An armchair, post-NAMM wishlist.

2014 NAMM Show - Day 3

I always look forward to January, and my annual trip to the NAMM show in Anaheim to gawk at the cutting edge of music hardware (and software).  When I realized my schedule wouldn’t get me to NAMM this month I was bummed, but kept my ears and eyes peeled online. Despite no significant time on the show floor this year, there were a few announcements and developments at NAMM 2015 that still caught my attention. It should come as no surprise that I’m rather focused on effects & amps for guitar & bass. Here’s my video post-NAMM wishlist, with commentary.

Continue reading An armchair, post-NAMM wishlist.

Stomp 01: Pedalboard overview.

pedalboard 4

Love me some pedalboard. I really do.

For decades I refused to use any effects on my bass guitars, being strictly fingers–only when it came to dressing up a note. I can’t deny that self–imposed deprivation helped me master my instrument early on without distractions, and taught me volumes on restraint and articulation I wouldn’t have learned had I jumped right into the effects world. However, after 20-odd years my tone had started to get a bit routine, my phrasing uninspired, and I found myself looking for ways to break out of the rut. Salvation came by way of a critical, distorted bassline I needed to cop for one of my fill-in sessions with a Bay Area electronica band – but cranking preamp gain in my painfully-clean SWR SM–900s was a non-starter. So I grabbed a friend’s Big Muff Pi for the gig, and the rest is history.  Years later, I’ve worked and gigged through so many effect combinations, sizes and themes to my pedals and pedalboards that I’ve got my preferences and sounds down to a pretty solid philosophical, aesthetic and ergonomic art.

Philosophically, it’s all about having *the right* assortment of tonal choices when I need them, easily accessed, with as little impact on my basic tone as possible. I still prefer a tone that’s piano-clean yet asskickingly fat via mostly 18v active basses- any effects are simply additive to my primary fingers/instrument/amp sound.  That way they stick to their role as the spice in my steady diet of groove, never the main course.

Aesthetically, my effects have got to allow me to enhance my normal tone gracefully (compression, EQ, and chorus), distort the signal six ways from Sunday (boost, distortion, overdrive and fuzz), and filter/add to it (envelope, pitch & synth effects).  Efficiency is also a factor (wireless receivers, digital tuners).  And it’s simply got to look clean and usable, not some random tangle of wires and boxes that could be kicked astray with a errant toe.

Ergonomically, my pedalboard has got to be playable like an instrument, portable and reliable, and fast to set up & tear down at gigs.  It needs to be laid out in common pairings/groupings of pedals in close proximity to one another so I can trigger the more complex, multiple effect settings with a single ‘stomp’ (or at least without signficant tap-dancing onstage).

Tall order, but well-filled now in my current pedalboard. Lets take an overview of my main groups of effects.

Continue reading Stomp 01: Pedalboard overview.