The Aristocrats - Guthrie Govan, Bryan Beller, Marco Minnemann

I loved Guthrie Govan's CD "Erotic Cakes" so being a guitar player, I cannot wait to hear the new CD he plays on with bassist Bryan Beller and German super drummer Marco Minnemann.  You can get a taste of what this power trio is all about with a free mp3 download - the humorous and rudely titled "Sweaty Knockers" - available from:

http://the-aristocrats-band.com/news/free-download-of-sweaty-knockers/

You can also preview the album at online jazz-fusion superstore Abstract Logix 


http://www.abstractlogix.com/xcart/product.php?productid=25271 .

Vintage Stereo: ADS L520 Speakers

I visit vintage stereo forums quite a bit and I am always reading how people pick up mint condition gear for $10 or $20.  But whenever I stop by the local thrift store or a garage sale there's never anything worth buying.  I lucked out yesterday though.

There I was, driving into town on an errand and I happened to pass a garage sale in the neighborhood. On a whim I pulled over and had a look.  Over in the back corner behind the old mugs, book, mirrors, and horrible artwork I saw a stack of stereo equipment.  They had four B&O separates, all of which had seen better days, but underneath this stack sat two ADS L520 speakers in great condition [except for the sticky residue on the veneer].  I thought these might be worth picking up, but wasn't sure so I came home and did some Internet research.

The consensus seems to be that these are very nice two-way bookshelf speakers, so I decided to go back and see how much they were selling for.  Because it was late in the day I figured I would be getting a good deal, but when the seller said $20 for the pair I paid without hesitation.  That's a great deal as these regularly go for around $100 on eBay plus $50 shipping.  Other than the sticky residue on the veneer these are in great shape - drivers all intact, no scratches or dings, and no rips in screens. Score! 

When I got them home I went to work with Pledge furniture polish and managed to get off all of the black sticky residue. No idea what that was other than basement detritus. Now they really shine and look great. At 22 inches high these are pretty large and heavy speakers so calling them "bookshelf" is probably a stretch. I'll definitely need to invest in some speaker stands in the near future.

Sound wise, I am very impressed - and for only $20 they represent exceptional value. These are indeed nice two-way speakers with tight, controlled bass, great midrange and a sweet treble that is crisp and clear.  They are a good example of the classic New England sound - neutral, relaxed and with good detail and sharp imaging.  Due to the limitations of their size and design, bass is not as deep as I personally like but that really is a minor gripe.  I'll definitely be adding these to my vintage speaker rotation.

Return to Forever IV - Free Download

If you're like me, the "can't miss" tour this summer is the fourth incarnation of '70s Jazz-fusion outfit Return to Forever.  This fourth iteration spices things up considerably with the addition of Australian axemeister Frank Gambale [Chick Corea's go to guitarist in the Elecktric Band] and French electric violinist Jean-Luc Ponty.  It's a stellar line up and I think Ponty will add a unique texture to the band.

So how does this new line up sound?  You can find out by downloading a live track from the RTF web site at:

http://return2forever.com/reviews/

It's a killer version of "Senor Mouse".  And it's an MP3 at 320kbps so the quality is excellent.

Listen Up: Wishbone Ash - Live Dates II [Japanese limited edition CD]

After a 25-year wait, one of my all-time favorite albums is finally out on CD.  Of course the record company (MCA) wouldn’t make the obvious decision and release it where the band’s largest fan base resides:  the U.S or the U.K.   That would be far too logical.  Instead, U.S. fans like me have to buy an expensive import from Europe or Japan.  I ended up purchasing the Japanese limited edition SHM mini LP sleeve version from Amazon that cost an arm and a leg [over $50].  

I first bought this album on vinyl in 1980 – luckily for me it was the limited edition which contained a second bonus LP of live cuts.  But for some reason this classic live album of ‘70s twin guitar heroics never made it to CD.  Who knows why?  I thought maybe it was some legal issue or the original master tapes were lost or damaged.  All I know is generations of Wishbone Ash CDs and remasters and reissues came and went while “Live Dates II” stayed on the shelf.  Until now.

The Japanese release comes in a mini paper sleeve so it looks just like the original LP set, only smaller.  The first Wishbone Ash live album “Live Dates” sounded like it was recorded in a bucket or under water to my ears, but “Live Dates II” made up for that with its crystal clear sound.  The Japanese reissue is no disappointment and sounds fantastic.  The original engineer cleverly panned the two guitarists left (Andy Powell) and right (Laurie Wisefield)  so you can easily follow who’s doing what.

If you are a fan of ‘70s rock then this really is an essential CD [even though it was released in 1980].  There are so many highlights:

•    The great instrumental break in the opening track “Doctor” at the 3 minute mark
•    Andy Powell's soulful, lyrical solos on “Living Proof”
•    The 9+ minute instrumental called “F.U.B.B.” – a creeping, brooding tune that builds up steam for 6 and half glorious minutes before the two guitarists cut loose.
•    The 10 minute “Way of the World” with its  superb closing section
•    Powell's soaring, emotion-drenched solo on “Persephone” 

While the two guitar players get the spotlight, Martin Turner (bass, vocals) and Steve Upton (drums) provide a great foundation.  While no great singer, I really like Turner's vocal style and on this Japanese reissue, his bass is super clear which highlights his melodic lines.

If I have one criticism of this double album, it’s that the second disc runs out of steam and ends rather quietly.  There were many other great tunes the band was playing at the time like the zippy instrumental “Outward Bound”, “You See Red”, “Lifeline” and the traditional encore “Bad Weather Blues” and those should have been included.  In fact, we don’t get the 2+ minutes of cheering crowd and obligatory encore on “Live Dates II” and I think that’s a mistake because the album doesn’t quite recreate the concert experience like so many of the better ‘70s live albums.

Even so, this still stands as a classic live album and the one-two punch of “F.U.B.B.” and “Way of the World” – originally side 2 of the first LP – represents one of the greatest “sides” in ‘70s guitar history.  At over $50, this is a very expensive collector’s item, but it’s worth every penny.

Track listing

Disc One
1 Doctor
2 Living Proof
3 Runaway
4 Helpless
5 F.U.B.B.
6 The Way of The World

Disc Two

1 Lorelei
2 Persephone
3 You Rescue Me
4 Time Was
5 Goodbye Baby Hello Friend
6 No Easy Road

Vintage Stereo: Harman Kardon 430 Receiver

I’ve just added another vintage receiver to the collection – this time it’s a 1976-77 Harman Kardon 430.  I really like the look of this receiver with its timeless, simple and elegant design.  The challenge with these receivers, now that they are 35+ years old, is finding one in good condition because that large strip of plastic across the front is easily scratched.
 
I’ve been wanting one of these Harman Kardon x30 receivers for a while [ideally the 730] and I saw a 430 come up for sale locally on Craigslist for $150.  I thought that was too expensive and not surprisingly, no one bought it at that price and the seller relisted it a couple of weeks later at $100.  I offered $75 and we settled on $85 once I saw it.  It is in excellent condition with just a minor ding on the left front bezel and the tiniest scratch on the glass.  All lights work and inside it is super clean so I knew this was a good unit. 

After a DeoxIT to cure the scratchy controls I fired it up through my Klipsch KG4 speakers.  The guys on the Klipsch Forum are all crazy for the x30 Harman Kardon receivers and their tube-like sound, especially some of the low wattage units and I must say, it sounds excellent driving the KG4s.

The first thing I noticed is how loud this receiver is.  While it is only 25 watts per channel, it sounds much louder than that and I barely get the volume control past 10 o’clock.  This characteristic is probably due to the receiver’s unique “dual mono” design, which leverages two transformers and two fairly large capacitors per channel.

To my ears, this really makes a difference in sound quality compared to other ‘70s silver faced receivers. In addition to more volume you get great clarity and detail.  With the dual power supplies the receiver does not need to break a sweat to deliver sweet sounds.  Treble is crisp and clean and bass is deep and controlled.  However, the thing that really got my attention was how fast and rhythmic this receiver is.  Many of my other vintage receivers sound plodding in comparison. Very impressive.  It sounds great through headphones and the phono stage is also very good, although not quite up to the standards of my Marantz 2245.

This is definitely a keeper and is what buying vintage stereo is all about – fantastic build quality, great looks and superb sound, all for under $100. 

HK430 Stereo Receiver (25 watts x 2)

FIRST MANUFACTURED: 1976
LAST MANUFACTURED: 1977
SPECIFICATIONS: Tuner Section
Capture Ratio : 2.5dB
Image Rejection : 60dB
Spurious Response Rejection : 50dB
Alternate Channel Selectivity : 60dB
Total Harmonic Distortion : MONO - 0.6%STEREO - 0.7%
Amplifier Section
Power Output : 25 watts RMS/ch, both driven into 8 ohms 20Hz - 20kHz,w/Power Bandwidth : 10Hz - 40kHZ at Frequency Response : 20Hz - 20kHz +/-0.5dB4Hz - 140kHz, -3dB
Rise Time : SQUARE WAVE - Square Wave Tilt : Total Harmonic Distortion : Intermodulation Distortion : Hum and Noise : Better than 65dB below rated output
Damping Factor : 40

Pedalboards of the Stars: Scott Henderson

Scott Henderson is one of my favorite players and he has always had a killer tone in my opinion – especially live and with the awesome Tribal Tech.  And some of his tastiest tones I've heard were on some live recordings of his stint with the Zawinul Syndicate in the late 80s.

Here’s a look at a fairly recent board from the Henderson, Jeff Berlin and Dennis Chambers tour [still waiting for East Coast dates guys!]

• RC Booster – this has apparently been modified to the “Scott Henderson Signature Model” specs
• Maxon Sonic Distortion SD9
• Fulltone Octafuzz
• Zvex – Fuzz Factory
• Arion Stereo Chorus SCH-1 [with true bypass mod]
• Tech 21 Midi Mouse
• Vox Wah
• Boss volume pedal

Pedalboards of the Stars: Robben Ford

Robben Ford is one of my favorite guitar players and a tone monster. Here's a look at a recent pedalboard [from December 2010]. In the past he has just used volume, wah and the Zendrive, but his board seems to be expanding. It now includes:

• Ernie Ball volume pedal
• Vox Wah [may be modified]
• Korg Pitchblack tuner
• Hermida Audio Zendrive overdrive
• Arion Chorus SCH-1 [with true bypass mod] - same as Landau and Henderson have used
• Line 6 DL4 Delay
• G-Lab Reverb
• Buffer [to maintain signal strength]

Of course, it really helps your tone when you plug this into a $35,000 Dumble amp although Robben sometimes uses Fender Blackface amps with great results.

With so many of my favorite players using the Arion Chorus I may have have to pick one up - again - and re-evaluate my decision to sell the one I had. That's been replaced with the Analogman Chorus, but I am wondering now if I made a mistake. Although at the time it didn't knock me out as a chorus pedal - but most people use it just for the rotating Leslie simulation. That aspect of the pedal was really nice and certainly a cheaper option than the DLS RotoSim that's on my shopping list.

The other pedal Robben has that interests me is the Zendrive. I could not be happier with my Timmy, but I see the Zendrive on a lot of boards and that says something about its quality.

RAZL: Rotonova - Intergalactic dirty guitar grooves for earthling weirdos

I've really been enjoying the debut album [released in 2008] by Spanish guitarist Razl called "Rotonova."

Razl has a couple of things going for him that set him apart from the crowd. First, he does not use a pick so solos are finger picked and chords often plucked, which gives him a different approach than most players. Second, I really like his guitar sound and pedal choices. He plays mostly with a clean tone and spices it up with rotating Leslie simulations and tremolo to great effect. Even though he reminds me a little of John Scofield and Oz Noy [and some of the tracks echo the jazz-funk of the Brecker Brothers minus the horns], he definitely has his own voice which is refreshing in this day and age of "me-too" players. The bass player and drummer lay down some frantic funky grooves on "Rotonova", which provide the perfect backdrop for Razl to build some very tasteful solos.

A foundation for Razl's sounds and approach is the H&K Rotosphere. I have been wanting a DLS RotoSim for months to get a similar rotating Leslie simulation. And hearing "Rotonova" has really got me thinking about picking one up. Here's a look at Razl's pedalboard:


Hughes & Kettner Rotosphere
Line 6 FM4 (Filter) & DL4 (Delay)
Moogerfooger Ring Modulator
Voodoo Lab Tremolo
Z Vex Distortron
DOD FX17 Wah
Boss TU 2 Tuner
Voodoo Lab Pedal Power 2 plus
Carl Martin Big John Power Supply

The 2008 CD "Rotonova" is highly recommended if you like funky jazz/fusion. The good news is he has just released a new CD called "Microscopic" which has been added to my shopping list without hesitation.

More info at www.razlplanet.com and CDs at www.abstractlogix.com as well as www.cdbaby.com.

Product Review: MXR Custom Badass '78 Distortion

Does the world really need another distortion pedal? According to MXR, the answer is definitely "Yes!"

The company recently introduced the horribly named Custom Badass '78 Distortion. When I think of 1978 [a little hard to remember, I admit] I think of the distorted tones I was listening to on vinyl at the time: Van Halen "I", Aerosmith "Live Bootleg", Ted Nugent "Double Live Gonzo", AC/DC "Powerage", and The Who "Who Are You". Could this little red box recapture those tones from yesteryear?

The pedal has controls for Output, Tone, and Distortion [gain] plus an extra circuit that you can engage using the Crunch button which is basically a midrange boost that moves the tonality a little closer to a classic Tube Screamer. Build quality looks to be very good.

So how does it sound? Overall, I'd say it is a decent sounding pedal that is somewhat similar to a MXR Distortion+ on steroids or the Boss DS-1, but with more tonal options and higher fidelity. My favorite settings are with the Distortion control below 2 o'clock and with the Crunch circuit engaged. The pedal has a lot of gain on tap and it sounds very full and rich at most settings. In fact, it reminds me a lot of the Danelectro Cool Cat Fuzz in that respect, but to my ears it only makes a passing attempt at capturing the tones I listened to back in '78. IMO those tones were thinner and less compressed than what the Custom Badass '78 Distortion is serving up - although the Crunch circuit does help it sound less dark.

The distortion pedal landscape is full of some really nice choices so MXR is going into a very, very crowded marketplace. However, this is a quality unit at a very competitive price point of only $80. That's a good bang for the buck and with their marketing muscle and mainstream distribution through Guitar Center and Musicians' Friend, they may well ship a lot of units.

The bottom line: This is a pedal worth checking out based on it's tonal flexibility, build quality and attractive price. But if you really wanted '78 tones I would grab a Distortion+ or any of the vintage pedals from that era.

Vintage Stereo - Marantz 2245 Receiver

Here’s another vintage receiver I picked up recently – a classic Marantz 2245 from the early ‘70s in the WC-22 wood case. It’s in excellent condition overall with a very clean face plate and perfect glass. There is a small chip at the back left corner of the case and some black marks on the knobs, but considering this is over 35 years old these are just minor [character building!] imperfections.

Even though I got the Marantz 2245 receiver for a good price, I knew I would have to put more money into it. The speaker relay was failing resulting in some very loud pops through the speakers and with a receiver this old, capacitors would need replacing. I took it to my vintage stereo repair expert and he gave it a thorough restoration including new power switch, new speaker relay, new caps, and tuner alignment. He believes this to be a low mileage receiver as it has all the original lights still working and was very clean on the inside. Someone had attempted some amateurish repairs, but he corrected those and a low level hum in the right channel. That’s the thing with vintage stereo equipment, you never know what you are getting into . . . and it’s usually bad and expensive.

So how does this old Marantz 2245 receiver sound? The short answer is superb. I am driving some ‘80s Klipsch KG4 speakers which are probably not the best match because they are not very restrained, but it still sounds great. Deep bass, yet super clear and crisp highs. I am hearing things, especially in the lower register, that I have not heard before. Geddy Lee’s bass on “YYZ” has a growl and clarity I have not heard before, for example. The addition of a “mid” control is a nice touch that gives the Marantz a little more control than other receiver brands. It has a big soundstage, great separation and a wonderfully warm presentation, especially when playing LPs. The tuner is strong and sensitive and pulls in stations with ease. It’s much less muddy and warmer than my Pioneer SX-780 although that unit needs recapping as well so it’s not really a fair sonic comparison.

All in all the Marantz 2245 delivers fantastic sound quality that you would have to spend upwards of $1,000 to beat buying new gear today. And no new piece of equipment is going to give you that vintage look and beautiful blue Marantz glow. At 45 real watts per channel it’s not super powerful, but for normal listening that is more than adequate. So two thumbs way up for the Marantz 2245 receiver. It’s my first Marantz and probably not my last.

My Current Pedal Board

If I’m writing a blog on guitar effects pedals, I should really show my own pedal board. I’d like to add a Voodoo Lab Pedal Power 2 unit to power everything, but otherwise I am really happy with my current line up, which I have had for about 6 months now:

In The FX Loop

• Analogman Chorus – Very versatile chorus pedal that covers all the bases. Thick and lush or light and airy with a passable rotating Leslie simulation. $150 used from The Gear Page. ($250 new).
• Voodoo Lab Tremolo – Perfect reproduction of Fender amp trems from the ‘60s. $80 on eBay. ($129 new).

In Front of the Amp

• Area 51 Wah – Italian Drop in Kit retrofitted into an old Dunlop Wah casing. Killer boutique wah. $199 new.
• Tone Factor/Mojo Hand Analogue Filter – Auto wah/envelope filter that’s ideal for funk. $85 from The Gear Page ($150 new)
• Barber Tone Press – One of the best compressors you can buy and useful for increasing sustain on single coils. $95 from The Gear Page. ($150 new)
• Electro-Harmonix Small Stone Phaser [with Analogman Mods] – Version 2 from 1977 in great shape. One of the definitive phasers from the ‘70s. $80 on eBay + $100 of mods.
• KR Products Mega Vibe – As used by Frank Marino and Steve Stevens. Probably the best recreation of a Hendrix vibe; I don’t think these are being made any more. $295 new.
• Paul Cochrane’s Timmy – One of the most transparent overdrive pedals made, great for mild, tube-like distortion. Hand made and a long waiting list for these. $160 on The Gear Page. ($129 new but 3-6 months waiting list)
• Mojo Hand Huckleberry Fuzz – Very versatile fuzz/distortion box. $55 on eBay. ($150 new) 
• MXR Carbon Copy Analog Delay – Recent reissue that sounds great with plenty of tonal options from short slap back to spacey echo to self-oscillation madness.

All pedals are connected using a Bill Lawrence Wilde Cable Kit.

Book Review: Bruford - The Autobiography

This is quite unlike any music autobiography I have ever read. There's no tales of drug binges, wild orgies with groupies, car wrecks, or any of the usual excess we have come to expect from "famous" musicians - take a bow Motley Crue. Considering how long Bruford spent with Yes and King Crimson, there's also very little detail about those seminal bands.

What we do get though, is a large serving of disdain for the "music business" and a very intellectual analysis of making music, musicians and the audience. There are passing references to Chris Squire, Robert Fripp and others but that's not what this book is all about.

Perhaps the strongest feature of his autobiography is the research that crops up on every few pages. Bruford references many published analyses on music and creativity which I found very interesting. And that fits in with the style of the book because it is a very analytical and intellectual read. Obviously none of the stupid drummer jokes apply to Bruford.

However, what makes this book different is also its downfall in my opinion. An autobiography is supposed to be personal, and this book doesn't deliver on that level. I would have liked to know more about how some of those classic albums ["Fragile", "Close to the Edge", "Red", "Discipline" etc.] were conceived, rehearsed and recorded. I want to know about other musicians he's played with and loved or hated and why [there are a few references, but not many]. As he's now retired, let's hope that is covered in book #2.

After reading this, I felt I got a better understanding of what it's like to be a musician that remains true to themselves despite the industry they are in. I feel I know what Bruford thinks about a lot of topics, but I don't feel I really know what makes Bruford tick or some of the experiences he has had that have shaped him as a person. He comes across as rather cold and removed from everything, like he was a distant observer of events rather than actually being in among the drama.

The other thing that rubs me the wrong way is that he has had an incredible 40-year career in the music business - yet there are a lot of sour grapes and a lack of appreciation of how lucky he has been. I would be on cloud nine if I could jam with Tony Levin or travel the world doing what I loved.

Overall, it's an interesting, intellectual read, but I would not be beating down the door to buy it at full price unless you are already a huge Bruford, Yes, or King Crimson fan.

Listen Up: Third World Electric - Kilimanjaro Secret Brew [2009]

Here's a great disc worth tracking down. I like '70s Weather Report a lot, but being a guitar player, I always wished they had a guitarist. This CD gives you an idea what that would have sounded like: F A N T A S T I C !

This disc is very much in the Weather Report & Zawinul Syndicate [with Scott Henderson] camp - it's a tasty gumbo of '70s jazz-fusion and ethnic/world music. Of course it doesn't hurt that the band features some seriously good players - The Flower Kings' Roine Stolt, Jonas Reingold and [ex-FK drummer] Zoltan Csorsz along with drum monster Dave Weckl on three tracks. Scott Kinsey [Tribal Tech keyboardist] put out an album called "Kinesthetics" in 2006 in a similar style, but I find "Kilimanjaro Secret Brew" much more exciting and interesting.

Each track offers jazzy grooves and African soundscapes that give the players plenty of space to solo over. However, unlike the super indulgent '70s, everything is kept very controlled and concise. And that's the big attraction of this disc: everything is just right. The rhythm section is excellent on every track [wonderfully nimble fretted and fretless bass playing by Reingold], the synth textures are perfectly '70s, and Roine Stolt provides some nice guitar textures, including some wah pedal, to add some crunch. The icing on the cake is the recording itself: crystal clear and very dynamic, unlike the super compressed CDs that are typically produced these days.

I have really been enjoying this hard to find CD lately and highly recommend it. It's a travesty that such a great album has no major label support and limited distribution [it's on the bass players' label Reingold Records]. But I won't beat that dead horse any more.

Available from Abstract Logix, Audiophile Imports and other online sources.

1 Waterfront Migration
2 Ode To Joe
3 Capetown Traffic
4 Downbeat Dakar
5 The Lava Juggler
6 Kilimanjaro Secret Brew
7 Tincan Robots
8 Children Of The Future

Jonas Reingold (fender & warmoth basses)
Dave Weckl (drums)
Zoltan Csorsz (drums)
Karl Martin Almqvist (tenor & soprano saxophones)
Roine Stolt (guitars & keyboards)
Ayi Solomon (congas & percussion)
Lalle Larsson (piano, rhodes & synth)

Movie Review: I Need That Record [The Death (or Possible Survival)] of the Independent Record Store

I watched this documentary recently (streamed from Netflix) and I found it quite interesting and enjoyable. I don't think it completely answers the subtitle though: The Death (or Possible Survival) of the Independent Record Store. There's a lot about the death, but not much about the survival.

Through interviews with independent store owners (many of them going out of business) and independent artists/labels, the movie charts the decline and splintering apart of the music business. It examines the "pay for play" trend, the consolidation of radio stations leading to narrow playlists, the gouging of consumers with $18.98 CD pricing, the impact of MTV, the rise and fall of Napster, and how the Internet has turned the music industry upside down. Much of this we already know, but the documentary does a good job of providing context and supporting statistics for these developments.

It's a fairly short documentary and well worth watching for those of us interested in music.

Listen Up: Frank Marino @ Showcase Live, Foxboro, MA 11/04/10

Today I've been spinning a fantastic audience recording of this legendary, but underrated guitarist. I've been buying Marino/Mahogany Rush albums since 1977 and have a few unofficial live recordings and this is by far the best audience capture in circulation among bootleg collectors. Frank may have found the Lord in the last few years, but he's also rediscovered his immense chops. Hendrix was always a huge influence and if that wasn't obvious he drives the point home by playing a 20+ minute version of "Voodoo Chile" along with extended versions of "Red House", "Are you experienced" and the rarely played "Axis: Bold as Love". While I like Hendrix a lot, I would have preferred that he played some more of his own material. But these are minor complaints because overall this is a killer show.

CD 1
01. Voodoo Chile - Somethings comin' our way
02. Red House
03. He's Calling
04. Dragonfly
05. Are You Experienced

CD 2
01. Axis Bold As Love
02. Poppy - She's Not There - Crossroads
03. Strange Universe

CD 3
01. Stories of a hero
02. Rock and roll hall of fame
03. Drum Solo
04. Guitar Solo-Electric Reflections of War - World Anthem
05. Try For Freedom - Amazing grace

Listen Up: Hiromi – Voice [2011 release]

Been spinning the latest [Japan only] CD by stellar Japanese pianist Hiromi Uehara today. This is an excellent album with a nice variety of tunes – some fusion, some straight jazz, and some solo and classical pieces. What elevates this above other similar albums is the supporting cast: English drum legend Simon Phillips (Toto, Los Lobotomys and 100s of sessions) and contra bassist Anthony Jackson (Al Di Meola, Steve Khan, etc.)

Despite being just a trio, this stripped down band really cooks and swings. While Hiromi spends most of her time on piano, she does add some tasty synth textures to some songs to spice things up. Sounding at times like the Chick Corea Elektric Band, this CD is full of interesting melodies and grooves with enough changes to keep your attention without being too self-indulgent.

The recording is superb with some great low end presence from Jackson’s bass and Phillips' double bass kit. On “Voice”, “Labyrinth” and “Desire” Phillips really stretches out and works his kit to great effect.

There’s only one significant issue with this CD – it’s a Japan only release and costs around $40. Still worth it though. Great stuff.

Vintage Stereo - Pioneer SX-780 Receiver

I like old guitars. I like "old music" especially jazz-fusion from the 70s, so why not old stereo equipment? And the more I started to read up about vintage stereo in forums like Audiogon and Audiokarma, the more interested I got in collecting a few pieces before the prices go through the roof like they have for vintage electric guitars.

The '70s were the golden age of receivers - usually silver faced designs pumping out 100 watts per channel or more with enough buttons and lights to match an aircraft cockpit. These receivers were created with a passion for design and build quality you just don't see in today's lowest cost, disposable approach to business. Quite simply, they don't build 'em like that any more and you can tell because these things weigh 50 pounds or more. Like many of my favorite guitars, they are made in Japan - a sign of quality right there. For whatever reason, the '80s ushered in a different era of [lesser] quality and black plastic.

It's amazing how many '70s receivers are still around in great condition by Marantz, Pioneer, Yamaha, Luxman, Harman Kardon, Sansui, Kenwood . . . the list goes on. When I saw a Pioneer sx-780 for only $50 on Craigslist I decided to take the plunge. At "only" 45 watts per channel it does not have the appeal [or price tag] of the 100+ watt monster receivers that everyone wants, but I figured it was a good place for me to start.

It was in good condition overall, but super dusty and dirty - but for $50 it's hard to complain. It obviously sat in someone's basement for at least 10 years. Maybe 20. Surprisingly [or perhaps not surprisingly when you consider how well designed and built these pieces are] everything still worked, even every light bulb. I ordered some Caig DeoxIT and a can of compressed air, opened the case and went to work. I managed to get the knobs and face plate off so I could clean behind the glass and deoxidize all the switches. As you can see, it's really cleaned up nicely and I love the black meters - especially the two VU meters which bounce around based on how loud you crank it.

So how does it sound? I would say it's mid-fi rather than hi-fi. It sounds fairly neutral, but not super clear or detailed like my Cyrus amp. It has some powerful, deep bass though - always a good quality in my book. Of course, with equipment that's approaching 35 years old, some of the components are on their last legs and probably need replacing to get it operating to the manufacturer's original specs so any judgments on sound quality have to be made with that caveat.

I am not sure I will keep this unit long-term or put any more money into it, but I am enjoying it for now. I am currently playing FLAC files from my laptop through it and it sounds so much better than my mini PC speakers. Plus it has a phono section so I can play my '70s vinyl again!

Online Pedalboard Planning Tool

Ever wondered if that next pedal you buy will actually fit on your pedalboard? Or if you completely revised the layout of your board what it would look like? Now there’s a new online tool where you can create your own virtual pedalboard with to scale graphic representations of many vendors’ pedals.

Sponsored by Pedaltrain, makers of the excellent industrial strength series of pedalboards, it’s a fun and useful planning tool.

Check it out at http://pedalboardplanner.com/

Product Review – Digitech Synth Wah/Envelope Filter

Sometimes you need to add some unique textures to a song or surprise people with an unexpected tone. When I’m in those situations I grab my Digitech Synth Wah/Envelope Filter.

As the name suggests, you essentially get two pedals for the price of one in a compact package – a traditional envelope filter and some interesting synth-like tones that are triggered and controlled by your guitar.

The biggest plus point for this pedal is its variety. There are four controls: Sensitivity [which controls the trigger sensitivity of the envelope, synth, and filter effects], Control [which controls the attack, wet/dry mix or sweep, depending on the effect selected], Range [which controls the parameters of the effect], and finally a selector for the seven different effects, which include:

1. Envelope Up – Decent wah-like envelope filter, which is good for funk chording
2. Envelope Down – Sounds like an open “cocked” wah, but it sounds wimpy; this patch is good for reggae chords though
3. Synth 1 - Monophonic synth tone generator with opening filter envelope; a good basic bass synth
4. Synth 2 - Monophonic synth tone generator with closing filter envelope; this is one of the best sounds, great for ‘70s progressive rock synth sounds
5. Filter 1 – Powerful bass synth sound that is good for single lines
6. Filter 2 – Another bass synth option
7. AutoWah – Continuous wah sweep, but it’s a tone killer and a poor autowah IMO

While there are seven different effect options, many of them sound quite similar – basically wah variants or bass synth tones. Some of these effects sounds better than others. I like the Envelope Up tone, but compared to my Tone Factor Analogue Filter it is not as transparent, clean or organic and it does cut some high end from your tone. The Synth 2 and Filter 1 tones are both very cool sounding synths, which can really add some bottom end. The pedal tracks single notes surprisingly well, but it gets lost with chords on many settings. The biggest disappointment for me is the autowah. I found that all settings worked better being driven by the stronger signals from humbucker pickups.

This pedal lists for $90 and I would not pay that for it because I just don’t use these effects that often. I picked mine up used for $50 and for that price it’s a fun novelty pedal that you can play around with to get some really weird, but very cool synth like sounds from your guitar. The pedal eats batteries so you’ll need to run it of off a power supply and it is made in China, so it is doubtful it will last like the 1980s Boss pedals. I use it on my second mini bargain basement board mainly because it sucks some tone and sounds, not surprisingly, very digital. However, if you are into electronica, drone tones, ‘70s progressive rock and shoegazing, this pedal could be a nice addition to your collection.

Telecaster Modification – 4-Way Switching

I love the sound of a Telecaster. It’s a great workhorse to have in your arsenal because you can use it for so many styles of music – country, of course, but also, blues [Albert Collins], rock [Jeff Beck], fusion [Mike Stern], Jazz [Ed Bickert], and the list goes on. I believe you can never have too much of a good thing and I wondered if I could work the horse even more to get additional tones out of those two pickups.

I picked up a very nice USA Peavey Reactor [Telecaster copy] and wanted to upgrade the pickups and electronics. That seemed like a perfect time to try out a common modification – adding a four-way switch.

Here’s the wiring diagram I used



I replaced the stock 250k pots with 500k pots because I wanted a really bright sound and added a Sprague Orange Drop 047µF Capacitor. I love this mod because you get the three classic Tele tones, plus the more powerful, Humbucker-like sound of the pickups in series. If you’re playing rock or blues, it’s nice to have the option of a more beefy tone at the flick of a switch – something most Tele players don’t have.

This is one mod that’s definitely worth doing. Highly recommended.

Peavey Foundation Bass - Craigslist Pickup

I've been using a Korean Ibanez Soundgear SR300 bass for home recording since 2007. It's a nice playing bass, but the pickups are really weak sounding. I looked at some import basses for around $400, but they didn't impress me. That's also more than I wanted to spend as I am just laying down some bass lines occasionally so I turned to Craigslist and picked up a made in USA Peavey Foundation bass for only $125.

It's a great bass and I am really happy with it. The neck is thin and fast and the super ferrite pickups are excellent - powerful, deep and with a nice growl. It's really improved the sound of my loops and backing tracks. Build quality is superb - rock solid maple neck and a solid ash body. IMO the quality of this bass beats out the imports and you'd be looking at $600+ to get something better. Definitely worth checking out if you see one.

Here's an interesting thread on how great these basses are:

http://www.talkbass.com/forum/f8/1980s-peavey-foundation-appreciation-thread-520164/

I'm building up quite a collection of Peavey guitars as I also have a USA Reactor (Tele) and USA Predator (Strat) - both heavily customized. All great value for money guitars that can be had cheaply.

Electro-Harmonix Small Stone - Analog.Man Mods

I am a phase junky and I always have a phaser on my board. Always. After a lot of research I decided to upgrade to an Electro-Harmonix Small Stone version 2 - one of the classic '70s phasers.

If you include the new Nano series I think there are five versions of the Small Stone and #2 is supposed to have the warmest circuit. I found one on eBay for $75 in very good condition. As advertised, it had a very lush and warm tone - unlike any other phaser. But it was a H-U-G-E tone sucker. It really cuts the higher frequencies and even at low volumes you can hear it sweeping - even when it is not engaged. If ever there was a poster child for true bypass this pedal is it. But the tone was so good I didn't want to give up on it - even though there was a noticeable volume drop when engaged.

So I sent it along to Analogman for his true bypass, volume and feedback mods. It's guys like Mike that enable you to have your tone and crank it. An adjustable trim pot is added to the circuit so you can easily set the engaged volume to taste. The Feedback mod tones down the squeal and feedback with another trim pot when the "color" switch is up. On reflection, the volume mod is essential, but the feedback mod didn't do much for me so I would suggest not bothering with that and saving yourself some money. I also had a red LED added so you know when the pedal is engaged - a huge oversight by the EH designers.

All in all, these mods bring an already great sounding vintage pedal up to modern day specs and usability levels. Customer service from Analogman was also excellent - I had the pedal back within a week. It now reigns supreme as my go to phaser on my main board with it's deep, rich and chewy tones. Love it.