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Stevie K

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Everything posted by Stevie K

  1. I can't believe how much the Deluxe Memory Man costs now. I remember when I first started playing guitar about 8 years ago, TS808s were $80, and I had the Deluxe Memory Man used off ebay for like $120. Prices on pedals keep going up and up! Check out Joyo Pedals, they have a digital delay that's only like $40, and a chorus pedal for like $40. The two together could get you sort of in the ballpark! T-Rex Reptile is modulated delay, about $100 cheaper than the Memory Man at $240 EarthQuaker Devices Disaster Transport Modulated Delay $140 EHX Memory Toy, mini Deluxe Memory Man Subdecay Echo Box VFE Blueprint Lovepedal Echo Baby
  2. But superfuzz is right, the Memory Man is the Edge's delay of choice! There just might be some more versatile options out there worth looking for!
  3. Any analog delay will get you in the ball park. There are some digital delays now that sound very analog, but have the added benefit of tap tempo and longer delay times. check out the delay section of Proguitarshop. Also, modulation in the delay is important too, so search for modulated delays. Or delays like the analogman ardx20 that have an effects loop on the delay, so you could add a modulation pedal seperately, which is awesome, as you can also put phasers, wahs, distortions and other effects in the loop!
  4. Do you want an American amp sound (Blackface Fender) or British amp sound? For American amp, I think the best choice on a budget is the Luker Tiger, plus it's all handwired! http://lukerllc.com/
  5. Boost n' buff is great pedal man, enjoy it! No experience with the Seymour Duncan or MXR, sorry, but you'll probably be very satisfied with the Boost n' Buff.
  6. OH hey, I forgot they sold the tone monk buffer seperately, so if you just wanted the Buffer with no Clean boost this is it! http://www.tonemonk.com/vp.php Probably exactly what you're looking for!
  7. Chris Klein makes great pickups! Van Zandt right here in Dallas, TX are also a great company!
  8. A clean boost like the Keeley Katana, leave it on all the time at the beginning of your chain is one option. Or you can get one that is a boost and buffer that will buffer your signal even when the boost is not on, for this there are two pedals I prefer, one is much more pricey than the other, but worth the investment IMO. http://proguitarshop.com/mi-audio-boost-n-buff-pedal.html MI Audio Boost n' Buff, I used this pedal for about 3 years until I recently purchased this one http://proguitarshop.com/tone-monk-ankh-preamp-vp.html It warms up my clean tone so much, I always leave it on, but it also has the best buffer I have ever heard in it, even when the pedal is off my whole tone sounds better for having this pedal in the chain. Also, another cheap option would be just to buy any pedal you've wanted with a buffered by pass as opposed to a true bypass. The buffer in the signal will help restore some of what you're losing from long cable runs. A TS808 for example has a built in buffer that doesn't sound too bad.
  9. the pedal I use most often is my keeley katana, it's always on. But it's not may fav. I use my zendrive ii and retroman dumbox a lot too, but really I'm feeling the clean tone thing so the Katana and Twin are the essentials for my sound these days.
  10. @ Earth I agree Sovteks are a nice tube, but how many other tubes have you tried in V1? I use Raytheon 12dt7s after my Sovteks pooped out in my Twin--which took them 6 years of heavy gigging to do, very reliable tubes--now I find there's not much difference in the tone clean, but with overdrive pedals I can definitely hear a difference in harmonic content.
  11. charlie parker is ridiculous, if you can read music check out the charlie parker omnibook. your head will explode!

  12. Hmmm depends on how much money you wanna spend. Since you're only changing V1 you may as well throw down a little more cash and get something nice that will really make a difference. If you've got about $50 you can get a Raytheon black plate 12ax7, better than RCAs IMO. Also there's the Preferred Series 7025 (super durable) from the tube store, an exact replica of the most sought after NOS Mullards from the 1960s. There are literally thousands of great options, I say go NOS for sure, otherwise you can just get your basic EHX or Sovteks, but if you're only changing V1 I say go all out! Edit Sorry didn't read your first post carefully, I see you've got options. The EHX will have the least microphonics, the Sovtek will probably last the longest, and the Mullard will most likely sound the best. But all tubes are unique, even the exact same make and model, so your mileage may vary.
  13. I bought this about two years ago and only used it at one gig and our singer accidentally stepped on it when he was freaking out on stage and broke it. So it has been in its box ever since because I was too lazy to take it apart and see what happened. Anyways last week I took it apart and replaced the foot switch and voila, works like new. I had only used it at one gig so I didn't really remember what it sounded like. I plugged it in with my strat and twin reverb and got the best clean tone I've ever had. It adds this awesome sparkle and compresses your attack just slightly giving a really smooth rich tone. Chords sound better, single lines, everything. I placed it on my board before my drive pedals and noticed that it made all my effects sound a lot better. It added note definition and clarity to my blues pro and barber ltd. Then I tried it in the chain after the drive pedals and got the closest tone I've ever gotten to Larry Carlton. Amazing note bloom and sustain just on the verge of feedback. To my ears it sounded a lot closer to the Dumble thing then my Retroman Dumbox does. So anyways, yeah I'm bragging about how awesome my tone is now I guess, but honestly, anyone in the market for a clean boost check this bad boy out. I don't think it would work well with a solid state amp, but it really adds a richness to a good clean tube amp. Could also be used to push a lower watt tube amp into natural overdrive.
  14. Man those puppies are loud. I'd love to take it off your hands if I had the cash right now. Why are you selling it for?
  15. Go to a hardware store, you can get a basic soldering iron for under 5 bucks. Or just use your dads!
  16. Try ebay and craigslist, though you don't get to hear the pedal first, when you get it, if you don't like it, you can usually sell it back for about the same price you paid for it.
  17. I agree with feedback! My advice is to be flexible. If you find a pedal you really like, then keep it, but always be on the hunt for new pedals with new sounds. Buy things used and hunt for deals, that way your resale value stays higher, when you don't like a pedal sell it and buy something else to try. Not a big fan of the Big Muff for most applications. It's okay for big nasty rock rhythm playing, but I've found it doesn't have enough mids to really stand out in a live performance. You can definitely get some awesome sounds out of it, but as your only distortion I would advise against it. Some ideas for pedal order would be: wahs--fuzzes--phasers--compressors--eq--overdrive--distortions--eq--boosts---pitch effects--chorus/flange--delay--buffer--reverb This is not a rule but a good order for combining effects. If you're going to be using your amps distortion it's a good idea to put your delays and reverbs in the effects loop of the amp. I don't currently use any EQs or compressors but have in the past. If you get a few different overdrives and distortions you like, and that combine well with each other, the need for a bunch of eq's I've found is no longer necessary. Analog tends to have more depth and character to the sound, but this is not always the case. Nowadays they're making some really great sounding digital delays and reverbs that I actually like the sound of better then a lot of similar analog pedals. So just use your ears.
  18. Yeah thanks for checking it out. If anything is too confusing let me know and I'll simplify it as best I can. Later I'll post some common voicings of these chords so it will be easier to grasp what I'm talking about with something tangible. Blues theory is also really important to have a grasp on as it creates some new ideas for the way harmony and melody interact, plus it has a big impact on the forms of most styles of jazz, but for now I'll just cover tonal ideas and then maybe a few chromatic, and then I'll get to the blues and modal music.
  19. Oh yes, and it's obvious when finding voicings for these chords on guitar that not all of them are possible as the guitar only has 6 strings. The way most of these are played on guitar is by following this simple formula, delete what is not necessary. As stated before the most important two notes of any extended chord are its 3rd and 7th. These therefore must both be in your voicing, next most important is the root. The fifth actually, though often altered is not that significant and is the first choice of notes to remove. The other notes are all optional actually, but getting at least the ninth is preferred when extending harmony. On 13th chords the voicing most common used is just the 1 3 7 13. All the essentials. If you ever listen to guys like Freddie Green or Wes Montgomery comping, you might notice they only play little two and three note chord voicings, usually made of only the 3rd and 7th and occasionally the root where it's easily accessible. This helps them avoid having to think too much about extensions, it also keeps them from getting in the way of the piano and bass players, adds percussive accents to the two most important notes of the chord, and on dominant chords especially keeps them from having to worry about alterations and tri-tone subs that could potentially conflict with the other members of the band. A cool way to practice comping over changes is to play the entire song just hitting little two and three note chord shapes for each chord that only contain the 3rd and 7th and occasionally the root. By itself it sounds boring, but get in a big band setting and this sounds great, if not better then trying to fully extend your voicings on every chord change. However, when playing solo guitar, or in a trio context, or any context where you're the primary chordal instrument playing, this approach doesn't work very well when the spectrum of harmony isn't being laid down by a full band. In which cases it is invaluable to learn how to lay big jazz chords out on the neck, which for most of us is most of the time.
  20. I remember being 16 or so and smoking weed with my friend and skipping school. We were both sitting on lawn chairs by his pool and I said, "Who gets paid to sit around and smoke pot and bang hot chicks all day?" To which he replied, "Rock stars." So about three weeks later I bought my first acoustic and he bought his first bass. He gave up after about a month and I kept with it. Then I saw Nirvana Unplugged on MTV and thought that kurt sounded pretty cool, before I had just been learning Eagles songs my parents liked to hear, so I bought Nevermind and In Utero and started picking out what I could by ear. And 6 years later here I am.
  21. I know most of you don't play jazz, but I've learned a #### ton of information this last year and thought I might share some of it with you guys for free so you don't have to pay a fortune for it like I have. A lot of it is dense and won't make any sense to you unless you've got a basic hold on simple theory concepts. For those of you that do, I know tragic does, hopefully this will be of some interest. Here's some jazz chord theory. To begin I'll explain the most basic categories of chords and their functions in tonal western music. Chords essentially only have two major functions, to create tension and movement, or to resolve tension and movement. Chords that create or build tension fall into two types, either subdominant (or predominant) and dominant. The chords that resolve tensions are called tonic chords (or possibly post-dominants). With this in mind, it's helpful to realize what the chord you're using at any given moment's function actually is in context. Is it creating tension, or is it resolving tension. Subdominant type chords tend to lead either to dominant, or back to tonic directly. Dominant chords almost invariably lead back to tonic, though sometimes they make different stops on the way, when one plays a dominant type chord, one is invariably moving somewhere, usually back to tonic. Tonic chords can include any major or minor chord, subdominants are almost always major or minor but are also sometimes substituted by half-diminished and even dom7 chords. Dominant chords are of course dom7 chords and also substituted by diminished and augmented chords. Suspended chords can often act as all three depending on how they are being used. So using the diatonic chord scale for C Major... I-C ii-d minor iii-e minor IV-F V-G vi-a minor vii-b diminshed ...we would begin to understand how functional chord progressions work. C is the true tonic chord of the key, F is the true subdominant chord, and G is of course the dominant. All of the other chords then are only acting as substitutes for one of these three chords. This is why the I IV V is the most essential progression. Another big chord progression is the I vi ii V progression in major and minor. This works so well because the vi chord is a strong substitute for the I chord as it has two of the same notes in common. The ii chord acts great in substitute of the IV chord because it also has two notes in common. Because the vii chord has the leading tone or 7th scale degree, is diminished in nature and needs resolution, and has two notes in common with the V chord, it is an excellent substitute for the Dominant chord. And so on, any chord that has two or more notes in common with another chord is usually a good substitute for that chord. Also, certain patterns of chord progressions are also common. Moving down the scale back a third is very common, also moving around the scale back in 4ths or 5ths yields many musical ideas. Moving up the scale in 2nds, 4ths, and in 5ths is especially common. Moving up in thirds sounds very musical as all the chords will share the two-note in common rule. Extended Harmonies in Jazz: When taking tertian harmony beyond the octave (tertian means third harmony) there are certain rules to how chords are built: i.e. avoid doubling tri-tones in chords (the interval between the 4th and 7th of the major scale): in major chords the 11 is often raised, which is the same as a #4 or Lydian mode. In minor chords, for the same reason, the 6th is also raised which is the same as the 13th or Dorian Mode. Built from Lydian Mode Maj7#11--1 3 5 7 9 #11 Maj13--1 3 5 7 9 #11 13 Built from Dorian Mode Min11--1 3 5 7 9 11 Min6 or Min13-- 1 3 5 6 7 or 1 3 5 7 9 11 13 Built from Harmonic or Melodic Minor: MinorMaj7: 1 3 5 7 On dominant chords, in jazz, even in major keys, you can borrow dominant chords from other modes. For example, the IV V and VII chords of a melodic minor scale are all technically forms of Dominant 7th chords, in harmonic minor the V chord is the only dominant 7th chord. So you could build a dominant chord from a melodic minor starting on the fourth mode, which is called Lydian dominant because it is essentially a lydian scale with a flat 7th. The chord often built from this mode is: Dom7#11- 1 3 5 7 9 11 (built from lydian dominant) The chord built from the fifth mode of melodic minor, or mixolydian b6, is often: Dom7b13-1 3 5 7 (9 and 11 optional) b13 The chord from the 7th mode of melodic (superlocrian mode) is often just called the Alt chord: Altdom or Dom7alt or just Alt: 1 3 5 7 9 11 13 (built from superlocrian) From 5th mode of harmonic minor you could have a few chords but mainly it works the same as the above: Dom7#5 or Dom7b 13: 1 3 #5 7 or 1 3 5 7 13 This is probably very confusing because I'm using a relative approach to chord formulas instead of a parallel, in other words I'm comparing the scale degrees of the chords from the modes they derive from instead of their relation to the major scale. I did this to avoid a plethora of b9 #9s, #11, etc. but that's actually perhaps an easier way for some of you to grasp these concepts so I'll explain the above that way now. If I were to build a fully extended chord from the Major scale starting on tonic or the root, it would look like this: 1 3 5 7 9 #11 13 The reason the 11th is raised is to avoid doubling the tritone of the scale which occurs between the 7th and the 4th of the major scale. If I built a fully extended minor chord with a parallel relation to the major scale it could look a few different ways. 1 b3 5 b7 9 11 #13 In this case the 13th or 6th is raised to avoid the doubled tri-tone. or 1 b3 5 7 9 11 #13 In this case the Major 7th is retained, giving a very unstable dark sound called the minMaj7th chord, which would have been harmonized from a melodic or harmonic minor. If I were to build a fully extended dominant chord in a parallel relation to the major scale it would look like this: 1 3 5 b7 9 11 (or #11) 13 Again you may raise the 11th or 4th but is not necessary on a fully extended dominant chord. Now dominants may be altered in a number of ways by raising or lowering the different extensions, the general rule, however, is only alter the 5th, 9th, 11th, and 13th. The 3rd and b7th must not be altered in anyway as this is what gives the dominant chord its quality. As a result a number of possibilities occur, I will organize them in relation to the 5th scale degree in three families, in reality you could just as easily organize them by any of the scale degrees that are altered but I will not. The 13th is only ever lowered as raised it merely becomes the b7 enharmonically. The 11th is not raised on b5 dominants as a #11 is the same enharmonically as a b5. Likewise the 13th is not lowered on #5 chords or augmented chords because they are the same scale degree enharmonically. The natural 5 family: 1 3 5 b7 9 11 13 1 3 5 b7 9 11 b13 1 3 5 b7 9 #11 13 1 3 5 b7 9 #11 b13 1 3 5 b7 b9 11 13 1 3 5 b7 b9 11 b13 1 3 5 b7 b9 #11 13 1 3 5 b7 b9 #11 b13 1 3 5 b7 #9 11 13 1 3 5 b7 #9 11 b13 1 3 5 b7 #9 #11 13 1 3 5 b7 #9 #11 b13 The b5 family: 1 3 b5 b7 9 11 13 1 3 b5 b7 9 11 b13 1 3 b5 b7 b9 11 13 1 3 b5 b7 b9 11 b13 1 3 b5 b7 #9 11 13 1 3 b5 b7 #9 11 b13 Finally, the #5 or augmented family: 1 3 #5 b7 9 11 13 1 3 #5 b7 9 #11 13 1 3 #5 b7 b9 11 13 1 3 #5 b7 b9 #11 13 1 3 #5 b7 #9 11 13 1 3 #5 b7 #9 #11 13 Now many of these dominants can be built from multiple modes, as a result multiple modes are options to draw from for melody notes over any of these dominants. Now where things get tricky, or untricky. In jazz music, and most popular music, aside from the majority of classical, rock, folk, and country music that is very triadic and avoids extended harmonies, all of these dominants are interchangeable. Meaning hypothetically, anytime there is a dominant chord in a song, any of the above dominants could substitute in it's place. Now depending on the chord you're resolving to some choices will sound better than others. For example, dominants derived from minor modes tend to sound best resolving to minor type chords, and dominants derived from major chords tend to sound best when resolved to major chords. However, if one want to add extra tension, building up to an even greater resolution on the resolving chord after the dominant, then substituting a borrowed or "out" dominant type chord adds quite a bit of interest. One more thing about dominants, a tri-tone is the interval a #4 or b5 away from any note. So for the note C the tritone is F# or Gb. Now say for example I had C Dominant chord of sometype and I wanted to alter it in someway. Their are of course, as you've just seen, a number of ways to accomplish this, but one way used commonly in Jazz, R and B, Gospel, Soul, Funk, and even in blues, has to do with this tri-tone thing. If I take a C dominant 7th: C E G Bb and instead play a dominant chord a tritone away, so Gb dominant, it looks like this: Gb Bb Db Fb Now remember that two note in common rule from earlier? If I look at the Gb dominant it at first only seems to have one note in common with C dominant, the Bb. However, the Fb is enharmonically the same note as E natural. So there's our two notes in common. And further, remember the rule about altered dominants? It's okay to alter any note of the chord except the 3rd and b7th. In this case the 3rd and flat 7th of C are E and Bb. The 3rd and b7 of Gb are Bb and Fb (or E), which is exactly the same just reversed. Since all we really need for the dominant sound is the 3rd and b7th, then playing any dominant chord of any type or alteration a tri-tone away is from the actual dominant chord implied is always a possibility for alteration. This is called Tri-tone substitution, and can be used on any and every single dominant type. Try it out! I know most of you don't play jazz but if you read through this once or twice you may get a lot of fresh ideas for diatonic harmony. Next time I'll explain some methods for writing "outside" the box and modulating to new keys, and then I'll hopefully get around to explaining some modal theory and maybe quartal harmony. A nice diatonic chord progression to play over where you can start applying some of these ideas would be a tune like Autumn Leaves. It's made up of primarily ii-V-I progressions tied together, which is a very strong subdominant-dominant-tonic relationship. It also gives a few opportunities to try out extending harmonies and tri-tone subs.
  22. You can buy an early Maxon ad900 wihh two mn3005s for about $250-300 on eBay. I much prefer the mn3005 over the 3025 anyways.
  23. Yeah it looks pretty cool. Wonder how it would sound through a twin?
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