The Quest for Good Guitar Tone

This post is the first in a series I call “Tone Profiles”.  This will be a periodic post that that features artists who have something valuable to say about electric guitar tone. This week the artist is Julien Kasper and you should know about him, because this guy knows tone! Enjoy!

JULIEN KASPER BIO:

“Soul, groove, melody, tone, and the element of surprise are my priorities as a composer and an improviser… as a guitarist I am coming equally from the schools of rock, jazz, and blues.” (Guitar World, October 2007) The subject was Julien Kasper’s 2006 CD The New Imperial and with the release of his latest effort Trance Groove, Julien has upped the ante while remaining true to his vision.

As with The New Imperial (Nugene Records, 2006) and Flipping Time (Toulcat Records, 2003), on Trance Groove Julien’s guitar is the nuanced, expressive singing voice of this all instrumental journey. Funky grooves, catchy melodies, psychedelic soundscapes, soulful gospel blues, epic rock guitar, and a stunning acoustic ballad coexist with rare, natural continuity.

Trance Groove features a guest appearance by Hammond B3 organist T Lavitz of the Dixie Dregs, Widespread Panic, and Jazz is Dead. Live and on record Julien’s choice of rhythm section reflects his aesthetic of groove and group interaction. Bassist Jesse Williams and drummer Zac Casher have, between them, performed and/or recorded with a who’s who of American roots and groove masters: Johnny Adams, Duke Robillard, Mighty Sam McClain, Immani Coppala, Mighty Sam McClain, D’Angelo, Jay McShann, Henry Butler, and countless others.

The international community of blues and jazz fans became aware of Julien through his work with pianist and Hammond B-3 organist Bruce Katz on their extensive tours throughout the US and Europe. He recorded two CDs with the Bruce Katz Band on Audioquest: Mississippi Moan and Three Feet off the Ground. Julien has also recorded with Mighty Sam McClain: Journey and Soul Survivor on Telarc.

Julien was born in France in 1962 to American parents and spent his youth as an army child moving around the American south. Inspired by Bob Dylan and the Beatles, he took up the guitar at the age of eight. In 1978 at sixteen, while living in Tallahassee, Florida, Julien began touring with the legendary blues/rock band Crosscut Saw featuring harmonica virtuoso and singer Pat Ramsey. After several years and one album (recently reissued on Akarma), Julien decided to seek more challenging musical terrain. He moved to the fertile music town of Austin, TX where he gigged constantly, honing his skill among the city’s heavy hitting players for four years.

Despite the great musicians in Austin, Julien was frustrated by the lack of a vibrant jazz scene so he accepted a scholarship to attend the jazz program at the University of Miami. He put himself through school playing with IKO IKO, the house band at Tobacco Road, Miami’s blues and roots mecca, which allowed him to share the stage with a who’s who of blues legends and touring artists. An improvisational blues/jam band, IKO IKO gave Julien the opportunity to develop and organically integrate the advanced concepts he was learning in school into his virtuosic blues/rock sound. After graduating from UM Julien received another offer too good to refuse – a jazz guitar fellowship at University of North Texas – which brought him back to Texas in 1992 to complete his Master’s degree. While in the Dallas/Ft. Worth area Julien expanded his musical boundaries by gigging in country, blues, rock, and jazz groups and launching the first edition of the Julien Kasper Band with drummer Keith Carlock (Steely Dan, Sting, Wayne Krantz).

Julien is now based in Boston, Massachusetts where, in addition to writing, performing, and recording his original music, he is a professor on the guitar faculty at Berklee College of Music and an avid all-season surfer. “The Berklee gig is ideal in that I can impart my values and extensive performance experience to younger generations of talented musicians while interacting with a faculty of renowned international artists. The school encourages me to tour and record as my professional profile serves to enhance the reputation of the college and my own artistry. Surfing brings me into elemental contact with nature. Riding a wave is interaction with pure energy and the closest thing I can find to musical improvisation in that technique, knowledge, and experience all are at play but, ultimately, one must improvise and react to the purity of each passing moment.”

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JULIEN’S THOUGHTS ON TONE:

I don’t consider myself a gear head or a vintage snob but it seems to have turned out that the gear that helps me realize the tones in my mind’s ear is usually vintage or of vintage pedigree.  I grew up playing a Strat through a Fuzz Face, Echoplex, and an old four input Marshall.  I love the unforgiving clarity, honesty, and anarchic nature of this rig and it continues to be the center of my tone universe.  My music and playing have evolved to embrace a more chromatic aesthetic but my basic rig remains the same.  I strive to hone my technique so that complex lines pop out of such an unforgiving rig with power and clarity but I love to turn on dime and unleash the fury that is lurking just under a small twist of the guitar volume knob.

JULIEN’S GUITARS:

My primary guitars are Stratocasters either one of a couple of older Fenders or amazing strat style instruments made by D’Pergo.  I seek a combination of warmth, responsiveness, and extreme clarity, which is hard to find on most guitars, particularly newer Fenders.  D’Pergo has created recipes to make this happen with every guitar he builds.  My main gigging guitar right now is a D’Pergo Signature Limited, which has an enormous maple neck with no truss rod.  In the studio I’m likely to grab a Tele, SG, or Les Paul on the spur of the moment, to make myself play differently or to better serve the track.  Occasionally I’ll bring a Gibson on a gig to use on a few tunes.

JULIEN’S AMPS:

I prefer the natural response of simple low gain vintage amps without master volumes, channel switching, or reverb.  I record overdriven sounds with high wattage vintage Marshalls or a Vox AC-30 but usually gig with lower wattage amps as the volume curve in just about every venue has dropped so dramatically.   In the studio I love the clean tones of small vintage amps – a Fender Princeton, tweed Deluxe, tweed Champ, and Vox AC-10 cover the clean tones on Trance Groove.   I generally use the stock speakers originally intended for the amps.

My live set up has changed since recording Trance Groove.  The new material has a broad array of clean textures so I have converted to a two amp rig which consists of either a Vox AC10 or Marshall 1974x 18-watt combo for overdrive tones and either a Vox AC30, a modified Fender Bassman, or a Fender tweed Bandmaster for clean sounds.

One piece of new gear that has become indispensable to me is the Faustine Phantom attenuator.  It the first attenuator I’ve found that doesn’t destroy the tone and the feel of an amp.  Venue size permitting, it has allowed me to return to my higher wattage amps live and for really small rooms I’ve successfully used it with my 18 watt Marshall.  I’m also using the Faustine as a load box/ D.I. in my home studio.  The speaker emulation circuit in the attenuator works quite well and I’m experimenting with impulse response speaker modeling in conjunction with the D.I.

JULIEN’S PEDALS:

My pedals constantly change depending on amp selection but I always use some form of Fuzz, boost, and delay.  For color I’ll add an Octavio, tremolo, Univibe, and occasionally chorus.  I avoid overdrive pedals because I’m so accustomed to natural cranked amp overdrive and nothing comes close to that.  However, when I’m forced to play through a clean and/or horrible amp for a fly in gig or clinic I’ll use a JAM Rattler or a Xotic AC Comp.

Fuzzes:  Custom Jeorge Tripps (Dunlop) Fuzz Faces, JAM Fuzz Phrase, Fulltone Soulbender and ’69 Deluxe, JAM Red Muck, Dunlop Octavio, MJM Roctavios

Delays: Echoplex EP-3, Maxon AD900, MXR Carbon Copy (for modulated delay), Digitech Hardwire (for reverse delay.

Boosts: Occtone Elmore, Way Huge Angry Troll or Red Llama, JAM Boomster

Univibe, tremolo. chorus: JAM Retrovibe, MJM Sixties Vibe,  JAM Chill and Waterfall

For specific amps, pedals, and guitars used on my CDs see the pages on my website Tracking Flipping Time, Tracking The New Imperial, and Tracking Trance Groove.

JULIEN KASPER VIDEO CLIPS:

Stratocaster, 100 watt Marshall, Fuzz Face

D’Pergo, 50 watt Marshall, Fulltone Soulbender, MJM Rocktavious

D’Pergo, Vox AC 30 (clean), Vox AC10 (overdrive) and Occtone boost

For More Info, Check out Julien Kasper’s Website and youtube channel:

http://www.julienkasper.com/

http://www.youtube.com/70bonzer

This post I wanted to share something that might not be as directly related to tone as it is to your overall development as a musician. I was involved in the development of the product, so it is certainly something I would like to share with you.

At the most basic level, the Berkleemusic Scale Variator app can be used as a simple scale and mode fingering guide for most of the scales we use on a regular basis.

A convenient scroll wheel allows the user to choose keys and scale type. Currently, the available scales are Major, Natural Minor, Minor Pentatonic, Jazz Melodic Minor, Harmonic Minor, Harmonic Major,  Diminished, Whole Tone, and Japanese Minor Pentatonic. Fingerings for ALL positions  of the scale are easily toggled between traditional notation and TAB.

A quick flip of the thumb or a touch of the arrows scrolls the TAB or notation pages up the fretboard to the next position or mode. The user can choose from 2 different views of the scale, either Parallel or Modal. Modal of course, being the view of the modes of the scale (where applicable) and Parallel being the view of the scale and fingerings with labeled degrees from the perspective of the parent scale. The user can choose to highlight the roots of the parent scale in either case. Tapping the right side of the screen plays the scale for the user so that they might familiarize themselves with the tonality of the chosen scale before practicing. Another button allows you to toggle between ascending or descending versions of the same scale. Using the app in this basic way eliminates the need for pages of scales with fingerings and notes. A built in metronome allows the user to practice his or her scales in time, facilitating good rhythmic development.

It is even possible to easily isolate triad and 7th chord arpeggios using the Scale Variator to create fingerings in all positions. There are many creative uses at this most basic level of usage of the app…the sky and your creative imagination is the limit!

Once the scale is learned, as soon as you start getting that “I sound like I am playing scales when I solo!” feeling, the Scale Variator takes you to the next level of improvising. Four (4) buttons allow you to variate or permutate your scale with a chosen constant. A fifth button allow you to choose the frequency at which the constant continues through the scale. This might sound a little more complicated than it really is. In simple terms, you can write a pattern that, in essence, disguises the scale as something much, much more musical than a simple ascent and descent through the degrees! Practicing patterns and exercises like these are building blocks for becoming a great improviser.

One of the exciting lessons today in the music world is the concept of Octave Displacement. It is quite amazing how much this simple device can create lines that sound so much more “expensive”. The Scale Variator takes the headache out of octave displacement calculations. In an instant you can choose from 4 different combinations of Octave Displacement. Keep in mind that you can hear what these lines sound like before you choose to practice them and incorporate them into you improv lines.

In addition, the app allows you to choose your highest fret. This means, for example, for users who play acoustic guitar with only 12 frets, the highest fingering is calculated and then the other positions of the scales or lines you have created will show up in the lower portion of your fretboard.

If this sounds like a lot in an iPhone app, I would have to agree! Don’t panic, a very helpful set of directions/instructions for use is a click away with arrows outlining the features and function buttons clearly.

The Berkleemusic Scale Variator app is currently available for your iPhone only, but will at some point be available on other platforms, such as Android and iPad. The cost is a modest $4.99 which is very reasonable for the power it places at your fingertips.

Here are some tutorial videos to get you started! Happy Scale Variating!!!

So I was at the New York Amp show early this year and the night before the show, I attended a jam session where one of my good friends was jamming through an amp called an Evil Robot. I was impressed by the tones, the simple control panel and yes, the weight! (26 back-loving pounds!!!) It sported 18w of class A tube power and had an on board tremolo that sounded more like a chorus than a traditional tremolo.

The next day at the Amp show, I met John Kasha, the amp builder, and after trying out the 18w combo and 30w head he had on display, convinced him to build me a 30w combo. (I have the first one ever!!!). The 30w model was normally only available as a separate head. (Thanks John!)

The rear facing control panel reveals 4 inputs, 2 hi-, 2 low, 2 each corresponding to the two channels, A and B.

There is an overall Mellow, Normal Bright switch and there are separate volume controls for each channel, A and B.

The default wattage operation for the amp (30w model)  is 18w. Pulling out volume A bumps the power up to 30w. Pulling out volume B bumps the power down to 5w. Having both pulled out simultaneously bumps the power down to 8 watts. So you can easily take the amp from the home, to the studio, to the teaching studio. to the gig or to the concert on the big stage and get the cranked tones you need. So far, I have used the amp in all of those settings and I am quite impressed with how the amp delivers.

There is a tone control for both channels that seems to work in conjunction with the Mellow Normal Bright switch for a wide range of tones. The control panel looks deceptively simple considering the possibilities.

The foot-switchable vibrato section has the usual intensity and rate adjustment.

I can only describe the sound of the vibrato as not just a volume based vibrato, but also a frequency related vibrato, very chorus-like in nature. Quite different from what I am used to in the Fender style amps. I am totally loving it..lush.

There is a remote speaker jack on the control panel, which allows you to connect an extension speaker to use in conjunction with the onboard speaker. So you can get some bigger 2/12 sounds from this little amp, depending on the demand. Lower down in the back panel of the amp, there is another speaker connection with a 4, 8, 16 Ohm selector.

This speaker connection disconnects the onboard combo speaker, allowing you to use the amp as a head only. John Makes a 212 cab that I have tried and the results are stellar: A big sound from a little amp. Oh, by the way, it must be the lightest 212 cab I have ever lifted! (I know, I have issues with heavy things:)

The speaker in the combo is specially designed for the amp:

I have not experimented with switching other speakers inside the combo, since I like the sound of the one provided. However, I have tried a few external speaker cabinets both through the remote speaker connection and through the other main speaker connection on the lower back of the amp. The results have been quite impressive. I like the big sound of a 212 configuration, so having that as an option for bigger stages makes for great flexibility. The tones of the amp literally double in size with the 212 cab or an extension speaker working with the onboard combo speaker.

As far as tone goes, this Robot is monstrous. The aspect of the Evil Robot’s tonal characteristic that impresses me most is the it’s ability to cut through, even at the 18w setting. I will say I have used more powerful amps that did not fare as well in the context of bashing drums, crashing cymbals, hammond B3′s and a horn section.

I have tried single coil, humbuckers and P90′s through this amp and I liked them all for different reasons. The amp loves to be pushed, so one mode of operation that I like to use is to put everything on “11″ and control the rest with a twist of my guitar volume knob. More guitar signal for OD and less for cleaner or crunch rhythm sounds. With humbuckers, there is little need for any overdrive or boost pedal, but even with the single coil strat pickups, Alnico III, or Dimarzio Noiseless (Area) that I use, the crunch and soloing settings are pretty juicy.

Pedals sound great through the amp too. There is no on-board reverb, but I have used the WET reverb pedal through the front of the amp with great results. Wah and envelope filters work great without sounding harsh. One of my favorite pedals to use with the Evil Robot in studio situations is the latest Fulltone Fat Boost. The  tone controls on the Fat Boost give you additional tweakage of the guitar tones that you might need for different tunes and the extra drive pushes your Robot signal into great overdriven tones.

Here are the specs from Fretted Americana’s website:

Power: 18W Class A, cathode biased

Channels: (2) Loudness A/B high and low

Controls: Loudness A/B Volume, Tone A/B

Vibrato: Intensity, Speed and Foot Switch (included)

Power Tubes (fixed bias): (2) 6V6

Preamp Tubes: (2) 12AX7, (1) 12AU7, (1) 6AV6

Speaker Output: 8 ohm

Remote Speaker Output: Disconnects main speaker (8 ohm)

Tone Selector: Normal, Mellow, and Bright

Transformers: 100% Handmade, Ear Tuned, Hand Wound, USA Steel

Speaker: (8 ohm) 12 hand made In USA

Chassis and Name Plate: USA 16 gauge steel, painted, screened and baked

Assembly: Point to point, no circuit board, extreme hand wired

Jacks: ¼ Switchcraft

Knobs: Faux ivory chicken head

Ceramic Output Sockets: Power tubes

Cabinet: (50s Vintage Style) Baltic Birch semi open back

Tolex: Vintage brown (custom), animal glue, finished corners

Grill Cloth: Classic Gold Mesh (custom)

Handle: Heavy duty black vintage style

Brass serial plate: Authenticity and signatures

Accessories: Vibrato footswitch included

Weight: 26 lbs

Dimensions: 20Lx9.5Wx15H

Power: 100VAC, 120VAC, and 240VAC  50/60Hz  UL and CE transformers, USA and International

Thanks, John for making a rockin piece of music-makin machinery for the working musician! I am lovin’ mine! AAAA+++

For more Information Check out the Fretted Americana Inc. Website and check out Phil X’s Website Channel too…very cool stuff!

Here is an overall descriptive video demo of the amp, first with a quick description of the control panel and then with me using it in a couple of different situations. I am really loving it as a grab and go amp for all situations. I am just playing the Highway One Strat directly into the Evil Robot Amp with no pedals.

Here is the full video clip of a solo at a recent concert I did using the amp, I am using a Fender Highway One Strat with Dimarzio Area 58, 61 and 67 noiseless pickups. The tone you are hearing is just the guitar signal turned up and the amp turned up all the way on the 30w setting. Pretty nice tones…clear yet singing.

This is one of my favorite amps….The Working Dog Rottweiler.

Aptly named and priced, the Working Dog Rottweiler is quite simply one of the best amps for the working musician.

I have the 1/12″ speaker model. Weighing in at only 33 pounds, this amp hardly needs the trusty dolly that has become the musicians  mainstay. With this amp, you can easily walk up a couple of flights of stairs with your guitar  on your back and your pedalboard in your other hand.

For light background gigs, the 50% power setting works just fine..for louder full stage gigs, the 100% volume setting leaves nothing to be desired.  Nice bright fender-y tones are available with a few dial-ins. The jangly switch allows that nice shimmer that you normally hear from your deluxe  reverb.

Think of the Rottweiler as a hi-gain amp that only needs you to send more signal through the front to make it sing.

If there is one feature I can really endorse, it is the fact that even though the amp can get loud, it is not an abrasive, slicing sound, which happens with many mid to low wattage amps, especially when playing clean rhythm parts. When you turn it up, it simply gets louder but warmer and more present.

Quite simply one of  the most practical amp in my arsenal. I have used this amp on too many gigs to number and it still screams without slicing. Recording sessions, small gigs, jazz gigs, blues, background music, large venue stages, theatres and it keeps on delivering quality sound and reliability.

Here is a youtube clip from a Hendrix tribute show I did at a Blues Festival  last year. I am using the Rottweiler as my only amp on stage. It is a close shot for the first part of the jam, then when the song transitions to “Who Knows” you can see the bright label of the amp in the background behind me..that is about half way through the clip..

http://www.youtube.com/user/thaddeushogarth#p/u/23/pErn6ckPYLA

In the long quest for tone, we often leave out the discussion on guitar picks. The question, “What kind of guitar pick do you use” is becoming less of a lay-person’s feeble  and humourous attempt to make guitar conversation, and more of a serious desire to know about an important, yet often neglected part of the tonal equation.

This post, I decided to address this and hopefully some of our readers can chime in with their thoughts. I have actually been going through some pick choice changes lately and I am quite surprised at the variety in tone different materials make..not to mention what kind of bill these little pieces of plastic can run up on your credit card!!

There was a time in history when folks would throw their picks out into the concert audience as mementos of the historic guitar moments. With the difficulty involved with finding the right magic pick, not to mention,  the price tag of 1 dollar up to 10, 20 dollars or more, I won’t be throwing these bad boys anywhere anytime soon. Usually at the end of the concert, when packing up, I am on all fours looking for the picks that slipped from my grasp:)

Initially I used standard sized picks, whatever was available. Then, for many years I used small jazz-sized picks, different brands and different materials. Often times I focused more on the grippy-ness of the material, since these smaller picks have a tendency to fly away during the funky strumming parts. At the end of the night my index finger would have a worn away nail, where the nail and pick intersect: Ouch!

As time moved on I found that smaller jazz size picks were less than optimal for playing rhythm parts even if they did provide agility for the riffs and single line solos. Through the years my choice of guitar pick size has consistently grown to very close to the standard size commonly used by all, roughly an inch in length. I know, I know..full circle, just about.

I have settled on a couple of picks, depending on the situation. My overall favorite is the Cool Pick Ultra. This pick is light, sounds bright and is slightly larger than the usual jazz-sized pick. It is made of what is described as “Cellulon” a bi-matrix composite material that gives the buttery feel of nylon but exceeds the crisp attack of celluloid. I am not sure what the material is, but it really does sound full against my .12 nickel wound strings. I first noticed a difference when I dropped the pick on the desk. It sounds almost like a dime; very resonant in a metallic kind of way. Even though the pick is rated at 1.2mm, it is a stiff as picks twice its thickness.  It was very little play, allowing you to play with a great deal of accuracy. In addition the pick has what is called the patented AGT rubberized accu-grip coating that helps keep it in your hand. Here is a photo:

The only place I have been able to find them is at Elderly Instruments online. If for some reason you try to get them and they are unavailable it is probably because your friendly author usually buys 100 or so at a time.

Another pick I found recently that was interesting was the 1.5mm JB standard celluloid pick from JB Picks. Here is a photo:

I found this pick to be solid and fat sounding. In addition you can choose a beveled edge which will give you a little more playability from the onset.

By far the most intriguing development in guitar pick history is the device made by Von Luhmann: The Pick Punch.

Von gets the award of the year for “why didn’t someone think of this decades ago?”. He created a manual punch no bigger than your average stapler that allows you to create your own guitar picks out of just about any punchable material of reasonable thickness.

At only 24.95 (the cost of some of the high priced guitar picks!) the Pick Punch is as sound as investment as you will ever make with regards to your Quest for Tone. I bought a few of these and gave them them as gifts to fellow tone junkies. Coincidentally the pick size is EXACTLY what I like for the right amount of agility. Small enough for intricate passages and yet large enough to have enough to grip for extended rhythm parts.

I found myself going around the house, punching out old membership cards and expired gift cards or credit card offers. The results were astounding. In addition, Von makes materials available on his website http://www.pickpunch.com/ that you can purchase to make your picks. He also has video tutorials on making picks with embedded images. I can’t say how much this device has changed my quest for tone. Another one of my favorite picks is made from an expired credit card! I look at recycling with a completely different eye! Yard sales with old celluloid products become a gold mine for potential new tones. Thanks Von!!  Here is one of the pick making video tutorials.

This post I decided to do a down to earth rap on a handful of cool speakers that I have used lately. It is difficult to sift through the technical data on speaker websites. And the descriptions, in general, are not necessarily easy to evaluate when doing comparative shopping. I know we have all heard words like, “bell-like cleans” and “full bass response” and “tight low end response” and “mid” scoop..etc etc.

So I will attempt to use terms that simplify the descriptions in ways that more clearly define what the speaker does with respect to our Quest for Tone.

So here are some speakers I have been working with lately. I have tried them in different cabinets and have some thoughts that might interest some of you out there in tone land.

Please feel free to chime in at any time with your comments/thoughts and experiences. It can only help folks make decisions as to what to get and what it will deliver.

Of course there are many others I have tried, but this batch yielded some interesting experiences. I will try to compile another list of speakers in the near future.

EVM12L

The mighty EVM12L is probably the most accurate and unforgiving speaker. Although  most folks seem to claim that it sounds flat at low volumes, in high volume situations, the EVM12L seems to cut through better than other speakers without adding any coloring to your tones. If you have an amp that sounds great at loud volumes this speaker will surely deliver. At low volumes it lacks the usual warmth and coloration that other speakers have on the tone. Remember you are hearing what your amp really sounds like. A quality amp will sound consistently good through this speaker. It is a heavy one though, so make sure your back is in good shape. A good match of a cab for this speaker is a pine Forte Cab. This cab makes the EV sound very very friendly and adds the warmth that is normally lacking at low volumes for this speaker. You really cannot go wrong with this, but think of it as a Porsche that wont show you it’s full potential until you are in the 3 digit speed zone.

AUSTIN SPEAKER WORKS KTS-70

If you are looking for the ultimate speaker, which has some of the qualities of the EV at higher volumes but not at the expense of warmth at  lower volumes, the KTS-70 is the speaker of choice. The KTS-70 tops off as my favorite speaker to date. It will give you all of the honesty and clarity at low volumes and does not start to color the tone until your amp is way up on eleven. Very open tones and it projects nicely, while delivering the OD channel of the amp with absolute smoothness and no gnarliness whatsover! I use this speaker in a Two Rock 112 cabinet and with my Dumble-Style amp, it projects with the fury of the EV but with the warmth of the G12-65. Really one of the most amazing finds for me in a long long time..5 stars on this speaker. Thanks Austin Speaker Works!

AUSTIN SPEAKER WORKS ELEGANTE

I use one of these in a Forte 112 Pine Cabinet. Great speaker and will sound great with an amp such as a vox AC30, or similar sounding amp, say with Tremolo. Delivers the goods for you if you are backing up a singer songwriter with a Tele. Nice sounding speaker. I like it more for clean to moderate crunch chords. But the high gain, D-Style amps like the KTS-70 more for delivering the smoother OD. These guys really know how to make a top notch speaker. I recommend buying all of their products. Mix and match according to the gig.

CELESTION G12-65

Well here is the classic. Everyone swears by these and I do to. I find, however at higher gain and OD settings, the G12-65 starts to color the tone and has a tendency to get very thin and a little buzzy/compressed. However, before that happens the range of tones available to you are expansive and sweet, clear and pretty. A good call for a lower wattage D-Style amp, but for higher wattages and volumes, go with the KTS-70 since it has qualities of the G-12-65 but handles some of the higher volume with EV-like clarity. The G12-65 is like a solid Chevy that keeps running and delivering everything from classic crunch to contemporary and fusion tones.

CELESTION G12T-75

This speaker I have in my Allston Amps. Very very nice and often neglected and written off as a cheaper G-12-65, but honestly some amps sound better with this than with its younger sister. I am surprised that most folks don’t rave more about this speaker. Modestly priced too, its has what might be considered a less spongy tone that the  G12-65 and a little more “integrity”on the upper mids. Less twang so to speak. A good call for an all around speaker. In the right cab, you might be hard pressed to see much of a difference between the G12-65 for a smaller price tag.

G12 CENTURY VINTAGE (Neo)

These speakers are quite interesting. I worked with a couple of these to try and lower the amount of weight I was carrying around. Not bad. Accurate, but less pretty than its other family members (G12-65, T-75). Is it worth it for having a light cab? I think it depends on the cab in which it is installed. I don’t recommend it for a combo amp. I have observed an interesting phenomenon each time: Since the speaker has less magnet mass/weight than other speakers, the sound waves delivered through it seem to cause other things attached around it to vibrate sympathetically. In the 3 cases of my combos with this speaker installed, internal components such as circuit boards and reverb tanks started rattling on certain notes. It would be interesting to hear your thoughts, if any of you have experienced this phenomenon.. I put the ceramic speakers back in the combos and everything turned back to normal. No more vibrations. Neos seem to work fine in a separate cab, just a little bit of a harsher sound. I almost want to use the word “digital” sounding. But that is a bad word, I think… hmmmm…

JENSEN C12N

I gotta say, I use this one in a Limited Edition Hot RodDeluxe and I get compliments all the time…followed by a surprised look when I tell folks it is just the good ol’ Jensen doing its thing. Stock with the amp. Truly affordable and a solid staple. Delivers all the goods necessary for a working musician to stay working. Nothing flashy but almost surprising how it keeps up with its much more costly competitors.

JENSEN C12K

Big Brother to the C12N. Again, I don’t think I will ever sell one of these that I have handy. In a pinch, it will work and deliver with anything you have with tubes and a tone control. Very affordable and I still like it, though I like the C12N for the OD sounds since it works a little harder than this higher wattage speaker and adds a nice quality.

This is an addendum to a previous post about the amazing little amp called Dumbalina.  For those of you who have been requesting more information on this Allston Amps product, I am posting some photos of the latest build of Dumbalina and including a link to two more  videos featuring the amp.

Rob has revised/tweeked a couple of things in the amp. These include a redesigned baffle for better resonance and elimination of interference from the grill cloth. Believe it or not, certain grill-cloths resonate sympathetically with certain frequencies. This can be minimal or easily overlooked, but Rob has made it his business to tweak till perfection.

The other very cool update is independent volume control for clean and overdriven sounds. For those of you who are familiar with these D-Style amps, the volume between clean and OD is interdependent. It can be tricky to find the right balance. For the most part, you need to have your clean volume up to say, 5 or 7 to make the most of the signal that feeds your overdrive channel. The  problem with this feature is that when switching back and forth from clean to overdriven sounds, it is virtually impossible to get a lower volume  clean sound without compromising your overdrive sound.

Rob has tweaked an internal volume setting that gives the overdrive channel just what is needed based on your preference as a player when you order the amp. However, the clean channel volume on the front of the amp still gives you whatever level of clean you need to hear for playing. With this new tweak, adjusting the clean volume on the outside of your amp in no way affects the amount that goes to your OD circuit or the quality or color of overdrive that results.

This allows you to play the clean at a very low level (or high) and still switch to a constant screaming perfectly saturated overdrive when it needs to be called up.

I always wondering why this was never in the original Dumble and clone designs. Anyway here it is in the Allston Amps Dumbalina! Kudos to Rob for tweaking a sore spot in a historic design.

Rob is making 2 versions of the amp now. One is the classic standard D-Style inspired amp like the one in my video. The other he has tweaked to make a sonic signature that is called Dumbalina Blues. It has a different front end architecture and the result is a clean sound that might be a little more useful for soloing.

The line up for Allston Amps is Dumbalina, Dumbalina Blues, Tremulator and the Allston Combo. All roughly the size of a Fender Princeton Reverb, weighing in just over 30 pounds and packing various cool tonal punches. They are all very useful for realistic playing and gigging, since they bring all of the features of the bigger amps down into a practically sized package.

I recently played a concert at Berklee in the David Friend Recital Hall. I decided to do a more guitar centric set and threw in a jazzy original instrumental that I wrote.  Dumbalina was the amp of choice for this concert and it was perfect for the format. Featured on drums is the legendary Tony Thunder Smith and on bass is my usual bassist David Buda. It was a great set!

For the first part of the solo, I am using Dumbalina’s overdrive channel. At some point, around the last chorus of soloing, I kick in the Tone Bypass feature. It is a pretty decent video/audio, so you can get the full scope of what the amp is capable of…and…by the way…yes I was asked to turn down during the sound check, so the 45w that the amp delivers was more than enough to cut through all of the other on-stage frequencies..Here is the first video:

Here is the second video which is a demo of Rob playing the Allston Amp Dumbalina Blues. It is a very sweet amp and you can hear the fullness in the clean channel. It is a little fatter in the clean than the classic Dumbalina, and a little more saturated in the Overdrive tones. All in all another great product from Rob Lohr and Allston Amps!

In response to a few requests to share my experiences with speaker and cabs, I will start to address this today and in a few of the upcoming posts. I have always known that speakers and cabs  are as important as any other part of the tonal chain. My experiences with the Dumble-Fest Club here in Boston have only served to further re-inforce that fact. We have spent quite a few hours testing, geeking, soldering different speakers into different cabs.

This week I would like to share with you one of the winning cabs: (drumroll…)

THE FORTE 3D 112 GUITAR CABINET

This cab really delivers great tone. Weighing in at a modest 30 pounds, the cab is built with side ports and has an internal design that reflects the sound that comes from the back of the speaker out through the sides. The result is some of the characteristics of a closed back cabinet, nice low end punch and tightness, but the breathiness and volume projection of an open back. The sound projects forward to enhance and augment the sound coming from the front of the speaker. It is definitely one of those “How come someone never thought of this a long time ago?” developments.

Dimensions are 21″ wide x 16″ tall by 14″ deep. So the overall look of the cab is a little more uniform and cuboid than your everyday guitar cab. This probably contributes to the improved tone and overall extended bass response.

The craftsmanship, quite frankly is superb. I have played many great cabs that did not have this meticulous a builder. The attention to detail, from the interior construction, to the exterior, the alignment of the grillcloth, to the perfect piping and neat edges will thrill the cosmetic perfectionist.

For those of you that follow this blog that are Dumble Clone fans, this cab is a winner for these D-stylers. It will gives you the open-back-sound spread without sacrificing the tightness of the low end.  Have you ever found that your D-Clone gets flabby in the low end when you start to push the volume in OD mode? The Forte 3D is the cure!

The real magic of this cabinet is that the side vents really do create a 3-dimensionality to the sound. I am not sure what the science is, but it might have to do with the miniscule difference in time between the sound that reaches your ears from the front, vs the sides of the cab.  Or maybe the mix of the two. We geeked for hours with this cab and it was a joy to listen to especially with effects. It seemed to create a stereo sound from a single source. Effects such as reverb and delay became room filling and multi-dimensional. Rotary sounds such as vibe and chorus seemed closer to Leslie than in other cabs. I found myself listening from different parts of the room. At higher volume this effect was less pronounced but still very present.

Dave at Forte was gracious enough to custom build my 2 cabs in pine instead of the usual 13-ply Birch.

Front:

Top/Side:

Top/Back:

This shaved off another 10 pounds (unloaded 21 pounds)  It was quite a bit of work and there was some difficulty due to the available sizes of pine vs birch, so my guess is it is not available as an option unless you are prepared to pay mucho $$$..but my cabs are very very light. Even with an EVM12L, the weight is do-able up 3 flights of loft stairs (14ft each) without taking a break!!:)

I have tried a few different speakers in this cab and it seems to like them all. From the dumble-esque G12-65 to the EVM12L, the Forte evenly delivers the best sonic components of each speaker with no unnecessary added frequencies getting in the way.

Based on my experiences with Dumble-club geeking I have decided that cabs covered with a porous fabric or such as synthetic or real suede leather sound more breathier than tolex! Call me crazy, but it has taken quite a few duplicates and clones of the same cab to come to this not-so-conclusive conclusion:)  So…. I had mine covered with suede. I don’t recommend it for better protection or longevity or bar gigs where folks will spill drinks over your cabs, but fortunately for me, those gigs are fewer and further between:)

Here is the scoop from The Forte Website :

“Forte 3D speaker cabinets are unlike any you’ve seen or heard before. The unique, closed-back, side vented design delivers a room-filling 3D sound. All forte 3D speaker cabs are built with high grade 3/4″ 13 ply Baltic Birch plywood. Locking miter joints are used for exceptional strength and durability. Inside, angled relectors direct sound out side vents providing wide dispersion. Channels milled into the material reduce weight, while maintaining strength and stiffness where it is needed and have the added benefit of breaking up reflections that can cause standing waves and phase cancellation. Additionally the back panel has angled reflectors that direct the back wave away from the speaker cone minimizing phase cancellation resulting in outstaanding clarity and a punchy, solid, low end.”

The Forte 3D112 comes in at $379 plus shipping, unloaded. Very reasonable for a master-built cabinet. Worth every penny if you are serious about tone.

Here is a link to a youtube video of me gratuitously noodling with the Forte 3D 112 Cab. I am playing through my Two Rock Custom Reverb Signature V1 (tweeked with V2 and V3 contours) Pardon my noodling, and the vid could be a little brighter, but the audio is very good and gives you a sense of how the reverb fills the room.

Forte makes these cabs in 112 and 212 configurations and there are a number of options for sealed and vented enclosures in the 212 configuration. I do think 112 cabs, besides being convenient, have a focused, tonal signature that works for me.

This cab is a must have for the pro working musician who is looking for a big quality sound and compact convenience! AAAAA+++

Something very cool is happening the basement of Mr Music, Boston’s favorite family owned music store in Allston, Massachusetts….

After a lifetime of gigging, amp repair, studio building and tone tweaking for stars like Joe Perry of Aerosmith, master technician, Rob Lohr is building some of the finest boutique tone monsters to come along in a while.

I have always been impressed with anything I heard that was built in his shop, located in the basement of Mr Music. Rob is a person of great detail. A technical question put forward to Rob usually yields a tutorial on the workings of electrons with respect to our favorite instrument, the guitar. Through the years, Rob and I  have had many conversations about what a practical amp should sound and look like. A veteran of the gig scene himself, Rob understands what the working artist needs. In my world, 50% of the reason why something sounds good is because it does not need a crew of roadies to transport it, set it up and break it down. These days, as indie artists, even for hi-profile shows in theatres, we usually show up with our own favorite rig. It better be light and tone-worthy!

When I heard Rob’s Dumbalina, an amp inspired by the legendary Alexander Dumble’s Overdrive Special, I was instantly hooked. Here was an amp the size of a Fender Princeton Reverb that was a very high quality, point to point, hand-made tone machine that had a kick like amps twice its size. Rob Lohr had somehow managed to pack all of the essential features of the best Dumble-inspired amps into a space the size of a Fender Princeton Reverb. He did this with no sacrifice in power (45w) and the highest quality components!

There are many other great D-Style amps whose components are a cut below Dumbalina’s. Yet Rob charges a modest $1800.00 for the basic amp, with additional costs for any custom work. Ok..yeah.I paid extra for my name on my amp, in Vinyl lettering with Fender style script…:) (don’t be confused, this is not the “Thaddeus” amp!)

With a switchable  4, 8, 16 ohm extension speaker output, the amp offered everything you might need to grow your rig. Small gig: use the onboard 12″ G12-T75 and walk in with the amp in your right hand and guitar in the left. Large gig: take an extension cab and utilize all of the 45 available watts to rock the stage with 2 or more 12 inch speakers.

The footswitchable Overdrive channel sounded like the mating of a Dumble Overdrive Special and a Two Rock Custom Reverb Signature. Overdrive that sings without over-saturation and responds to tonal tweaks on your guitar or subtle finger ornaments. The quality of OD of this amp, I will testify…simply one of the best I have played. The clean channel can be crystal, but if you push it you can get a singe on the top notes and a roar on the power chords.

The +4 effects loop provides you with the opportunity to use the highest studio grade effects in the loop. Aside from being whisper quiet, plugging in a hi-end effect processor seems to lend a 3 dimensional quality to the amp that makes it sound even much bigger than its physical proportions might suggest. Of course, you can use a dumble-ator or clone thereof to use line level floor pedals, but why not use some of the hi-quality studio grade pedals that are coming out these days?  TC Electronics makes a couple and so does Eventide. More and more pedal manufacturers are giving you the option of the studio level +4 signal, ready to plug into your D-style effect loop. (See previous post on Effects Loops)

The 3 switches that you normally find on D-clones for Bright, Mid and Bass are neatly hidden in Dumbalina: Each  tone knob (Bass, Treble, Mid) has a hidden, whisper quiet, pop-less pull-boost feature which takes the whole thing up to a different kind of eleven heaven. The Volume knob has a presence boost. When the Tone Bypass is engaged (often called Pre-Amp Bypass or PAB in other Dumble inspired amps) the treble pull pot doubles as a bass boost. The result is the most useful “PAB” option that I have ever seen with a corresponding increase in low end that makes this feature a very practical and useful option for me. Usually I shy away from PAB because it might sound a little narly, or less friendly in lower volume settings, even though it works wonders for cutting through in the heat of the mix at hi-volumes.

My most recent gig was a power trio gig, a Hendrix tribute concert. I  used Dumbalina’s overdrive channel for the solos that were not over-the-top, so to speak. When the band started really bashing, I could get away with using my Tone Bypass to cut through the mix. Really very flexible tones on this puppy! The 45w is just what you need to sing at lower volumes. Push the envelope a bit and you get great power amp overdrive without scaring the non-guitarists out of the room. In addition there is a master volume/loop send level that allows you to get the tones you are using at lower volumes without changing the character of the settings. A well thought out amp for the working musician. At 34 pounds, the amp is welcome at any gig that I play!

In the studio Dumbalina reigns supreme. I have just completed tracks for a tribute cd. R&B versions of Jimi Hendrix tunes. I used Dumbalina for many of the guitar solos and rhythm tracks and, well, tune in next year in the Spring to hear what I think are pretty amazing guitar tones.

Rob builds every aspect of the amp. From the cabinet and grillcloth:

to the faceplate (painting and vinyl lettering):

to the meticulously wired components inside this amazing amp.

Current wait time is only something like 3 months, since Rob is building each one by himself.   I am sure as the word gets out, that list will grow and grow. It will still be worth the wait, I promise!

Here is the icing on the cake: roughly 6 months or so after you get the amp, after the amp has been broken in. Rob will sit there with you and do the final tweaking of the components WHILE YOU ARE IN THE SHOP! He will look at the levels and settings that you choose and tweek the internal components so that a great amp becomes and even greater amp, tuned to YOUR signature style of playing. This is an amazing benefit and it is the feature that pushes Rob to the front line of amp builders. (Isn’t that why Dumbles became so popular and expensive? Alexander Dumble would tweak them to the playing style of the owners). Rob recently spent 10 Hours, yes folks, 10 hours in the basement at Mr Music, tweaking an amp for a client. Alex Potts, so he could have it ready for his move to LA. In my Berkleemusic on line course, “Funk/Rock R&B Soloing”, I talk about signature tone. Folks like Robben Ford, who within a couple of notes, announce their presence on the recording whether or not you are even close enough to read the album credits. I believe that this amp can open a door to this concept, and with the post build tweak, you just might be creating some new history.

Here is the latest version of Dumbalina that Rob is currently completing, with a couple new tweaks and slightly different cosmetics on the faceplate, which include corresponding faceplate lights for the lighted footswitchable Overdrive and Tone Bypass features: Sweeeeeeet!!

Here is the scoop on Dumbalina, from the hand of the builder himself, Rob Lohr:

CABINET-The cabinet is Grade “A” pine joined with machine cut half blind dovetail joints and internally braced with poplar. I will cover the cabinet with any available tolex and grille cloth, and you have your choice of appropriate loudspeaker*. The standard faceplate is brushed aluminium with black letters, but I can do colors for a small upcharge and you have your choice of knobs**. The handle is a good quality faux leather that comes in brown, black or blue, and I use 1″x2″  heavy duty rubber feet and stainless steel cabinet corners and hardware.

CHASSIS- The chassis is steel with welded joints and all hardware is stainless steel. The transformers are MERCURY MAGNETICS FBFVL-P 120v power transformer, FC-VIBROL choke and FBFVLR-OS Fatstack output transformer(4,8,16 ohm selectable). I can do selectable AC input for a small upcharge. The tube compliment is: 2x 12ax-7(pre), 1x 6sl7(PI) 2x 6L6GE(output) and a GZ34(rectifier). I use Belton tube sockets and retainers. I use a combination of Alpha, Clarostat, and Bourns potentiometers, Cliff and Switchcraft jacks, plugs and switches. All shielded leads are Mogami console cable. All unshielded signal leads are teflon coated solid copper core silver clad. All power supply wiring is PVC jacketed stranded copper.

ELECTRONICS- 100% hand wired point to point constuction. Hand made 1/8″ fiberglass turret board, a combination of Metal oxide, metal film and carbon composition resistors, Oil and foil signal capacitors, and high quality electrolytics. There are some other solid state components, but they are related to the switching circuits and are not in the audio path.

LIMITED LIFETIME WARRANTY- I don’t warranty speakers, tubes, or output transformers for obvious reasons   …but if anything else ever breaks I will fix it for free for ever and ever. Or until I die, which ever comes first.

*speaker must be of appropriate power handling.

**knobs must fit 1/4″ shaft and comply with existing chassis hole spacing.

Here is the bullet list of Dumbalina Specs:

Output power———–45 watts

Tube compliment——–2x 6L6GE, 2x 12AX-7, 1x 6SL7, 1x GZ34

Output Impedance——4,8,16 ohm selectable

Effects loop———— post pre/ pre power half normalled break out with send level.

Foot switches———-Over-drive and tone bypass(PAB). Both can also be controlled by front panel switches and are indicated with both front panel and foot switch mounted LED’s. The footswitch over-rides the front panel switches.

Controls—————-Volume, Treble, Middle, Bass, Overdrive, Level (ratio), send level.

Pull Pots:

Pull Volume————-Bright

Pull Treble————–Hi mid boost

Pull Mid—————–Lo mid boost

Pull Bass—————-Bass boost

Speaker Celestion G12T75, 8 Ohm

Rob Lohr can be reached at Mr Music in Allston Massachusetts at 617 783 1609 or at  robmadoak@hotmail.com

Here are few demo videos that I just did:

OVERVIEW:

CLEAN SOUNDS:

OVERDRIVE SOUNDS:

Hi to all tone seekers!..Sorry I have not posted stuff in a minute..I have a huge pile of stuff on my desk as a result of getting ready for a big Jimi Hendrix tribute concert that we had here in the Boston area at the Regent Theater. I am doing R&B/Soul tinged versions of my favorite Jimi tunes. The response at the concert was overwhelming and I have been busy preparing and now mixing and editing footage and audio captured at the show. I will post some of the vids soon. I am also currently in the studio doing versions of the Hendrix tunes for a release next year.

In the meantime, my next few posts with be focusing on pedals….what can I say….that is what is happening right now and it is very, very exciting! I have a few pedals that I can’t wait share with you. So I will be cranking out a few of these in the next couple of weeks. It is a very special time in the history of guitar pedals, I think…

Here is this week’s amazing pedal to add to your arsenal of tone shapers: The WET Reverb pedal.

For those of you who are obsessed with D-Style amps, here is a pedal that is an absolute must have for your effects loop. For others who just need amazing reverb sounds for your non-reverb amp, or even supplemental reverb sounds for your amp that might already have reverb…well..this is a must have too!

The Neunaber Technology WET Reverb is roughly the size of a phase 90 (already a plus in my book!) and delivers very high quality reverb sound. Simple controls are MIX, which controls the amount of reverb added to your original signal, and DEPTH, which controls, in lay terms, how big the space is in which you are “playing”, whether a small room or a large cathedral.

Many “D-style” amps do not come with a Reverb tank (see Effects loop post) and, since they have built in overdrive, for best sound quality, require use of effects such as reverb and delay through the effects loop of the amp. In an upcoming review, I will tell you about an amazing little amp I now play called Dumbalina, which is a mini-dumble-inspired amp with a +4 effect loop. I use the WET reverb pedal through the +4 effects loop of my Dumbalina and the results are no less than astounding.

The WET reverb does not have the usual tone-sucking qualities that other reverb pedals might have when played through the effects loop. With a unity gain buffer built in, what you put in is what you get out! This pedal seems to love effect loops. True bypass switching ensures that you (purists) retain your original tone when the pedal is not engaged.

Within a couple of seconds of switching the pedal on, I was able to dial in some amazing room filling reverb sounds that created depth and volume from a 112 cab. It was quite amazing.

In addition I was reminded about the importance of using hi-quality cables for hi-quality pedals such as the WET. (I recommend the George L cables for this pedal.) Geeking with my Dumble Club friends usually yields a number of enlightening discoveries. We plug a lot of stuff in and out and and try different configurations and cabs and pedals. After a couple of “where-did-my-tone-go” moments, we realized (remembered) that certain patch cables were the cause of some of the tone sucking problems!

So here is a reminder: If you use generic cables of low quality or great length, you might perceive an increase in brightness as the buffer in the WET pedal restores your original signal to its full spectrum. So don’t mistake it to mean that the WET pedal changes your tone. Here is a quote from the FAQ page of the Neunaber web-site:

Some users have posted that the WET™ Reverb sounds “bright”. Is this true?

The WET™ Reverb pedal is true bypass. When bypassed, if you don’t use a buffer (or other “always on” pedal) before the WET™ Reverb, you will lose the natural brightness of your guitar signal due to the high-impedance of your pickups and cable capacitance. When engaged, the WET™ Reverb’s buffer restores this natural brightness. So, it only sounds like the signal gets brighter; when in fact, your signal is duller with the pedal bypassed.

The buffer in the WET™ Reverb is completely transparent and does not change your tone; this has been verified by testing with an Audio Precision measurement system. Check out the specifications to see for yourself.

Most true-bypass pedals will have this problem, which can be avoided by doing one of the following:
1) use the pedal in an FX loop
2) use a buffer or other “always on” pedal before the true-bypass pedal
3) use active pickups
4) (less preferred) use shorter, low-capacitance cables

Simple test: use hi-quality short cables through the effect loop and you will perceive no difference in tone when you activate the pedal…this was an eye opener! Thanks, Brian!

The WET reverb pedal is the only reverb pedal I found that sounded amazing through the effect loop whether it was a buffered loop or a +4. This was with with no dumble-ator or clone thereof, or adjustment of levels; just plug it in and play your music.

For those of you with your expensive Dumble-ator clones that want to know why this is, (I was curious too) here is a simple explanation from Brian:

“Yes, there is a technical explanation for why the WET Reverb doesn’t suck tone in a Dumble clone effects loop. The Dumble loop is unbuffered and requires an external buffer (such as a Dumbleator) to be used with many pedals. The WET Reverb has a low-noise buffer built into it, which is engaged when the effect is not bypassed. This buffer has very high input impedance and low output impedance, so it will not load down the effects send and can easily drive the effects return. Also, the buffer is unity-gain, so whatever signal level goes into it is the same level that comes out.

And, by the way, in case you were wondering, the WET pedal sounds just as good through the front input of the amp.

Another great feature of this pedal is a built-in Li-Poly rechargeable option. Just plug in a standard 9v center negative supply and with a simple LED glow when in bypass mode, the pedal lets you know it is charging. No battery memory problems with Li-Poly. Unfortunately, the Li-Poly rechargeable option is no longer available. (Too bad, because it was one of those “how come no-one thought of this before? ” features…

The WET reverb pedal gets the thumbs up and the highest rating from the Quest for Tone! A++++++

Here is a video demo of the pedal in action: