Bigger Vox-Box: Tech 21 Liverpool Deluxe

The Liverpool Deluxe

When Andrew Barta and his company Tech 21 released the first Sansamp in 1989 in was a game-changer.  I know that term is used and abused but this time it’s deserved.  Before the days of digital amp modeling, recording the sound of a huge guitar required...well.. a huge-ass guitar amp.  The Sansamp’s all-tube circuitry and unique controls could get closer than any device before it at delivering real amp-like tones at bedroom volume.

Tech 21's Character Series Pedals

SansAmp Classic

Throughout the years, Tech 21 has produced many variations of the Sansamp including bass models and midi-rack units.  In recent years they have introduced their Character series.  Each of these single-switch boxes emulate a classic manufacturers family of amps in a single device!  These next-generation units have won over many purists over who want tube-tone without the large package and price tag.  Great for direct recording or going straight to the board for live situations.  No digital menus to scroll through.  Just good ole’ knobs.


Enter the Liverpool Deluxe...





Speaking of Liverpool....Please Stop Ringo!!!
Tech 21 has offered for a while the VT Bass Deluxe which is an expanded, multi-preset pedal based on the famed Ampeg line of bass amps.  The Liverpool Deluxe is just that but takes it’s sonic cues from the legendary Vox guitar amp line.  

It’s only available direct from Tech 21’s Private Stock collection and in limited quantity with an asking price of $309.  Here’s what they have to say about it:

"The Deluxe version of the Liverpool SansAmp Character Series features a combination of a warm, all-analog signal path and convenient digital recall. There are 6 program locations and dual inputs for two instruments to be on-line, ready to go. Create three custom tones for each input or use all six locations for a single instrument. And you can program the FX loop to engage your favorite effect each time a so-designated preset is selected. Super simple to operate, changes can easily be made on the fly --without having to refer to the owner’s manual. You just turn the knobs to a setting you like, double click on a footswitch and it’s saved in that channel.
That distinctive diamond grille tone is yours for the tweaking. From the jangle of mop-top pop to the top-boosted growl of mod rock, this amp style has a voice that shook generations. Tuned to deliver the growl of English Alnico Bulldog-style speakers, this pedal also gets thick with rich, even harmonics as the Character control is pushed harder. Push it to the limit and it will, it will, rock you."

A demo of the "non-deluxe" Liverpool


For more info drop by Tech 21's Private Stock page.

Ego Trippin': EHX Superego Synth Engine

Your tone dismantled into grains that are reshaped and then recombined

Bill Ruppert is a pretty amazing dude.  He is responsible for Effectology, a series of videos where he takes Electro Harmonix pedals and a guitar and produces sounds ranging from steel drums to analog synths to haunted spaceship factories.  Definitely watch ALL of his ridiculously cool posts.

His latest episode focuses on  EHX’s new Superego Synth Engine.  

We’ve talked a lot about using subtractive synthesis with your guitar but the Superego uses granular synthesis.  Based on sampling, granular synthesis essentially chops up your signal into very small pieces called grains and can then play them back in layers  at different frequencies, phase, speed and volume creating lush, complex soundscapes to unpredictable staccato tones.  


The real audio alchemy of this pedal is the effects loop.  Bill Ruppert throws harmony, delay and modulation effects at the Superego and it just eats them up and spits out some of the most mind-warping, non-guitar tones that we’ve heard in a while. 

It’s a great accompaniment pedal or a way to fill more sonic territory in a way that reminds me Dave Gilmour’s “Sound on Sound” effect using delay.

Don’t be intimidated by this very unique pedal.  There are only 4 knobs and a switch and that’s all you’ll need to conjure up clouds of sound to play over.  Expect it to be out by the end of May with a retail of $283.60.

Slash's New Octave Fuzz Box

Well..nothing to make fun of here.

To continue the seemingly endless “signiturizing” of nearly every other piece of gear that comes out these days is the MXR Slash Octave Fuzz SF01.  Regardless of whether you love Slash, hate Slash, used to love him but now hate him or just don’t dig that hat, this pedal is pretty choice.

Slash worked on a prototype for this pedal in the last few years and the results are a great sounding, all analog pedal with several functions and more options than you might expect.

The best way I can think to explain it is this:

This unit can be looked at as two separate “modules”.  
Module 1
-Contains a 70’s “Shag” fuzz and a sub octave.
-The Fuzz has Volume and Tone controls.
-The sub octave and fuzz paths have their own level controls.
-The Sub octave can be added to the fuzz circuit via a switch

Module 2
-Contains a classic octave up fuzz
-Gain and Tone can be tweaked via 2 internal pots (gotta unscrew the backplate)

These controls give you lots of options from organ-like chords to shrieking leads.  Adding the Fuzz and sub octave creates a super thick tone that can go from creamy warmth to crackly cuts.  Not to mention, true bypass.

Price is nowhere to be found at the moment but considering the no-joke fuzz options the Octave Fuzz SF01 should be huge competition for octave-only pedals.

For more info go to: www.jimdunlop.com

In the Loop: Simple Pedal Loopers

This photo pretty much wraps up 1984

When Van Halen’s 1984 album came out both my step-dad and I were smitten.  I was 8 years old and I remember buying the tape at Bradlee’s along with some Star Wars figures with sweet, sweet B-day cash.  My step-dad, who’s band practiced in our basement, was really trying to nail the riffs to Drop Dead Legs.  He taught me the basic drum groove and had me play it for hours which I was more than happy to do.  Years later, when I picked up the guitar, he would have me play chords so he rock solos, again, for hours.  I lived under his roof and if he wanted me to back him that was the way it was gonna be.  Now there are no kids in house.  Who’s gonna lay down the groove?

He needs a looper!

As you may or may not know, a looper pedal is one of the most useful tools that you can own.  For both practice and performance, loopers allow your separate musical ideas to exist at the same time.  You can lay down a chord progression and solo over the top.  You can build a percussive groove and accent it with phrases and drones often infinitely.  Some units allow you to create multiple tracks that can be played at will and others can warp your loops until there take on an entirely new vibe.  Either way, you NEED a looper.  

Robert Fripp is one of the pioneers of looping.  His “Frippertronics” technique utilized two reel-to-reel tape recorders that fed into one another to create an ambient backdrop for his pointed improvised soloing.  Others have used similar techniques with vintage tape delays to created massive sounds-capes with a single instrument.  Luckily, we can now do it with affordable looper pedals that set up in seconds and don’t require a roady.

Looping has become very popular for players of many instruments and styles that there is now a wide variety of looper pedals at all price points and specs.  Many practice amps, delay pedals and multi-fx units have loopers built in.
For now, let’s talk about basic, independent looper pedals.  My dad is a great player but doesn’t want to get deep on some tricked out pedal.  He just wants to plug and play.
It doesn’t get too much simplier than these the entry level pedals from Boss and Digitech.
The Boss Loop Station and Digitech Jamman lines are both very well established and offer an array of models in increasing complexity.  Both of these pedals are in the basic stompbox format with a single footswitch.  
Common Features:
-Both pedals allow you to add layers on top of one-another until your hearts content.  
-Both have 99 locations to store loops.
-Both have USB to import/export loops to your computer 

-Loops can be any variety of instruments allowing you to “Play” with a full band.

RC-3: Loop Station 

 -3 hrs of internal recording.
-Stereo Output
-Built-In Drum grooves
-Optional Battery operation

 

Jamman Solo 

-Store over 35 minutes of mono, CD-Quality loops in 99 internal memories
-Optional SDHC card can store over 16 hours* of CD-quality audio in 99 additional memories (198 total)
-Metronome with multiple rhythm sounds and time signatures
-Jammanager Librarian software
-Slightly lower Price
-Slow down or speed up any loop without changing pitch


These boxes will serve you well for practice or even limited live performance.
Next Time we’ll cover multi-track loopers that more geared for composing and the stage.

Burnin' Bud n Tube: Stoner Rock Amps

Turn down the lights, turn up some fuzzy grooves and get lifted for the 4/20 edition of String Junkie.

Sunn Model-T

Laney Klipp

Stoner Rock is a term for a genre that started in the sixties with bands such as Sabbath and Blue Cheer and continues in a somewhat more “metal” voice with contemporary bands like Monster Magnet, Clutch and Kyuss.  Hallmarks of this genre include psychedelic imagery and tones, soulful, bluesy vocals and gorgeous guitar fuzz. 

Matamp GTO

MASTERS OF REALITY!!!

The amps that contributed to most of these tones were usually not your standard Marshall or Fenders.  Instead, Stoner Rock axemen tend to plug into amps by Laney, Matamp, Orange and Sunn.  These amps use KT88 tube which is key to their trademark “doomy” vibe.  KT88s were used mostly for hi-fi applications due to their high power and low distortion.  But when you DO get them to break up, BTFU.

Hovercraft Caribou

Nial McGaughey, founder of Solid Cables, has been making some amazing one-off amps using recycled, vintage parts and players have been going crazy for them.  He sells every amp within 24hrs.  




He has just started a kickstarter campaign to build a small production of kt88 beasts called “Caribou”.  


If this is where you want to take your tone hit up his kickstarter page and back the project and get elevated....

The Workin Man's small hollow: Epiphone 339-Ultra

Epiphone 339's

So recently I’ve been really into semi-hollow body electrics.  I’ve never owned one and had always kept them low on my guitar priority list until the last few years.  I’m into a lot of jazz cats, and early rockers so I feel a void in my arsenal.

I’ve been playing everyone I can get my hands on: Gretsch, Gibson, Ricks, old Kays and Hagstroms.  All have their own vibe but nothing really grabbed me. I’ve only owned solid-bodies, I found these things to be a little wonky when you strapped one on.  Also many fedback(is that correct) at even mild gain levels.  I thought that that’s just the way it was with these things.

Then I played a Gibson es-339. 

Gibson ES-359

This thing is perfect!  It has a much smaller body, a nice thin neck, less feedback and a more concentrated tone yet still had that rich resonance of a big hollow body.  Not to mention the thing is pretty.  “Oh, $2000.  Yeah, I’m gonna go home and think about it but thanks for letting me play this kinda loud for the last hour.”  I’m not even gonna talk about Gibson’s super-deluxe version the es-359, cold-blooded.   It was time to find the one with the least displeasing aspects that also fits into my very small additional guitar budget.

Hold on now!  Epiphone makes a es-339!
Could this be my go-to hollow-body?  Hmm.

I’ve played a lot of Gibson’s import budget guitars that have ranged from “great” to “garbage”.  I had to see for myself so I pulled some strings to get a test model.  The tester I got was actually an Ultra-339 which has the same electronics as Epiphone’s Les Paul sibling the Ultra-III.  More on that later.  

This thing looks gorgeous.  My model had one of my favorite Gibson colors Pelham Blue.  So tight.  The chrome hardware and binding is classy but not trying too hard.  It looks like it could have been made 40 yrs ago.

The slim neck a decent set-up made it a pleasure to play chords and lead lines around the 12th fret sounded particularly sweet with a great combo of jazz bloop and bite thanks to the ProBucker pick ups.  These are clearly based on Gibson’s BurstBuckers and easily the best I’ve ever heard in an Epi.  I think that the best design aspect of the 339 is the center tone block in the body.  This really helps it walk the line between box and slab.

Pelham Blue Epiphone

Did I mention, the 339 Ultra has a 2nd pick-up system?  It’s not a piezo system but a NanoMag system that used small cobalt magnets and active electronics to pick-up acoustic-like tones from the body.  I had very low expectations for this side of the 339 but it was shimmer city!  Pleasingly, it does not sound  “vippy” like so many piezo systems do but rather just picks up frequencies and harmonics not available with the humbuckers.  A nice surprise.
 

Also, there is a very handy tuner on the DL on the upper side of the bridge-PU’s bezel.  It’s very easy to use and also lets you know which pick-up systems are active.
And, if that weren’t enough, it has a USB out to directly connect to a computer for use with a basic version of Native Instruments’s Guitar Rig.  

I hadn’t anticipated the USB out, tuner or nano mag system.  The nano-mag is cool but I already have an interface and several options for tuning.  Luckily they also make the es-339 pro which is just the guitar with Alnico Classic Pro buckers and slightly less cool finish options for half the price.

Body	Reduced size Laminated Maple body with solid center block
Neck	mahogany
Neck Shape	SlimTaper™ D profile
Neck Joint	Glued-in Mortise and Tenon
Truss Rod	Adjustable
Nut Width	1.68”
Scale Length	24.75
Fingerboard	Rosewood
Fingerboard Radius	12”
Binding	fingerboard (1-ply cream) Body (1-ply cream)
Neck Pickup	Epiphone ProBucker™-2
Bridge Pickup	Epiphone ProBucker™-3
Fingerboard Pickup	Shadow™ NanoMag™ Humbucker low-impedance pickup
Front Controls	3-way pickup selector, neck pickup, neck volume, bridge pickup, bridge volume, NanoMag™ pickup volume with push-push A/B switch, Master tone, A/B LED indicators
Back Controls	NanoMag™Gain, NanoMag™ Treble EQ, NanoMag™ Bass EQ
Machine Heads	Grover™ Vintage with Tombstone buttons; 14:1 Ratio
Chromatic Tuner	On/off switch, A-G LED note indicators, #LED indicator, high pitch, low pitch, in-tune LED indicators
Outputs	¼” mono, ¼" stereo, USB (computer supplies power to Ultra III when connected
Power	9-volt battery (except when connected to computer USB)
Frets	22 medium-jumbo
Bridge	LockTone™ Tune-o-matic/Stopbar
Hardware	Nickel
Optional	Hardcase
Include	Native Instruments™ GuitarRig™ software (download from Epiphone.com) 3 meter USB cable 9-volt battery User’s Manual Bumper Sticker Poster Trussrod Wrench 10’ economy ¼” cord Warranty Information

New Firmware for Line 6 Pod HD

If you purchased the Pod HD 500 or HD Pro there are new goodies to download for free.  Firmware version 2.0 is ready on the Line 6 site.  I just downloaded it and am loving the new Plexi Lead 100.  Open and warm with the right amount of grit and harmonics everywhere.

In addition there is the first HD bass amp model based on the classic Ampeg B-15 and a very useful tube pre-amp model.  Great for vocals and acoustic.

James Tyler Variax and DT series amp users have a whole slew of updates for getting closer to what Line 6 is now calling the "Dream Rig."

Here's what they had to say:

Ampeg B-15

Now available for download at line6.com, the free v2.0 firmware update dramatically expands the sonic palette of POD® HD500, POD HD, and POD HD Pro multi-effect processors, and significantly enhances integration with the James Tyler® Variax®.

For POD HD500, POD HD, and POD HD Pro multi-effects, the update includes two brand-new HD guitar models, the world’s first HD bass model (with eight incredible mic model choices!) and a new vintage-voiced mic preamp model:

“Flip Top” HD Bass Amp Model. Introducing the world’s very first HD bass amp model based on* the immortal Ampeg® B-15NF Portaflex®, one of the most popular studio bass amps of all time. The modeled cab features the original 15-inch speaker perfect for laying down some serious thump.

Eight New Mic Choices for the HD Bass Amp Model. Get your ideal bass tone from the new “Flip Top” HD bass model with eight mic choices based on*
        Shure® SM57
        Sennheiser® 421
        AKG® D12
        AKG® D112
        EV® RE20
        Shure® SM7B
        Heil® PR40
        Neumann® U47

“Plexi Lead NRM” and “Plexi Lead BRT” HD Guitar Amp Models. Stunning new HD guitar amp models based on* the Normal and Bright inputs of the legendary Marshall® “Plexi” 1959 Super Lead 100-watt head. Plug into the classic cascading crunch of this historic English head!

“Vintage” HD Mic Preamp Model. A vintage-voiced tube mic preamp based on* the Requisite® Y7. This new model adds incredible warmth to vocal sounds and guitar and bass tones. Its controls include:
        Gain
        HPF (High Pass Filter)
        LPF (Low Pass Filter)
        Phase
        Output
The update also includes a variety of new features and enhancements that make a POD HD500 or POD HD Pro, James Tyler Variax, and DT25 or DT50 guitar amplifier dream rig even more powerful and easy to use. The result is complete analog and digital reconfiguration and control of guitar models, effects, HD amplifier models, analog tube topology, and more with the press of a single footswitch.

Variax Knobs as Controllers. Variax Tone and Volume knobs can act like expression pedals, controlling different aspects of your tone such as delay time, amp drive or anything else you want. Controllers are capable of driving up to 50+ POD HD parameters simultaneously, making it possible to morph between sounds with a single guitar knob.

Variax Toggle Switch Behavior (Local Control). To provide smooth, intuitive transitions between the modeled and magnetic pickups, you can choose whether the Volume, Tone and Pickup Selector switch will control both the model and magnetic pickups simultaneously, or lock the model and only affect the magnetic pickups. For example, when switching between acoustic and electric tones, you can lock the acoustic model controls so that tweaking knobs and switching pickups when playing the electric sound won’t affect the sound of the acoustic when you switch back.

Variax Control Mode (Global/Preset). Choose whether you want to assign Variax guitar models and Local Control settings globally, or on a per-preset basis. Alternately, you can get complete manual control by choosing not to control Variax settings with POD presets.

New Input Selections. The new input selections — “Variax” and “Variax Mags” — allow you to assign any configuration of magnetic pickups and Variax models per POD HD preset. The new “Variax” input selection also recalls whether you were using mags or models per preset, allowing you to pick up exactly where you left off – no need for manual selection or input changes.

POD HD/Variax Custom Tuning Creation. Now you can create custom Variax tunings for any or all of your POD HD presets. Save and recall them per preset — and get up to 512 unique custom guitar tunings with instant footswitch control.
The POD HD v2.0 firmware update is available for POD® HD500, POD HD, and POD HD Pro. POD HD v2.0 firmware updates for POD HD300 and POD HD400 are coming soon.