Caramel Wash finishes and maple for the Blue Jean Wash. The 1953 has a $580 retail price tag, again a stellar value considering all it has to offer. 1954 The 1954 is what Michael Kelly calls the "black sheep" of the 1950s series, and dark is definitely what it does best, from its black-backed alder body to the quilt maple top in a ghostly Satin Black Wash finish. Like the 1953 it also has a vintage T-style single coil in the neck position, but at the bridge is a powerful Rockfield SWC humbucker, a slightly overwound pickup that gives you all the sparkle you want on the clean side but that's also capable of killer vintage growl and even more aggressive tone when cranked. And of course it's tappable if you want to express its single-coil tones. The maple neck has a compound radius rosewood freboard (10.5" - 16"), making it a delight to play at every position. It's a remarkably versatile instrument and a true player's axe that does a great job blending vintage and modern sounds, especially considering its $580 retail price. 1955 The 1955 is certainly a standout in the 1950s Series thanks to its numerous visual appointments, incredibly flexible tonal abilities and its impeccable playability. It starts with a swamp ash body that's capped with a beautiful flamed maple top and real flamed maple binding—something rarely seen on guitars under $1000. Like the 1954 it has a tappable Rockfield SWC humbucker at the bridge, but a tappable MK Mini Humbucker at the neck for added dimension. This combination really opens up the voicing this guitar is capable of. From tried-and-true cleans to vintage breakup and powerful crunch, I found myself drawing a wide array of tones out of this guitar, which is especially impressive considering its minimalist master volume/tone and 3-way switch configuration. Personally I don't care for too many knobs and pickup positions, so for me it was a real treat to have so many tones so readily available. The 1955 also has a 10.5" - 16" compound radius fretboard, availabe in both rosewood or maple depending on the finish (Amber Trans and Black Wash have maple, while the beautiful Caramel Burst uses rosewood). The 1955 retails for $729, making it an incredible value for experienced players looking for the pinnacle of style and tonal abilities in an electric guitar. 1957 Finally we have the flagship of the 1950s Series, the 1957. This guitar has everything a player could want, starting with a premium swamp ash body adorned with a quilt maple top available in Amber Trans or Black Wash finishes. Like the 1955, it also has real flamed maple binding for an added air of sophistication. The 1957 is a sonic chameleon thanks to a Rockfield SWV humbucker at the neck and a Seymour Duncan Little '59 humbucker in the bridge position. Both are equipped with coil tapping, providing you single coil sounds from each with the pull of a knob. What this equals is a tone machine that any player can be inspired by, regardless of the style of music they play. From stoner rock sludge to classic rock to country twang, the 1957 does it all, and does it well. And it looks great in the process. Still it manages to come in at under a grand, retailing at just $875. Conclusion Although well-built guitars under $1000 are commonplace these days, Michael Kelly has really raised the bar with the 1950s Series. With outstanding models ranging from below $500 to under $1000, the 1950s Series really hits the mark as you can't go wrong with any of these instruments. Even better, they've created a range of guitars that appeals to every level of player and genre while embodying the innovation and style that made the '50s such a high-water mark in guitar making. Just like a classic Chevy from the same era, the 1950s Series really hits on all cylinders and looks great doing it. Resources The 1950s Series at Michael Kelly Guitar Company The Michael Kelly 1950s Series at Winter NAMM 2014 Shop Michael Kelly instruments at Musician's Friend Find a Michael Kelly dealer near you Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  5. Orange enters the high-powered fray with this 120W beast of a combo. It's no secret that Orange is known for building great-sounding British amps. But high-powered, solid state amps have been missing from their repertoire. According to Orange, it's because they couldn't get the sound to meet their standards. Now that mission has been accomplished, and the result is the Crush Pro Series. Consisting of the 60W CR60C 1x12" combo, its larger sibling, the CR120C and the CR120 head, Orange now offers their sought-after tone to players who need maximum power. What You Need To Know Orange spent years on research and development for the Crush Pro Series, insisting that it meet the tonal standards they've built their reputation on.The CR120C pumps 120W of power through two 12" Orange Voice of the World speakersClean and Dirty channels, the former with bass/treble EQ, the latter with bass/midrange/treble controls for precise, responsive tone shaping Each channel has its own independent volume control as well as a Master VolumeThe Clean channel uses two gain stages; the Dirty channel uses fourThere are loads of tones this amp is capable of, from warm, full cleans to roaring, harmonic distortion and everything in betweenThe Crush Pro Series takes its tonal cues from the renowned Rockerverb SeriesOffers onboard digital reverb with stunningly accurate spring, hall and plate settingsThough built with solid state technology, the CR120C offers up dynamic, warm, tube-like tone without digital emulationLimitations Does not include a footswitch, which you'll want to take advantage of channel switching and engaging reverbAt 64 lb., it's not the easiest amp to carry around, but molded, inset handles help in this departmentConclusion I'm a tube-amp guy. Whether I'm playing bass or guitar, I prefer the warmth, dynamics and response that you get from tubes. That said, I have played through many modeling and solid state amps that claim to deliver "tube-like realism" that fall flat. This is absolutely not the case with this amp. The Clean channel sounds and behaves like you'd expect a great tube amp to, going from full, rich cleans to classic Orange overdrive, while the Dirty channel offers even more headroom for a delighfully versatile range of tones, all the way to ear-splitting distortion. The CR120C does all of this without ever sounding shrill or grating on your eardrums, and without any modeling technology. Just a pure, solid state analog signal path done right. It's refreshing to play through an amp that clearly had a lot of time and effort put into making it sound great. Thanks to those high standards, Orange continues to be a name players can rely on. Resources The Orange Amplifiers CR120C Combo at Musician's Friend Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  6. Familiarize yourself with the different types of bass strings and find the sound you’re after. Gauge, material, type of winding, coated or uncoated...shopping online for strings or at your local music store can be a daunting task for the uninitiated. Here are some helpful definitions and suggestions that will help you narrow down your options. Gauge The gauge of a string is its thickness (diameter). Presented in thousandths of an inch, when it comes to bass strings you'll see measurements like .045 (G), .065 (D), .085 (A) and .105 (E). To simplify your choices, many manufacturers use terms for sets like "Medium," "Medium Light," "Light," etc. These terms aren't necessarily universal—for example, Ernie Ball's "Medium" might not be the same gauges as Dean Markley's. If you settle on a single brand of strings, like many players do, it will make it easier for future purchases. What you need to pay attention to is the feel you're after, the sustain and the fatness of the tone you get from different gauges. As you might expect, heavier-gauge strings can be harder on your fingers if you play fingerstyle, and they can also make a difference to the playability of your instrument. Keep in mind that if you move to heavier strings, your bass will likely need some adjustment. So don't just go from light gauge to heavy gauge without making these adjustments, or you'll likely encounter buzz, intonation and neck trouble. Bottom line: gauge is all about finding the right balance between playing comfort and a tone you're happy with. Adjust as necessary. Scale length The scale length of your bass is the distance from the bridge to the nut, or the portion that vibrates and produces sound. Most basses have a long scale of 34", however many basses utilize a shorter, 30" scale as well. These are typically student-sized models, but many players have also employed short scale basses for their unique feel and sound. It's important to know the scale length of your bass when purchasing strings, so be sure to look it up or do a quick measurement from the bridge to the nut to be sure. Materials and Winding Bass strings consist of two parts: the core and the winding. These can be, and often are, different materials. Typically the core is made of steel, and can either be round in shape or hexagonal (hex core). A hex core provides for a more consistent winding tension, enhancing sustain and providing better intonation. Round cores are not as common these days, and are associated with more of a "vintage" sound. Now we get to the all-important winding. If you look at your strings, you'll likely notice ridges all along the length. This indicates a string that is "roundwound," and these are by far more common than their counterparts, "flatwound" strings. The difference is evident in their names--roundwound strings use a rounded wire to wrap the core, while flatwound strings use a flat ribbon of metal around the core, resulting in a string that is smooth to the touch. Tonally, flatwound strings produce little to no extraneous noise as your fingers slide up and down the neck, and aren't as bright as roundwound strings as a result. Because there's less friction, they are also easier on your fingers and your instrument. Although not as popular as brighter-sounding roundwound strings anymore, some players still swear by them. I recommend at least trying out a set of flatwound strings to see if you fall in that camp, but if you're a fan of a bolder, more in-your-face sound (or have to compete with loud guitars), roundwound strings are likely what you'll want. Though flatwound and roundwound are the most common, there are other types of wraps too. Groundwound (AKA half round) strings are a sort of hybrid between flat and roundwound strings, offering a similar feel to flatwound while retaining the tonal brightness and overtones of a roundwound string. The material for the winding can vary, with each having an influence on the magnetic interaction with your pickups and the tonal end result. Some of the more popular windings you'll come across are nickel-plated steel, nickel and stainless steel, but there are others as well, like D'Addario's EXP REDS that use a copper-plated steel winding that imparts more of an acoustic tone due to the way it interacts with your pickups. By knowing the tonal characteristics of wrap materials, you can better find a string that will suit your sound. Here's a quick overview: Nickel-plated steel: This common winding produces the bright, lively sound that many bassists prefer. Pure nickel: Pure nickel windings produce a softer, mellower tone. Often associated with more of a "vintage" sound. Stainless steel: Stainless steel strings are very bright and responsive to your attack. Due to the hardness of the metal, stainless steel-wound strings can be harder on your frets and your fingers. Coated/Uncoated In an effort to increase the longevity of bass strings and improve the feel, many manufacturers offer coated strings. These coatings are typically a proprietary compound specific to each company, so they can vary in their feel and effectiveness. Many coated strings do successfully lengthen the life of the strings, however the tradeoff is usually a silky or slippery feel. It's something that many players adjust to in order to save money over the long haul. It's worth trying out a set or two of coated strings to see if they're up your alley. Conclusion Hopefully this primer gives you a better idea of the types of bass strings you'll encounter and what each has to offer. As with most aspects of your musical development, experimentation is key, so try a few different types and gauges until you find the strings that are right for you. Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  7. The definitive guide to building the ultimate rig for your sound. In my years of playing, I've come across many guitarists who have varying philosophies when it comes to their gear. On one end of the spectrum are players who find a sound and stick with it, doing very little experimentation with other amps and effects. One famous example of this kind of player is Tom Morello, who has basically had the same rig since 1989 or so. On the other end, you have those who love to experiment and constantly seek out new tones and textures. They tinker with their pedalboards endlessly, buy and sell amps frequently and always stay on top of what's new in the world of gear. Wherever you may lie, having the know-how of what makes for the best sound is imperative. Modern Guitar Rigs: The Tone Fanatic's Guide To Integrating Amps And Effects (Second Edition) by Scott Kahn is an invaluable tool to take your sound wherever you want it to go. Most players start out on their journey with the basics: a decent guitar and amp, and perhaps a pedal or two. But as you grow as a player, you quickly realize that getting the sounds in your head to come through your speakers will require a bit more firepower. There are certainly many routes to take to get there, from stompboxes to modeling amps to rack gear...the list goes on and on. And sure, you can fumble in the dark looking for a lightswitch, but it's much easier to have a comprehensive guide lie Modern Guitar Rigs at your side. Over the course of 208 pages and an included DVD, Scott Kahn walks you through the myriad ways you can build a guitar rig that will help you achieve your creative goals. Best of all, he does it in a thorough yet easy-to-understand writing style. It's all covered here, from the basics of understanding effects loops to rack gear, multi-amp setups, MIDI foot controllers, line mixers and much more. The details in each chapter get granular, explaining how these pieces of gear interact with your instrument and amplifier and the resulting tones you can expect. And it goes beyond the gear that obviously affects your sound into the things you might not think about like cables, power attenuators, conditioners, wireless systems, rack cases, switching systems...if it's part of the signal chain or simply a practical piece of gear, it's covered in Modern Guitar Rigs. Another strength of Modern Guitar Rigs is that it's filled with charts and illustrations that give you a visual representation of the concepts being discussed. And Kahn provides plenty of real examples of the gear he's talking about, providing a starting point if you're not sure about what you need. Modern Guitar Rigs was written in consultation with some of the biggest names in music and their techs, as well as builders, including Alex Lifeson, John Petrucci, Bob Bradshaw, David Friedman and a number of others. What that means is that as detailed and technical as the information in this book can be, at the end of the day it's all very practical information that can be put to use. If you're ready to advance your knowledge of guitar gear beyond "plug and play," Modern Guitar Rigs from Hal Leonard is a great resource to have. At $29.99, it's a small investment in your playing that will benefit you for many years to come. Modern Guitar Rigs: The Tone Fanatic's Guide To Integrating Amps And Effects (Second Edition) By Scott Kahn 208 Pages + DVD Purchase from Hal Leonard
  8. Electro-Harmonix Crying Bass Wah/Fuzz Pedal Dynamic, musical wah/fuzz effects tailored for bass and EHX's Next Step technology make for one hell of a good time. By Ara Ajizian Much like fuzz, which I talked about in my review of EHX's Deluxe Bass Big Muff Pi, wah is one of those effects that's hard to get just right for bassists. Forget about using a guitar wah, as the frequency range most are designed to affect is far too different to get any sort of usable effect. I won't speak for every bass player, but the reason I chose the instrument was because I love the way bass tones envelop the room with that low-end warmth and those round waves of goodness, so any effect that takes away from the bottom doesn't usually last long on my pedalboard. Given the experience I had with the Deluxe Bass Big Muff Pi, I was hoping for the same kind of response from the Crying Bass, and wasn't disappointed. What You Need To Know The Crying Bass has no moving parts—you simply rock it back and forth for an unprecedented amount of control over the effect An onboard fuzz effect with level control blends added growl into your dry signal, enhancing the wah effect To avoid the dreaded loss of low end, a low pass filter fixed at 194 Hz is also at your disposal—simply raise the LPF level to keep those low frequencies in the mix without sacrificing the musicality of the wah effect Buffered bypass keeps your signal intact over long cable runs Calibration is a painless process and ensures you get the right response from the Crying Bass Limitations There is a bit of a learning curve if you're used to standard, potentiometer-driven wahs. I found that if I positioned my foot a little differently than I do on a traditional wah, controlling the Crying Bass felt more natural. The EHX logo in the center of the pedal lights when the effect is active and turns off when the pedal is disengaged. However, your foot sits on top of it so there's no immediate visual indicator that the effect has been turned on/off. I had some issues with the pedal moving around a bit underfoot, but it looks like the specially designed Cradle from EHX is a solution (I didn't have one for this review). Sleek and stylish, the Crying Bass offers plenty of control over your wah tone plus onboard fuzz and a low pass filter Conclusion Though it took a little getting used to, once I had the hang of using the Crying Bass I found it to be a tremendous source of inspiration. The controls are simple but powerful, offering you a virtually endless array of sounds in addition to just a great-sounding wah. Because it responds so smoothly, you can employ some plantar acrobatics to conjure all sorts of sounds, from long, heel-to-toe sweeps to shorter, faster warbles. The incorporated fuzz circuit is icing on the cake, allowing you to enhance your tone even more. All in all, the Crying Bass is a great pedal with loads of sonic potential. Resources Electro-Harmonix Crying Bass Wah/Fuzz Pedal Demo Electro-Harmonix Crying Bass Wah/Fuzz Pedal at Musician's Friend Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  9. This Week In Music April 18 – April 24 The King Craps Out In Vegas … Sid Vicious Does It His Way … Faith No More Is No More This is the week that was in matters musical… 1934: Laurens Hammond patents the pipeless organ … he uses a piano keyboard to activate the electronic circuits of devices called tone wheels … by the 1950s, a descendent of Hammond's invention, the famous B-3 organ, weighing about 400 pounds, ensures that Hammond's name is cursed by musicians forced to lug the heavy piece of furniture up staircases to gigs … by then, Hammond, who is tone deaf, had grown to hate the sound of Leslie speakers so much he refuses service to any B-3 owner's organ … 1941: jazz musician Sidney Bechet records two saxophone parts, clarinet, bass, piano, and drums on a recording of “The Sheik of Araby” … the multi-track performance was achieved in the days before audio tape was in use in the United States … Bechet would record his first instrument on a wax disc, then play his second instrumental part while the first disc was being replayed … both parts were recorded onto a second disc...each successive part required recording onto a new disc … the result was a master disc with the original instrumental track six generations down and barely audible … 1956: Elvis Presley's first gig in Las Vegas is a bust … the young rock 'n' roller is sent packing after the first week of what was to have been a two-week engagement … 1958: the first Flying Vs are shipped to dealers from Gibson's factory in Kalamazoo … 1959: the second of two recording sessions for Miles Davis' Kind of Blue takes place at Columbia Records 30th Street Studio in New York City … the group, which includes Cannonball Adderly on alto sax, John Coltrane on tenor, and pianist Bill Evans, records "Flamenco Sketches" and "All Blues" … the album goes on to become a classic, the one jazz album bought by people who normally aren't jazz fans … 1960: Elvis Presley boards a train this week to travel from Memphis to Los Angeles to begin filming a movie ... he is taking the train because he has developed a fear of flying... 1961: a raucous quartet of rockers makes its debut at Liverpool’s Cavern Club … it’ll be another three years before The Beatles become a household name … also on the bill are The Swinging Blue Jeans who will later score a hit with “Hippy Hippy Shake” … Bob Dylan earns $50 playing harmonica for a Harry Belafonte recording session … 1966: British proto-punks The Troggs release "Wild Thing" … the song is later covered to spectacular effect by Jimi Hendrix … and to less-than-spectacular effect by comedian Sam Kinison … 1968: John Lennon and George Harrison, along with their wives, leave Maharishi Mahesh Yogi's Indian ashram two weeks before their studies were due to be completed … Paul and Ringo had already split … word later leaks that the Fab Four had grown disenchanted with the roly-poly spiritual advisor … 1969: John Winston Lennon changes his middle name to Ono … a fire claims the ironically named Ash Grove, a Los Angeles folk-blues club … such performers as Ry Cooder, Canned Heat, the Chambers Brothers, and Taj Mahal played their first gigs there … a who's who of blues performers also were regulars … the Melrose Avenue club reopens after a series of benefits … 1970: Fleetwood Mac's founder and leader Peter Green makes his last concert appearance as a member of the group in London … the singer-guitarist will embark on a low-key solo endeavor before being sidelined for a number of years with mental health problems … 1972: Elvis Presley's LP He Touched Me is released … it reaches #79 on the Top 100 album chart … no small feat for a gospel record … 1976: it's been more than 10 years since Roy Orbison has had a hit when he plays before a crowd of less than 100 at the Van-a-Rama auto show in Cincinnati, Ohio … adding to his misery, it's his birthday … his glory days with the Traveling Wilburys lie far ahead … The Ramones release their first album … while Paul McCartney and John Lennon watch in John's Manhattan apartment, SNL creator Lorne Michaels offers The Beatles $3,000 to perform a couple of songs on the show … the two almost hop in a cab to take up the offer but call it off because it's late and they're too tired … 1978: Sid Vicious records his rendition of the crooners' staple "My Way" for the Sex Pistols' movie The Great Rock 'N' Roll Swindle … there is no word from composer Paul Anka on the brutal treatment given his song … 1980: vocalist Brian Johnson joins AC/DC after the alcohol-triggered death of Bon Scott … 1981: Carl Perkins, Johnny Cash, and Jerry Lee Lewis play a show in West Germany that's later released on the LP The Survivors … 1984: Jerry Lee Lewis gets hitched for the sixth time to 22-year-old Kerrie McCarver … the marriage will end in 2003 … 1990: Roger Waters' road crew discovers an unexploded WWII-era bomb while erecting the set for his Berlin "The Wall" concert … 1991: former Humble Pie and Small Faces vocalist-guitarist Steve Marriot dies from smoke inhalation caused by a fire in his Essex, England home, touched off by an unattended cigarette … 1995: The Beatles score their 70th chart hit on the U.S. Top 100 with "Baby It's You" … the song was recorded 26 years earlier for a live BBC program called Pop Goes The Beatles … 1998: Faith No More announces that it is no more … 2001: Peter Buck runs amuck on a Seattle-to-London flight … after quaffing 14 glasses of wine, the R.E.M guitarist overturns a food cart, mistakes a stranger for his wife, smashes crockery, and tussles with crew members … in the ensuing British trial, Buck testifies that he has no memory of the events saying, "All I know is, I woke up and I am covered in cream." … 2005: Elton John announces he will marry partner David Furnish … the U.K. legalized civil partnerships the previous December … 2010: Metallica finds alternative ways of touring when volcanic ash attempts to derail their European tour … the band travels by boat and bus to make all the shows when air travel is disrupted … And that was the week that was. Arrivals April 18: Leopold Stokowski (1882), opera singer Sylvia Fisher (1910), bluesman Clarence "Gatemouth" Brown (1924), novelty songwriter Dickie Goodman (1934), Mike Vickers of Manfred Mann (1941), Skip Spence (1946), Les Pattinson of Echo & The Bunnymen (1958), Jim Ellison (1964), Everclear's Greg Eklund (1970), Mark Tremonti (1974) April 19: music school founder Augustus Juilliard (1836), songwriter David Mook (1936), Alexis Korner of Blues Incorporated (1928), Alan Price of the Animals (1942), Mark Volman of The Turtles (1944) April 20: Johnny Tillotson (1939), Craig Frost of Grand Funk Railroad (1948), Luther Vandross (1951), Mike Portnoy (1967), Mikey Welsh of Weezer (1971) April 21: songwriter Ernie Maresca (1939), Iggy Pop (1947), Alan Warner (1947), John Weider (1947), Robert Smith of The Cure (1959), Michael Timmins of Cowboy Junkies (1959), Johnny McElhone (1963) April 22: violinist Yehudi Menuhin (1916), R&B saxman Bull Moose Jackson (1919), jazz bassist and composer Charles Mingus (1922), Glen Campbell (1936), producer-songwriter Jack Nitzche (1937), session drummer Howard Wyeth (1944), Frankie Garcia of Cannibal and the Headhunters (1946), Peter Frampton (1950), Paul Carrack of Squeeze (1951), bassist Craig Logan of Bros (1969), Silverchair’s Daniel Johns (1979) April 23: composer Sergei Rachmaninoff (1873), singer-songwriter Roy Orbison (1936), pop singer Ray Peterson (1939), King Crimson violinist David Cross (1949), fusion drummer Narada Michael Walden (1952), Ray Burns, better know as singer-guitarist Captain Sensible of The Damned (1955), Steve Clark of Def Leppard (1960), Stan Frazier of Sugar Ray (1969), rapper Lil Eazy-E (1984) April 24: Ed Roberts of Ruby and the Romantics (1936), tenor saxophonist Joe Henderson (1937), Barbra Streisand (1942), Richard Sterban of the Oak Ridge Boys (1943), Doug Clifford (1945), Jethro Tull bassist Glen Cornick (1947), Preston Ritter of The Electric Prunes (1949), David J. Haskins of Love and Rockets (1957), Boris Williams of The Cure (1958), Billy Gould of Faith No More (1963), Hole's Patty Schemel (1967), Aaron Comess of Spin Doctors (1968), first <em>American Idol</em> winner Kelly Clarkson (1982), Tyson Ritter, lead singer-bassist with All-American Rejects (1984) Departures April 18: Storm Thorgerson (2013), Bernard Edwards of Chic (1996), songwriter Bernie Wayne (1993) April 19: Levon Helm (2012), drummer Stan Levey (2005), jazz bassist Niels-Henning Orsted Petersen(2005), Bryan Ottoson (2005), Larry Davis (1994), saxophonist Steve Douglas (1993), sax man Clifford Scott (1993), Willie Mabon (1985), Savannah Churchill (1974), Vinnie Taylor of Sha Na Na (1974) April 20: Gerard Smith of TV On The Radio (2011), Andrew Hill (2007), Alan Dale (2002), Giuseppi Sinopoll (2001), Jose Rodriguez (1996), Johnny Shines (1992), Steve Marriott (1991) April 21: Al Wilson (2008), Lobby Loyde (2007), Nina Simone (2003), George Lanuis (1996), Sandy Denny (1978), Earl Hooker (1970) April 22: folk icon Richie Havens (2013), soft rock singer Paul Davis (2008), songwriter Felice Bryant (2003), pianist Earl "Fatha" Hines (1983), bluesman Walter Vinson (1975) April 23: gospel singer Rev. Timothy Wright (2009), Capricorn Records co-founder Phil Walden (2006), jazz bassist Jimmy Woode (2005), New York Dolls guitarist Johnny Thunders, born John Genzale, Jr. (1991), flamboyant R&B pianist Esquerita (1986), pianist Red Garland (1984), Pete Ham of Badfinger (1975), Motown drummer William "Benny" Benjamin (1969) April 24: Bo Hansson (2010), singer Al Hibbler (2001)
  10. This Week In Music April 11 – April 17 Tornado In Nashville … Marley Plays Africa … The Beatles Granted Forgiveness This is the week that was in matters musical… 1933: Bell engineers demonstrate the realism of stereo soundstage instrument placement before an audience of 300 guests at New York City’s Academy of Music who had come to listen the Philadelphia Orchestra … from a darkened stage the audience listens to Wagner’s Gotterdammerung … when the lights come up, the stage is empty and engineer Harvey Fletcher explain the orchestra is performing in the soundproof basement and the performance they heard was reproduced by loudspeakers onstage … 1940: the number-one hit is "In The Mood" by the Glenn Miller Orchestra … 1954: Bill Haley & His Comets’ first recording session for Decca at the Pythian Temple studio (formerly a dance club) on West 80th Street in New York City produces the track "(We're Gonna) Rock Around the Clock" … the track, which melds hillbilly and R&B ingredients, will own the top spot on the Billboard chart for eight weeks and be considered by many to mark the beginning of rock 'n' roll … 1956: later to become known as Soul Brother Number One, James Brown charts for the first time with "Please, Please, Please" … following Elvis' show at the Memorial Coliseum in Corpus Christi, Texas, the venue's manager vows that'll be the last rock 'n' roll show to besmirch his stage … he is reacting to complaints from fans and parents who condemn the performance as "vulgar" … Buddy Holly’s first single, “Blue Days, Black Nights” is released … 1961: Bob Dylan makes his professional singing debut in Greenwich Village at Gerde’s Folk City, opening for John Lee Hooker … he performs “House of the Rising Sun” and “Song to Woody” … Joan Baez joins him for the second number … 1963: The Drifters cut a topical Lieber-Stoller song titled "Only in America" … due to lyrics which obliquely refer to race issues, it is deemed a hot potato … the black group's vocals are edited off the track and are replaced with those of Jay & the Americans, a white group … thought to be lost, the Drifters' version turns up as a bonus track on a Jay & The Americans CD in 1983 … 1964: The Beatles occupy a record-breaking fourteen spots on the U.S. charts ranging from #1 down to #81 … “Can't Buy Me Love” (1), “Twist and Shout” (2), “She Loves You” (4), “I Want to Hold Your Hand” (7), “Please Please Me” (9), “Do You Want to Know a Secret” (14), “I Saw Her Standing There” (38), “You Can't Do That” (48), “All My Loving” (50), “From Me to You” (52), “Thank You Girl” (61), “There's a Place” (74), “Roll Over Beethoven” (78) and “Love Me Do” (81) … 1965: it is announced that the upcoming Beatles movie with the working title Eight Arms to Hold You will be titled Help! instead … 1966: Jan Berry, half of the duo Jan & Dean notable for their many car-related hit songs, wipes out his Corvette and suffers major head injuries that lead to paralysis and a long hard road to recovery … 1967: proving that capitalists will always be hot on the heels of revolutionaries, Gray Line Tours begins busing people through the Haight-Ashbury district of San Francisco on a guided tour of Hippieland … 1968: Frank Zappa and The Mothers of Invention perform at the National Academy of Arts and Sciences Dinner in New York … Zappa makes some cutting remarks, terming the event, "a load of pompous hokum … All year long you people have manufactured this crap, now for one night you're gonna have to listen to it!" … recalling the event later, Zappa says, "We played the ugliest sh*t we could … that's what they expected us to play" … 1969: Desmond Dekker & The Aces move into the #1 spot on the UK singles chart with "The Israelites" … he's the first Jamaican act to enjoy that spot … 1970: Johnny Cash drops in on Richard Nixon at the White House and performs "A Boy Named Sue" at the president's special request … 1971: Carly Simon charts for the first time with "That's The Way I've Always Heard It Should Be" ... it is the first of 23 hits she will have... 1972: Electric Light Orchestra plays live for the first time at the Greyhound Club in Surrey, England ... they will go on to have seven top 10 hits... 1980: Bob Marley and The Wailers play in Salisbury, Zimbabwe, for the Independence Day festivities... 1982: in keeping with his celebrated inclination toward vehicular mishaps, Billy Joel crashes into a car with his motorcycle … he is hospitalized and has surgery on a broken wrist... 1989: Roy Orbison reaches the top 10 this week with "You Got It" … unfortunately, having died four months earlier he is unable to enjoy his first top 10 appearance in over 24 years … 1993: Elton John’s single “A Simple Life” climbs to #30 on the pop chart … it will ultimately top out at #10 and give the British rocker the distinction of being the only artist to enjoy Top 40 hits for 24 years straight while surpassing Elvis’ 23 … 1994: just days after singer Kurt Cobain is found dead, Nirvana’s third LP, In Utero, is certified double platinum … 1998: Paul loses Linda to cancer … a tornado roars through downtown Nashville, forcing a video shoot for country singer David Kersh to a halt as everyone runs for cover … 1999: Yoko Ono and Capitol Records sue Frederic Seaman, a former John Lennon assistant, claiming that he had stolen personal and sentimental items of Lennon's with plans to exploit the rocker's death … also this week, after a year in the grave, the body of Tammy Wynette is exhumed and autopsied at the request of her daughters, who are pursuing a case against her physician claiming that his irresponsible prescription of drugs contributed to her death … 2000: Metallica declares war on peer-to-peer file sharing by bringing suit against Napster, Inc. and several U.S. universities alleging copyright infringement … George Lucas’ Lucasfilm Ltd. sues Dr. Dre … the company claims the artist used their trademarked “THX Deep Note” sound on his 2001 album without permission … 2001: legendary frontman Joey Ramone succumbs to lymphoma at the age of 49 … a private funeral for the Ramones singer is held at a chapel in the Forest Hills neighborhood of Queens, where he grew up … 2005: hip-hop duo Outkast and civil rights pioneer Rosa Parks settle a lawsuit she filed in 1999…Parks' suit alleged defamation and trademark infringement over the Outkast song "Rosa Parks"… Mariah Carey makes stages a major comeback with the release of her new album The Emancipation of Mimi … it debuts at number one, goes six times platinum in less than a year, and becomes the most successful album of 2005 … 2006: Eminem cohort Proof, born DeShaun Holton, is shot dead in a Detroit nightclub after he shot and seriously wounded another man … former assistant to producer Phil Spector, Michelle Blaine, sues her former boss for $5 million contending that he badgered her to marry him so that she could not be forced to testify at his pending trial for the 2003 murder of actress Lana Clarkson … Spector will win a judgment in 2007 against Blaine for embezzlement of $900,000 from his pension fund … A 10-page notebook that 10-year-old John Lennon used to scribble poems, journal entries and drawings is auctioned for $226,150 … among the art is an illustration of Lewis Carroll’s poem, “The Walrus and the Carpenter” that later serves as inspiration for “I Am the Walrus” … 2007: Madonna makes a return trip to the impoverished African nation of Malawi to continue her charitable efforts there … she is accompanied by David Banda, the one-year-old Malawian orphan she is in the process of adopting … 2008: Rage Against the Machine guitarist Tom Morello hits the road with friends including Slash, Perry Farrell and Maynard James Keenan of Tool on a seven-date Justice Tour that raises money for local charities … commenting on the thrust of the shows he says, “Politics are going to be discussed, but this is not a college lecture. They are freedom parties, where we’re not going to only fight the power but the rock the f**k out.” … 2009: Phil Spector is convicted of second-degree murder in the shooting death of his girlfriend Lana Clarkson in 2003 … 2010: The Vatican officially forgives the Beatles for their sins, four decades after John Lennon said, "We're more popular than Jesus now." … Hank Williams is awarded the lifetime achievement Pulitzer Prize in music … considered one of the greatest country music singers of all time, he had several number hits during his time, and many of his songs have been re-recorded since … 2012: despite being dead since 1978, former Who drummer Keith Moon received an official invitation from the organizers of the 2012 London Olympic Games to play in the closing ceremonies as part of the “Symphony of Rock,” a celebration of British pop culture. Who manager, Bill Curbishley politely declined, while saying that if they had “a round table, some glasses and candles,” they might be able to ask him directly … And that was the week that was. Arrivals April 11: Dominic LaRocca (1889), “Louie Louie” composer Richard Berry (1935), Mark Stein of Vanilla Fudge (1947), Skip Allen (1948), Tom Hill (1950), Paul Fox (1952), Chris Difford of Squeeze (1954), Neville Staples (1956), Big Country’s Stuart Adamson (1958), Douglas Hopkins (1961), Nigel Pulsford (1963), Lisa Stansfield (1966), Dylan Keefe (1970), Joss Stone (1987) April 12: Hound Dog Taylor (1915), Billy Vaughn (1919), Tiny Tim (1930), Herbie Hancock (1940), John Kay of Steppenwolf (1944), David Cassidy (1950), Alexander Briley of The Village People (1951), Vince Gill (1957), Will Sergeant (1958), Art Alexakis (1962), Amy Ray (1964), Nick Hexum (1970) April 13: violinist Olga Rudge (1895), Jack Casady of Jefferson Airplane (1944), Lowell George (1945), Al Green (1946), Roy Loney of the Flamin' Groovies (1946), Jim Pons of the Turtles and The Mothers of Invention (1946), Peabo Bryson (1951), Max Weinberg of the E Street Band (1951), Jimmy Destri of Blondie (1954), Louis Johnson of The Brothers Johnson (1955), Wayne Lewis of Atlantic Starr (1957), Tony James of Generation X (1958), Hillel Slovak of Red Hot Chili Peppers (1962), Marc Ford of the Black Crowes (1966), Aaron Lewis of Staind (1972), Lou Bega (1975) April 14: Willie Harris (1925), Buddy Knox of Buddy Knox and the Rhythm Orchids (1933), Loretta Lynn (1935), Ritchie Blackmore (1945), Matima Kinuani Mpiosso (1951), Joey Pesce of 'Til Tuesday (1962), Carl Hunter of The Farm (1965) April 15: Bessie Smith (1894), Roy Clark (1932), Led Zeppelin manager Peter Grant (1934), rockabilly Bob Luman (1937), Clarence G. Satchell of The Ohio Players (1940), Allan Clarke of The Hollies (1942), Dave Edmunds (1944), Samantha Fox (1966), Ed O'Brien of Radiohead (1968), Bobby Del Din of The Earls (1992) April 16: Henry Mancini (1924), Rudy Pompilli of Bill Haley's Comets (1924), Roy Hamilton (1929), Herbie Mann (1930), Johnny Littlejohn (1931), Bobby Vinton (1935), Dusty Springfield born Mary O'Brien (1939), Stefan Grossman (1945), Gerry Rafferty (1947), Jimmy Osmond (1963), Dave Pirner of Soul Asylum (1964), Selena (1971) April 17: rock promoter Don Kirshner (1934), Billy Fury (1941), Jan Hammer (1948), Michael Sembello (1954), The Buzzcocks' Pete Shelley (1955), Stephen Singleton of ABC (1959), Maynard James Keenan of Tool (1964), Liz Phair (1967) Departures April 11: Pointer Sister June Pointer (2006), Jerry Byrd (2005), Sandy Bull (2001), Lillian Briggs (1998), Samie “Sticks” Evans (1994) April 12: singer Peppermint Harris (1999), Boxcar Willie (1999), Herbert Mills (1989), Josephine Baker (1975) April 13: Ritchie Cordell (2004), Todd Storz creator of the first Top-40 format radio station (1964) April 14: Burl Ives (1995), Thurston Harris (1990), Pete Fardon of the Pretenders (1983) April 15: Joey Ramone of the Ramones (2001), country music legend Rose Maddox (1998), George Goldner (1974) April 16: Skip Spence (1999), Brook Benton (1988) April 17: Linda McCartney (1998), lyricist Jack Yellen, famous for "Happy Days Are Here Again" (1991), Felix Pappalardi (1983), Eddie Cochran (1960)
  11. This Week In Music April 4 – April 10 Rock & Roll Goes Nationwide … The Stones Start Rolling … China Bans Dylan This is the week that was in matters musical … 1943: LSD is synthesized for the first time by Albert Hofmann … more than two decades later the psychoactive substance fuels a revolution in consciousness, music and pop culture … 1956: "Rock 'n Roll Dance Party" debuts on the CBS Radio Network … hosted by DJ Alan Freed, it's the first regularly scheduled and nationally aired rock 'n' roll show … Little Richard’s “Long Tall Sally” enters the Billboard Top 40 chart … while performing before an all-white audience at the Birmingham, Alabama Municipal Auditorium, Nat “King” Cole is attacked by a group of racists who knock him off his piano bench and beat him … a shaken Cole returns to the stage a few minutes later to a five-minute standing ovation … however he does not complete the set … later that night he performs for an all-black audience … C.L. Fender is granted patent # 2,741,146 by the U.S. Patent Office for a “Tremolo Device For Stringed Instruments,” popularly known as the Fender Stratocaster vibrato tailpiece or whammy bar … 1958: rock ‘n’ roll may be here to stay, but America still loves its crooners … Johnny Mathis’ Greatest Hits album hits the charts this week and there it will stay for a record 490 weeks … 1962: in London’s Ealing Blues Club, Mick Jagger, Keith Richards and Brian Jones decide to form a band they’ll ultimately call The Rolling Stones … the name is inspired by a Muddy Waters song … prior to quitting their day jobs, Jagger had been an ice cream peddler while Richards was a ball boy at a tennis club … Pravda, the official Russian newspaper, warns youths about the dangers of twisting … 1963: Portland rock-and-roll combo The Kingsmen record “Louie Louie” in a local studio after paying a $36 fee for the Saturday morning session … Paul Revere & The Raiders recorded their version of the tune in the same studio … who recorded it first is a matter of contention … 1964: a struggling young act called The Detours auditions for England’s Fontana Records … they go on to release some tracks with the label under the moniker The High Numbers, but it isn’t until they become known as The Who that they will make a serious impression in the rock world … 1968: Pink Floyd co-founder Syd Barrett leaves the band … Barrett’s mental instability, exacerbated by heavy drug use, has become so severe he can no longer function … 1969: an estimated 650,000 people attend a free Rolling Stones concert in London’s Hyde Park … the is the Stones first concert after the death of recently departed founding member Brian Jones … it is also the first appearance of new guitarist Mick Taylor, and the live debut of progressive rockers King Crimson … 1970: Paul McCartney uses the release of his first solo album, McCartney, to announce that he’s leaving The Beatles … 1973: Journey Through The Past premieres at the U.S. Film Festival in Dallas … the film is an autobiographical documentary by Neil Young, consisting mainly of footage and images captured throughout his career … Young sketchily describes it as “a collection of thoughts. Every scene meant something to me—although with some of them I can’t say what” … 1975: Ritchie Blackmore quits Deep Purple to form Rainbow with his pal Ronnie James Dio … Tommy Bolin of James Gang steps in to attempt to fill the guitar void … 1976: Peter Frampton’s Frampton Comes Alive album goes to #1, becoming the biggest-selling live album in rock history … 1977: The Damned become the first British punk band to play at CBGB … 1980: debuting as the Twisted Kites, R.E.M. plays its first show in its Athens, Georgia, hometown … they perform at a party in a converted church that serves as the group’s rehearsal space … 1981: Sam Goody, the nation’s leading music retailer, is convicted of selling pirated tapes through its stores … 1983: U.S. Interior Secretary James Watt bans the Beach Boys from performing at the 4th of July celebration on the Washington Mall … the overly zealous conservative offers the rationale that rock ‘n’ roll bands attract the wrong element … two days later President Reagan overturns the goofball decision and personally invites the Beach Boys to perform … 1988: a rehearsal for Alice Cooper’s fake hanging goes awry when a safety rope breaks … Coop is left dangling for a few scary seconds before a roadie comes to the rescue … IRS Records is left hanging by R.E.M., who jump ship for the greener pastures of Warner Bros. Records … Stones guitarist Ron Wood and 10 other passengers are rescued off the coast of Rio Di Janiero when the engine on their boat explodes … 1994: though his body won’t be discovered until days later, Nirvana frontman Kurt Cobain takes his own life at his Seattle home … 1997: A&M Records issues a press release stating that Soundgarden has chosen to “disband to pursue other interests” … the president of A&M, Al Cafaro, gives the band this send off: “Throughout the flash, hype and turmoil, as this scene conquered the musical world, Soundgarden handled themselves with intelligence, integrity and nobility. They were able to present their music and their world view with passion and honesty.” … ’nuff said … the University of Amsterdam offers a course titled Madonna 101 … about 50 students sign up for the class examining the pop star’s music and films … the for-credit course also examines Madonna's persona as a sex symbol, her religious beliefs and her impact as a media presence … the debut lecture is attended by Dutch television crews … 1998: singer George Michael is arrested in the bathroom of a Beverly Hills park … the ex-Wham! star is booked on suspicion of misdemeanor lewd conduct … at first he gives officers his real name, Yorgos Panayiotou, but later cops to being the pop star … he is released later the same day after posting $500 bail … 2000: Star magazine reports that Screamin’ Jay Hawkins’ dying wish was that his 57 children, the result of many liaisons, meet one another … the bluesman had claimed before his death that at the height of his career he had engaged in sex on average 14 times a day … 2002: Eminem agrees to pay $100,000 to John Guerra in a settlement resulting from a civil lawsuit … the suit claims that Eminem attacked Guerra, hitting him in the face and head with a handgun … the alleged attack was allegedly punishment for Guerra having allegedly kissed Eminem’s wife, Kim … 2004: Jeff Tweedy of Wilco checks himself into a Chicago rehab facility to be weaned from addictive pain meds he uses to deal with chronic migraine headaches … he emerges 26 days later proclaiming it is “the most beautiful thing I’ve ever done” … 2005: the Rock & Roll Hall of Fame debuts its largest-ever exhibition devoted to a single work … titled “The Amazing Journey,” it fills two floors of the museum and celebrates The Who’s rock opera Tommy … the exhibit includes original manuscripts and much of it is housed within a giant simulated pinball machine … 2006: Marion “Suge” Knight, the founder of Death-Row Records, files a bankruptcy petition attempting to dodge a $107 million dollar judgment against him resulting from a civil suit by Michael and Lydia Harris who co-founded the label … an L.A. court had ruled that Knight owed the couple half of Death-Row’s profits … a man is escorted off a flight out of Northern England after the taxi driver who drove him to the airport reported him to authorities … the taxi was equipped with a stereo system that allowed the passenger to plug in his iPod, and the driver became worried after the man sang along to The Clash’s “London Calling” … 2007: Johnny Cash’s former home in Tennessee burns to the ground … the late, great singer’s home just north of Nashville was his primary residence with wife June Carter Cash from 1968 until their deaths in 2003 … the home burns as renovations are in progress for the home’s new owner, Barry Gibb of the Bee Gees … 2009: in the first Rock and Roll Hall of Fame induction ceremony open to the public, a lineup of acts from every corner of the biz are inducted … held in Cleveland’s Public Hall, the 24th annual ceremony recognizes ‘50’s R&B outfit Little Anthony & The Imperials, rockabilly pioneer Wanda Jackson, Elvis sidemen D.J. Fontana and Bill Black, guitar virtuoso Jeff Beck, and soul man Bobby Womack among others … a highlight of the show is a duet on “Beck’s Bolero” by Beck and Jimmy Page … R&B singer Chris Brown pleads not guilty to charges of beating his girlfriend, singer Rihanna, in February … if convicted he could face five years in the cooler … 2010: Chinese officials refuse to grant Bob Dylan a permit to perform two planned shows in Beijing and Shanghai … the Chinese government has prohibited several Western artists from performing following a 2008 controversy caused by Bjork, who chanted “Tibet, Tibet!” during a show in Shanghai … 2012: Dr. Jim Marshall, founder of Marshall Amplifiers, dies at 88 years old … his influence on modern music is immeasurable, and luminaries from Slash to Paul McCartney pay tribute to the man known as The Father of Loud … And that was the week that was. Arrivals: April 4: Cecil Gant (1913), Muddy Waters (1915), Maya Angelou (1928), Margo Sylvia (1936), Chicago soul singer Major Lance (1939), trumpeter Hugh Masekela (1939), Christopher Franke of Tangerine Dream (1942), Allman Brothers bassist Berry Oakley (1948), Pick Withers of Dire Straits (1948), Peter Haycock (1952), Humble Pie’s Jerry Shirley (1952), guitarist Gary Moore (1952), Mick Mars (1956) April 5: Gale Storm (1922), jazz drummer Stan Levey (1926), Platters lead vocalist Tony Williams (1928), Leroy Griffin of The Nutmegs (1934), Dave Swarbrick (1941), David LaFlamme (1941), Eric Burdon (1941), Allan Clarke of The Hollies (1942), Crispian St. Peters (1944), ABBA’s Agnetha Faltskog (1948), Everett Morton of The English Beat (1951), Stan Ridgway of Wall of Voodoo (1954), Dream Theater’s James LaBrie (1963), Mike McCready of Pearl Jam (1966) April 6: Burnetta “Bunny” Jones (1917), Chicago harp man Walter Horton (1917), composer Andre Previn (1929), Merle Haggard (1937), guitar great Warren Haynes (1960) April 7: Billie Holiday (1915), Percy Faith (1918), Ravi Shankar (1920), country singer Bobby Bare (1935), Don Julian (1937), Spencer Dryden of Jefferson Airplane (1938), trumpeter Freddie Hubbard (1938), Mick Abrahams of Jethro Tull (1943), The Grateful Dead’s Bill Kreutzmann (1946), Pat Bennett (1947), Florian Schneider of Kraftwerk (1947), John Oates (1949), Janis Ian (1951), sax player Bob Berg (1951), Bruce Gary of The Knack (1952) April 8: Carmen Mcrae (1922), Jacques Brel (1929), Steve Howe (1947), Izzy Stradlin of Guns ‘n’ Roses (1962), Julian Lennon (1963), Biz Markie (1964), Slipknot bassist Paul Gray (1972), Alex Laiho of Children of Bodom (1979) April 9: blues guitarist Mance Lipscomb (1895), “Twist and Shout” songwriter Phil Medley (1916), rockabilly legend Carl Perkins (1932), Rockin’ Sidney (1938), Terry Knight (1943), Gene Parsons (1944), Sha-Na-Na’s Chico Ryan (1948), producer Alex Sadkin (1949), Kevin Martin of Candlebox (1969) April 10: singer-actor Sheb Wooley (1921), R&B singer Nate Nelson (1932), Glen Campbell (1936), Bobby Hatfield (1940), Bunny “Wailer” Livingston (1947), Ernest “Snuffy” Stewart (1950), Dave Peverett of Foghat (1950), Eddie Hazel (1950), Steve Gustafson of 10,000 Maniacs (1957), Brian Setzer (1959), Babyface (1959), Davy Carton (1959), Afrika Bambaataa (1960), Katrina Leskanich (1960), Warren DeMartini of RATT (1963), Primus drummer Tim “Herb” Alexander (1965), Kenny Lattimore (1970), Mike Mushok of Staind (1970), Q-Tip (1970), Dashboard Confessional’s Chris Carrabba (1975), singer Sophie Ellis-Bextor (1979), Mandy Moore (1984) Departures: April 4: Manowar drummer Scott Columbus (2011), cellist Arthur Russell (1992), songwriter Al Lewis (1967) April 5: Dr. Jim Marshall, The Father of Loud (2012), KISS guitarist Mark St. John (2007), Gene Pitney (2006), Alice in Chains singer Layne Staley (2002), metal drummer Colin “Cozy” Powell (1998), Kurt Cobain (1994), guitarist Rick Harvey (1993), Nesuhi Ertegun (1989), Danny Rapp (1983), soul singer Joe Hinton (1981), Bob Hite of Canned Heat (1981) April 6: Lawrence Brown (2008), Niki Sullivan of The Crickets (2004), Red Norvo (1999), Wendy O. Williams (1998), Tammy Wynette (1998), guitarist Edward Freche (1995), Ral Donner (1984) April 7: drummer Carlos Vega (1998), Harold “Sonny” Wright (1996), Lee Brilleaux aka Dr. Feelgood (1994), producer Henry Glover (1991), The Who’s manager Kit Lambert (1981), Charlie Shivers (1961) April 8: former Sex Pistols manager Malcolm McLaren (2010), Laura Nyro (1997), drummer Billy Gayles (1993) April 9: David “Pop” Winans (2009), Randy Cain (2009), cellist Tom Cora (1998), DJ and “Heartbreak Hotel” songwriter Mae Axton (1997), producer Martin Hannett (1991), Brook Benton (1988), Dave Prater of Sam and Dave (1988), Phil Ochs (1976) April 10: innovative guitar maker Travis Bean (2011), rapper Proof (2006), Little Eva (2003), singer Leon Peels (1999), Eddie O’Jay (1998), soul songwriter Linda Creed (1986), original Beatle Stuart Sutcliffe (1962), Chuck Willis (1958)
  12. This Week In Music March 28 – April 3 “Cover of the Rolling Stone” Comes True … Gladys Loses The Pips … The Ramones Debut This is the week that was in matters musical … 1956: Elvis appears on The Milton Berle Show … broadcast live from the aircraft carrier USS Hancock in San Diego, the then-rising star belts out “Heartbreak Hotel,” “Blue Suede Shoes,” and duets with his “twin brother, Melvin Presley,” played of course by Uncle Miltie … as Elvis launches into an encore of “Blue Suede Shoes,” Berle pounds on his own instrument until it splinters into oblivion … 1966: Mick Jagger requires eight stitches in his head after being hit by a chair thrown by a rowdy concertgoer in Marseille, France … 1967: the photo session for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album takes place at 4 Chelsea Manor Studios in London … it took the eight days prior to set up Peter Blake’s life-sized collage of historical figures that accompanies the band on the cover … 1970: Janis Joplin has a tattoo placed over heart reading “One For The Boys” … 1973: just 12 days after the single “Cover of the Rolling Stone” peaks at #6 on the pop chart, Dr. Hook & The Medicine Show appears on the cover of the magazine … 1974: The Ramones give their first live show at the Performance Studio in New York … 1989: after singing with the Pips for 37 years, Gladys goes solo in Las Vegas … 2003: after Pearl Jam frontman Eddie Vedder makes remarks critical of President George W. Bush during a show, dozens of fans walk out while others boo … trying to calm the crowd, Vedder says, “just to clarify, we support the troops” … 2005: The Decemberists opt to release their new music video, "Sixteen Military Wives," via BitTorrent, an easy way to give the video exposure without fronting a lot of money for bandwidth … the experimental release is a success, seeing almost 2,000 downloads its first weekend … The White Stripes finish recording their fifth album, Get Behind Me Satan, in just under two weeks, averaging about a song a day … the follow-up to Elephant will be released on June 7 in the U.S. but lucky Brits get it on June 6 … the record, described by Jack White as “an exploration of characters and the ideal of truth,” was recorded in Detroit at Jack's Third Man Studios, mixed in Memphis at Ardent Studios and mastered in New York City at Masterdisk … Neil Young recovers from surgery for a brain aneurysm … 2006: singer-songwriter Yusuf Islam, formerly known as Cat Stevens, announces he is working on a new secular album, his first since 1978 … explaining his return to pop music after swearing it off, the Muslim convert says, “The issue of music in Islam is not as cut and dried as I was led to believe” … 2007: after a six-and-a-half year hiatus, the Smashing Pumpkins announce they’ll launch a European tour in May … SonyBMG announces that henceforth it will no longer accept CDs or tapes from bands hoping to land a contract with the company’s labels … instead, would-be recording acts are directed to post their demos on sites set up for the purpose by Sony’s subsidiaries as well as on blogs … singer Nelly Furtado picks up five Junos (Canada’s equivalent of the Grammy) for best album, single, fan’s choice, artist and pop album … 2008: MySpace.com jumps into the digital download fray as it announces its new online music store … 2009: following a five-year touring hiatus, the Grateful Dead play three shows on a single day—all in smaller New York venues including the storied Roseland Ballroom and Gramercy Theatre … tensions during their previous tour had kept the band off the road, but according to Bob Weir, “We’ve learned to listen to each other.” … 2010: following years of speculation around his sexuality, Ricky Martin officially comes out of the closet with an announcement on his website … And that was the week that was. Arrivals March 28: multi-instrumentalist Charlie McCoy (1941), Scottish singer Sally Carr (1945), Turtles bassist Chuck Portz (1945), Jethro Tull keyboardist John Evan (1948), Milan Williams (1948), country music legend Reba McEntire (1955), Ged Grimes of Danny Wilson and Simple Minds (1962), Steve Turner of Mudhoney (1965), James Atkin of EMF (1969), Cheryl James AKA Salt of Salt-n-Pepa (1969), David Keuning of The Killers (1976), Lady Gaga (1986) March 29: Donny Conn (1930), British pop singer Eden Kane (1940), Chad Allan of The Guess Who (1943), Terry Jacks (1944), Toto’s Bobby Kimball (1947), saxophonist Michael Brecker (1949), Patti Donahue of The Waitresses (1956), Perry Farrell of Jane’s Addiction (1959) March 30: ’50s crooner Frankie Laine (1930), Sonny Boy Williamson (1914), Willie Nelson (1933), Graeme Edge of the Moody Blues (1942), Sir Eric Clapton (1945), Jim Dandy Mangrum of Black Oak Arkansas (1948), Procol Harum’s Dave Ball (1950), MC Hammer (1963), Celine Dion (1968), Norah Jones (1979) March 31: blues pianist “Big Maceo” Merriweather (1905), Lightning Hopkins (1912), songwriter John D. Loudermilk (1934), Herb Alpert (1937), Al Nichol of The Turtles (1946), Jon-Jon Poulos (1948), Thijs van Leer (1948), Angus Young (1959), Big Dee Irwin of The Pastels (1986) April 1: jazz singer Alberta Hunter (1895), boogie-woogie pianist Amos Milburn, who transformed jump blues into R&B (1927), singer-actress Debbie Reynolds (1932), Rudolph Isley of The Isley Brothers (1939), Alan Blakely, guitarist and keyboard player with The Tremeloes, one of the longest surviving British bands (1942), John Barbata of Jefferson Starship (1945), Small Faces bassist Ronnie Lane (1948), ska and reggae musician Jimmy Cliff, born James Chambers (1948), session drummer and TOTO cofounder Jeff Porcaro (1951), Dennis Boon, guitarist with The Minutemen (1958) April 2: blues sax man J.T. Brown (1910), French pop star Serge Gainsbourg (1928), Marvin Gaye (1939), Leon Russell (1941), Kurt Winter of The Guess Who? (1946), Emmylou Harris (1947) April 3: country musician-songwriter Don Gibson (1928), country singer Johnny Horton (1929), R&B/funk guitarist Jimmy Nolen (1934), jazz organist Jimmy McGriff (1936), bassist Scot LeFaro (1936), Phillipe Wynne of The Spinners (1938), songwriter Jeff Barry, born Joel Adelberg (1939), Jan Berry of Jan & Dean (1941), The Duprees’ Joe Canzano (1941), Joey Vann of The Duprees (1943), Tony Orlando (1944), The Band's Richard Manuel (1945), Elton John bassist Dee Murray (1946), Grand Funk's Mel Schacher (1951), Mike Ness of Social Distortion (1962), Criss Oliva of Savatage (1963) Departures March 28: Earl Scruggs (2012), Herb Ellis (2010), percussionist Don Alias, Freaky Tah (1999), Miguel Rios (1977), Arthur “Big Boy” Crudup (1974), W.C. Handy (1958) March 29: announcer/general manager of the Grand Ole Opry Hal Durham (2009, film composer Maurice Jarre (2009), singer Joe Williams (1999), drummer Howard Wyeth (1996), controversial rock biographer Albert Goldman (1994) March 30: legendary producer/engineer/ Phil Ramone (2013), singer-songwriter Timi Yuro (2004), Doors producer Paul Rothchild (1995) March 31: Sean Levert (2008), saxman Jackie McLean (206), Tommy Seebach (2003), The Gun Club vocalist Jeffrey Lee Pierce (1996), Selena (1995), Kelly Isley of the Isley Brothers (1986) April 1: Denny Barcelona, drummer with Louis Armstrong (2007), Zombies guitarist Paul Atkinson (2004), pioneer Gibson guitar designer-inventor Ted McCarty (2001), songwriter, jazz musician, and A&R man, Jesse Stone (1999), goth rocker Rozz Willimas (1998), soul singer Jimmy Hughes (1997), Cult drummer Nigel Preston (1992), Sister Luc-Gabrielle, born Jeanine Deckers, The Singing Nun (1985), ragtime pianist Scott Joplin (1917) April 2: session guitarist Cliff White (1998), organist Joe Madison (1995), Buddy Rich (1987) April 3: Lester "Big Daddy" Kinsey of The Kinsey Report (2001), session sax man Alvin "Red" Tyler (1998), Rob Pilatus of the disgraced Milli Vanilli (1998), Roosevelt "Booba" Barnes (1996), Sarah Vaughan (1990)
  13. Expert Review: Electro-Harmonix Deluxe Bass Big Muff Pi Distortion/Sustainer Already one of the baddest bass distortions around, the Deluxe model introduces incredibly powerful shaping controls to dial in your perfect fuzz. By Ara Ajizian Introduction We bass players know the dilemma of the fuzz. You get an awesome mid- to high-end fuzz that delivers everything you need except—the bottom end always seems to just disappear the moment every other frequency attains perfection. This is the plight for those of us who strive for an astonishing likeness to the great fuzz tones that have come before: "Mexicola" by Queens of the Stone Age, "Exit Music (For A Film)" by Radiohead, "NIB" by Black Sabbath. As we tweak the knobs on the latest pedal that swears it will take us to fuzz heaven, we're often frustrated not by what we hear, but by what we don't hear. The Deluxe Bass Big Muff Pi is here to change all of that. Loaded with what most of us already know is one of the best fuzz circuits for bass, the Deluxe adds a host of tone controls that are sure to take you to Nirvana....that is, if you're trying to play "Breed." What You Need To Know • The Deluxe Bass Big Muff Pi takes the circuit of the original to new levels of flexibility thanks to enhanced tone controls. • Many bass players struggle with the loss of the bottom end when engaging a distortion/fuzz effect. To combat this, EHX has created a full suite of controls. • Sustain, Tone & Volume controls just like the original Bass Big Muff Pi • Blend control for incorporating your pre-effect signal and enhancing low end • Gate control relieves your sound of unwanted noise • Switchable low- and high-pass crossover filtering allows shaping of both your distorted and dry tones to create the perfect distortion for your needs • Input level selector accommodates active and passive instruments • Direct and DI outputs provide full recording and routing capabilities for both your dry signal for blending as well as the effected sound. Limitations • Hard to find any limitations with this pedal. Bass players have specific demands when it comes to distortion, namely to keep the low end intact. The Deluxe Bass Big Muff Pi gives you complete control, including a Blend knob, to avoid those pitfalls and deliver superb distored tones that don't take away your bottom end. Conclusion The music I tend to play lends itself to distorted bass tones, and while I've often sought out the pedals that helped create the tones on songs that I'm heavily influenced by, I've come to realize that most of the time, that bass player was really just fortunate to have either the right bass/amp/pedal combination or some studio magic that helped solidify their sound. I have always struggled with finding a bass distortion pedal that kept the low end in place. Even though the original Bass Big Muff Pi has served me well, the Deluxe version not only provides more control over the original, but a load of creative options as you learn its extensive control set. Though I've always approached fuzzed-out bass tones from the stoner-rock perspective, the Deluxe can add everything from a slight bit of grit to punchy overdriven tones that keep you in the pocket, all the way to the thick, saturated tones the heaviest players need. If you've struggled finding the right fuzz sounds, look no further than the Electro Harmonix Deluxe Bass Big Muff Pi. Resources Electro-Harmonix Deluxe Bass Big Muff Pi Video Demo The Electro-Harmonix Deluxe Bass Big Muff Pi at Musician's Friend Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  14. Insuring Your Gear By Craig Vecchione So you landed that sweet gig at the local venue. Hours before the show you load your rig into your personal vehicle, make the drive, and set up. There’s time before downbeat, and you’re hungry, so you figure it’ll only be a half hour to grab a quick burger at the diner across town. While munching on fries you hear some sirens in the distance, but don’t give it another thought… Until you turn the corner on the way back to the venue. The street is blocked off, you smell smoke and the flashing lights seem to be right in front of the old theater you loaded your $15,000 system into just two hours ago. Your heart sinks as you approach a building you’ve heard described in news reports as “fully involved”. There were no injuries. That’s the good news. But the old structure didn’t stand a chance, and burned to the ground with all your gear. The bad news continues as you learn that the owners had let their insurance lapse, so now your only hope is your homeowner’s policy. You call your agent. That conversation doesn’t start well…”Your homeowner’s policy only covers your personal property outside the home if it’s not used in a professional capacity. You were getting paid for that show, weren’t you?” The rest of the conversation is mostly a blur, as you realize you’ve lost years of hard work and earnings, and won’t be able to work for months, if ever. Most of us think nothing bad will happen, and that’s mostly true. Many of us assume that our homeowner’s insurance policy covers our gear, since that’s personal property, right? Yes it is, but there are limits to where it’s covered (while it’s in your home or car) and how it’s used (often only for personal enjoyment, not professional employment). Additionally, dollar limits and deductibles apply, and it’s very easy to exceed them with pricey sound and music gear. Finally, if the policy doesn’t cover replacement value (what it costs to buy new gear) then the insurance company can and will use “fair market value” to determine what they’ll pay. Fair market value is defined as the value of something sold by someone who doesn’t have to sell, to a buyer who doesn’t have to buy. This translates to, “not a whole lot”. Vintage gear might be worth a lot to musicians, but insurance companies may simply view it as “old”. What to do? First, I recommend you always find a reputable independent insurance agent and discuss your situation. They work for you, not the insurance companies whose policies they sell, and will give you honest and accurate advice and information. Insurance laws and regulations vary by state and region, so what applies in one place may not be accurate in another. Next, get an accurate inventory of your gear. Determine what you paid. Saving receipts will pay off here. Incidentally, it’s a good idea to make photocopies of receipts, as the ink used on many register receipts fades to ‘invisible’ in a few years. Take photos of everything, and save them to a disc or thumb drive. It certainly doesn’t hurt to have multiples of all this info, and keep them in different places if possible. So what sort of coverage can you buy? For the most part, if you use your gear outside the home, your agent will probably recommend what’s known as an Inland Marine policy. Marine? Huh? That’s just an old term that goes way back, when insurance companies that covered ocean shipping decided to also cover goods moved across land. Inland marine policies cover specialized items and items that are often transported. For us, it simply means our music gear is covered. These policies are not as regulated as your homeowner’s or auto policy, and they’re specialized insurance, so expect the premium to be higher than you might think. When deciding on a policy, always weigh the cost of coverage against the potential loss you would incur should it be stolen or destroyed. Do you earn a portion of, or all of your living with it? Can you afford to simply buy replacements on your own? Do you either store or use your gear in a high-crime area? If you can afford to carry some of the cost of a loss, you might have the option of a higher deductible in exchange for a lower premium. Just be sure you’ve got the cash or credit to cover the deductible in the event something happens. Are you in the AFM? Musician’s Union members in the US can purchase insurance for their instruments and gear through the unions “All-Risk Musician Instrument and Equipment Insurance Plan”. I’m not a union member and don’t have access to the details of the policies, but have heard from members who say the premiums are quite competitive with Inland Marine policies. As always, compare price and coverage directly before making a decision. It wouldn’t hurt to show any policy you’re considering to your agent to get a professional opinion. Once you’ve got a policy you’re happy with, don’t forget to keep your coverage up to date. If you invest in a new instrument or sound gear, be sure the coverage amounts will include the new acquisition. A quick call to your agent can increase coverage and give you peace of mind. And of course, if you sell off some of your rig and don’t plan new purchases (I know, who does that?) you might consider lowering coverage. In conclusion: · Never assume you’re covered without checking your policy. · Find an agent and establish a working relationship. · Know your gear inventory and its value/replacement cost. · Weigh cost against coverage and any deductibles. · Maintain your gear inventory so you can increase or decrease coverage as you buy or sell items. Nobody wants to think their possessions will be stolen or damaged by an accident. But we all know it happens. Getting some insurance coverage obviously isn’t free, but the peace of mind of knowing you can be restored quickly after a loss is worth the investment.
  15. Introduction Although well intentioned, when most people make the decision to learn to play guitar or bass, they have no idea what the road ahead holds. Sure, there are the dreams of hitting the big time that fuel the passion early on, but once reality sets in and the realization hits that this is going to take some serious work and dedication, there’s a good number of people who, for one reason or another, simply move on to other endeavors. That’s a shame really, because anyone who’s climbed that mountain and actually learned the art can tell you how rewarding all that hard work eventually is. That’s why I applaud any attempt that a manufacturer takes at keeping the learning process fun and engaging. With their new Multi-Color NEON guitar and bass strings and integration with the intuitive Jamstar app, DR Strings has done just that. What You Need To Know • Since their introduction in 2010, DR’s NEON series of strings have been aimed at the gigging player looking for a way to stand out without sacrificing tone and feel. • I’m not typically a fan of coated strings due to the “silky” or slightly slippery feel that many have. I do like a bit of friction when I play, particularly bass guitar, and the NEON strings provided a nice balance between that and the longer-lasting advantages of the K3™ coating DR employs. • Tonally, they delivered plenty of punch and articulation while keeping those pesky, unwanted overtones to a minimum. • Already available in Hi-Def Green, Hi-Def Orange, Hi-Def Yellow and Hi-Def Pink, DR has added three new colors to the line for even more options: Hi-Def Red, Hi-Def Blue and Hi-Def White. • They all look great under any light, but the show really starts when you get them under a black light. The strings glow brightly and provide a splash of color onstage that stays with you wherever you play. If you’re looking to stand out on stage, NEON strings will definitely help you accomplish that no matter what color you prefer. • Jamstar, available for free from the Apple App Store for your iPod and iPad, and the Google Play Store for your Android devices, is a stellar application designed for both students and teachers that makes learning your instrument easy and fun. • Jamstar’s Color-Play Learning System™ matches up with the Multi-Color Neon strings, providing a visual cue players that helps familiarize them with string positions. Additionally, Jamstar uses your device’s built-in microphone, so there are no cables necessary to enjoy the benefits of the app. • Jamstar’s Color-Play Learning System also proved to be a great crossover from the Guitar Hero/Rock Band video games to playing a real instrument. • Lessons go from Beginner level all the way to Advanced for players who are already familiar with their instrument but looking to take things even further. There really is something for everyone. • NEON Multi-Color sets are also compatible with the popular Rocksmith video game. Limitations • While Jamstar includes over 100 free lessons, new songs come at the price of $.99 each. included with the Jamstar app, for $.99 each you can purchase songs from artists as diverse as The Beatles, Green Day, Muse, R.E.M., Led Zeppelin, Ray Charles and many more. Conclusion Whether it’s to make a splash onstage or to work on your playing with the free Jamstar app, DR’s NEON strings have benefits that go much deeper than their great feel and solid sound. Resources Jamstar Demo Video DR Neon Multi-Color Strings at Musician's Friend Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  16. Introduction Although well intentioned, when most people make the decision to learn to play guitar or bass, they have no idea what the road ahead holds. Sure, there are the dreams of hitting the big time that fuel the passion early on, but once reality sets in and the realization hits that this is going to take some serious work and dedication, there’s a good number of people who, for one reason or another, simply move on to other endeavors. That’s a shame really, because anyone who’s climbed that mountain and actually learned the art can tell you how rewarding all that hard work eventually is. That’s why I applaud any attempt that a manufacturer takes at keeping the learning process fun and engaging. With their new Multi-Color NEON guitar and bass strings and integration with the intuitive Jamstar app, DR Strings has done just that. What You Need To Know • Since their introduction in 2010, DR’s NEON series of strings have been aimed at the gigging player looking for a way to stand out without sacrificing tone and feel. • I’m not typically a fan of coated strings due to the “silky” or slightly slippery feel that many have. I do like a bit of friction when I play, particularly bass guitar, and the NEON strings provided a nice balance between that and the longer-lasting advantages of the K3™ coating DR employs. • Tonally, they delivered plenty of punch and articulation while keeping those pesky, unwanted overtones to a minimum. • Already available in Hi-Def Green, Hi-Def Orange, Hi-Def Yellow and Hi-Def Pink, DR has added three new colors to the line for even more options: Hi-Def Red, Hi-Def Blue and Hi-Def White. • They all look great under any light, but the show really starts when you get them under a black light. The strings glow brightly and provide a splash of color onstage that stays with you wherever you play. If you’re looking to stand out on stage, NEON strings will definitely help you accomplish that no matter what color you prefer. • Jamstar, available for free from the Apple App Store for your iPod and iPad, and the Google Play Store for your Android devices, is a stellar application designed for both students and teachers that makes learning your instrument easy and fun. • Jamstar’s Color-Play Learning System™ matches up with the Multi-Color Neon strings, providing a visual cue players that helps familiarize them with string positions. Additionally, Jamstar uses your device’s built-in microphone, so there are no cables necessary to enjoy the benefits of the app. • Jamstar’s Color-Play Learning System also proved to be a great crossover from the Guitar Hero/Rock Band video games to playing a real instrument. • Lessons go from Beginner level all the way to Advanced for players who are already familiar with their instrument but looking to take things even further. There really is something for everyone. • NEON Multi-Color sets are also compatible with the popular Rocksmith video game. Limitations • While Jamstar includes over 100 free lessons, new songs come at the price of $.99 each. included with the Jamstar app, for $.99 each you can purchase songs from artists as diverse as The Beatles, Green Day, Muse, R.E.M., Led Zeppelin, Ray Charles and many more. Conclusion Whether it’s to make a splash onstage or to work on your playing with the free Jamstar app, DR’s NEON strings have benefits that go much deeper than their great feel and solid sound. Ara Ajizian, Harmony Central's Editorial Director, has been playing bass and guitar as well as singing since he was 18, and soon that love of music combined with a passion for writing; launching what's now a decade-long career immersed in the gear world. He's thrilled to be back on the Harmony Central team after two years as Managing Editor for Musician's Friend covering gear, bands and events and gigging in the Los Angeles area.
  17. Samplers and keyboards make it easy to come up with FX: load a file, punch up a preset, and hit a key. Yet electric guitar, in conjunction with a good multieffects processor or amp sim, can make sounds that are more organic and complex than what you can obtain from a bunch of canned samples. No, you can’t generate car crashes and door slams—but for ethereal pads, suspense music, industrial noises, alien backgrounds, and much more, consider using guitar as your instrument of choice. Think sound effects are solely the domain of keyboards? Think again by Craig Anderton Samplers and keyboards make it easy to come up with FX: load a file, punch up a preset, and hit a key. Yet electric guitar, in conjunction with a good multieffects processor or amp sim, can make sounds that are more organic and complex than what you can obtain from a bunch of canned samples. No, you can’t generate car crashes and door slams—but for ethereal pads, suspense music, industrial noises, alien backgrounds, and much more, consider using guitar as your instrument of choice. Why let keyboard players do all the cool sound effects? Here are my Top 10 tips for creating truly weird guitar sounds. Just remember Rule #1: extreme effects settings produce extreme sounds. Generally, you’re looking for the boundaries of what an effect can do; all those +99 and -99 settings you’ve been avoiding are fair game for producing truly novel effects. 1.Is everything in order? If you’re using hardware instead of amp sims, it’s essential to be able to change the order of effects by repatching individual effects boxes or using a multieffects with customizable algorithms. For example, a compressor generally goes early in the chain, with chorusing added later on so that the effect processes the compressed signal. However, suppose the chorus has a ton of resonance to create some really metallic sounds. This could produce such drastic peaks with some notes that in order to tame them, you would need the compressor later in the chain. 2.Industrial reverb For a really rude sound, play a power chord through a reverb set for a fairly long time delay, then add distortion after the reverb (Fig. 1). The resulting sound has the added bonus of being able to rid you of any unwanted house guests. Fig. 1: Following Guitar Rig’s Reflektor reverb with distortion produces a dreamy sound—assuming your dreams tend toward the nightmarish. 3. Wet is good It’s usually best to set the effects mix for wet sound only. Having any straight guitar sound can blow your cover because a guitar attack is such a distinctive sound. 4. Attack of the pedal pushers Add a pedal before your effects, not after (Fig. 2). You can cut off the guitar attack by fading in the pedal at the note’s beginning; with effects like long delays and reverbs, you can fade out the source signal while the “tail” continues on. Fig. 2: Choosing when effects will receive input can have a huge effect on the sound, especially with long delays and reverb. 5. Found sounds The guitar itself can generate noises other than those created by plucking strings—here are a few options. Hold a smart phone, calculator, or other portable microprocessor-controlled device up next to the pickups, and you’ll hear a bunch of science fiction sounds worthy of the bridge of the Enterprise. Feed a high-gain effect (such as compression or distortion) and tap the back of the neck with your fingertips. While your high-gain effect is set up, drag the edge of a metallic object (like a screwdriver or butter knife) along wound strings. Use extreme amounts of whammy, and transpose the strings down as low as they’ll go. Tap the guitar body smartly with your knuckles to create percussive effects. These will sound even more interesting through looooong reverb. 6. Turn up the heet The Heet Sound EBow (Fig. 3) is a very cool sustaining device for individual strings. Fig. 3: For many guitarists, the EBow is their “secret weapon” for sustaining single-note lines. This hand-held device picks up vibrations from the string, amplifies them, then drives the string with those vibrations to create a feedback loop. The EBow rests on the strings adjacent to the string being “e-bowed”; moving the EBow further away from, or closer to, the string can create all kinds of interesting harmonic effects. If you want to approximate that famous blissed-out “Frippertronics” tape loop sound, use the EBow to drive a delay set for long echoes (greater than 500 ms) with lots of feedback (more than 80\%). 7. Shifty pitches Pitch shifters are a treasure trove of weird sounds. With hardware pitch shifters, add a mixer at the input, then split the pitch shifter’s output so one split feeds into the mixer through a delay (Fig. 4 shows how to patch stand-alone boxes to do this; with a multieffects, a pitch shifter will often include pre-delay and feedback parameters, which accomplish the same result). Fig, 4: How to patch a pitch shifter hardware effect for bizarre “bell tree” effects. Suppose there’s a 100ms delay and pitch shift is set to -1 semitone. The first time the input reaches the output, it comes out 1 semitone lower. It then travels back through the delay, hits the shifter input 100 ms later, and comes out transposed down another semitone. This then goes through the delay again, gets transposed down another semitone, etc. So, the sound spirals down in pitch (of course, with an upward transposition, it spirals up). With short delays, the pitch change sounds more or less continuous while with longer delays, there’s more of a stepped effect. The delay’s level control sets the amount of feedback; more feedback allows the spiraling to go on longer. However, if the delay level produces gain, then you could get nasty oscillations (which come to think of it, have their own uses). 8. Lord of the ring modulators Don’t have a ring modulator? If a tremolo or autopan rate extends into the audio range, the audio modulation “slices” the signal in a way similar to a ring modulator. 9. Fun with flangers Like pitch shifters, chorus/flangers are extremely versatile if you test their limits (Fig. 5). Fig. 5: Waves’ MetaFlanger is set up as described for a strange, morphing effect. Start off with the slowest possible LFO rate short of it being stopped, so that any pitch modulation is extremely slow. Then set the depth to a relatively low setting so there’s not a huge amount of modulation, and feedback to the maximum possible, short of distortion. Edit the output for wet signal only, and try a relatively long initial delay time (at least 20ms). You’ll get metallic, morphing sounds that sound like, for lack of a better description, ghost robots—an unearthly, mechanical effect. If I was doing effects for a movie and building tension for the part where the psycho killer is stalking his next victim, this sound would get first crack at the scene. 10. Parallel universe Some advanced multieffects let you put effects in parallel. One example of how to use this is to create ultra-resonant sounds. Most guitarists know that you can take a flanger, boost the resonance to max, turn the LFO speed to zero, and end up with a very metallic, zingy sound. But you can go one step further with parallel effects: patch a stereo delay in parallel with the flanger, set each channel for a short (but different) delay (e.g., 3 and 7ms), feedback for each channel to as high as possible short of uncontrolled feedback, and output to (of course!) wet only. You’ll now have three resonant peaks going on at the same time. And there are the 10 Tips. Until next time, may your computers never crash and your strings never break. Craig Anderton is Editor Emeritus of Harmony Central. He has played on, mixed, or produced over 20 major label releases (as well as mastered over a hundred tracks for various musicians), and written over a thousand articles for magazines like Guitar Player, Keyboard, Sound on Sound (UK), and Sound + Recording (Germany). He has also lectured on technology and the arts in 38 states, 10 countries, and three languages.
  18. This Week In Music 3/21 - 3/27 Beatles Get Waxed … Rock & Roll Comes Of Age … Dylan Sells Panties This is the week that was in matters musical … 1952: Cleveland DJ Alan Freed mounts his first rock ’n’ roll show dubbed The Moondog Coronation Ball … the venue holds 10,000 but 30,000 rock-hungry teens turn up causing the cops to call the show off … the resulting riot is a precursor to the coming age of rock … Sun Records, the revered label that first gave Elvis a shot and cut dozens of great rockabilly and blues sides, issues its first single, “Selling My Whisky” by Jackie Boy and Little Walter … 1956: Carl Perkins receives severe injuries in a Delaware auto accident … he was on his way to the Big Apple to perform on Perry Como’s TV variety show … the El Capris enjoy a minor hit with the tune "(Shimmy Shimmy) Ko Ko Wop" … the song will resurface as a hit for Little Anthony and the Imperials in 1960 … in an early instance of political correctness, it’s retitled "Shimmy Shimmy Ko Ko Bop" … 1964: wax images of The Beatles go on display in London at the Madame Tussaud Wax Museum … they will later appear on the Sergeant Pepper cover … 1967: The Buffalo Springfield’s “For What It’s Worth,” commemorating the 1966 teenage riots on the Sunset Strip, peaks at #7 on the pop chart … Peter Bergman of Firesign Theatre coins the term “love-in,” and throws the first such event in Los Angeles’ Elysian Park … 1969: The Allman Brothers Band is formed in Jacksonville, Florida, consisting of Duane and Gregg Allman, Dickey Betts, Berry Oakley, Butch Trucks, and Jai Johanny Johanson … 1991: the world bids farewell to the one and only Leo Fender … the revolutionary inventor who brought us the Stratocaster, Telecaster, Precision Bass and so much more passes at the age of 81 … 1994: Bruce Springsteen wins the Oscar for Best Original Song for “Streets of Philadelphia” … the song is from the film Philadelphia, and is the first ever written by Boss specifically for a film … 1995: Pearl Jam’s Eddie Vedder is rescued while surfing with pal Tim Finn of the coast of New Zealand … a riptide carried the singer over 200 feet from the coastline before lifeguards came to his aid … Eric “Eazy-E” Wright of NWA dies of complications from AIDS at the age of 31 … 1996: The Beatles’ last charting single, “Real Love,” enters the Top 100 and will eventually rise to #11 … the song is based on a demo cut by John Lennon in 1979 to which the other Beatles added new vocals 16 years after Lennon’s death … 1999: rapper Ol’ Dirty Bastard is arrested yet again, this time in New York City after police claim to have found crack cocaine in his vehicle after pulling him over for missing license plates … ODB will be charged with misdemeanor drug possession and driving with a suspended license … he will be arrested again five days later after police pull him over because once again, the vehicle he is driving has no license plates … 2002: drummer extraordinaire Randy Castillo succumbs to cancer at 51 … 2004: Bob Dylan starts hawking lady’s underwear in a television ad for Victoria’s Secret, which also features the song “Love Sick” from Dylan’s 1997 album Time Out of Mind … the commercial features Dylan and model Adriana Lima dancing in and out of scenes shot on location in Venice … music critics, columnists, and Dylan fans immediately erupt on the internet after the first spot aired, all asking “Why?” … the answer is no one knows except Bob, who when asked in 1965 what might tempt him to sell out replied: "Ladies undergarments." … 2005: Justin Jeffre, former member of the boy band 98 Degrees, announces his candidacy for mayor of Cincinnati … he will finish fifth out of seven candidates with 708 votes … 2006: Graceland is named a national historic landmark … Elvis’ former home draws more than 600,000 visitors annually … Pete Doherty of Babyshambles cops pleas to seven drug charges in London that include marijuana, crack, and heroin possession … the singer shows up more than an hour late for court and kicks a BBC reporter upon making his exit … Alice in Chains announces their first tour in 10 years will begin the following May … this follows the heroin-induced death of singer Layne Staley four years earlier … Apple releases a free software patch for download that permits iPod owners to set a maximum volume level … the action is seemingly in response to articles critical of the device’s potential for hearing damage and a pending class-action lawsuit … 2007: XM Satellite Radio is sued by the National Music Publishers Association on charges that its XM + MP3 service that allows listeners to store songs on their computers violates copyright laws … meanwhile, a similar case case filed in 2006 by the RIAA is wending its way through the courts … 2008: in the wake of Radiohead’s successful web-only release of In Rainbows, Nine Inch Nails brings in $1.6 million with its 36-track instrumental album Ghosts I - IV available in five different versions ranging from a nine-song free download to a $300 deluxe vinyl package all available from the NIN website … ironically just a month earlier, TVT REcords—the indie label that broke NIN—filed for bankruptcy, laying off about 30 of its 50 workers … Bon Jovi guitarist Richie Sambora is arrested for drunk driving in California … 2013: Pink Floyd’s Dark Side of the Moon is selected for preservation in the US Library of Congress’ National Recording Registry … other selections include Chubby Checker’s “The Twist,” Simon and Garfunkel’s “Sounds of Silence” and the soundtrack to the film Saturday Night Fever … And that was the week that was. Arrivals: March 21: Johann Sebastian Bach (1685), Delta bluesman Bo Carter (1893), Delta blues legend Eddie "Son" House (1902), Chicago bluesman Otis "Big Smokey" Smothers (1929), blues pianist Otis Spann (1930), Vivian Stanshall of The Bonzo Dog Doo Dah Band (1943), Rosemary Stone of Sly and the Family Stone born Rosemary Stewart (1945), Ray Dorset of Mungo Jerry (1946), Eddie Money, born Edward Mahoney (1949), Roger Hodgson of Supertramp (1950), Conrad Lozano of Los Lobos (1951), Russell Thompkins of The Stylistics (1951), Prodigy's MC Maxim (1967), Ace of Base's Jonas Berggren (1967), Andrew Copeland of Sister Hazel (1968), rapper Notorious B.I.G. born Christopher Wallace (1972) March 22: composer Stephen Sondheim (1930), jazz guitarist George Benson (1943), Keith Relf of The Yardbirds (1943), Tony McPhee of The Groundhogs (1944), Jeremy Clyde of Chad and Jeremy (1944), Harry Vanda of The Easybeats (1947), Patrick Olive of Hot Chocolate (1947), Andrew Lloyd Webber (1948), McCoys/Johnny Winter bass player Randy Jo Hobbs (1948), R&B/soul singer Stephanie Mills (1957), Richard Ploog of The Church (1962) March 23: Joey d’Ambrosio of Bill Haley & His Comets (1934), swamp bluesman Louisiana Red (1936), Ric Ocasek of The Cars (1949), disco singer Karen Young (1952), Chaka Khan, born Yvette Marie Stevens (1953), Epic Soundtracks, born Kevin Godfrey, founding drummer of the punk band Swell Maps (1959), Damon Albarn of Blur (1968) March 24: Ollie McLaughlin, producer for Del Shannon (1925), George Lee, singer with Ruby & The Romantics (1936), soul singer Billy "Fat Boy" Stewart (1937), songwriter Peggy Sue, sister of Loretta Lynn and Crystal Gayle (1947) March 25: Vivian Carter of Vee-Jay Records (1921), producer Tom Wilson (1931), Johnny Burnette (1934), songwriter Hoyt Axton (1938), The Queen of Soul Aretha Franklin (1942), engineer Jose L. Rodriguez (1944), Sir Elton John (1947), Nick Lowe (1949) March 26: Stax soul man Rufus Thomas (1917), the inimitable Diana Ross (1944), Aerosmith’s Steven Tyler (1948), Teddy Pendergrass (1950), Billy Lyall (1953), Eddie Van Halen (1955), Richard Coles (1962) March 27: influential blues pianist Leroy Carr (1905), Robert Lockwood, Jr. (1915), Sarah Vaughan (1924), record exec Mo Ostin (1927), guitar slinger Johnny “Clyde” Copeland (1937), Brenda Knight (1948), Tony Banks of Genesis (1951), Billy MacKenzie (1957), Mariah Carey (1970) Departures: March 21: songwriter Fred Spielman (1997), Leo Fender (1991) March 22: George Howard, sax player with Harold Melvin and the Blue Notes (1998), singer-songwriter and multi-instrumentalist Dan Hartman (1994), Dave Guard of The Kingston Trio (1991), one-hit-wonder Mark Dinning of "Teen Angel" fame (1986) March 23: Walter Turnbull, founder of the Boys Choir of Harlem (2007), Cindy Walker, country songwriter who also wrote hits for Ray Charles and Roy Orbison (2006), songwriter-producer J.D. Miller (1996), Don Murray, drummer for The Turtles (1996), Ripley Ingram, tenor vocalist with The Five Keys (1995), Jeanine Deckers aka the Singing Nun (1985), Frank Kirkland, Bo Diddley’s drummer (1973) March 24: Funk Brothers drummer Uriel Jones (2009), country singer Hensen Cargill (2007), Foghat's founding guitarist Rod Price (2005), Harold Melvin, leader of Harold Melvin and the Blue Notes (1997) March 25: Dan Seals (2009), Nikki Sudden (2006), Buck Owens (2006), Kenny Moore (1997), Marc Conners (1989), folk singer-songwriter Tom Jans (1984) March 26: Crowded House drummer Paul Hester (2005), Jan Berry of Jan and Dean (2004), Denis Charles (1998), Eric “Eazy-E” Wright (1995), Cliff Trenier (1983), Jon-Jon Poulos (1980), Duster Bennett (1976), Harold McNair (1971 March 27: poet-musician Gil-Scott Heron (2011), Faustino Oramas aka “El Guavabero” (2007), Ian Dury (2000), Paul Gayten (1991)
  19. Earthquaker Devices has been churning out some of the most creative effects around, so when they do something as "simple" as a fuzz people tend to take notice. Combining their iconic Earthquaker Devices Hoof Fuzz and Earthquaker Devices Reaper fuzz into a 9v powered enclosure, the Earthquaker Devices Hoof Reaper Fuzz adds an independent octave circuit and allows for up to seven different fuzz combinations running in a serial path. What You Need to Know The Hoof side of the pedal is a silicon/germanium hybrid fuzz circuit modeled after the classic Russian Green Big Muff Pi that brought the muff sound back in the early 90’s. It features Fuzz, Tone, Level, and Shift controls. Like its Russian-manufactured inspiration, the Hoof circuit produces muff tones that lean towards heavy bass, an upper-mid emphasis in the frequency curve, and a grittier distortion quality than its smoother, slightly more compressed siblings. Smashing Pumpkins and MBV tones are a few tweaks away, and there’s a nice clarity to the lower gain tones for classic crunch. The Shift control corrects what many people consider to be the muff-style circuit’s biggest flaw, a lack of mids that makes it magically disappear in a live mix. Scooped-mid settings for metal tones are available at one end of the Shift sweep while thick, mid-forward lead tones live on the opposite end to give a little extra presence and cut to the effect.The Reaper side of the pedal recreates the vintage tone of the three knob germanium/silicon Tone Bender with Fuzz, Tone, and Level controls. Whereas the Hoof circuit is more compressed and unruly (in a good way), the Reaper is equally at home copping Fuzz Face-like tones in the lower gain settings as it is recreating early Zepp lead tones. The Reaper is closer to "classic" fuzz tones, but has about twice the available gain and is much beefier and harmonically rich.The Octave circuit, unavailable as an individual pedal in the Earthquaker Devices line, is a classic octave effect that creates notes a perceived octave above the note played through a series of frequency doubling, envelope generation, and filters. The Octave is clean and authentically vintage while enjoying an extended range across the neck. Best played between the 5th and 16th frets, the octave effect jumps out with no adjustments but is especially smooth and powerful when used with the bridge pickup and the guitar’s tone knob rolled back. Tracking is smooth and fast for quick runs, and the decay, often ugly in an analog octave effect, is musically pleasing and relatively glitch-free.The effects are run in serial (Hoof, Octave, Fuzz), and each can be activated via an independent footswitch. This creates interesting sonic opportunities for pedal stacking and allows you to play each circuit’s strengths and unique characteristics against and with each other. While the Octave on its own it creates a clean, reedy effect I love, but turning on the Reaper sends it screaming into overdrive as it wrangles in the complex harmonics of the fuzz. Turning the Reaper off and the Hoof on with the Octave feeds the Hoof the octave signal, thickening it and compressing it to a focused sustain. The Hoof and Reaper together sound better than any two high-gain fuzzes should, with a remarkable amount of clarity and definition present despite the wall of sound fuzz it creates. Limitations While not really a limitation, it would be interesting to see the option to adjust the order of the pedals or even run them in parallel.Conclusions Earthquaker Devices' Hoof Reaper Fuzz is a pedal built around the “why should you have to choose” philosophy and aims at fulfilling the needs of dedicated fuzz freaks. While each effect stands on its own (and sell incredibly well as individual units), the clean form-factor and the different possible combinations take the Hoof Fuzz to another level. For hybrid circuits, both the fuzzes are smooth and warm without being mushy… which is how a good fuzz should work. Resources Earthquaker Devices Hoof Reaper Fuzz at Musician's Friend ($295.00) Earthquaker Devices Hoof Reaper Fuzz Product Page
  20. Testing out the news article generator.
  21. USB is a common and stable protocol for transferring digital data, but there are some cautions... By Craig Anderton Many modern effects, keyboards, controllers, audio interfaces, and other music-related devices include a USB port (Fig. 1). When connected to a computer, audio interfaces use USB to pass audio back and forth to the computer; with some signal processors, there may be audio interfacing or even a computer-based editor so you can tweak parameters and save/load presets to/from your computer. Most of today's MIDI controllers use USB for transferring data, not the old 5-pin DIN connectors. So given how dependent we are on USB, it's important to observe the following USB survival tips. Fig. 1: DigiTech’s RP500, like many other current effects, has a USB port that can serve several purposes. 1. A USB 2.0 interface is much faster than a USB 1.1 interface, and can handle more channels of audio at higher sample rates. Although USB 1.1 and USB 2.0 are interchangeable, a USB 1.1 device won’t run faster with a USB 2.0 or 3.0 port, and a USB 2.0 device will slow down when connected to a USB 1.1 port. (Note that USB 3.0, which is faster than 2.0, is currently not being used commonly for musical devices - and may end up being "leapfrogged" by the Thunderbolt protocol if it obtains widespread adoption.) 2. A class-compliant device doesn’t require a driver and can plug directly into a USB port. Current Mac and Windows machines (update the OS to the latest version for best results) will recognize the device because the drivers are built into the operating system itself. However, custom drivers often give better performance; use them if available. One caution: with Windows machines, the Logictech Camera Driver is reported to interfere with USB audio interfaces. If you encounter this problem, search “Logitech Camera USB Fix” and you’ll find several sites with the solution. 3. It’s considered good practice to unplug all unneeded USB devices (in other words, everything except keyboard and mouse) prior to installing drivers. 4. If during installations on older versions of Windows you’re warned that the driver has not passed Windows logo testing, click on “Continue Anyway.” This simply means the manufacturer decided not to pay for Microsoft to conduct the tests needed to certify operation. 5. When installing Windows driver software, read the instructions carefully—maybe even read them twice before installing. It’s common to install the driver software first, before connecting the accompanying device (but not always!)—see Fig. 2. After installing the drivers, plug in the USB device; once the computer recognizes it, you can use it. Fig. 2: Not all companies are as clear as Line 6 about disconnecting hardware prior to driver installation. Read all installation documentation carefully before starting the installation process. 6. If the USB device has memory (e.g., for storing patches), it will likely show up as an external computer drive. Before physically unplugging the USB device, eject it properly. Mac: Drag the USB drive icon to the trash (which turns into an eject button) and wait several seconds before actually removing the USB connection. Windows: Click on the Safely Remove Hardware button in the taskbar, then click on the USB device you want to eject. Note that unless the computer is communicating with the USB device, there will likely be no negative consequences from just disconnecting the device (other than seeing a scary warning on your computer screen). However, it’s always best to use the correct disconnection protocol. 7. Almost all music-related USB devices recommend connecting directly to a USB port in the computer itself, not through a USB hub—especially if it’s an unpowered hub. Unpowered hubs are mostly suitable for low bandwidth devices, like mice and QWERTY keyboards. 8. The USB ports built in to computers may not be suitable for high-performance audio. I’ve solved many USB problems by simply adding a USB PCI pr PCIe card (Fig. 3) and using its ports only for audio. Avoid combo USB/FireWire cards—some users report performance issues. Fig. 3: Adding a USB port card to your computer can solve a variety of USB-related issues. 9. With Windows, if you plug a USB device into a port other than the one used during installation, you may be asked if you want to install the drivers. Select the Install Automatically option. Now both ports will recognize the device. 10. If your computer doesn’t recognize a USB device after you’ve installed the drivers, unplug the USB cable, wait a few seconds, then plug it back in again. Sometimes the computer will “overlook” the USB device when booting up, but will recognize it once plugged in. Craig Anderton is Editor Emeritus of Harmony Central. He has played on, mixed, or produced over 20 major label releases (as well as mastered over a hundred tracks for various musicians), and written over a thousand articles for magazines like Guitar Player, Keyboard, Sound on Sound (UK), and Sound + Recording (Germany). He has also lectured on technology and the arts in 38 states, 10 countries, and three languages.
  22. The Running Man with an Apple By Craig Vecchione The DL series of compact mixers is Mackie’s latest foray into digital mixing for live sound, following if not necessarily replacing the discontinued TT-24. This is a completely new and very compact design that uses an Apple iPad (not included) as the mixing interface. Mixing audio is a personal experience, and the mixer is of course the one tool you’ll be adjusting more than all other gear. The interface…the knobs, switches, meters and indicators…are how you tell the system what to do. It needs to suit you to the point that it’s an “old friend”; reliable, and predictable. A mixer that you can’t understand and work with quickly and deftly can make for a long miserable show, or one that in the worst case ends abruptly before its intended finish. With the advent of digital mixers, a whole new crop of interface designs have emerged. We’re clearly in the revolutionary stage of digital mixer development. No one method of mixing has emerged victorious. Using a tablet is becoming common for remote secondary mixing, but it comparatively rare (maybe unique?) as a primary and required interface. I was very curious to see how this combination worked, so let’s have a look. What You Need To Know 8 channels with Onyx preamps, four with XLR, four with XLR/TRS combo jacks.4 stereo-linkable auxiliary outputs are provided for monitor or outboard effects sends, and are configurable as pre- or post-fader, and stereo-linkable. Having four auxiliaries on an 8 channel mixer is downright luxurious.Left/right main outputs are XLR jacks. The outputs have 31-band graphic EQ, 4-band parametric EQ with high- and low-pass filters, compressor/limiters and alignment delay. A 3.5mm headphone jack with volume control is provided for mix monitoring. Solo buttons for each channel and output allow you to monitor selected portions of the mix.Global phantom power is available for condenser mics.External power supply. I prefer a built-in power supply for mixers, but given the extremely small footprint of the DL806, it is completely understandable. If your application is “mission critical”, it would be easy to purchase a second power supply as a backup.Kensington lock compatible, and PadLock™ feature. A small mixer and the popular iPad connected to it are a tempting theft target. The PadLock™ mechanically traps the iPad in the mixer’s tray, and the entire assembly can then be secured with a standard Kensington cable lock.A dedicated iPad channel on the control surface gives access to the iTunes library or other music app on the attached iPad. That’s a very nice feature that makes break/background music simple to enable.Each channel has EQ, comp, and gate that can individually be configured for “vintage” or “modern” interface views. The control functions are mostly the same, but the look is different, such as a graphic VU meter in the modern, and a picture of an old school VU meter in the vintage. EQ has HPF, and four bands; semi-parametric Low and High, and two parametric mid-range bands. The response curve (modern) or knob positions (vintage) are repeated on the channel display just above the Mute button. Touching the EQ display on the channel brings up the EQ/Comp/Gate display for that channel. All channels have complete metering that lives in the fader slide area. Gain reduction for the channel compression displays as a red bar across the top of the fader area. When adjusting channel effects send levels, the channel fader slot becomes colored red for reverb, purple for delay, which is also echoed in the reverb and delays faders, so it is easier to know what you’re controlling, and where.Adjacent channels can be paired, and the channels merge with appropriate labeling to indicate the situation. Metering also then becomes paired to indicate the channel is paired.Channels and effects have an assortment of graphics available to label, and can also have specific names typed in, all displayed at the bottom scribble strip. The effects channels have pictorial indications of their setting displayed at the top of their respective fader strips…for example the gate reverb picture is a garden gate. Cute, but “Gate” would be just as effective and possibly easier to discern, as the pictures are rather small. You can even use pictures you’ve taken with your iPad, etc and have stored in it. That’s a cool feature for mixing new bands you don’t know. It doesn’t help if channel 3 is labeled “Chad’s mic” and you don’t know which guy on stage is Chad. Take pictures of the band members and label channels with their mug shots. Nice. Maybe Mackie can add the obligatory brick wall or railroad track backgrounds… Presets and snapshots can be stored for different venues, bands, etc. and recalled immediately to make setup for repeat performances very fast. Four mute groups allow control of channel and output muting for breaks, preshow, and production control.In addition to the iPad Master Fader™ app, My Fader™ is available for remote mixing via iPhone or iPod Touch. Control is limited to channel, aux, LR main, reverb, and delay sends, muting, and show recall. But there’s more power here, as this feature is supported for up to 10 total remote devices. This makes on-stage monitor mixing available to each performer, perfect for IEM’s.View groups let you choose which channels to see on the display. This is helpful when limiting access to remote users for personal monitor mixing. Musicians only see the channels they can control for their monitor mix.The entire mix can be recorded to the iPad, which is easily enabled by pressing the ‘record’ button. Limitations The iPad docking interface fits full size iPads. The iPad Mini fits with an available adapter tray, and iPad Air models use a Lightning connector adapter, available either as a service kit for older DL units, or as a separate model. Plan your purchase to coincide with your present and any future iPads intended for this application. Is anyone else screaming at Apple to start using USB? Wireless remote mixing requires a third-party wireless router. This is not included, but most commonly available routers are supported. The router plugs into a port on the back panel next to the power inlet. It would be excellent if Mackie had built a router into this mixer. I think most of us would be fine with a slight increase in the size of the box to accommodate such convenience.I had some connectivity issues preventing the iPad and DL806 from synchronizing. My iPad is a 1st generation unit. The OS is up to date. The Master Fader™ app is up to date (2.1). Mackie indicates this iPad is supported along with every other model of iPad. But I wasn’t able to get the mixer to connect and sync reliably. Almost every time the mixer and iPad were powered up, the two units would not sync. The mixer would recall the last state it was in, and the Master Fader™ app acted as if it was waiting to be docked, even though it already was. An undock and re-dock of the iPad, sometimes several times, was needed before the mixer was able to connect and sync. Because of this I couldn’t use the mixer outside the rehearsal studio. While I can’t confirm where the problem lies or whether the old iPad was to blame, my confidence was shaken. This problem also pretty much makes it impossible to use the PadLock™ feature to secure the iPad to the DL806, because unscrewing the lock and reattaching it each time this connection issue occurs would be maddening, and in a live venue would take way too long to get the show up and running. Conclusions While there aren’t masses of layered screens to page through, there’s a bit of swiping to bring some controls surface to the front, and the virtual buttons to select some functions are pretty small. The assignment buttons for LR, auxiliaries, reverb and delay are tiny and close together. The iPad isn’t a huge surface, so it’s necessarily crowded. I understand the ‘why’, but that didn’t make it easier for my girthy bassist fingertips to discern. The “Grow and Glow” feature enlarges a control that’s pressed, and gives it a simulated glowing presence. This helps a bit, but doesn’t really replace feeling a control. The vintage channel EQ option was very difficult to control. The virtual rotary knobs seemed to defy my attempts to virtually turn them. The modern EQ option was significantly easier to handle and offered more options. This added up to a less than satisfying experience. The lack of tactile feedback is what’s missing for me. Nobody’s ever accused me of being touchy-feely, but maybe I’m that guy after all. I’m also concerned by the note in the Master Fader 2.1 update. It states to the effect that future major updates will require iPad OS 7. Apple doesn’t provide OS 7 for the older iPad. So even though I’ve got a fully functioning tablet today, apparently it won’t stay up to date for long. This is a general concern with third-party (tablet) interfaces, made more troubling when the tablet interface is the only way to use the mixer. Facing the prospect of either falling behind or laying out hundreds to buy a new or newer iPad is disconcerting. On the good side, when the DL806 and iPad were coexisting happily, the controls worked flawlessly, the flexibility of routing is really good for a small-format mixer, and the sound…the reason we do all this…is excellent. The effects are well executed and very controllable. The EQs are a real treat, with a very nice graphic picture of the response curve on each channel and output. This is a heck of a lot of mixer, especially in the 8 channel range. In summation, while the iPad interface doesn’t do it for me, that doesn’t mean it’s not for you. I urge anyone looking for a compact mixer with a full feature set to try the DL806. If the interface suits your mixing style, and your iPad is newer than “ancient”, I think you’ll be quite happy. There’s a lot of mixer in this tiny package, and Mackie continues to update the software to offer even more. Resources Musician’s Friend Mackie DL806 online catalogue page ($999.99 MSRP, $799.99 "street") Mackie DL Series product web page Mackie's home page
  23. When you're new to guitar, there are many mysteries that you solve the longer you play, the more gear you're exposed to and the more you practice. The subject of pickups is one you should be well versed in from the start, as your guitar's pickups are arguably the most important factor in your tone. While other factors like the tonewoods used, the weight of the guitar, the amp you use, etc. have much to do with your sound, knowing a little about pickups can help you hone in on your own signature sound. Though there are variations and specialty types as well, there are three basic types of pickups you'll encounter on most electric guitars: single coil, humbuckers and piezo. Single Coil Pickups Single-coil pickups feature a single magnetic bar that is wrapped in fine wire and mounted beneath and perpendicular to the strings. The fine wire is what picks up the signal and sends it out of the guitar. Single-coil pickups were the earliest of the three most common pickups. They produce a bright, cutting tone rich in higher harmonics. The simplest versions—still found on many guitars and preferred by many players—produce an audible 60-cycle hum when in the presence of certain types of lights, transformers, and other electrical fields. An EMG S2 Single Coil Pickup Humbucking Pickups Humbucking pickups, AKA humbuckers, feature two coils wrapped opposite from each other, eliminating that annoying 60-cycle hum. Since the humbucker samples the string in two places—once for each coil—it generates a smoother, rounder tone. And since there are two magnets involved, humbuckers usually generate a more powerful signal, giving the amplifier more to work with. A Gibson ’57 Classic humbucker Humbuckers tend to generate more sustain than single coils, but with less note definition and high end. Some humbuckers are available with a coil-tapping control, which allows you to opt to use only a single coil in the pickup, thus generating the characteristic single-coil sound. Piezo Pickups Piezo pickups are made of a non-magnetic crystalline material that generates an extremely weak signal when compressed in the string saddle. This faint signal requires preamplification before it's ready for a normal amplifier, usually accomplished by onboard active electronics. On electric guitars, piezos are typically individual elements incorporated into the string saddle. Some electric guitars with piezos have special 13-pin outputs for synth guitar, in which the guitar's signal triggers purely synthetic tones as on a keyboard. Otherwise, the piezo tone is often used to approximate the sound of an acoustic guitar. Experimenting Is Key Swapping out your pickups is a great and inexpensive way to breathe new life into a guitar that just isn't cutting it tonally. Less-expensive guitars are often built in the same factories or use the same raw materials as their high-end counterparts, with cost saving done on areas like the hardware, pickups, and visual appointments. Many players have taken these guitars and "hot-rodded" them with new pickups, making them tonally diverse and ready for the stage—you can too! Either way, if you're not satisfied with your tone but love the playability of your axe, a new set of pickups is probably in order. It's not always feasible to change pickup types in an instrument, but there are certainly enough flavors of each kind available that finding the tone you're after shouldn't be too hard.
  24. As I wade back into the world of Harmony Central after a few years away, one thing I’m very excited about is the freedom it affords me in my writing. And if there’s one writing exercise I love more than any other, it’s interviewing. In my previous role at Musician’s Friend, interview day was very structured. I wanted to break down those walls and give the interviewee time to consider their answers carefully and not feel the pressure of an off-the-cuff response. We’re not after any kind of “gotcha” moment here at Harmony Central anyway. For the first edition of The Quick & Dirty Dozen, I hit up my friend and bassist extraordinaire Matt Armstrong of the band Murder By Death. MBD holds that rare distinction of being an opening band that completely won me over, as my introduction to them was at a Clutch show (if you’ve seen Clutch live, you know that you can’t exactly suck and share the bill with them). I was immediately captivated by every aspect of the band, from the songwriting to the instrumentation and musicianship of every member. As a fellow bass player, I’ve always admired Matt’s approach to his craft, in particular his tasteful use of effects. Sharing the lower end with MBD cellist Sarah Balliet also introduces curve balls that most rock bassists never encounter, yet he adeptly finds his place within each song, crafting basslines that are memorable, melodic and driving. Harmony Central: How long were you playing bass before you started experimenting with effects? Matt Armstrong: It wasn't very long. I originally wanted to be a guitar player but I ended up getting a bass for my 13th birthday. I couldn't find anybody to play with at the time so I started messing with pedals and doing my own thing. I had recently gotten into The Cure and The Jesus And Mary Chain, so I started gravitating towards modulation/delay effects and distortions pretty quickly. A little later on I discovered Radiohead and Smashing Pumpkins and decided that I needed a Whammy pedal. Tom Morello probably had something to do with that too, now that I think about it. HC: What are your essential requirements when it comes to effects? MA: I think I could get by with some sort of overdrive/distortion, a pitch shifter, and a delay. I like having more options, but for me those three types of effects are pretty key. HC: Describe the tone you base everything on...in other words, the sound you want when you're plugged straight into an amp. MA: For a bare-bones tone I like things to be pretty clean. I like it to be full but with some midrange grind so it pops out in the mix. Thick but articulate. HC: Are there any pieces of gear in your rig you'd never swap out? MA: I don't know if there's a piece of gear that I would absolutely never swap out. I have a wandering eye for gear and change things around fairly often. HC: Give me three to five pieces of gear that have you really excited as of late, and a little bit about why for each. MA: Lately I've been really excited about my amp set-up. The cabinet is a custom Olde Crow 4x12. That speaker configuration just works really well for me. It handles the various tunings and levels of dirt that I throw at it and I can hear it better onstage than an 8x10 (which I used for years and years). I just got the 1000-watt Orange Terror Bass and I absolutely love it. It's so simple and powerful. It weighs almost nothing and to my ear it sounds as good as good as some hernia-inducing, all-tube beast. Pedal-wise I'm really digging the Fuzzrocious distortions/fuzzes and the Electro-Harmonix POG2. The Fuzzrocious stuff is very bass-friendly. The POG is a really versatile pedal and I love that it has the ability to store different presets. HC: You've been touring with Murder By Death for over 10 years. What are five essential things any musician needs on the road, gear or otherwise? MA: The first two things anyone on tour needs are a sense of humor and as easy-going a disposition as possible. Sure, everyone goes crazy and has bad days from time to time, but if you can't appreciate how absurd tour can be and choose your battles wisely you are royally screwed. I would also highly recommend a van fix-it kit: multi-tool, jack, jumper cables, etc. It's amazing how good you get at changing tires on tour. Beyond that, I'd say everyone on tour needs something to pass the time during drives, whether that's headphones, books, a laptop to watch movies, whatever. Last but not least, Sharpies and gaffer tape. No one in the history of tour has ever complained about having a surplus of Sharpies and gaffer tape. HC: Murder By Death has had its fair share of vans breaking down--what's up with that? MA: It keeps you honest. Having a van crap out on you on the road tells you where your priorities lie. Do you give up when something goes wrong or do you find a way to push on? The problem-solving aspect of van trouble can actually be quite satisfying, and the bonding that happens as a result of overcoming an obstacle like that is a special thing. HC: What's the fundamental job of the bass player in a rock and roll band, in your opinion? MA: The universally accepted answer to that question is something along the lines of "be the glue/foundation of the song." There's a lot of truth in that but I think that's an over-simplification. To me, the role of a bass player is the same as the role of any other musician in the band, and that is to do what's right for the song. It may be something simple, or it could be something more complex. Sometimes it may be to do nothing at all. I think that can be applied across the board. HC: You just played the Stanley Hotel in what looked to be three incredible shows. Any other such venues where you'd like to do something similar? MA: We're always looking to do strange and interesting things like that. No specific venues come to mind at the moment. We love to travel and play cool and interesting places wherever we are. HC: Sounds like the band will be playing fewer shows this year. How do you plan to spend the downtime? Some of the downtime will be spent getting some much-needed relaxation. We're also going to start writing new music soon. HC: The bass and cello share a lot of sonic ground. How does that affect your approach when crafting a bass part? MA: It depends on the song, but I think the main thing is not to overload the low end. A lot of it has to do with who has a cool idea first. If I come up with a low bass part that works the cello will usually do something in a higher register and vice-versa. If a really low cello part is working out well that frees me up to play a higher part and/or play with effects. Sometimes I do parts that sound more like keys or a weird mandolin or something because the low end is covered. HC: Lots of great people I've met over the years, including my wife, are from Indiana. What is it about Indiana that creates this phenomenon? MA: I really don't know, actually. I grew up in Texas and came to Indiana for college in 1998. I don't know what makes Indiana people so awesome, but I know that I felt very welcome when I first came out to see the school. There are similarities to the southern hospitality I grew up with, but there's definitely a uniqueness to Indiana's vibe. Maybe it's all the corn and basketball. Whatever it is, I'll take it! Thanks Matt! For more about Matt and Murder By Death, check out www.murderbydeath.com, buy their records and of course go see them live!
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