It took time, but our new guitar pedalboard is here! The board itself is a Trio28 from Temple Audio Design fitted with an IEC AC Mains Micro Module (left) and a 4-way Jack Patch Module (right), all from Temple Audio Design.
As far as the pedals are concerned, from upper left clock-wise:
The signal chain is as follows: MiniEGO → Mel9 → SneakAttack → TubeScreamer+ → GOO → Volume X Mini → WaterFall → DelayLlama → DIG (stereo) → BlueSky (stereo) → DittoX4 (stereo). The board is powered with a DC10 from CIOKS, fitted on the under side of the board (underneath the GOO). The AUX output of the DVP4 (loose plug in the picture above) can be connected to the EXP input of the DIG. The switcher is used to by-pass the volume pedal, allowing it to function as expression control. The stereo output of the DittoX4 goes to the 4-way Jack Patch Module (right). The right channel is connected to our trusty CUBE 80GX from Roland, while the left channel goes into our brand-new Fender Blues Junior III Woody Tequila Limited Edition. But that is the stuff of a separate post…
Another guitar effect pedal making its way into our pedal board, this is the blueSky reverberator from Strymon. To say that it’s absolutely stunning would be an understatement. Lush, gorgeous reverb that can go to infinity.
Here a small sample introducing the “mod” mode with infinite reverb morphing into Mingus’ Goodbye Pork Pie Hat and a crazy looped overdrive.
Here is our newest guitar effect pedal, the Sneak Attack from Malekko Heavy Industries.
Sneak Attack is an auto-swell volume pedal that can also be manually triggered or used in a tremolo mode. The core of the pedal is an Attack/Decay envelope generator with separate length and curve controls for both the attack and decay segments. The envelope can be triggered or cycled in several ways using the input signal, built in footswitch, Lil’ Buddy footswitch or external clock/click track.
This is unlike any effect pedal in that it does not change the sound of your guitar, but the shape of the sound form. A crazy little sound machine with huge possibilities that we will be digging deeply.
Here is our first guitar effects pedal (better late than never…) A multipedal from Jam Pedals. Custom made in Greece, assembled and painted by hand with vintage components for that true analog sound. From right to left, we have the TubeDreamer+ overdrive, the WaterFall chorus/vibrato and the delay DelayLlama+. Clean, creamy and swoshi sounds, as cool as the looks!
Ibanez guitar company first released the Pat Metheny PM200 model in March 2013. At the top of the Ibanez PM line (which also includes PM120 and PM20), the PM200 is a full-hollow body electric guitar featuring a mahogany set-in neck, maple top/back/sides, ebony fretboard, and a single Silent 58 humbucker neck pickup. It has been widely acclaimed for its rich tone, fantastic playability, and exceptional build quality. After the acoustic Martin D35 (from 1983) and the cut-away nylon Ovation #1863 (from 1991), it was time for us to update.
Here is a quick sample of the PM200 sound through Roland’s 80W CUBE in Tweed mode with a bit of rev and delay; a beautiful arrangement by John McLaughlin of jazz standard My Foolish Heart (by Victor Young):
Ok, this not jazz, as it was written several centuries before jazz was invented, but it is a truly amazing recording nevertheless. Masterly interpretation of Luys de Narvaez â€œSeis libros del DelphÃnâ€ by Argentine guitarist Pablo Marquez for the ECM label. Marquez got to choose 17 of the more than 40 pieces included in the “Seys libros” compendium. Originally published in 1538, the pices were composed for the vihuela, a predecessor of the modern guitar.Here Marquez skillfully demonstrates how rewarding these pieces can be even in a modern instrument. This impecable performance preserves the intimate, introspective character of the pieces. Timeless, beautiful music of a mystical nature. Pablo Marquez was born in the northwest of Argentina in 1967. He has played with bandoneonist Dino Saluzzi, cellist Anja Lechner, the Rosamunde Quartett and the Ensemble Alma Viva.
Audio files of two favorites, Diferencias sobre Conde Claros (libro VI, 1) and Segundo tono (libro I, 2) appear below.
Master guitarrist Ralph Towner’s book “Improvisation and Performance Techniques for Classical and Acoustic Guitar” published by Hal Leonard in 1985 has been out of print for at least 20 years. A must read for any classical and jazz guitarrist with an inkling to improvisation, it reveals many of the inner workings of the unique sound developed by Towner over 40 years of guitar playing. Chapters cover several techniques, including damping and chordal plucking, finger combinations, left- and right hand techniques, arpeggio, harmony, scales and voicing. Over 60 exercises and the scores of several of Towner’s most famous compositions, including Distant Hills, Zephyr and Beneeath An Evening Sky, are also included. In the introduction, Towner writes that “the intention of this book is to provide you with musical instruction and material to assist you in learning improvisation, along with fundamental tone production and performance techniques. It is my hope that the content is accessible to a wide range of player skills, including those with minimal experience on the classical or acoustic guitar”. An important element in Towner’s music and playing technique is what he calls polymetrical rhythmic groupings: the implication of two or more time signatures occurring simultaneously. Many of the exercises in the book deal with this concept and its many variations. This is a phenomenal volume, highly recommended to any guitar player and all enthusiasts of Towner’s music.
Towner has more recently given out two books with the scores of several of his most celebrated compositions, Solo Guitar Works vol. 1 (2002) and vol. 2 (2006), published by Guitar Solo Publications. These are two terrific volumes and a must for all lovers of Towner’s music. Unlike “Improvisation and Performance Techniques”, they are still available and can be purchased from the GSP website and other online bookstores.
Guitarrist Wolfgang Muthspiel performed at Jazzklubb Facshing, Stockholm, on April 22nd, 2010 accompanied by Larry Grenadier on bass. Muthspiel is a very versatile player with superb technique and feel. In the concert, he featured an electric guitar and a body-less nylon with abundance of effects, live dubbings and electronic percussion. Awesome playing by Muthspiel. Grenadier outstanding, as always. Video clip recorded on the Canon EOS 7D and EF 70-200mm f/2.8 L lens. A selection of photographs taken during the concert can be seen HERE.
Guitarrist Jonathan Kreisberg played with his quartet at Jazzklubb Fasching, Stockholm, on March 18, 2010, along Will Vinson (saxophone, piano), Joe Martin (bass), and Mark Ferber (drums). The two sets included most material from Kreisberg’s latest album of originals “The South of Everywhere” (2007, Mel Bay Records) and pieces from his Criss Cross 2009 ballads album “Night Songs”. Kreisberg demonstrated very strong playing and virtuosity, feeling at home just about everywhere on the neck of his hollow Gibson guitar. A taster can be seen in this video -recorded on the Canon EOS 7D and EF 70-200mm f/2.8 L lens- also featuring fellow drumer Ferber raising to the occassion. Photographs taken during the concert can be accessed from the the link under the photo gallery on the left side bar.