Live Viewer Q&A 4 May 2021 – That Pedal Show

okay we're live we're live we're live we're on same intro every week is that working is it on is it on yet all good mech are you happy all the colors and indications and everyone doing what they're meant to be doing i think so awesome why the uh why the audio seems so loud down hello hello indeed yeah good i'll do awesome hey everyone welcome to tps live vcu um we are it's tuesday today yesterday was a public holiday and we took the day off hooray that was awesome so hang out with our well done with his family yeah me with my wife i'm i'm working on a jazz tune mick right i spent all day yesterday um if you haven't heard this it's a tune called there will never be another you by harry warren and it was the theme song from the world according to garp and it is the most incredible tune absolutely incredible so i'm i'm doing some some work on that at the moment and it's got this amazing chord in it it goes from a g major seven to a c c sharp seven sharp eleven uh sorry c7 11. [Music] so i'm sort of wigging out on that at the moment that's where i am at i've i really struggle you know a lot of those old standards yeah i really struggle to hear the tune oh okay yeah i find it really hard you know so these great old songs i'm like just doesn't sound great to me sounds out of tune you go i guess you've got to go back and there's so many versions of these recorded um so what was that was that was a nacking coal uh was the version i was listening to um but yeah a lot of those standards there's been so so many versions of them and it's just you know they can be interpreted in so many different ways yeah you know so it's just finding the ones that you that you connect with i even i find it difficult to like just sing the tune though right anyway anyway there we go yeah good how are you so how are you getting on with it dan uh i'm okay i'm i am trying to do a chord solo thing with it right and i'm sort of taking my time and just trying to really understand the changes and and all and inversions and stuff and trying to see where my brain will let my fingers go to but i just the the tune brought me to tears um yeah wonderful and and that's good wonderful wonderful yeah happy tears every time i want to cry i uh put a new record on oh dear oh dear dan what was the long weekend and aired off by the way do you know mayday may day um probably the bloody pagans isn't it oh right brilliant because they need a holiday yeah i don't know what may day's for is it whitson is that it whitson you know there's a whitson holiday isn't it i don't know um if you are from the uk you will be familiar welcome to the usual shambolic start to vcq where we just work out if everything's working i think we've assessed that everything is working okay good let us know if it's not or if you have any trouble seeing or hearing us um yeah seems all right yes david clarke that's that's correct that was nine sharp 11 but it's got the that donor 7 chord there and then the sharp 11 there and i love that [Music] in there yeah very good otherwise it would be uh here yeah there you go just uh yeah that's it i'm done i'm done i'm done sorry i'm done no it's i find it i find it genuinely fascinating um yeah uh right i was gonna talk about mayday and morris dancing but i think we probably better just move on i saw maurice starters in from he freaked me out it's so weird it's an excuse to drink is what it is i think anyway if you're a morris dancer apologies no doubt when you get smashed on the ale and fall in the mulberry bush all as well anyway hello welcome to vcq it is me and it is him and we are here and we say thank you to bv ninja for being among us and among you and moderating on this fine sermon indeed um i just put fresh strings on oh it's so nice it's the best it's so nice the best thing ever the texan tyler says good morning from grapevine texas grapevine texas yeah so what should we call it i don't know what's that a grapevine let's call it grapevine that's like that's the australian school of thought it's a snake it's uh black but it's got a red belly a red belly black snake that'll do yep yeah next to uh krusty dog poo remember krusty dog poop doesn't exist anymore crusty dog poop you don't see crusty white dog poo anymore um uh michael b let's start with you michael welcome everyone from around the world michael b says is it true that some amps maybe especially cheaper ones don't take pedals well i had a black star xt-20 that drove me mad trying to find drive pedals that work with it i thought it was me interesting it all depends on how the how the amp is voiced so if you've got an amplifier that's voiced to be crunchy at low volumes and they lack headroom then it can be really challenging what you what you might find though with those sorts of amps instead of using overdrive or distortion boosters to boost into that front end crunch can work really well um it there are some there are amps that we prefer with pedals but every you can find pedals that will work generally with any amplifier but sometimes it can be more challenging yeah the we are all guilty of saying it you know is a good pedal platform works well with pedals there's really no such thing but what it usually means is has enough headroom to take the pedal so you can hear the pedal without the amp um imparting a lot of imparting a lot of its thing but of course some of the um some of our favorite guitar sounds down history are a pedal and an amp interacting so first face unified wouldn't doesn't sound like jimmy unless it's into a cranked over driving marshall yep um you know if you put it into the front of a nice fender twin clean fender twin it is a very different sonic experience so takes pedals world doesn't take pedals well it's more about what you're trying to achieve and the coupling of the two and the frustrating part of that is it costs a lot of money and loads of being disappointed to really learn what you like and what what you like less because it'll be different from player to player yeah as well there's no hard and fast rule with it yeah all depends on everything else that's going into it your guitar the way that you your attack yeah uh and that will determine the things that you like you know one thing that's certainly worth trying is if you can't find you know if you are struggling a little bit and you let's say you've been used to using amp a you acquire and b and everything is different as it would be one thing to try is you know different ratios of gain and volume it sounds like the most obvious thing in the world to say but some pedals really do sound different with their masters cranked and the good news about an amp which has lower headroom is you can do that yeah because you won't get the crazy volume jump because the amp will go into overdrive so it won't be you know you won't get that huge great headroom so try that you know if it's not quite responding how you like try a different ratio of maybe nowhere near as much gain as you thought you might want but loads and loads of volume or vice versa and that might yield different results the other thing as well the eq and the amplifier don't forget that is a basically more gain you know so it might be that you start with the eq turned off and then just get the eq to a point where it's just on if you need to control the gain in the app that way um you know instead of having the eq dimed basically bypassing you know all the parts start off with the eq a bit lower and then just let less through and maybe turn the app up a bit yeah that's a nice way of controlling um a bit of the gain staging in the amplifier indeed um j2072 says mick your acoustic sounded so great i wonder what strings were on it i just changed from 80 20 bronze to phosphor bronze on my santa cruz fs and i'm loving the sound how deep was your rabbit hole tps is the mats um i use yeah i i always get confused the 80 20s are the bright ones right maybe and the phosphor bronzer the less bright ones i always get confused right i like the less bright ones um and i use the standard curt mangan um non-coated version thereof i did use the dario ones for years exps and i've found them to be extremely stable sounded great lasted for ages and were really brilliant and then because dan and i do the kurt mangan signature set on the electrics they sent us some acoustic ones to try and all the things i like about the electric strings i love about the acoustics really yeah yeah so a little bit less tension than i would get out of the um dario's my collings wants 13s on it wow but they're just a bit too much for me if i'm honest if i'm not gig fit i really struggle so i need a set of twelves um yeah and they just work really well so thank you for that um a couple of hours playing on them usually pack it fresh they can be nice for zingy stuff but you want a couple hours on them if you if you want to try something different again i'd heartily recommend the monel strings i think martin used to call them retro or something but they're blue grass players like a mandolin players like him and it's a nickel alloy rather than a phosphor bronze type alloy right and they look like electric guitar strings right so you think well they'll never work with you know they won't they won't work on the acoustic guitar but they're really cool really cool sound wow they go off pretty quick and then they stay there mon monel m-o-n-e-l anyway cool um okay jacob bartelt hello jacob um and thanks for all your comments we see them in the in the thing each week um he says hi guys i just got my future factory free the tone feature factory and i want to know how you guys set yours up also what's a good sub for the cxm 78 if we can't afford it the universal audio it does seem to be so far doesn't it yeah but i'm saying if you can for the the um i guess the well the universal audio is cheaper but it's just the price really expensive less than half the price of it um yeah are they 299 no are they three no no no no they're they're 400 yeah yeah right um future factory what's on your board it's not my pedalboard yeah um let you into a little secret i use the presets it comes with and they're great um just tweak them the things that i change one of the if you're if you've you know you're presented with a future factory for the first time you're like oh my god where do i start with this a really great thing to do there's a couple switches on there enable you to mute either delay a or delay b and you can do that and you can hear what delay a and delay b are doing in the presets secondly um so my favorite one i think is preset one the one that is the 500 and whatever milliseconds right i think one's got a little bit of modulation on it i always turn the mix down a bit the mix is always too high in delay for me which you can do because you've got those global controls top left and so it's a really easy tweak and you can save that if you want but yeah turning each one of those delays on muting each one in turn we'll let you hear what each one's doing and i love that i also love preset three which i think is the chorus one right oh yeah and going through the presets and sort of deconstructing them is a really good way to learn the pedal yep yeah one of the great things about that pedal is the the filter and being able to you know filter the the repeats and the way that you can filter the bottom end off that and the character that gives is yeah is magic but there's something magic about the the preamp in that pedal and it's just everything sounds so present and clear and it's i mean very uh 2290 in that respect you know just so clear and um doesn't seem to you know keeps everything intact keeps your original signal intact doesn't color everything too much yes really beautiful really beautiful if you're not using it in stereo i don't know if it would default to this mode because that's how you insert the jacks but remember to change the dual delays to series not to stereo yeah unless it does sum to mono well you yeah it will some tomorrow doesn't then you've got the dual delays in parallel yeah does it sum tomorrow in parallel yeah it does okay fair enough i didn't know that um less expensive alternative to the cxm um the source audio collider well yeah i was going to say the ventris because that's the that's the reverb isn't it the ventris is great ventris is great but the collider for me i'd is just it's my favorite source audio pedal they've done such a great job with that thing yeah and obviously you've got all the delays in there as well so if you wanted some different delays that you weren't getting out of your future factory um but you know coming down from that any of the of the more sort of accessible digital reverbs will do a decent play um the the the hall of fame yeah the tc hall of fame boss rv6 you know i always forget about the boss rv6 the only thing well not the only thing the the key thing with uh the chase bliss is the ability to change those reverb times depending on frequency yeah now i don't know if that's possible to do via something like you know the tc tone print editor yeah i'm not sure um do check because the thing that makes the cxm so cool as we just said is the ability to have those different delay times at different frequencies yeah is it is it time or is it death uh it's the it's the feedback isn't it yeah yeah so you can basically go i want more sort of treble reverb and less bass reverb and you can affect the crossover exactly that's that's the big thing yeah plus you've got those um high and low-fi modes and you've got the um various diffusion variables on the tank so and then modulation essentially yeah yeah so if you figure out what the what the cxm78 can actually do and why it's so cool look for some of those features editable features that might be another good reason to look at the source audio because their app um for sound editing is really really good usually gives you a whole ton of parameters so yeah but you know goodness me i'm sure there's plenty of other cool ones out there yeah some great stuff the rooms by death by audio yeah is a stellar bonkers thing stella reverb yeah some really great sounds of that really creative thing um you know the uh waris audio the fathom yeah beautiful yeah so there's some really great really clever things out there yeah and don't forget the big you know um strymon blue sky and big sky of course those ones i'll tell you what it's an awesome reverb mxrm300 here we go okay so this is the supernatural reverb let me just get my head out the road let's see back in the light there we go oh look at that so uh i'll digit supernatural reverb if you can find one if you can find one but they they do come up and the all the algorithms are by lexicon and it really does sound great now it's not analog drive through um but saying that it does sound really good um yeah and i used it for a while and the yeah it really does sound superb uh good luck jacob indeed alexandre belludo uh he says hey guys i have the full tone deja vive mark ii the white one and it sounds a bit thin to my ears lots of high end is there a vibe that stays fuller in the frequency range lots of love from canada i think you've got a buffer issue is what's going on here because it doesn't um it depends what you've got i'm guessing here's my guess you've got something like a reverb or a delay or something after it because what i found with mine is that it gets super fizzy when you've got a strong buffered pedal after it yeah i it could be a strong buffer pedal before it as well like we had in the show try if you haven't done this just try putting it in front of everything including fuzz just give it a go yeah and you might find that's that solves that problem but also just remove it remove everything else from your signal chain and plug it plug your guitar in and straight into your amp yeah yeah um and if you find the problem persists and it's still too bright for you um yeah have a look at the jam pedals retro vibe mark ii it's really good basically any of the ones we looked at last week uh the dry bell dry bell's a great shower vibe machine is excellent yeah because you can tweak that you can also tweak the impedance on the drive belt as well it's super super twiggable yeah so do that you know um process of elimination take all your other pedals out the chain because even if you think another pedal isn't um affecting it it may well be that something in your on your pedalboard isn't true bypass and it actually is affecting it badly and the effect of buffers on those things is just massive are you double teeing yes that's impressive um sorry mate i didn't no it's fine to be honest last week i had a tea and last hour i was dying oh you should take a bath you take your comfort break if you need one no it's no it's good it's good because i've just i've i've had my i have i've had my comfort break yeah imagine if uh imagine if there were some nice reverb tanks printed on cups that you could buy from a lovely store it'd be great it'd be brilliant if you could do that this was a misprint i saw that yeah travis crown hello from richmond virginia when you two leggings talk about pickups show my man lindy freylin some love he's from rich in richmond virginia too his pickups are world renowned yeah we should we i think every time we talk about pickups we mentioned lindy frank because we're both big fans of lindy's yeah you do uh i think i i don't think i've ever had any weirdly it's interesting because you know lindy freylin is the first wave of boutique pickup makers isn't he yes and um there are lindy's in here i think these sound these sound great i've had i've had a realization today with pickups not a but i've made a decision today about pickups go on unless i am changing the guitar i'm never buying i'm never buying a guitar that i'm not happy with as it is right that's i've put so i had some um ron alice pickups in this guitar and they sound they're of course they're amazing but i've just gone i'm going to put the originals back in and the ron ellis was actually making this guitar sort of compete with red a bit yeah whereas i put these in they're really weak and softer sounding yeah and it's like oh okay that's the sound of the 65 yeah telly you know so i've made a decision that i am just if i ever any other guitars that i get i i love it and that'll be that unless it's something like i've done with um carl and we're completely changing that guitar and putting some wide range humbuckers in but i'm i'm done retrofitting different sorts of pickups and you're done with it it's just it's such a rabbit hole it's such a rabbit hole it is often thankless i mean that there is definitely a case to be made for cheap guitars totally and good pickups there's a case to be made for that but a hundred percent expensive guitars and splitting the fact paper is is a thankless task isn't it yeah interestingly enough my good chum dan drive dan kerner um and his friend whose name escapes me just for a second because we don't know one another i'll remember in a minute um till i think his name is um have very kindly got me a set of andreas klotman's pickups right and for anyone who knows strat pickups knows that you know klotman is he's up there right uh in in renown anyway in reputation and they send them to me and dan said you just got it you have to hear them you have to hear them so that might be my last foray with blue just to go i'll stick him in i'll have a listen yeah right and all the rest of it but in there's two two things have piqued my interest about that it's less about the pickups which i'm sure are amazing because you know modern boutique pickups made by someone who cares about what they're doing going to be good right and whether they're better or worse than anyone else's is really a point of personal preference at that point but there's two things that pique my interest one is it's got the aluminium guard underneath yeah right which i've never had but of course all vintage strats have two well all vintage strats of that period have um two non-rwrp yes and that really really really interests so what that means is in the in between positions two and four it's not hum cancelling uh and i'm i am so interested to hear that because i've never not heard that i've never knocked yeah i've never not heard the the hum cancelling and it does make sense that you are something would be missing well interestingly enough what's the best sounding strap in this room at the moment dan is the old one here yeah yeah there you go yeah rwp not a chance oh yes of course yeah right because they didn't do that no yeah right so this i mean it's hands down the best sounding strat i've ever had or you know had the pleasure to enjoy yeah it's a refin 61 that was uh on loan to me from a guy named simon green i'm actually taking it back on thursday simon's gonna have it back for a little while right just to see if he can rebond with it okay and i should be very sorry to see it not here but at the same time you know simon's guitar yeah of course and uh he's gonna have it back in and have a play on it um it's an astonishing time anything it is yeah rwp don't think so with pickups yes yeah made in 1961 yes and it's not just in there is it it's not i'll never forget turning up to film one day and i was stood outside the door thinking that is the best guitar sound i've ever heard in my life and came in and you do it that and within your fat into a thousand to the two rock it is pretty good but you know let's um there's raising the transit backbone that sounded good transit saying it was loud it was you know that guitar turned up is an absolute monster yeah the train's a van sorry good friday's fantastic yeah if you don't know why it's called transit van um inspired by benny gibbons is uh pearly gates the go and read the story about pearly gates is to do with a packard car that they traded i think or that broke down and was left and they thought the car had divine inspiration and it was involved in the acquisition of billy's 59 les paul and as a result they called the les paul pearly gates i went to pick that guitar up in a long wheelbase transit fan therefore that shall be its name beautiful beautiful um travis crown hello travis he says hello from oh no we just had travis apologies um jacob bart elt jacob bartelt again says hi again i've got a fender surf green strap 60's reissue mexican made with a maple neck what upgrades would you suggest i love mcstrap for reference um not necessarily any jacob to be honest um get it set up nice get that bridge working as you want it to as you want it um i don't know if if you find the bridge pick up a bit spiky and it hasn't already been done one very easy mod is to move the wire that comes from the second tone pot it attaches to the switch and to control the middle pickup you can move that wire to control the bridge pickup just by moving it one lug um and having the tone control on the bridge pickup can really help that's a great mod if you find it a bit spiky sounding if you don't don't worry about it after that if if the guitar isn't really you know if you like the sound of it enjoy playing it no need to mod it obviously pickups is always an option um and then the world is your lobster indeed indeed yeah yeah cool guitar guitar um travis again hello travis orange fur coat jam fuzz phrase light speed hamster odyssey ripley fall a reverb jam rattler hot cake plumes belly pop deluxe which order oh my god um reverb last you've got too many overdrive pedals i disagree i think you have almost the right amount of overdrive pedals fuzz phase first yep reverb last belly puck deluxe second last nice and then pick and choose after that doesn't really matter just remember with the gain stages a good place to start is with the least the pedal that you're using with the least amount of gain is at the end of the game and the pedal that you're using with the most amount of gain is at the front except for and there are obviously exceptions to this rule except for if you're using fuzz you're going to have that right at the front because you want your guitar to see the input of the fuzz the coil to the base of the transistor there you are and if you want more on that watch friday's video the one just gone yeah we talked a lot about that yes that was fascinating actually wasn't having the swapping the fuzz and the vibe around and what the impedance change did to the game five first first vibe and hey and there's a tommy cooper gag just in case you didn't get it then i was back in reigning oh hey karina hey um i've never actually been to ibiza or falaraki or anywhere like that you know on one of those holidays where you you sort of sober up to oh that's that's any any wedding dj or any christmas party okay you know um when santa comes out and gets on the decks that's probably the first thing he's going to play right uh yeah anyway my man usually comes and gets me when the dj starts mr taylor this way yes this way please sir um [Music] what were you talking about can't remember uh sean chun hello sean he says i just got fenders broadcaster reissue how very cool very nice um it's been my dream guitar ever since i first started playing because it was on jesus just left chicago and all the early tom betty's uh stuff what were the dream guitars of teenage mick and dad and why oh uh my first dream guitar was probably a gem which i ended up getting um i just remember seeing that i was i was that kid who would buy a guitar magazine and then every page in that guitar magazine would become a post on my wall yeah right and i just remember the images of when that came out and it just it blew my mind and i ordered the i ordered the floral the black floral one of course what turned up was the bright yellow one um desert yellow they called it uh but that was i just thought it was most astonishing guitar but after that um when i played my first vintage 1964 strat oh man never forget this it was the early mid-90s yeah 93-94 and it was 1964 but it had a fret frets have been changed that was it and it was five grand australian i just couldn't afford it and i remember sitting in the music store and i was playing stuff way beyond what i should be playing because the guitar was i just that connected to it just couldn't no so i time to put it back in the case dan yeah yeah today let it go but then i ended up getting a l series track which was stolen but anyway that was my first the gem then of vintage strat strat for me i think by the time i was a teenager um clapton was probably my number one guy and then i discovered stevie ray vaughan wow clapton was playing strats at the time it was in his um just as he was doing the signature strat i guess who introduced you to that music uh where did you hear it um two things both both fine my dad uh actually three my mate paul stevenson who ended up we played in bands together for years he had a video recorder and we used to practice around his house and he had vhs videos of like clapton at the albert hall and dire straits oh wow and stuff like that so that definitely um secondly my dad a massive music and guitar fan not a guitar fan as such but massive music fan [Music] and two things one we would go to our local pub and watch the blues bands play and i watched a guy called marco rossi who lives in weymouth in dorset marco is just an exceptional player turns out he's mates with robbie mcintosh we all meet later on in life and wow yeah yeah anyway um and marco is just this astonishing player the first time i ever saw him play he had a strat with a mid-boost circuit and a fender concert 4x10 and he played t-bone shuffle wow and i must have been 13 or 14 something like that i was like yes that's what i want to do and then separately i discovered stevie ray not sure how um and my dad's mate at work was so worried that i was going to become a stevie ray vaughan freak he made me a compilation tape of other kinds of blues oh seriously people like snooks eaglin on it and well it actually had that uh showdown version of t-bone shuffled by albert collins and johnny copeland and robert craig had some robert cray on it had some captain beefheart on it and that was kind of a boom oh hello so that's how anyway i just remember before the gem there was i was uh in brisbane and there's this music store i cannot remember the name but you go downstairs to the guitars pianos are upstairs you're going upstairs to the guitars and in the the case which no one was allowed to touch were these three charvel guitars and in the middle was this ice blue charvel black pointy headstock and i just it it was the most beautiful thing i'd ever seen yeah so you were pointy yeah i would definitely never i was well i was floyd rose more than anything i just saw that i all the stuff was like and there are there are songs that um we wrote and recorded when i was 16. and it sounds like there's fire trucks going off yeah you know it's really good dan's got a whammy bar yeah yeah yeah yep here's shaun again um sean cherny says dan can you explain what the resistors in my stack knob jazz bass do please nope i don't don't know big guitar who knows guitar it'll be to do with the tone uh stack is it active yeah i don't know i don't know what's going on circuit so in a jazz uh stack knob means concentric pots and let me guess one of them does volume one of them does tone that would wouldn't be unusual or if it's an active circuit it's got a battery in it it might be that one does based and one does treble right i've seen that before in some dual concentric pots okay other than that don't know yeah so resistors in a passive circuit uh you might get if you're if you've got a treble bleed circuit you can have a resistor in series with a capacitor you can uh or in parallel that's another way to do it um [Music] it might be that it's unless there's a switch that you're switching in to have a different uh i'm so one one mod that i did i found this i found the perfect sweet spot just down a little bit so i had a little switch put in all guitars i could just switch it in and leave the guitar full on i just switch it up and that would take me to the to the um perfect rollback thing then i realized i could just do this didn't need the switch hey could be triple there's more issue trying to find the switch than i was just walking about the volume could be a treble bleed yeah if well you'd need the capacitor in there for trouble bleed but the the resistor might be part of a travel bleed circuit yeah yeah um phil sherry oh here we go i thought we were gonna get this dear soccer dads hey how do you feel about being referred to as such in the pedal movie i thought it was a bit disrespectful get juan on to apologize uh look juan's a legend and that you know it's selling jesters and even if it wasn't said ingest it's fine isn't it i mean i think it's fair you know if you take first of all let's say uh let's wish juan alderete all the best in his recovery after he did that interview not connected to but anyway he did the interview before he had a really bad bike accident and he hit his head he had a really serious brain injury and he's been recovering ever since and his wife anne posts on their just giving page uh to sort of help with his recovery and convalescence and apparently he's recovered in a huge way oh wow um but he's still obviously not not to where he was before so um juan aldrete we hope you're doing okay and if you want to check out his just giving page it's on justgiving.com and that will help out with with his recovery aside from all of that um it's fine isn't it i mean you know nice to be mentioned if you take in the cultural sort of gap between us and the usa and maybe cool alternative musicians and me and dan then yeah we probably are soccer dads except that neither of us likes soccer and i don't have any kids but apart from that it's all good yeah yeah it is all good yeah it's fine isn't it i think the world's got bigger problems than uh that's been shooting the balls by a pedal movie i kind of like it actually i i've got to admit that being on the edge of that whole world is is a place i've always enjoyed being right but as when we got to the end of the guitar when i got to the end of my guitar magazine days i just felt like i was in this inward facing bubble of industry right okay that i just didn't like very much sure and it's not to say we don't like the pedal makers of course we do we we love that we love you know anyone who's passionate about what they do and they do it in an artistic manner of course we love those people of course we do and we're privileged to be able to get some insight and you know have the benefit of their council on things but as opposed to being in a kind of a gang a club um i'm definitely with groucho marx on that yeah if you don't know the quote i don't want to be in any club that would have me as a member very good very so yes we send all our love to juan al doretti and uh actually we did get a little email from somebody at reverb going oh god we're really sorry we think this was uh maybe a bit poorly considered but it's all good it's all good please go and watch the pedal movie i'm sure it contains lots of really amazing stuff yeah i need to wait till it's free on youtube because i don't want to give that corporation any more money fair enough they're owned by etsy just in case you don't know reverb are they yeah huge money they got more money than god wow yeah wow yep i had no idea oh yeah great site though bought loads of stuff off there we bought that off reverb yeah now it is there's some really really great really good stuff on it is that cat enough at the end yeah wow um anyway thanks for asking the question phil and uh yeah helping friendly well that's good isn't it first time super chat long time fan when i practice i want to practice at gig volume but i feel my technique is more comfortable unplugged how can i get over such loudness overwhelming my technique what a great question it's a great question because everything changes at volume one thing that mick and i at pains to point out and anyone that's practiced on their own they've gone to the band practice have gone to the gig you'll realize that at volume everything changes so it is absolutely crucial that you practice that volume you get to understand how your guitar reacts at volume because it's a different instrument i'm the opposite i can't actually play quietly yeah absolutely true story because um everything that you're required to do at volume doesn't work has no effect at low volume yeah um yeah and there are people who would find that ridiculous because you know if you learn to play the guitar properly surely it's just you know playing the right stuff putting your fingers in the right place and playing the stuff you should be playing but it just doesn't work like that in rock and roll absolutely it's rock and roll baby yeah and the guitar does a whole bunch of different stuff so um to your question how can you get over it's a tough one because if you decide you want to get over it a lot of that stuff that's in your technique for playing quietly may well go away because you don't need it anymore yeah or at least it doesn't work loud and i mean don't get me wrong it's not like you're putting down the guitar and picking up the saxophone it's not a completely different thing but it is a a modified skill set or it might be that if you just do it more it's a skill set that you can draw on yeah and you can go and play loud now therefore i need to do this but yeah it is a shock uh when it happens i think we need to discuss this a bit more what one really important thing i would say as soon as you start to turn up turn the gain in your overdrive down yeah because what will happen at volume that that level of gain suddenly everything becomes so microphonic and so sensitive that any little movement is just like so loud um i remember we were i was in on holiday with the family in cornwall and there was band getting ready to set up in the guitar player who's obviously been playing quietly for most of his rehearsals turned up and it just fed back as soon as the volume control on the guitar was up it was just feeding back and you could see the manager was getting really annoyed and i he had the gain on his amplifier like crank and i just wanted to go up and say hey can we just just turn that down it'll still be loud and still be great so yeah be super aware of where your gain is set because it'll at volume it'll be very different your amplifier is going to be doing a lot of that work a lot of that limiting so you'll you'll find that you don't need the gain set anywhere near as high when you're playing at volume it's true it is true it is true you can let the guitar do do the work which is another great point of learning absolutely um but yeah um book a rehearsal studio for yourself and just so you're not there with anyone else and you can make as much noise and and get to grips with that volume um and then you don't have to be self-conscious of anything yeah i when i was living in makai i rented a um steel container like a still container office space and i just go there you know every day or every couple days had my old marshall jmp and i just turned the thing up and stand in front of it and make glorious noises it was wonderful it is wonderful yeah um i'm going to turn super chat off because we we won't get through them all so i'm going to turn it off and we'll finish the ones that have come in but i'm going to turn it off now everyone so please no more super chat any that have been made up to this point we will answer um have we done albus band yet i will get us back there daniel and let let us know where we are we got loads we have got loads we have got loads okay it's like getting thrown um this i mean all these things are so interesting to talk about and we can just as you well know we can take anything like this and just go on about it for ages because it is really interesting but we yeah we'll try and tighten up and with the answers we'll try it's not going to work um i freeman or ill freeman one says i'm trying to get that d'angelo is a sharky cool jazzy r b sound i'm a beginner what pedals would you suggest far out man that sound is it's all in the playing it is just extraordinary yeah i'm trying to i mean i'm not sure which record you're talking about specifically um i'm pretty sure i hear a phaser in some of that stuff um but more than that it's just a really nice often a really lovely clean guitar sound with a bit of the tone rolled off yeah um so it doesn't say what guitar you've got but um try just to begin with and this isn't you know necessarily the way to do it but just try if you've got a telly for example go to the middle position if you've got something like a gibson with two humbuckers go to the middle position yeah strat middle pickup or positions two and four but the middle pickup it just seems to be a place where solid funk really lives um take a little bit of tone off using the tone pot into a fairly clean sound and just get to work on your chords yeah good shout um i hear a lot of the legacy of lots of the classic it's sort of it's a this beautiful crossroads of funk and jazz the guitar playing in that kind of music yeah and it's it's mercurial because it's always it's often a bit more complex than you might think um but that will that will get you started and get your chords down while was always pretty good listen to um one one cool sound to chase down in that genre is if you listen to a guitar player called watson two wires but you add a delay pedal to that and you do the wire and the delay and you you experiment with some of those textures you can make like raking down the strings that was watson trick and uh while wiring it and letting the delay do the rest that can be really good fun you hear that in a lot of soul and funk music yeah um yeah good luck yeah i don't know any more than that i don't know much about isaiah actually but um yeah listen to some ronnie jordan as well what's then what's the name uh someone in the family band what's that i was talking about the other day um uh oh robert randolph robert randolph and the family band yeah i mean he's a lap steel player he is but the but the sound of those albums yeah yeah um has got a lot of that sort of dynamic in it and it's oh it's just glorious just glorious yeah you got to be able to sit back and yeah play the chords you know here's this yeah also listen to some parliament and p funk yeah rubber band yeah yeah yeah oh yes all that stuff good luck have fun yep yeah uh wade summer says new guitar day i've got an f phone les paul 59 nice just waiting for ups thanks for all you do guys helping educate a guy who took a 30 year hiatus from playing after being a music major at college oh wow congratulations well done mate enjoy that guitar yeah brilliant there's nothing like it is there a new guitar day no my brother gonna have new guitar day today he bought a an old like a 20 year old reissue of the um the fender custom dual dual dual wide range humbucker oh yeah okay that one 39 the thin line yeah um so yeah color natural lash black oh right yeah so it's got that i've said they're great guitars they're not the original uh pickups and you know stuff um but they're they're great cool yeah he's very excited i think because he came here and then he's like he saw the amount of guitars that we had and he's i think he's sort of taking that on as a challenge so every couple of weeks is going look what i got it does get that way with guitars a bit doesn't it it does um albus band aaron hey man hey man he says why hello you legends i just wanted to let mick know i've nicked one of his licks and turned it into a four by jack four bar jam all my love um i knicked him off someone aaron so um that's all good yep someone nick one of my let's turn it into a seven and a half bar jam excellent well done mate thank you sir digby chicken caesar says any thoughts on an overdrive for a clapton cream tone i have a marshall 18 watt clone but it's still too loud to turn up peace and love yes i've got the answer for you sonny jim oh let me use my incredible powers of deduction oh yeah of course hide your eyes down good man i hide your eyes are the camera's further away than it normally is uh thorpy warthog yeah brilliant absolutely brilliant in case you didn't get that the thorpy warthog it's just the most magic crossover between distortion and fuzz and you can get it a bit fuzzy around the edges if you want it's just a brilliant brilliant distortion sound um it has a tone pot which i believe works in reverse like a tone cut on a box amp okay i think i could have that completely wrong anyway um i would thoroughly thoroughly recommend that and if that's out your price range um [Music] but you're interested to know what 18 what clone you've got i've got to i've got one of those and they're such great amplifiers um what else is good uh i mean you can do it with most fuzzies but that can end up a bit aggressive um yeah go for the warhog it's such a great pedal it's extraordinary i mean what you're what you're trying to avoid is tube screamer i see type overdrives i think um no more transistor based harder harder edges yeah so i mean that very well may well be an op-amp based one i don't know what the circuit looks like but um you're you're you want something that's got some some life around the edge you know it's not compressed tube screamer type overdraft overdrive with that particular eq curve you need some bass and you need some trouble i mean that might work as well yes actually rat's a really good show yeah as long as you don't set it in the kind of really mid-cut metal yeah yeah place there's some nice nice scenes of that um yes uh any yeah oh zvex box of rock um i'm just looking at what's on the uh the fender pugilist distortion we'll do it i'm looking at what's on our shelves yeah right um there's a really really nice um benton overdrive yeah the benson will do it not a huge amount of gain in it but um mythos supercabra ah there you go with a step towards billy gibbons yeah yeah yeah yeah that's well yeah yeah just not choose groomer or a boss bd2 good luck chris allen hi chris thanks for all the info and inspiration i've just built my first pedalboard topping it off with a keeley fuzzbender have you tried it any tips or tricks fuzzbender is wonderful um [Music] it is it's got really powerful eq on it and you can basically make that work in like most amplifiers yeah so just be sensitive as to how you you set the the eq um but yeah just have at it if it sounds good it is good yeah if you're new to fuzz um what you'll find is and i i apologize in advance if this is too simplistic but what you'll find if you're new to fuzz is it all sounds really woolly and horrible down here but actually that woolly and horrible stuff gets important when you play single notes so for those really fuzzy awesome you know solo-y type stuff you need all the you need it all up there but if you try and get too much definition on the bottom strings it can sound really weird so when you play low try and keep your notes clean and don't bother with stuff like chords or power chords unless what you want is mush but to avoid the mush keep your low notes clean and preferably to single notes and then enjoy that singing high sustain yeah but if you treat it like an overdrive and you're trying to play brown sugar with fuzz on it just doesn't really doesn't really work although it would be an interesting an interesting version um congrats on the first board jason hogan says i'm about to buy my first strat also my first single coil wow i know the main thing is going by feeling connected with the guitar but also are there any strap specific quirks i should be aware of when comparing strats obviously you're going to answer this yep my first one i'm going to say is if you're used to playing humbuckers probably the first thing that's going to happen when you pick up the track you're going to plug it in and you go hmm it's a bit uh what's going on where's the guitar yeah yeah it's a bit quiet um at volume it will become a sledgehammer yeah they do need to be played a bit louder strats i think yeah or put another way they do need some dynamic help show volume because what you've got is that really massive attack and then dies away quite quickly and it's just sort of dynamic nature of a strat and that's been solved many ways over the years yeah people put humbuckers in them or or what but um you've said it pick up a few if you have the luxury to do so given everything that's going on um and just find one that you like the feel of and then work with it that's that's always the hardest thing you know if you're used to playing one type of guitar and then you go to another type of guitar quite often it can be a bit of a dispiriting experience because you expect it to do the things that your other guitar does and very often that's not the case so you have to kind of let it be a strat which is um yes let it be a stretch quite difficult if you don't know what that means or how to do it let it be a strat that'd be a strat yeah all that yeah uh you might find so one of the main decisions about modern strats is do you go for the two pivot bridge or the six screw vintage one um the two pivot one is much more uh efficient stays in tune better if it's set up right but players if you've come from a fixed bridge guitar you'll find it hard work because it moves because there's that bend it floats so when you rest your hand on it you'll detune the guitar some people find that difficult in which case go for a six screw one but if you've come from a guitar that does have a very efficient vibrato you'll find the six screw one too cronky in weird and old-fashioned um so have a look at the two pivot one um if you don't want to use a vibrato get a six screw one and put it flat and enjoy the sound that happens next indeed yeah very good good luck jason william young thank you both for taking away my shame of getting gear i'm not good enough for i pulled the trigger and now i'm through thee of thy shame so i i'm i'm three weeks into a 12 month league time on a black 68 landau signature and i couldn't be more excited oh come on what a great guitar you know what i just if you enjoy it and you can afford it it's like i i don't know any other industries like if you if you've worked all your life and what you've wanted is a ferrari and you end up being you know at the end of your working life it's like you know what i'm going to go and get that ferrari i don't know anyone that would go no mate you know that's you should be you should be ashamed of yourself getting that guitar you can't drive it like a formula one race you know it's like come on man it's this stuff is amazing yeah if you you know these these pedals and guitars made by these incredible artisans and you know it's like i want this i can afford it it's like i'm going to have a lot of fun with it i feel shame for buying oh my god you might feel some shame when you buy the 23rd custom shop strat but that's fine too [Music] enjoy that guitar when it arrives mark carey says hey chaps thanks for all the good work what pickups did simon put in his 54 les paul that made it sound ten times better i've just bought one too as my lockdown present um i've forgotten the name can you remember the name no let me test him i don't even know if i've got my phone here yeah uh dan's going to take simon and ask him what what you bought um they actually came from edelesco ed's vintage guitars and amps who's a friend of ours um and ed got in touch with simon and said do you want some of these pickups i've got some they're quite hard to get hold of but according to simon anyway it has transformed the guitar he gutted it and put in 50s wiring harness and all that 50's wired harness and um according to simon it's just so much more responsive and all the rest of it timing him now yeah i know he's looking after his son this afternoon so he may um smear the fourth he might be in front of some version of star wars he might be building castles and stuff like that uh oh yeah may the fourth uh i wish a happy wedding anniversary to my wife catherine yes you're winning out of this anniversary today nine years down nine years unreal congratulations amazing um we'll come back to that mark chris gibbs hello you fine purveyors of tone like mick i think all pedals sound best at 2pm but then i think i should turn them up full to get my money's worth am i the only one that is so great i've never heard that before yeah very good that's very good that is hilarious um it's interesting in it chris uh obviously taking as read the fact the the proven fact that all pedals sound best at two o'clock um fight me one thing we don't tend to crank on our overdrives is the volume knob man because depending on what amp you've got that can be crazy loud if you're dealing with bit headroom in the amp there but they do really a lot of overdrive sound fundamentally different with the volume cranked let alone the gain or the you know the tone pop so it's definitely worth exploring ben turner hey guys should i wait to buy a dimension c or other non-true bypass pedals until i have a loop switcher or am i being overly scared of buffers uh you don't have to wait at all especially with boss you don't have to worry no the direction c is is unreal what you might find is where that pedal is going to be in your chain it might actually help um because it will be a constant the thing about buffers and i've been having conversations with various people over the years about buffers and it's really interesting the if you get a buffer the sound of the buffer that you like if you've got you know regardless of the output impedance of the buffer because i'm looking at the output impedance of the sun peak corners and stuff it's not crazy low but it's what it is is a constant and if you find if you if it works for you then you've got a constant there and you've you know you might find the cables that you you prefer with but then it's always going to be that constant and then you set your amp up and you set the pedals up into it and stuff awesome um the okay from memory there was a dc2 doesn't use uh like uh like a simple transmitter i think it emit a follow-up buffer thing i think they're actually using op-amps in the wazer series they've upgraded the buffers um i'm not 100 sure that is the case on the dc2 but i dare say um and it's great really really great um so yeah i wouldn't wouldn't be concerned about that at all um no um yeah okay doesn't say just as they've greatly improved the internal bypass because the bypass on the original one was a bit sucky right okay that's the actual language right yeah so don't be concerned they're great yes don't be concerned um i one i had an issue with dc too is it crapped out it caved in a bit when i was hitting it with loads of other stuff right and i don't know if that was a do you remember we had it on the board that day and i was hitting it with the kingsley preamp and it was like no thanks yeah so yeah okay so that's the yes of course so it will have an amount of headroom you know like all their circuits do we'll have a manner headroom before it limits so you know yeah and it definitely seemed to be lower on that pedal than it is so it wasn't crapping out my delay or my um reverb or anything like that but it it was hurting interesting the dc2 was a should get to the bottom of that really yeah interesting um the b xlr the b xlr gents much love from socal california i recently picked up a 50th anniversary strat but it responds to my soul food differently than my prs custom 24se quick primer on gain stages for strats please um yes okay so your prs custom 24 se has got humbuckers and they treat overdrive pedals completely differently than single coils in something like your 50th anniversary strap which is quite a traditional strat so obviously the humbuckers will overdrive the will help the pedal get into overdrive that bit quicker and you'll have a more even dynamic response across the notes probably whereas the strat will be spikier plinkier and you'll probably need to set the gain of the soul food much higher to get the equivalent sound and response yeah very nice pedal tyson tone tyson tone uh chris were um simon's pickups tyson tone i'd never heard of them either that's what they are but apparently they're the fang so yeah so um generally the be exceller you just got to turn the gain up in the pedal more if you want the same sound but but bear in mind that the the whole envelope of the note from something like the custom 24 with humbuckers is entirely different than it is from a strap so it's not just about the fact that there's less output as it were the shape of that output is different in terms of the relationship between the initial transient and the decay so it's just a different cat of fish yeah strat's going to be a strat anything do i have done no that's i think the the the humbuckers are going to make the pedal limit quicker because you're hitting those rails faster so with the straight it might just be that you need to turn the gain up which will make it limit faster [Music] but again you know depending on what volume and everything you play you might find that uh just you know um are you specifically trying to get the same amount of gain or the same sound from the guitars i mean one thing that i'm really aware of is that i want i you know between my i want the top end to be clear which is why i've got a brightness pull and i don't want to be able to just plug guitars into the rig but then i want the guitars to do their own thing um so it might be that the you plug the strat in as it is and it might be just zingier and doesn't overdrive as much but that might sound awesome but yeah just have a just have a play with that gain range gary varner gary hi gary he says bcq has been such a valuable hangout thanks so much boys um dan what are your top five xtc tracks oh now you're talking why aren't the go-betweens better known um top five fcc tracks okay i've got to say uh sensor's working overtime now i know that might sound like a cop out but that was the song i was playing when i met my wife so i've got to include that also okay jason the argonauts i love that track um we don't need another satellite oh man absolutely beautiful there are so many um i dave gregory's guitar solo on supergirl uh is for my is the perfect guitar solo it's astonishing um also he played that on eric clapton's the full guitar diddy so he was he was recording with todd rundgren yeah in the studio todd and tom had that guitar he was just just lent up against the wall in the corner yeah you know still had the original strings on it and dave said i can i borrow that guitar to play that solo he goes yeah sure um so that's really important tune for me um let's see are real by real and scissor man oh but also peter pumpkin head ah peter okay peter pumpkin head's gonna definitely be in the top five scissor man and there's a live version of scissor man oh man like that yeah it's too hard to put them but yes that lot certainly um that's just astonishing he for me he and andy partridge uh beetles um neil finn and andy partridge wow absolutely that's some company just yeah and and he sent me an email a couple weeks ago he's still planning on some some point coming on the show he is a genius he is an absolute genius so uh and i've had a chat to him about songwriting before and the the stuff that he comes out with when he's talking about creating music is absolute pearls of wisdom just yeah i'm i'm in awe of the man awesome that'll be a fantastic show be unbelievable i'll be just a burst into flames by the end of the day i just walk outside and just combust yeah but yeah with apologies to anyone who's been on the end of this there is actually something called s h c spontaneous human combustion yeah yeah like it's a thing it's not a very common thing no but it is a thing imagine that it's like well why did he why did he why did my father suddenly be was engulfed in flames well he uh unfortunately suffered spontaneous human compassion you're like get out of here no way i'm not accepting that you're a quack show me your doctor's certificate so when i was a kid you had you had the loch ness monster bigfoot ufos and spontaneous human combustion were all in the same box and at the library you know the section was like 10 books in total and that was in there as well you know great mysteries of the world so and it's fast like it is absolutely fascinating they've got some theories now about what might cause it yeah stood in a bucket of petrol having a ciggy oh no i seem to have spontaneously combusted uh just for the record don't stand in a bucket of petrol under any circumstances whether smoking or not yes it's not advisable ian fan uh says i bought a gretch electromatic center block dc with my first bixby do you have any tips for keeping it in tune other than taking the bixby off mick has this sorted out i've got three tips for you um and i'm no big speed expert but as with any vibrato system you need to minimize the points of friction and potential slippage and those points of friction are wherever the string touches the guitar so here you're not going to get much there back of the tailpiece because um it's pretty tight over there so you're not gonna that's not gonna be a massive problem the saddles is always a big problem on any uh vibrato guitar because obviously as you move the vibrato up and down the strings need to go backwards and forward similarly the nut same deal the strings need to travel through the nut when you when you're doing your wagon so these points here need to be well lubricated now if it's very hard steel material chances are that'll be fine but you may find that some something like um that nut source stuff or even just a bit of pencil graphite can really help some people go to the extent of having graph text saddles and things like that you don't need them um necessarily secondly the nut uh you can buy products for this but i just pull the strings out the slot rub a pencil over there get the graphite into the slots and it makes the world of difference right [Music] it's not too bad yeah and bear in mind that before i set this guitar up before i put the pickups in it would it would be madly out of tune just by going like [Music] it would be madly out of tune can you do the pencil thing on the bridge probably yeah okay i'd yeah it's never been a big problem for me but if the saddles are made of some cheap stuff what happens is the strings eat into the saddles yeah yeah they get stuck hot metal so that's thing one is make sure all the points of contact are well lubricated thing two is this spring makes all the difference in the world yeah is that what is that what duesenberg had engineered some magic spring i think the duesenberg one is just beautifully engineered all over that it's eerie do you see how good that thing is do some reading on the spring you can buy retrofit springs in different um strengths specific spaces and things like that my knowledge isn't very good i haven't done it on this guitar um but it's something that you can do and it's just back to the bridge for a second gretch has made all kinds of different bridges over the years so sometimes it might be what's called a rocking bar bridge which actually moves with the vibrato so that's thing to do some work on the spring thing three is always tune up to a note so the nature of tuners is most old school tuners anyway is they load with tension so if you tune you know if you're tuning your e string tune up to it because then the tuner is loaded and the chances of it slipping back are less if you tune down to the note i just i naturally just gave it a little tweak back up again just because i've been doing it for so long um there's there's just a slightly increased chance that the string can slip back through um exacerbated by how well your nut is lubricated misses um because obviously there's a relationship between the tension here and the tension here so as long as the nuts well lubricated you should be all right with that sorry a bit paul crossoff with bright on the end [Music] so there you go those are my top tips for your bixby and i am no bixby expert i'm trying to i'm trying to play without vibrato and still make it sound good and it's really hard it's hard to make sound good anyway isn't that all jazz guitar players ever isn't isn't vibrato a sin in jazz no however one vibrato that i really like is instead of doing this whether that only goes sharp you do this and then i guess flat and sharp like cello yeah [Music] but you gotta grab wow that's freaky yeah that's like you've got a vibrato pedal built in yeah how do you do that so you're you're pushing the knight flat and then pull it sharp so instead of going it just goes it just goes to the note and sharp with this i see so it's relative to how close to the fret you are well well i'm changing the tension i'm actually when i push the string this way yeah i am [Music] oh no way yeah yeah so you classical players do it [Music] oh my god yeah it's a really interesting way to do vibrato so you're actually oh my god yeah yeah wow i never knew that every day is a school day dan jonathan jerezyk hello jonathan he says hey gents can you talk about boost pedals in an effects loop or even using an overdrive game pedal in an effects loop not many know this trick we've looked at it in various shows over the years we have and it's a really great thing to do if you get the right voiced boost pedal it's really great as an attenuator the most important thing with the boost pedals it has to have enough headroom to be able to handle the line level coming from the effects send every valve amp has what would be different and of course if you crank the preamp you're going to be sending a lot more level um like my master for example is the vault it puts out in the preamp suddenly is just out of control so getting a pedal that has enough headroom to handle that yeah um most modern amps are instrument have instrument level effects loop so it shouldn't be a really big deal if if you've never tried this the biggest um the area where you'll notice most benefit is if you've got an amp that's overdriving and there's not much you can do to boost it so if you boost in the front end all you get is more overdrive because the preamps already maxed out so if you stick depending on how the amp's designed if you stick a boost in the effects loop it can give you that solo boost alternatively if you stick a boost in the effects loop at less than unity volume it can give you a volume drop yeah so you it's a counterintuitive way of thinking about it you play all your rhythm stuff and everything else with the boost on but at lower lower than unity you turn it off let your amp breathe its fiery glory um full chat for the uh for your solo bit it's a great weather door called under driving yeah really wonderful way to do it yep um another thing that you can do is if you've got to play at low volume sometimes a mix of compression and boost in the loop of an amp can give you a bit of sort of saggy feel um can can work really well we have done a few shows on it over the years yep um yeah nice thomas cook i played for 10 years plus but just got n oh into pedals i bought eight powered with the gig rig in four months they make my american pro 2 strat into a twin sound epic awesome i respect few people more than good teachers and you all are two of the best small talk thanks thomas that's lovely thank you mate glad you're enjoying it it does open up a whole world of different things i remember my drama teacher actually now she was my english teacher she took me aside after one lesson she said to me dan you should be a teacher i said you're drunk i wouldn't do it for all the money in the world they work so hard oh my word um yeah it's one of the jobs i wouldn't do for any salary man alive but god it's such a calling i've had i've had teachers that have changed my life oh mrs hayes when i've had a few people they've got the potential they didn't it's a joke um but i'll never forget mrs mrs hayes in grade three um i moved around a lot when i was a kid and i went to 11 different schools wow that's tough yeah but mrs so did you steal something from every single one or was it violence related no um just just we moved around a lot but uh at mount gravatt state school mrs hayes in grade three i'll never forget her so we're doing we're talking about some uh dream time aboriginal dream time and they're basically their um their myths and legends and stuff and i'll never forget this there's just there was this story about how the sun was created about this emu grabbed his egg and threw it in the sky and created the sun and um mrs hayes says to me so is that true or is that false and i said i was rubbish and she said to me how do you know i'm like uh because surely it is but how do you know do you know you know and she just made me like think about things that okay okay i surely i know that that's not true but is it just because it's something i've heard you know and she just made you look at things in a different way and that that's i'll never forget that and then years later i remember coming across another kid that was in her class i've just been you know i spoke by grade 12 at that time they said to me at the same time mrs hayes i'm like yeah man she was amazing and he said but how do you know but how do you know yeah it's a bit of philosophy i i'm a passionate believer that philosophy should be taught to all kids from as early as possible yeah yeah um yes wonderful definitely yeah how do we get onto that uh teacher he said thank you you guys are great teachers uh yes yes i should say thank you to michael collins who was uh my teacher in the last year of school who encouraged me big time to bring my guitar in and play and right at primary school and do all of that lovely yeah i told him one day i wanted to be a bass player he's like don't be a bass player nobody cares about the bass player it's a great thing to say to an 11 year old in it his brother played guitar good guitar player so yeah michael collins thank you michael collins wonderful um right also mr maninski from from uh springwood high music i didn't i wanted to do music at school there weren't enough people in my high school that wanted to do music to have a class so mr maninski every lunchtime i'd walk around with mr meniscus and he'd teach me bless him at his lunch time just would just walk around talk about music so it's his fault it's totally his fault totally we'll get this uh in i did gcse music and it was two of us did gcse music but you still had a class yep ah we didn't have enough people to have a class ray wheeler he was the uh teacher he had his this little office thing off the music room we used to sit there have a cup of tea gcse music never be allowed these days there you go yeah um with david noble david noble was the uh my partner for gcse music we both used to fall asleep uh jack petch jack patch hi guys do you ever find yourselves doing the occasional stereo patch in your wet dry rigs ping pong or rotary if so how does it translate in a live mix i've started doing stereo more um because simply because of the of the reverb the cxm reverb and the future factory i'm the way it works because both the amplifiers that i use that they sound wonderful with effects they're very different sounding amplifiers um but you know they all work with effects i don't have one one amplifier sort of particularly dimed um so they both have headroom so yeah it works brilliant once you've like i've always been really happy with just a bit of um you know reverb going to one amplifier and a bit of spring reverb and the other that's always worked great but the cxm has sort of made me ask some different questions about how all that stuff works and and uh you know i love the fidelity of the the future factory however one thing i am experimenting with is using the future factory and mono and having a tape delay being able to just have different delays don't go left and right or you know or you know or wet dry or whatever um but yeah having the the cxm in stereo is just the most glorious glorious thing sound and it's a good question about the live thing though because your implication that it does get lost a bit and you're absolutely right and that it does unless you're in a fairly regular production and either you have control over the sound of the monitor mix or yeah your um sound engineer is particularly um willing to put up with your with your needs it is difficult that's one of the reasons i've never used stereo really live is purely that that's why wet dry works yeah and to come onto your question about the rotary that's why i use the um rotary's always wet dry because i find with any modulation effect effects it tends to disappear tend to lose definition and then what you do you want to turn up and then all your frequencies are out and the singer starts moaning at you i start moaning at myself um but yeah if you're if you're in control of your live sound and everyone's listening and i think it can work really well but yeah like dan said i'm pretty sure that as soon as we get start back to get to gigging i will even ditch the stereo reverb and delay right it's just too much hassle yeah no okay but it does sound utterly amazing if anyone has ever seen andy timmons live yeah that is the best stereo guitar sound live i've ever heard one of the best guitar sounds i've ever heard full stop monster oh and you know there's a guy that has regularly brought me to tears with his playing just so emotive and so beautiful and he the way he sculpts those stereo sounds soundscapes something else it is someone else what's that from little bryn um oh yes well damn raphael kirti freitas rafael curtis freitas says um you inspired me to get a second ge gtd 665s which i'm guessing is an amp um to run wet dry i'll lose some cabinet space but i'll never have to unload a dishwasher again is the risk of a sex is common is it a peculiarly male thing to hate the dishwasher i do it every day you like dishwasher yeah it's the i i think i've done it it's sort of the thing that i just look after cleaning after the kitchen your job and i like it yeah i like it i really like because it's you know the kitchen isn't massive and it can get messy real quick yeah especially with two kids especially with two kids man alive could you think they can uh you know put your body in your old 16 year old could they do you think they could just rinse out a dish and put in a dishwasher every now and then nope not physically not a child and they're really good kids there's something you throw the dish at them and it breaks against the wall soon there will be no dishes left that's how it happened in our house right okay so it's like what do i do now where do i eat my cereal eat it off oh that's very kill bill like the dog you are there's fairy kill bill yeah uh my house wasn't like that um angus mclean says hello from calgary my favorite pedal giants joe is helping me with power setup greek i think a wetter box would be a great addition how would each of you use it with g3 other switches are available indeed uh how would i use the wetter box with g3 yes so what i would probably do because okay a couple of things because the water box is stereo so if you had something like something like this that has uh you know just turn the mix right up to 100 wet and then use the wetter box to blend that stereo in it's a really really amazing sound so you do that with expression pedal that's really cool but the other thing is parallel drives is a really fantastic way to use a box yeah yeah um you know having it's like i love big muff sounds but there's always light on the mid so getting a mid rich overdrive and on one side loop a and a big muffin loop b and just blending them and finding that point and then putting that into a loop and then doing that you create fine really unique sounding drive combinations and it's a great way to find your own um you know your own gain staging it's really really cool you can actually do that with the parallel and then sum to mono in g3 you can do that in g3 anyway but that does mean you don't have the mix control yeah that's that's the difference um but you know you could do that with the with the you know with the volume on the pedals you can do that internally in g3 which is really cool but i really love just having a you know a loop dedicated to that particular sound and finding that point um yeah it's nice really nice i like dan's suggestion of of blending in your wet stuff yeah doing that on the fly is amazing yeah someone i want to experiment with actually and i don't know whether it's either plug in a an expression pedal into whatever pedal it is you want to blend in and out but i love the idea of that you know as you play louder and quieter into delays and reverbs yeah yeah you need to it can either get overpowering or not enough and you don't have that control so having that just on the fly totally yeah nice enjoy enjoy angus uh deutoro says hi dan and mick dutoro i would like to suggest the challenge the three classics toned challenge you have to pick a classic amp tone martial voxel fender and use pedals to get the other two that's a good show what a good show hello i'm totally gonna screen grab that do that's a great great great suggestion thank you if anyone didn't get that so we pick let's say dan picks a marshall he then has to pick pedals to get fender and a vox sound nice that's really good because we always say you know pedals don't really sound like amps and they never do but that doesn't change the fact you can't carry three amps around so you at least have to have a stab at it yes for sure yeah jamie brown hi guys my wife got me two t-shirts sent to boys idaho for my birthday thanks for sending it also i can't wait for matt berry to come on i'm in love with that guy yeah that's the best yeah so matt has released another album he's the guy that's just prolific uh the plan is that we're gonna get matt on when we're doing um the live stuff with the band great and we're gonna play a couple of tracks of his with the band awesome could be wonderful too cool yeah yeah moms hello moms he says greeting from redlands california thank you for introducing me to the super tremolo it's worth leaving on most of the time for that gain stage alone i'm running it wet dry and it brings me such joy oh lovely yeah i've been on my board for a long time really cool sounding thing um razer elgazi razer elgazi says uh thanks guys for persistently fueling our collective gas home i use dry mono full range flat response on the side and two wet studio monitors i dig my sound but is this just technically wet dry wet or dry wet wet or just plain stupid so he's got dry mono full range flat response and two wet stereo studio monitors yeah that's wet dry wet isn't it dry wet but if you've got the frfr over there and then you've got your monitors then it is indeed dry wet wet yeah yeah i guess the idea is if you've got your dry in the center yeah yeah but that's you know it's definitely not stupid no brilliant tobias hi tobias he says i'm getting a custom based on a calling cl already spec'd uh ron ellis's p90 brazilian rosewood board honduran mahogany body and neck and a maple carved top anything i should watch out for ideas thieves tunis and bridge um calling cl so the cl is their les pauley one isn't it maybe you would know yes right bridge don't know uh whatever collins uses going to be the best available yep so that's a good place to start so sorry it's based on a colleague is that yes um go with it go with the guitar maker's suggestion but assuming you're going for a stop telling the genomatic arrangement um yeah you either get something modern and well engineered like a mastery or something yeah i don't know much about genomatics or you get something vintage spec made out of the right stuff yeah and that's much harder to find yep um because the particular aluminium alloy that they used wasn't you know what everyone seems to think it was yeah so i tried a couple of different uh towel pieces on my old my 61 junior i took the tabby's off it's light as anything [Music] and put the same strings on three different bridges sounds nothing like it just everything that i love about that guitar was gone put the original thing back and it's just this light piece of aluminium and it's like i could not believe the difference yeah that having that metal yeah makes well joey's been through the mill isn't he trying to get his right on his guitar and i think this is well known among people who know these things but it's not aluminium on the old guitars is it not it's it's got some name it's an alloy of some kind wow um i think it's an aluminium alloy but um it's a different material anyway the comments will be coming in thick and fast as to what it is but tuners um i am a big fan of light tuners i have no idea why partially for the balance of the guitar partially because all the guitars i like have light tuners like the clue signs etc yeah like not grovers yeah yeah yeah yeah yeah um interesting yeah they add a significant amount of mass to the to the headstock they were fine for jimmy page what are the tuners on on the gold top yeah the proper snot key okay yeah you've got gravers on yours oh interesting okay um they were five jimmy page and lots of people swear by grovers on on gibson's so don't you know don't take my word for it but um yeah uh paulie smith is a big advocate of light tuning pegs well um and yeah all my favorite guitars have got light tuners on so i don't know if there's anything in that or not or whether it's just in the brain ergo go for the ones that look the best uh peter wasted thanks peter no question maybe it will come in um sergio ramos says ever thought of a modeler versus a real world effects counterpart helix has some preamp blocks that meant to go in the place of an effect sleep or a tube amp so that would be interesting to see greens for the philippines yet no is the answer we're just not interested yeah um i read a really interesting post the other day and someone had gone back to pedals and he said the stuff sounds really good he said but he spent so much time tweaking so little time playing um and i mean that what the stuff is you know man it's amazing if you're a um you know if you're touring and you've got no setup time and no tech and all that stuff you know no luggage no yeah if it's a um champagne taste be a budget that stuff is amazing yeah you know i've just the the misconception is that we don't like this stuff because we don't know it and the reality is we've both played a lot of this stuff all of it and uh and it we have got so much respect and that stuff you know it does sound great for us personally we've just found um there's a real i don't know i've got no interest in modeling a 1961 ac30 i've got a 961 ac30 it sounds unbelievable i'll use that you know what i mean it's just like because that's the sound i love i don't i so i've got that i don't need 1200 other amplifiers you know um but if if what you need is a huge variety of those tones that sound really good there it's you know it's a no-brainer yeah there's there's certainly a case to be made as dan suggested for you know value for money for practicality ease of use certainly you know low volume use makes perfect sense yeah um but yeah i just i mean it sounds a bit harsh but i just i am i am just fundamentally i lost interest in that stuff after i think my tenth line six press conference where they turn around and say to you this year really does sound like valves i'm like do you know what i'm done i haven't and i have after we dan and i have tr you know it sounds like we're defending a position it's not we've tried we do tip but dip our toes into waters of stuff and all that we just end up making shows that we don't really want to make and it's not to pour any scorn on anyone who uses that stuff or you know i would never judge someone else's choice of gear i just would never do it you know just play what you love and don't absolutely whatever gets you playing man that's that's that's everything yeah but likewise it does get a bit old when you get consistently judged for your choice of gear it's like this is what i like you know i've been doing this my whole life yeah i've been in the privileged position of being sent every piece of gear under the sun and i have truth be told i don't have any more questions about gear yeah what i know is it was probably made before 1965 and it cost and it cost 20 grand yeah right and i'm sorry but that's that's where i am with it yeah and so the reason that me and dan do this is because we love that stuff yeah and we love this stuff yeah and we do it for the love of it and life is just not long enough to do stuff you don't love so with apologies yeah yeah the the good news is that every other youtube channel in the world does that stuff absolutely so we're the odd ones out yeah really when as soon as one of those products is released you just type in the first letter of whatever the product is and you'll see everyone's everyone else but us you don't need us to tell us we don't like it i had a really interesting thing i'm recording i'm doing the last guitar tracks on this ep at the moment and i've got the using the iso cab and i've got the mattress at home and fire man the guitar sounds are monstrous but it is that thing where um when i did the demo and i had you using all the the plug-in stuff and i could get this passed down really quick doing that stuff with really great tone that's really immediate it's hard you know what i mean and you've got to be on yeah there's one thing there's a there's a i don't know if it's a compression thing or whatever but i could it was so much more forgiving in that world and it was you know it's all great and digital world yeah yeah yeah um which is awesome but you've really got to be on your a game when you're which is why when you hear you know players like tom buchevac playing through you know real amps and and and just making them sound amazing which is why when you understand that um you know that stuff is so revealing which is why just an awe of the guy because everything that comes out is magical uh and but the good thing is it really highlights the things that you need to work on as a player yeah true and the more the more you work with that stuff you just you cannot but end up sounding and playing better yeah that's certainly been my experience anyway yeah i would agree and and then i guess we should say well not everyone has the well very few people have the wherewithal to be able to play any sort of appreciable volume yeah yeah that's very true yeah it's very true you know before any of this existed i still didn't play guitar at home i'd hire a rehearsal room yeah yeah of course and between rehearsals and stuff i just i couldn't i and and whenever you give an opinion the assumption is that you disagree with anyone else's opinion and it's not like a see-saw it's not like here's my opinion therefore all other opinions are wrong it's it's equal billing you know everyone's opinion is equal so all i will say is i cannot enjoy playing the guitar unless it's pretty loud and there's that physical interaction of human guitar and speaker i i just don't enjoy it that's how rock and roll was born because it feels different it's a whole different emotional experience when you when you you've got that i think one of the reasons we're so looking forward to doing our experience days is to get people to come and go okay are you ready yeah yeah half of this here we go yeah and which is not to say that that is everyone's experience or you should like that and it's no there's no judgment on doing it a different way because equally i dare say there's millions of people who really don't enjoy that and enjoy the you know the more a different experience so please don't think i'm trying to say that's how you should do it i'm saying that's how we like doing it and therefore that's what we do on this show wow that will got a bit defensive didn't mean it to come off defensive here's a bit for the beer fund says s crawford music may the fourth be with you thank you thank you very much red rover and the effing game cat says polara is a fantastic reverb pedal i believe that's by dodd or digital yeah yeah lexicon algorithms brilliant pedal i don't understand why it never gets mentioned um is it dodd palara maybe or is it digitech in any case all those brands including lexicon are owned by the harman group or they were owned by the harman group and that's why lexicon turns up in digitech and dodge stuff right yeah alex a cheers from austin texas any thoughts on aluminium dust caps on speakers or jbl guitar speakers says alex a uh dust caps on aluminium dust caps i've played through a jc 120 once that had those speakers with them just sounded unbelievable yeah i think they were in one of my twins once i don't know enough about it the only problem is if someone goes that looks really interesting and pokes it and they go like a dented ping pong ball yeah i don't i don't have enough experience to comment on that really but jbl's you do well only just because they were in one of my twins and they were in there because i wanted it loud yeah but they're great what difference does the aluminium dust cap make then does it make a sound difference everything makes a difference doesn't it i guess it i guess it does um yeah literally no idea that's an interesting question yeah sorry we couldn't give a better answer big wave dave says um great to see you gentlemen i have a small stone after fuzz and before my drive pedals yes awesome first of all awesome and i have a volume drop problem yep with the small standard original small stand yeah is it because it's a nano version ah okay sorry that's more stone um well the original one probably would have added original probably had more of a volume drop as an interesting case in point if he's not going to mention it himself it's the reason dan invented the loop switching system yeah because of exactly the problem you're having yeah so one of the things with those phases um it can if you look at it on a scope you'll see that the the volume probably at unity but often it's it's called a psychoacoustic phenomenon because what's happening is you've got your so the phaser works you've got your original signal and that's blended in with a signal that is modulating the phase in frequency and that's blended in with the original signal so what happens is as the as you get phase cancellations going throughout the frequency range you're getting those frequencies sort of taken out and the effect of those frequencies being taken out makes you feel that the volume is quieter and that's if you looked at it on the scope it probably looked like it's not quieter but it does sound like that so um i don't know about that nano i don't know if it has a tweakable gain circuit inside um some some phases come with with more than at unity gain but it's a tricky one like uh putting it in a loop with a boost because if it's a pedal that you use a lot just get a simple loop right a simple loop switch as a single loop switch send into the phaser out of the phaser into a booster back into the loop so that when you turn it on you get your louder phaser lots of people make simple true bypass loop switches i think jhs make one full tone makes one yeah or fulltone used to make one if they still do yeah yeah that'll do it um daniel hurst any advice for meeting people to jam with or how to approach the first jam after learning during lockdown i want to get out and play with others good for you okay uh it is it is really tricky what i would say i have i heard my sister do a talk on this and it was fascinating um so my sister er does the lot in the gospel world and she was asked this question about how how people can start playing with each other and she said just start book a room book a start time tell some people and start turning up just stop just start and then then before you know people start turning up so if you turn up there and you're on your own just play but tell people about it book a space or you know and just start doing it yep and if that seems like a big um you know like a big deal then find a local jam night because there will be one somewhere and just go down and meet the people it's it's it can be a very very intimidating situation that because again i don't want to offend anybody but a lot of jam nights tend to be somebody who's really interested with a group of friends and they tend to be pretty tight-knit and when new people come in it's like oh yeah how are you oh man it's so that's stuff i just find so weird and that does happen a lot i'm sure there are others that are you know open arm welcoming to new people and i guess you've got to navigate that and do a bit of sort of psychology on the best way to because you don't want to walk in there and go hey when's my slot yeah yeah yeah because that puts people's backs up you're going to flood of the conchords where it says okay guys i've got you a gig um no actually he's booking the gig and he says yeah i hear you guys have got to know my night says yeah we've got an open night this is uh i'd like to i'd like to get my band in front of the concourse to come down in place as well it's an open mic night so if you come down and put your name on the list uh you guys will play oh that's that's fantastic so just confirmed that uh that gig is on that will come down and yes the gig is on if you come down and put your name on the list okay fantastic all right boys i've got got the gig wonderful and they they can be intimidating because you know in that environment you're expected to do your your slot in that in that environment but yeah jam nice alternatively maybe come at it a little bit easier find anybody else around you a friend who plays and just start the two of you yeah and just you you'll be amazed at the i don't know can be a bit awkward it's like when you sing with somebody for the first time it can be a little bit awkward isn't it just everyone gets over their inhibitions and you know you feel self-conscious because you don't feel very good and all of that stuff you just gotta get over that you know yeah you've gotta without being you know without turning up naked yeah yeah so you know from experience i can tell you don't turn up naked there's two gemini oh man in um succession there's a brilliant um series called succession on which is really expensive but anyway um that's one of the sons comes in they have this meeting and these guys look right come on this is a shirt's off meeting he's like come on we gotta take our shirts off so you could like take this shirt off anyway you've got to get over those inhibitions but once you start and once you get to know each other a bit um you'll you will be utterly amazed at how much fun it is it's the reason we're here yeah is the reason that anyone does this because it's so much fun my big the biggest problem you probably the same problem is that one day someone paid you to do it yeah it was like ah this is me ruined yeah yeah and then it becomes more than the sum of its parts and that's the nature of jamming so try and find somebody anybody um i guess you could try the local music shops if there's any cards up i know that's pretty old school but it still happens absolutely um yeah and just start my uh daughter has this guy from school and he was a beatles fan so they've started a little jam at our house and on saturdays they sit out in the garden two acoustic guitars and they play and sing and harmonize beetle tunes and it's the most wonderful thing so just just just start make a start book a time commit to a time and then just tell people that can i have a play come over i've you know yeah there's some beers in the fridge and you'll you'll you will probably start off thinking i'm not good enough and oh god you know i've only just started beginning or whatever after a brief period of ironing out any idiots who don't really want to be there you'll realize that everyone's in the same boat totally and anyone who's actually any good and worth hanging around and jamming with will only ever be nurturing absolutely and they'll only ever either try and help you or if you're in that position of maybe being a bit more advanced whatever that means you nurture that your responsibility to yeah yeah yeah and it does happen i promise you it happens it when the environment is inclusive it there is nothing like it the the this um you'll find if there if if if if it's exclusive and people are being sort of at arm's length there's a lot of uh insecurity yeah that's coming from a real place of insecurity yeah people just turn up to show off how good they are yeah exactly i i have been guilty of that you know we had a jam night that i was part of and we were a bit like that there was a moment there we were a bit like that right it's pretty ugly yeah but if you're still um if you're still getting people to it's okay to get up and be awesome as long as you're getting other people up to you know well that's you know amazing yeah right just josh peregrino we need to hurry up a bit sorry mate what did oh boy oh boy um how are you from austin i run by the srv statue every sunday wow um speaking of that how's the collings journey coming along y'all are making me itch for an i30 or a soco myself but the wife wants a house um yeah there is that um well there's been a development at actually in the i30 journey there may well be one or there may not uh we'll see i don't know you're not a fan i mean of course i'm a fan it's unbelievable but the inlays were me um yeah i've i've i have the opportunity on an i30 which is quite interesting yeah yeah i mean you know it would be one of the best guitars ever made of course all the stuff is yeah uh brent oh please give srv my my very best regards i was listening to him only yesterday really brent garner um i finished my parts of caster telly style with lindy fralins wow it's just amazing thanks for your effort on the show the vlogs i really appreciate the info and the production value this is a top channel thank you mate thanks for being here uh giovanni botta says hey guys i'm looking for a new amp top candidates are a tonkin imperial mark ii in a mesa film or 25. i want something more versatile enough to work with both single coils and p90s that works at home volume the tone king is the most extraordinary amplifier the the cat the the kelly tweed is wonderful feel more twenty five ten more 25 sorry but boy oh boy that tanking take some beating yeah i mean the fillmore if you're after kind of fender blackfacey type sounds i think the film was a really good shot oh okay um if i'm thinking of the right amp is that the black is that the blackface version of the of the tweed one that we've got kind of right but knowing boogie they will have added 16 channels yeah you've got three modes per channel yeah so it's going to do much more than that right um yeah having not spent enough time with the film or i wouldn't want to advise you other than to say the tone king imperial mark ii is so good but really it's really good yeah yeah it's incredible yeah if you're sort of vintagey-minded doesn't do any kind of modern high overdrive or which you may well get out of the boogie a bit more so if you're vintagey-minded the tone king i think sits in a really nice place um i can care yeah i really like it i really do like it i like it i especially like it with humbuckers yep magic um good luck um medieval cookery with rpad hey how you doing mate how are you doing smoke is a squirrel our pad delicious guys you love booty camps and pedals but you love the big two guitars may i challenge you can you find a boutique guitar to fall in love with uh duesenberg reverend maybach novo paoletti whatever i'll cook for ye um yes dan really doesn't like boutique guitars it's not that i don't like them but they're just i'm so enamored with tallies with with the tallies that i have that they just end up being further down now saying that i've just got a call from a text from carl longbottom he sent me some pictures of the guitar um so he's re-sprayed the inside this is a few weeks away yet it's gonna be hardened uh but that is a guitar that when i played it was the neck just like this is wonderful and it had that thing if you play a really nice vintage maple neck uh maple neck guitar um what i find is the really good ones the really time for ones are very warm and a lot of the maple neck guitars that we that we we associate with being really bright yeah but but but the really good ones they they're not like that they're warm and they're thick this guitar had that thick warmth thing to it the neck was amazing so um changed it from a t-style guitar and putting a couple of uh cream wide range humbuckers from the creamery from jamie the creamery and a strat trem on it so it's like it's gonna be i can't wait to see that guitar me it's gonna be unreal yeah yeah so there's that i think you're going to play that guitar yeah i do too i do too um the other guitar that i have and i use this live often is the krausta now i've just changed the pickups in this and they sound fantastic but there's a mid-range in this guitar that's really mid-range but in a live context and we when we did the tps stuff and we always bought this out for the last few songs wow really really wonderful so totally unique sound that guitar totally um so it's not that i don't like those guitars but they have to it's i would i would never buy not that they're not amazing guitars but i'd never buy a sir telly just because i've i've you know i've got three incredible tele you know fender telecasters yeah um so if i have anything else it needs to do a different job which the guitars that i have do you know i'll make it i'll i will make an observation that might make sense of this the reason we like boutique clamps and pedals if you want to call them that um is because they tend to be more vintage so my two rock is hand wired point to point pretty much like they used to make them same with the matchless it's more vintage um clones i don't know what really good fuzz faces old tube screamers um and and what happens in the the pedal and amp world is tech gets increased amps become increasingly pcb made which is no bad thing we've got plenty of pcb amps as well but you know hand on heart the ones we really love are the hand wired ones pedals the same you know they go from being these large component uh through-hole devices old analog devices to becoming more modern with increasingly miniaturized production and all the rest of it so yeah one of the reasons we like boutique apps and pedals is because they are more vintage and one of the reasons i'm not a massive fan of boutique guitars is because they are more modern the booty guitars i like collings closest thing you can get to a vintage guitar pretty much yeah right yeah it just makes like a really a really nice vintage guitar yeah yeah yeah totally um a couple prs i like my dgt i really like but oh guess what it's nitro finished and it's basically got psf's in it yeah yeah so it's not saying that these things are are better it's just a it's it's a um it's a personal preference yeah so yes uh we like tend to like the boutique amps and pedals that are more vintage yeah if that makes sense yeah when um i hadn't realized that until i just explained it right that's very good so uh pete thorne who's a a dear friend of ours so he has his his um his custom sir guitar and he can that guitar works brilliantly for him he can get like the amount of sounds that he gets out of that thing is incredible and it just works so brilliantly for him and he's a session pro you know so he can get so many sounds out of that guitar i think the um and they're you know there's nothing against those guitars they are incredible yeah but the the sound of a telecaster will haunt me to the day i die you know and and me too very good very good very good yeah but they're all great they're all great they'd be like tell dan is cheese drink it was never very good very good sorry for the macabre uh little little thing there um scott m scott thank you uh no question so i don't i actually haven't brought my phone in so it might be that we've got to pick that up next week ed bromiel hi ed he says uh just a massive thank you for inspiring tones and ideas for my work you guys changed my approach to the guitar i also work at a library and created a pedal petting zoo program for the public i think it's not a competition but that wins the day that is the best uh do you know krp says how many pedals are too many from guitar to amp you're asking us oh sorry as far as signal chain is concerned um oh man four before a switcher for me yeah i i say i say depending on the pedal six yeah yeah i'm with him you know um it might be that you've got really good pedals and really good buffers in the good positions and might all be fine um the the issue then becomes less about tone if those buffers are working for you more about making all those things work practically yeah so yeah i i yeah it's you can't say can you no no it's really it's really tricky there are practical issues why you might want to add a switcher and separate them out yep um [Music] yeah yeah and again is why dan got into the whole thing in the first place because he had too many pedals that were causing too many problems so as with any situation of needing to add a piece of technology you need to define why you need that piece of technology and it was really simple uh tone suck loss of signal um volume inconsistencies and power trouble yeah so look the reality is i played this on a session and i fell in love i went down to guitar crazy and coogie and i bought that and a bunch of other things c1 old tube screamer this is the and the guy that made that fuzz for me he had a good day and this thing sounds incredible but i put this with anything else and it makes it sound like rubbish yeah you know so not when it's on but when it's off because it was buffering it was so poor um that the you know the bypass state it was so poor uh and that you know sort of led me to that thing it's like okay i need this i can't now be without this but i can't have it in the chain what do i do but if you had the thorpy camouflage for example no such problem there you go exactly so it depends on the pedals have you tried the new american made-up phone casino seems like your interesting alternative to a 330 what are your thoughts i haven't tried them um one would assume they're going to be very good there is a bit of brand snobbery in there you know gibson's choice was to acquire up a phone and turn it into a budget brand so yeah a lot of people i i said there's a lot of people that don't know that but originally everything was a a contemporary really you look at um that's what uh john lennon was you know playing those all upper phones and they were just amazing guitars yeah yeah f phone was was a high you know a higher end guitar company um and then obviously after gibson acquired it eventually he chose to make it his sub brand and there's a snobbery problem there um so if that if that bothers you at all um it would be great to play one key things the reason i want the the casino sounds fan bloody tasty it really does you've transformed that it sounds great it sits alongside any of the guitars here in the studio and it is a brilliant thing i got two problems with it i don't like the neck shape okay very much and i don't like the finish i really really don't like the finish right um yeah so i want something a bit more uh grown up in that respect and i want a bigger neck or at least one that's not like a sort of flash d profile um and i want a nitro guitar because i like the look of nitro guitars which is you know you you you're skating on the ice of well what an idiotic thing to do because you've just said the guitar sounds fantastic guitar player brain for you yep yep um it would be great to try the uh the american epis if they're nitro finished i'm i'm up for it cool but i'm gonna get collins are you gonna get it i think so if not that one then another one i mean it just i think it's the best guitar i've ever played that one we had yeah oh that thing was crazy yeah yeah anyway you've never stopped talking about it to be fair i haven't um spanish cedar tim chandler hello from bran brady denton bradenton or braddenton florida you guys are the best ever said it before that's tom booker back uh indeed it will happily be second place um have you ever had a guitar plect and what are your thoughts on the process uh yeah it's wonderful my um my gray t style was plect brilliant i haven't had one done personally but two people i respect enormously in the world of guitar setup and maintenance and knowledge that would be charlie chandler of guitar experience and his brother doug um who was channeler guitars in queue both speak highly of the machine both of whom are unbelievably talented yeah guitar people so if they say it's good it must be good yep they what they say is like any machine it's down to the operator yeah and you've got to have it set up and everything yeah there is if you have a really good luthier like you know so we take our guitars to johnny kincaid to get stuff done and i've been taking my guitars to johnny for years and there's magic in his hands i'm i'm convinced of it and there's nothing quite like that when when you find someone who who sets guitars up the way that you like them um you know i guess everyone's a bit different but you know just being in that workshop and you know with all the guitars and bits around you it's just you know it's wonderful um whereas the plaque machine will do it perfectly it's going to be uh you know it's going to be great but it'll be a plec setup as opposed to johnny going you know what there's a different kickback in this front here what i might do is just you know what i mean that that sort of level of artisan i've actually never got into it i've never got into guitar setup um never really given it a second thought it's mad isn't it all these years into guitar i used to do it as a way of making extra money yeah um and it's a really great sound guy taught me how to do it yeah and you know i mean this getting frets polished there's nothing like a beauty oh yeah no no i do all of that yeah yeah yes but once you've you know filed up the frets and you've got the the neck at the right thing i was never i was okay at it but when you meet when you find someone who's an absolute genius ad it's like oh it just feels amazing yeah yeah yeah yeah the problem for me is when you when you step over that precipice and then it becomes psychological time when you're playing thinking about the setup and that's like now yes hello middle man yeah yeah yeah yeah yeah and then we walk into paul stacy's studio and you've got like 50 guitars variously draped in states of horrific disrepair and he picks it up and he sounds like god yeah and that i'll never understand that yeah you know i pick up is 345 i think it was and it's like wow okay you can actually play this yeah and he picks it up and he says yeah yeah he's he's done i say is george benson in the room um i'm gonna see him to get the ep um mixed and starts in a few weeks once we can once we're illegally allowed to which is why i'm trying so hard to get it all finished off but yeah missing um tim chandler so yes um all down to the operator and if you go somewhere where they use it a lot and they're well regarded yeah yeah 100 yes um paul kylo no question from you paul so again we might have to get to you next week if we've missed it um jason klutz says no question just a comment from an earlier discussion lindy fralin also winds the big d pickups for analog man oh wow so that's that's the big tea i have in the neck of balors and it's wonderful thanks for that jason yeah um the spanish turtle hello from idaho my name is aaron and i have a black arts tone works pharaoh first that sounds awesome but recently when i stopped playing it sounds like i'm moving a bias knob back and forth have you ever had that you may want to watch friday's video yeah it could be a temperature thing yeah i don't know what's in the black arts tone works pharaoh first let's see also check your power supply because if you're running off a battery or you're running on a supply that's not supplying it um with enough faults should that take much current but with enough faults then you might find that it's sort of teetering on the edge of of where that bias point is i can't see if it's oh no silicon oh diodes hang on not sure yes do what dan says check your power supply you might find it varies as to where your guitar volume is as well sure so it depending on the sort of vintageness of the circuit that input impedance is super sensitive to your guitar everything your guitar is doing i don't know i don't know why but when i turn mine down to zero my guitar volume down to zero my fuzzies go nuts yeah so could be something to do with that but do what he says power supply first second check the temperature try cooling it down and see if it makes a difference yeah to watch friday's video where we um employ a hair dryer and a bunch of fuzzies to see what happens when you uh pick temperature against fuzz they all cover didn't they specifically germanium first i think so yeah eagle ray rob hello eagle ray rob and thank you for your amazing generosity oh thank you mate um this month marks my one year anniversary since finding that pedal show this top year this year's top tone picks now on my pedalboard included gig rig g3 oh legend uh a chase bliss preamp mark 2 that's 978 and free the term future factory thanks for being there and for us all big hugs and cheers well uh we don't know if you're ray or your rob eagle ray rob um but blimey you've showed out a lot of money there yeah we hope you love it wow yeah amazing thank you buddy thanks for being with us and thanks for your generosity that's amazing uh similarly joshua cheyenne has also been incredibly generous hi from sunny queensland i would love to see you guys test your loudest amps dimed no attenuators the two rock etc um obviously you'd need earplugs could i post my debut album to you guys as a gift it's all analog tape live chicago blues thanks uh you can joshua email the store and we'll gladly take a listen to it yeah yeah great um yeah it's interesting that um dime damps yeah because there's a point on an amp that's better than dimed and it's usually a little bit back from there that would be a fun show yeah really interesting conversation with phil x about this um and he's you know it's like we know when when the app is working it's it's another instrument and you have to learn to play the amp um because you know with the way it's limiting and compressing and stuff he says there you know he's got masters that sound amazing dying but he won't play really fast with them yeah because they are so much slower yeah over themselves exactly um so yeah they i mean it's all part of that whole game stages isn't it and just learning how things react with each other yeah wonderful that's great idea yep we'll do that larry stoltenberg likewise thank you for your generosity no question so maybe this is something we have to return to next week and like an idiot i'd come in here without my phone so i can't tell if bv's messaging me or not serial frost hello gents i'm looking to add a guitar with filtertrons to my rig nice should i go tv jones in a cheaper hh that i can upgrade over time maybe a jazz master with a mastery or fork out for a proper gretch depends what you want if you want the gretch sound you really need a hollow body so when i got my duesenberg which was amazing guitar was a star player tv double cutaway and it was great and i recorded with it played live with it really fantastic guitar but what i was really after from that was a gretch and i thought okay well i take those pickups out and i put some gresh pickups in it didn't work it's and then in the old show when i got that that gretchen was like oh so this is what i was after for that gretch sound yeah it's it's not just the pickups and even the pickups in a duesenberg it's still not going to sound like a gretch you know it's got to be a you know it's got to be a gretch it's like putting um humbuckers in the straps not going to make it sound like les paul yeah and then i guess do you want the hollow body sound or do you want the chambered jet type sound or even the solid body corvette type sound but um assuming well yeah if it's the hollow body sound you want then yes look at the electromagnetic range and maybe consider upgrading the pickups down the line which is a white thing that i've got if you're not after the gretch sound as such but you want the filtertrons a great guitar to look at and i don't even know if they still make it it's the fender la cabranita especially oh yeah yeah yeah they're really cool they've done various cabernets down the years and you find them used on reverb and stuff um our friends reverb and um uh yeah it's like a tele chassis with two filtertrons depending on the model you go for that can be really cool um if you are gonna look at a h guitar of some other persuasion and stick filtertrons in there just be careful of the size of the pickup mounts the good news is that tv jones does pretty much every pickup mount and pickup type imaginable so you'll be able to make it fit you'll be able to get filtertrons that fit however they then may only fit in that guitar or something else with humbuckers so yeah uh option one get a gretch and the electromagnetic range is a really brilliant place to start because they're sensibly priced good guitars if you if the great sound is what you want honestly nothing else is going to sound like gretch except the glitch it just it doesn't work i've been down that road it's spent a lot of money trying to get a guitar that will do everything and the great sound yeah but if it's specifically just the pickups you want and you're more familiar with solid body guitar and you don't want to gretch check out the cabranita by fender but i think they still do the odd one in fact i've got a feeling they might have even done some squire classic vibe ones recently oh yeah they're cool maybe maybe it could be wrong but yeah it's called la cabronita cabranita um dan says curtis r i'm smitten with my generator distributor isolator setup unexpected extra awesome it's also light and tidy absolutely transformative for my rig all the best of team google oh mate thank you so much thank you so that's real that means the world mate thank you it's nice to hear quite often when we do a petable build and it's got loads of giggery power stuff in it you get a lot of comments going why on earth are you bothering with all of that and then when you hear it you're like okay yeah yeah yeah now it does getting the power right it's a really big deal thank you mate thank you i appreciate it dialogue 3 says hey d m what are your thoughts on external buffers i'm running a dd7 at the end of my rig for both buffer and delay but want to switch for something analog right um you could just before dan answers in great detail you could bridge the gap and get a catlin bread belly pop deluxe there you go which is not analog it's digital but it sounds analog it sounds magic uh and it's got a brilliant buffer a brilliant always on buffer if you want it yeah so that could be an option yep tighter than that um i mean buffers are really important to know how they work um it's so interesting i don't know why it's become such a point of uh snow blindness isn't it yeah yeah it's really look it's about their buffers yeah um understanding how buffers work is really important we've done shows in the before it all depends on okay g3 for example has got great buffers it's we've got a buffer in the pre-gain and a buffer in the post gain however when you turn those off it's there are no buffers now the output impedance of the buffer and the post gain is 1k people say why why is it 1k well think about it like this if we've got uh let's say a big muff on and we want to add some boost to that if i change the output impedance of something low the first thing that's going to happen is you'll get what you might perceive more top end going through when actually i'm not not doing anything with the eq it's just changing the output impedance the general output and pins for pedals around you know 1k certainly you know up until recently but 1k can be good uh sorry 1k is absolutely fine um as long as it's 10 times the divide division of 10 by the input impedance you are impedance matching and it's all good um but there are times when if i'm uh if i've got a sound just going straight to the amplifier that i don't want any buffers and there are times when that's a thing i can just not have any um if i've got a fuzz face in the sound i don't want that to be touching any buffers then i won't have any buffers included so it is understanding what you want from a rig so like for example if what you've got is you've got half a dozen pedals and you've got boost and overdrive and distortion chorus delay and reverb and they're all true bypass then having a buffer um either at the end of that or after your gain stages can be fantastic it'll give you a consistent output impedance going to the amplifier if it's after at the end of everything and uh you set up your amplifier like that you like you like the sound of the buffer it works well it's got enough uh headroom in it um fantastic but if you if you've got the same board with a vintage fuzz face then that is going to cause an issue because it's not just the input impedance going into a fuzz but it also you know the output impedance now you're going to get a problem with that anyway since you if you kick on any other pedal with that fuzz so it's just about what you want to achieve with your pedalboard understand buffers are fantastic if you understand how to use them properly and if it's something that you want to use in your rig awesome so it's not about well is this for me it's not about well is this the right buffer there you know there are buffers and there are buffers of course it's about it's more important to understand how to use them and how to get consistent results with it yeah yeah and it's a pain and the more the more you um think about it and the more you sort of intellectualize it the more you think so this i'm just going to stick one on the end so that it's consistent and that's what it always does but i just don't i never i never liked the sound i never liked the sound it's yeah it's it's really interesting or i do like the sound for some things like that's the thing turn down strap clean gotta have a buffer yeah but absolutely flat out srv craziness i don't want it there yeah yep so yeah um so just quick mention to simon who's um having a problem with his uh neck that keeps changing relief um even though the guitar never moves out of his home environment and it just keeps moving he had it plect and it just keeps moving that is a pain i had a g l asap that did that it was just it just couldn't stay wow i don't know why either i mean one would assume there's light changes in humidity in your room unless you've got it um consistently humidified and it's worth saying the last few weeks in the uk anywhere i don't know where you are i've been really dry um i got lots of my guitars that don't normally have a problem like the frets are all poking out the end of the fingerboards ah yes i've had that because it's been so dry so that might be part of it but um other than that um yes bv tells me that i have missed a few texts from miss super chats we'll answer them as the first port of call next week i'm sorry we didn't get to you um other than that we've gone way over time [Music] yes thank you everyone for being here thank you indeed it is my wedding anniversary we're supposed to be having dinner so i really do need to go yes yes what time is it um 20 to 8. oh my goodness okay thanks everyone for joining us uh that was that was fun um we will uh it's a show this week on how heat affects transistors and affects your fuzzers so it's hilarious it's a lot of fun uh yeah so join us on friday and then we will see you on monday uh for vcq and we can all have a chat about our experiences with fuzzers in australia groovy brilliant and here is that you

Channel: That Pedal Show

Views: 34,612

Keywords: That Pedal Show, Viewer comments and questions, New VCQ, electric guitar, guitar amplifier, effects pedal, FX pedal, Octave Fuzz, best octave fuzz

Id: i4SWbwqzZHY

Length: 151min 30sec (9090 seconds)

Published: Tue May 04 2021