Science Meets Tone . . .

I'm constantly amazed at the variety of guitar / guitar-related items on Ebay. About a month or so ago, I was perusing the site for a pair of replacement tubes for my newly-acquired Fender Super Champ XD. While the stock valves sounded pretty good, overall, I couldn't help but think that a better set would improve things in the tone dept. Call it a hunch. Anyways . . .

During my search for a set of 6V6 tubes, I came across a rather interesting listing from a company called Cryoset. If the para-scientific company name doesn't arouse your curiosity, then maybe this idea will: frozen vacuum tubes. Yup. You heard me correctly.

Through a highly specialized process, the tubes are cryogenically treated, which apparently, improves both the strength and sonic capabilities of the tube. While the whole idea is very plausible, and certainly, rooted firmly in its scientific claims - - it seems just a bit on the Dr. Frankenstein line of thinking - or at least to me it is. I can just picture it now - some guy in a white lab coat, pulling a tray of treated tubes out of the cryo-freezer. As a light, misty fog waftes above his creation, he grins, and then erupts in an evil, maniacal laugh, "from the icy caverns of Siberia, I give you - TONE! Ha ha hahahahhahahahaaaaa!!!"

One might think that all of this whiz-bang technology would cost an arm and a leg - - but in fact, it doesn't. After checking Ebay, as well as a few other sites for the same tubes (Electro-Harmonix 6V6GT), the Cryoset tubes were very competitively priced - and in some cases, cheaper than non-treated tubes.

Eventually, I couldn't help but succumb to the icy temptation of "grail tone", and purchased a pair of the Cryoset tubes to try out myself. Once my new Eminence Ragin' Cajun speaker arrives, I plan on doing a bit of mod work to my Super Champ, with a full-on A/B review to follow. - - J.

Rollin' with the Devil . . .

Apparently, the dubious title of "Arena Rock Gods" does not necessarily disqualify any band from participating in sappy publicity schtick. This snap of the original Van Halen line-up in full disco-era roller garb drew a healthy chuckle from me, and most certainly the obligatory, "what WERE they thinking?" - - J.

Brother Mule

I remember a number of years ago when people would ask me who my favorite new guitar player was, and telling them, "that's easy - Warren Haynes." That was the early / mid 90's, when he was mostly known as "the other guitarist in the Allman Brothers Band", or as the frontman of the "up-and-coming" power trio called Gov't Mule. My, how times have changed.

As one might expect, a wide smile spread across my face when I read Guitar Player's May 2007 issue, and saw that Warren had garnered a lion's share of the hardware in ther annual Reader's Choice Awards survey. Indeed, a most deserving tribute to a fine guitarist, musician, and vocalist. I might also add that it's quite refreshing to see a player of Haynes' style /caliber achieving success the old-fashioned way - by letting his music do the talking. Certainly, it's not the norm amidst the image-conscious, mass-marketed, genre-based pablum the recording industry has been spoon-feeding us for the last twenty years or so (*thank heavens for XM!)

Although the "secret" might now just be fully surfacing, fans and players "in the know" have reveled in Haynes' creative genius for many years. From the searing slidework / solos that are a mainstay of the Allman Brothers' timeless sound, to the incendiary playing and vocal work in Gov't Mule, to the occasional sideman jaunts with The Dead, Phil Lesch & Friends, and the Derek Trucks Band (to name just a few), to writing / playing on a myriad of albums for high profile artists of all musical genres - Warren completely exemplifies the "workhorse" attitude of his band's own namesake. Incessant touring, an honest, blue-collar style; stop-you-in-your-tracks guitar tone; and a reputation as a generous and highly-capable collaborator have made him one of most widely respected and sought-after guitarists in today's music scene. Personally, I couldn't be happier, because as fans - we are truly the beneficiaries.

I've had the good fortune of seeing Warren perform many times, and can only say that his playing and singing have left the hairs on the back of my neck standing straight on end on more than one occasion. If you haven't seen Mr. Haynes live - well, brothers and sisters, now is the time. This is what kick-ass guitar playing / music is all about. - - J.

The Tao of Dave . . .

I came across this little bit while sorting through my old issues of Esquire, and thought it was worth including on Tone Farm. TIP: Double-click the photo, and it will enlarge in a separate window. - J

Marshall Law . . .

Let's face it - when it comes to kick-ass rock n' roll tone, a Marshall tube amplifier is hard to beat. Combos, stacks - whatever. From the day I held my very first guitar in my hands, my dream of a owning a Marshall amp has never really subsided. Unfortunately, that dream is quickly dashed by the cost / practicality of owning one - two giant hurdles that I can't ever seem to get over (*married Tone Farmers - interpret that however you like.) Thanks the advent of modern modeling technology, recreational players like myself are able to enjoy a little "taste" of the Marshall elixir via a number of avenues. One of the best that I've found, so far, is the Tech 21 British Character pedal.

Having played a number of modelers over the past 4-5 years (Fender Cyber Twin, Vox Valvetronix, L6 PODxt), I can definitely say that Marshall amplifiers are the hardest amps to model accurately. The complex order of harmonics, throaty timbre, and high-gain capabilities seem to leave most emulations somewhere between barely marginal and moderately usable. Those familiar with the amplifier's lineage also know that finding the "sweet spot" of a Marshall amp often requires face-melting volume levels - - and digital modelers, traditionally, aren't the most capable in that sonic territory. Tech 21's analog-based modeling circuitry, however, seems to be much more adept at capturing the nuances and overdrive characteristics of Marshall amplifiers vs. what I've used in the digital realm. To my ear, it's a rounder, fuller, and more organic tonal interpretation. Understandably, there are traits of Marshall amplifiers that can only be achieved via fire-spitting tubes and sheer, physical volume levels - so trying to compare a $149 modeling pedal to an actual Marshall combo / stack is more or less an exercise in futility. This ain't the real thing, folks. However, I will say with a fair amount of confidence that in the modeling arena, you probably won't find a better, more "authentic" Marshall tone than the Brit.

There are plenty of reviews to be found on the internet, so, rather than bore you with all of the details, I'll cut right to the chase. T21 advertises that this pedal can cop the tonal guise of three primary amps: 1.) a Marshall Bluesbreaker combo (JTM-45); 2.) vintage JCM / Plexi series amps; and 3.) Modern Metalface / high-gain amps. The bottom line: this pedal does what it says it'll do - from the gutteral, bluesy grind of a JTM-45 combo, to the volumptuous, mid-range thunk of a JCM-800, to the searing, high-gain wallop of a modern-era Metalface - what's here smells and tastes like the real thing. The primary amp tones are accessed via the sweep of the pedal's rotary "character" knob, and can be further adjusted using the EQ (3) and gain (1) knobs. The sample settings T21 includes in the package provide an excellent base to work from, so right out of the box, you'll have a few "bullets" in your holster. Stops in-between the primary tone ranges can yield some interesting "hybrid" tones - so by all means, tweak & experiment. As an example, I was goofing around with the Brit one night using my 3TS Strat. To my surprise, I dialed in a very tasty, Bassman-esque Texas boogie tone in-between the Bluesbreaker and JCM ranges. Not quite as spanky as the classic SRV flavor - but every bit as tight and punchy, with a tad more growl. I wrote those settings down on the spot.

I would also mention that the character knob is extremely sensitive, meaning that minute adjustments have a fairly significant effect on the tone (*T21 states this same fact in the owners pamplet). This trait also holds true for the EQ, level, and gain controls - most especially the gain. Two o' clock is about as far as I'd want to take the gain for any of the amp models; from there on it's all but unusable (*at least for an old-school chap like myself).

Another great feature of the Character Series pedals is that each comes with a built-in speaker emulation, tailored to capture the "essence" of each model. For instance, on my T21 British pedal, the speaker emulation has been modeled after a Celestion Greenback. The only drawback here is that the speaker sim can't be turned off - it's on all the time. For me, this is not a big issue - - but for the Steely Dan studio-set, it may present a work-around situation. At any rate - - the speaker simulation adds yet another dimension to the each pedal's signature tones, and to my ears - a very good one.

Over the past two months, I've had ample opportunity to play the pedal in all of its primary use configurations: 1.) A stand-alone pre-amp - here I'm running the pedal directly into a Tech 21 Power Engine (*basically a powered, flat-response monitor housed in a guitar cabinet; a highly-effective tool for modelers); 2.) A front-end pedal - While it can be used like a traditional pedal, it's most effective running through an effects loop, where its tone won't be "colored" by pre-amp processing; and 3.) A line-direct pre-amp / recording device. The pedal performed admirably in all configurations, though its line-direct feature has proven to be the most useful in my own recording / playing activities. A few of you might remember the tone sample I sent out a month or so ago for "Valley of the Kings" - one of my own originals. That was recorded line-direct, with nothing more than a light EQ and a bit of reverb added.

Overall, the Brit's "Marshall-ness" is quite impressive - a nice, fat bottom end; crunchy, agressive mid-order harmonics; and soaring high's for lead work. Everything you'd expect in a Marshall - - but without the mortgage. Bravo Tech 21!

If you'd like to hear some samples of the pedal in action, here's a few Box.Net links with clips. All were recorded direct through a Zoom MRS-8, with only light EQ'ing and reverb added. Samples #1 & #2 are a old jam favorites of mine; #3 & #4 are JN originals - in case you were wondering. Crank 'em up. - J.

• Sample #1 - Greazy Texas groove (Plexi)
• Sample #2 - Crunchy Aero riffage (JCM-800)
• Sample #3 - Lynch / Satriani-inspired intrumental (Metalface - rhythm; Plexi - lead)
• Sample #4 - Big hair; big tone (Metalface)

Rig O' The Month - June 2008

June's Rig O' The Months come to us from the Eastern Canadian province of Newfoundland. Over the past few years, I've had the pleasure of corresponding to Mike O'Reilly, an acquaintance whom I became associated with a couple years back via The Fret.Net. If my memory serves me correctly, I believe I was name-dropping some of my favorite Canadian musical artists in a post reply, and Kim Mitchell and the Tragically Hip happened to come into the dialogue. An avid Canadian rock fan himself, Mike took a shine to that, and we soon exchanged several e-mails - each time finding out we had more and more in common: music, muscle cars, hockey, and of course, the social arts. As far as guitar playing is concerned, Mike's passion rests firmly in the Fender Camp, though when we'd exchanged e-mails late last fall, he was actively pursuing a vintage Marshall via a U.K. connection.

Last week, I received an e-mail from Mike, along with pics of some very delectible Fender thoroughbreds. In his own words:

"Thought I'd send this along ... a pic of the rig I'm currently gigging and using in the studio .. a 1964 Fender Bassman AA864, 1966 Fender Bassman cab loaded with original Jensen C12-NS, 1966 Fender VibroChamp. I run these through a Boss ME-10 digital multiple effects board in stereo. When mic'd either through the PA in stereo or in the studio this combonation is nothing short of aural masturbation. The Boss lets me also run either of the amps alone like an a-b box or in the aforementioned stereo. The digital reverb is very good and the chorus is the standard Boss . . . killer. Anyway - - maybe a candidate for "Reader's Rig of the Month" on TONE FARM."

No matter how you slice it, sixties-era anything from Fender rates very highly, esp. steeds of the Blackface bloodline. And yes, perhaps even as highly as the art of auditory self-pleasure . . . ;~) Thanks for sharing, Mike - and congratulations on being the Tone Farm's Rig O' The Month!! J.

P.S. - Be sure and "double-click" the photo for the full-sized, Fender-licious version!

The hotter . . . the better!

Every once in awhile, something comes at you from out of nowhere. Unexpectedly; and without explanation. Kind of like a long throw from the outfield - only, in this particular instance, it lacked the typically arcing trajectory that makes up for gravity’s pull. It was a laser shot - on a rope and deadly accurate. Such was my introduction to the music of the late Rory Gallagher

My typical workday always involves music, and in most cases, it’s the sublime drone of an XM Radio station in the background. On this particular day, the dial was set to the "Deep Tracks" station, which pulls heavily from the late 60’s classic / early 70’s power rock / avant garde catalog. Seemingly, in the middle of a rather "typical" set list, I hear the sound of an edgy, overdriven Stratocaster. Not "edgy" in terms of the tone being overly bright - - but in the sense of it being on the "edge" of an emotion. A raw, jagged nerve. Kind of like that feeling you get when you’re watching a scary movie . . . that split-second before a super-scary part. Anxious. Unnerving. That kind of edgy. I rose from my chair to inspect the XM display dial, curious as to the origin of this fantastic Fender sound.

The salvo of Stratocaster power chords at the beginning of "Walk on Hot Coals" relays immediate notice as to what will immediately transpire. This is no-holds-barred, full-tilt blues rock, delivered by players who understand the meaning and purpose of doing it well.

Another thing that struck me immediately about the mood of "Walk on Hot Coals" is its fusion of energy – a singular, allied, contiguous flow of musical passion. Certainly, Gallagher’s masterful Stratocaster work is at the striking point of the formation, and his playing blends a style that's borderline hard rock - yet with a respectful nod to both ethnic and blues roots. The arsenal of amazing tones that accompany his music serve faithfully and obediently - benchmarks of a highly-skilled player. But like any great guitarist, the end effect is indeed dependent on the sum of its parts. The powerful, decisive guitar chords of this song contrast beautifully against the Doors’ish bounce of Lou Martin’s electric piano. Gerry McAvoy (bass) and Ron D’ath (drums) are beautifully efficient as the band’s rhythm foundation, fully understanding their roles in the context of the song.

As the number unfolds, the band soon finds itself feeding its guitar player ample leash from which to explore. A glorious extended solo soon unfolds, and I find myself entranced; held captive to each note. Using a variety of masterfully executed techniques (string bends, staccato picking, on-the-fly p'up position changes), Gallagher weaves and winds the listener through the song – never stopping at one point long enough for you to catch your breath. Through this extended improv, I am struck by how Rory "feels" his way into a run or passage. Not as if he’s playing it, but almost like he’s following a path - - provided by the music itself - - though never quite sure where it’s going to go. Some might think that this is something that can be learned or practiced; to be turned on and off on a whim. Not so. This is a gift, and an extraordinary one at that. In simple terms, this is a guitarist searching for . . . and then . . . finding the very soul of a song. What he finds he communicates with you through his guitar. You, the listener - are left to bask warmly in the glow of its omnipresent emotion.

A crescendo of crunchy power chords soon alerts me to my work-bound reality, and it seemed to me as if I had been lost in a swirling array of Strat-o-luscious-ness for hours. I grin slyly, fully aware of the experience that just transpired. My only thought at that point: "Where do I get more of this?"

My collection of Rory Gallagher CD's has expanded considerably in the short period of two years, and includes the following releases: Rory Gallagher (1971); Deuce (1971); Live In Europe (1972); Irish Tour (1974); Against The Grain (1975); Calling Card (1976); and BBC Sessions (1999). I wouldn't hesitate to recommend any to guitarists and music fans alike, though I am a bit partial to the (2) 1971 studio releases from the standpoint of variety and performance. It goes without saying that both of Rory's live albums are essential listening - esp. for the guitar set.

VITAL STATS:
GUITARIST: Rory Gallagher (all guitars, vocals)
BAND: Lou Martin (piano); Ron D'ath (drums); Gerry McAvoy (bass)
SONG: "Walk on Hot Coals"
ALBUM: Irish Tour

HIGHLIGHTS: Gallagher presents the listener with a stunning array of guitar techniques and tones – from roaring, overdriven Stratocaster; to beautiful acoustic balladry; to stinging steel guitar slide. Raw, gritty vocals narrate mile-deep, soulful renditions of original songs, blues standards, and an amazing cover of Tony Joe White’s "As A Crow Flies".