Tone Tools ::: Builder Profile ::: Xact Tone Solutions, Mods & Beyond!

Hello fellow Gearheads! Today I'd like to bring you another edition of Tone Tools, this time spending some time profiling a company that I really love supporting due to the incredible work they do for guitarists, and musicians, alike. Xact Tone Solutions, also known as XTS, are a Nashville, TN based company that deals in rig solutions for musicians; as well as making some of the best sounding overdrive, boost and fuzz pedals in the market today.

Xact Tone Solutions is a formidable hot spot for tone seekers. Owned and run by Greg Walton and Barry O'Neil, together they have created a business that not only creates incredible pedals and rigs, but also very creative and unique solutions for signal routing and modifying existing pieces to get the fullest potential. Today, I'll be focusing on XTS's Modifications and how well they've worked for me personally.

At the moment, I've got three pedals that Barry and crew have done their magic modifications to. Most often players will seek out the type of mods XTS do for the sake of functionality, improving the way a piece works within a rig and how the it effects the system as a whole. On to the pedals!

Vintage Technologies BFD Tremolo

The BFD Tremolo is a personal favorite and recommendation from my friend David Phillips at LA Sound Design, another incredible rig building company here in Los Angeles. The BFD is unique to most tremolo pedals in that it sounds so incredibly close to a real amplifier's tremolo circuit. The way it pulses, undulates and moves the air beneath your note is remarkably close to the real deal. The BFD is a slightly rare pedal in that it's no longer manufactured and Vintage Technologies is no longer around. They can however be found from time to time on the used market. The circuit itself inside the pedal is very simple --- which is an attest to it's pure and rich tone. There are unfortunately a few caveats with the simple design and it's performance in the "real world". Firstly, there is a volume drop when you click the pedal on. This is a common occurrence with tremolo pedals due to the perceived loss of volume that happens when the signal wave is raised and lowered, thus creating the tremolo'd effect. There is a little more loss of volume than other tremolo pedals, and having XTS adds a non-intrusive buffer circuit that doesn't completely alter the tone, but allows you to fine tune the "headroom" of the circuit. The pedal now can hit unity or above unity volume and still sounds incredible. Another issue with the original pedal is the non true-bypass switch which creates all sorts of problems with other pedals and the entire signal as a whole. XTS replaced the switch and the pedal can be placed anywhere in a system without any worry. Also added, was an LED indicator light as there isn't one stock on the pedal and everyone needs to know when our pedals are on or off, right!? The BFD Tremolo is a dark star in the world of tremolo pedals and having these mods from XTS really help the pedal be the best it truly can be. 

Ibanez Mostortion MT10

The Ibanez Mostortion is a favorite overdrive of mine. In fact, it was my very first Gearheads post! Check it out HERE. The Mostortion is a sleeper of a pedal from the 10 series of Ibanez that has been a favorite of the Nashville recording scene for some time. It's a great tool in that it has a familiarity tonally but also has something unique about the feel and decay. The original housing however leaves a bit to desired, and can be slightly suspect to not being the most "road worthy" housing. For this reason, they are often rehoused putting the circuit and components in a new casing ensuring a long new life on any pedalboard. I'm a big fan of the rehousing work XTS performs, keeping all the key elements to the tone that I feel makes the pedal what it is and swapping out the elements that do not. I opted to have XTS only make the pedal true bypass so that it did not effect the rest of my pedalboard's signal and put the circuit in a new enclosure. I prefer to keep the original potentiometers and jacks etc... intact, as I feel they play a role in the tone of the circuit. What's left is fantastic sounding Mostortion with a new lease on life!

Nobels ODR-1

The Nobels ODR-1 is very neutral, natural sounding boost and overdrive. It sits somewhere between a light boost to medium drive. They were originally made in the 1990's and then later reissued. The EQ and presence of the ODR-1 makes the pedal great for recording due to it's rich low end profile and natural harmonic content, which is why it's another Nashville recording session favorite. I've got one of the original ODR-1's and found that while I absolutely loved the tone, I could not get past the awful bypass signal it created. It dulled my entire signal when the pedal was off and made other pedals sound less distinct and ultimately just didn't work that well. One obvious solution is to keep these types of devises in a "true-bypass loop," which is just another pedal that isolates the circuit, and allows you keep your signal chain problem free. I didn't have the space on my pedalboard for this solution and ultimately wanted to be able to use the ODR-1 in different situations where it could be used without a loop. Enter XTS and a very creative mod! The other option to solve my problem is to simply rehouse the pedal like my Mostortion was.... however I LOVE the look and the feel of the ODR-1 in it's present form. I didn't want to change ONE THING about the pedal. I love it's soft actuating footswitch and the vintage look. I just wanted the bypass of the pedal to be fixed so I could use it with willing and free abandon. Barry and crew at XTS devised a way to allow the pedal to essentially be true bypass but without changing out the switch or messing with the existing enclosure in any way. They installed a relay bypass inside the switching element that does exactly what I wished. Now the pedal sounds and looks incredible and it's become quite a favorite of mine in the studio.

All in all, many companies perform great modifications on all sorts of musical gear and I'm just happy to share my very satisfied experiences with the fine folks at Xact Tone Solutions. They are truly great lovers of all things gear and seek to help us musicians make the most out of what we've got. They definitely have gone above and beyond in making my tools that much more useful, something any musician would appreciate. Until next time, Happy Tone Hunting!

Vemuram Custom Pedals ::: Oz Fuzz

Hello Gearheads! Today, I'd like to share with you some thoughts on one of the newest offerings from Vemuram Custom Pedals: the Oz Fuzz! Created in collaboration with Oz Noy, incredible guitarist who blends jazz, funk, rock, blues, and r&b in an intoxicating mixture of sound. Oz has been working with Vemuram on and off during his tours in Japan, where Vemuram hail to create a signature fuzz pedal that incorporates all of the things he loves and wants out of a fuzz pedal. All I can say, is that the work both Vemuram and Oz have done has resulted in an extremely well voiced fuzz pedal capable of many different shades and colors.

The Oz Fuzz at it's base is a Silicon Fuzz Face circuit, capable of rich and full tones from an amplifier about to explode all the way to a fuzzy boost. There's an incredibly rich tone in this pedal derived from the two Silicon transistors and NOS (New Old Stock) parts that Vemuram and their master engineer Daiya Tezuka have sourced. There's a silky quality to the Oz Fuzz's voice, different than most fuzz pedals. Typically fuzzes, and the Fuzz Face in particular, range in voice from ragged and compressed to sometimes bright and even shrill. Fuzz Faces are loved and hated for their ability to sound and feel incredible with the "right" combination of gear and player or completely awful in the wrong hands. The element of settling in a Fuzz Face is just part of the beauty of the experience, the more dynamic you are as a player, the more dynamic the pedal sounds. Luckily, the Oz Fuzz does not suffer any of the pitfalls previously mentioned --- it's an incredible sounding (and feeling) fuzz.

One of my favorite elements and changes to the simple Fuzz Face circuit is the addition of a two band EQ, consisting of Treble and Bass controls. For such a simple circuit, adding such controls can really alter and mess with the delicate tone, but almost magically the Treble and Bass controls work really well with each other to get the most out of the tone. Raising the Bass control to the max will increase the available gain, and the Treble acts something like a "high cut" allowing the amount of high end EQ to be present in the signal. In speaking to Daiya Tezuka, he and Vemuram were vary conscious to be sure the touch response and dynamic floor of the circuit were not altered with these additions. Essentially what you're left with, is a dynamic Fuzz Face that can be tailored to each individual guitar and rig situation with ease.

Another element of what I feel makes the Oz Fuzz sound so great is it's gain range. While one could certainly use the pedal at it's maximum gain, full-on for massive rock and blues tones (and I'll tell you they sound very, very good), I love using the gain dialed back some and employing it as a fuzzy boost. It's a warm and rich tone, very 3D in nature. I was able to squeeze out some very convincing warm Clapton and Page tones, very woody and yet somehow silky. Using the pedal this way can work wonders as a semi clean to mid gain voice and can boost other pedals into enormous tones. I, like many guitarist who love dynamics, use my guitar's volume potentiometer control constantly to obtain as much control over the tone as I can. The Oz Fuzz works splendidly in this manner, with fantastic rolled off clean tones. They are never shrill or bright, very much like what you'd imagine a perfect clean tone to sound like. Clean volume roll-off is a very important characteristic in any piece of guitar equipment for me personally and I'm quite impressed by the tones available here. It seems that this is a limited release, with only 300 pieces being manufactured due to the availability of parts, so I'd suggest grabbing one while you can. I know I definitely will be.

Happy tone hunting friends!

Tone Tools ::: Using Pedals as a Preamp

Hello Gearheads! Today I'd like speak about the use of gain pedals as a Preamp or Preamplifier, which can be a very helpful tool when using particular pedals in a system. Often, in this modern age of ultra quiet stages, guitarists are required to bring the same incredible tones that usually come with cranking an amplifier to get that sweet pushed and distorted or overdriven tone. It's a difficult paradox to exist in and it's the main reason the guitar effect pedal market is completely saturated with boost, overdrive, distortion and fuzz boxes --- we MUST get those huge and killer tones sometimes at a whisper. Enter the use of pedals as a Preamp.

One of the most common uses of a pedal as Preamp is to simulate an amplifier that's already overdriving, or close to the edge --- the all holy Edge Of Breakup, cue all the "Ooo's & Ahh's". Anyone familiar with the vernacular of the electric guitar has probably died trying to achieve the perfect Edge Of Breakup or "EOB" tones. These are tones that are not quite overdriven, not quite clean, but somewhere in the middle of this beautiful mess called rock guitar. Quite simply, it's hard to attain these "EOB" tones in a modern environment where quiet is the new loud and everything is getting smaller.

Another situation where it's helpful to have a Preamp for your system is if you run a clean amp with a lot of headroom. I often fall into this category where I'm using a 120 watt Blankenship Twinplex amplifier --- it's got a ton of clean headroom, and never distorts or overdrives on it's own. It's simply a loud, clean beast of an amplifier. Using a pedal as a Preamp can make other pedals sound and feel better when the amplifier itself is quite clean. This model is especially noticeable with fuzz pedals.

Finding the perfect pedal to act as a Preamp is simple in nature but does require a bit of time, testing and patience. I'm featuring three specific pedals that work really well for me and others for this purpose, but by all means, you can get the end result with different pedals. It's just about finding what pedals work best with each other. This is not necessarily the ideology of "stacking", where you combine two pedals for more gain and compression. It's actually about thinking of the pedal as a tone enhancer after all your other pedals. With this in mind, it helps to have pedals that are open in tonal nature, offer a varying amount of gain and EQ, and ultimately don't contain too much compression. This is where the trial, error and success come into play. I've been lucky to have great tonal guru's in my life and one of them is my friend David Phillips of LA Sound Design. David is constantly searching for the best in the world of guitar and system building and I've certainly learned incredible amounts of knowledge from him --- including this concept itself. Now, on to the pedals! All three pedals featured here are incredible on their own merit, but for the purpose of this Tone Tools post, I'm showcasing the Preamp potential of each pedal.

The Shin's Music Dumbloid ODS is an incredible overdrive pedal that offers a very open and uncompressed Preamp capability. It's essentially a simulation of a Howard Dumble modified Marshall amplifier. It acts and feels like an amplifier, which makes the Dumbloid ODS a fantastic choice for this purpose. The EQ controls allow for more or less mid-range and ultimately more or less presence. Hitting the Dumbloid ODS with another overdrive, distortion, boost or fuzz will give you a wide and fat tone, with a great amount of mid-range content... a lot like what you'd get from a really good Marshall. This is 70's rock and then some. Fuzz pedals sound very good through the Dumbloid ODS as do midgain overdrive pedals.

The Vemuram Jan Ray is admittedly reminiscent of a cranked and juicy Fender amplifier pushed into singing sustain. It's a fat and bold tone that works really well as a Preamp. With less edge or presence than the Dumbloid, the Jan Ray adds a beautiful warm character that is more mellow in nature, and still cuts through the mix. Fuzz and boost pedals sound great with the Jan Ray as it takes some of the piercing high end that can be present in those circuits, and just adds this wonderful warm and fat overdriven tone. For anyone looking to get the violin like sustain of Eric Johnson, combining a Fuzz Face into the Jan Ray will absolutely take you there and more.

The Xact Tone Effects Fuzzy Tube Driver, or now called Iridium Fuzz, is another really great voiced pedal that truly acts like an amplifier for your pedalboard. The Iridium Fuzz is based off a modified version of the Craig Anderton's Tube Sound Fuzz and the Way Huge Red Llama. While all those circuits are relative to each other they are definitely different in feel and tone. The Iridium Fuzz is a warm yet clear voice that works perfectly for the purpose of Preamping other pedals in a system. It's tonally somewhere in the middle of both the Dumbloid and the Jan Ray, offering a more neutral tonal bed to work with. I hear it as a slightly more dry tone, just adding that perfect amount of tonal and gain change to make your other pedals sound killer in any environment. The Iridium doesn't impart it's own tone as much as the others do and while all these pedals allow your other pedals and guitar to retain it's true voice, the Iridium might just be a little closer.

Here is a really informative video from David Phillips of LA Sound Design explaining this process with both the Vemuram Jan Ray and the XTS Iridium Fuzz on how to use a Berkos Third Stone Fuzz with a clean amplifier.

Here is another example of how to use the Vemuram Jan Ray with Fuzzes and Octavio type pedals from the incredible Doyle Bramhall II.

Lastly, here is a video from David Phillips demoing one of his recent pedalboard builds. The video clip primarily showcases the Dumbloid ODS. You can really hear how the other gain pedals sound with the Dumbloid acting as a Preamp.

Tone Tools ::: Wah Ideology

Hey friends, today's Gearheads post is part of my "Tools Series" and in particular about the Wah- Wah and the way in which I use it.

The - was originally created by Del Casher, a guitarist and consultant for the Thomas Organ Company. As Del worked on the project, he discovered that when he moved the tone control from left to right on the amplifier, it created a "wah" sound similar to a harmonica player cupping his hands around the microphone and harmonica. This was the new sound that Del had been looking for. It enabled him to express a better bluesy feeling on the electric guitar. - Wikipedia. It was clear that a legend was being born from those early units, literally crafting a sound that would be heard and used by so many musicians for generations to come.

Whether it be channeling the vintage sounds of Jimi Hendrix or crafting modern filter sounds, the Wah-Wah is an indelible piece of equipment and tonal tool that every guitarist should have in their arsenal. Like most tone tools, I look at their usage as colors. Colors that can help shade the perfect moment in a layer of music, bringing out something special from the unknown. The Wah-Wah is one of those perfect tools for the job. It also goes without saying that as great as this effect is, it takes smart usage, and is not kind to the heavy hand --- no Wah should outstay it's welcome! Wacka-Wacka-Wacka...

I typically look at two elements when picking what type and model of Wah Pedal to use, and it's quite simple really: live on stage and in the studio. Many pieces of gear are suspect to this type of delineation and for me, the Wah Pedal is a big one. I look at the Stage VS. Studio in a modern/Vintage manner. The elements of the stage and live music environment will not allow my vintage-voiced pieces to shine, or even worse, be heard! The same goes for the studio choices, a modern piece may not have that depth of color I'm looking for when every note and iteration of my tone is under the proverbial microscope.

So, it comes down to two choices for me these days. The Teese RMC5 Wizard Wah and the Oxbow Studios Clyde McCoy (Picture Replica). Both pedals are lovely sounding and feeling Wah's, capable of making all the classic tones we've all heard and yearn to make.

I choose the Teese RCM5 Wizard Wah for the stage as it's voiced slightly more modern than most vintage voiced Wah's, and it has a treadle throw (how far the tone goes across the potentiometer's tonal spectrum). It has more low end, and most importantly, cuts through the loud full band mix regardless of the amount of distortion or gain. It works incredibly well in the live environment due to how well it's heard through a band mix -- I cannot stress enough how important it is to pick tools that suit the job, nothing is worse than stepping on a pedal and not being heard. The Wizard Wah also has a circuit inside that allows it to run in front of vintage style Fuzz pedals, the Fuzz Face to be exact. The Fuzz Face and the Wah-Wah (Jimi Hendrix anybody!?), is a classic combination that has always had issues due to the impedance mismatch that happens when running both together; and specifically the Wah Pedal before the Fuzz (which I and many believe to sound the best). The Wizard Wah has a handy fuzz friendly buffer circuit installed which alleviates all those issues. This Wah Pedal makes for a formidable choice for the stage and arguably could be used for any musical genre due to it's extremely friendly tone and feel. 

The Oxbow Studios Clyde McCoy (Picture Replica) is a horse of a different color. While I look for pieces that will help me be heard and sound great on stage, in the recording studio I look for tonal tools that are incredibly interesting sounding and most often landing in the vintage voiced camp. The Oxbow is an incredible replica of the much adorned and expensive 1967 Vox/Thomas Organ Clyde McCoy. It's a sound that is so classic and such a part of the guitar's tonal vernacular, and simply a joy to play --- there's a reason people seek high and low for great sounding originals and pay a hefty price. The Oxbow is a handmade Wah that uses hard to find vintage components from the 60's with only one idea in mind: to replicate a legendary piece of gear. I love using the Oxbow in the studio for it's fine tuned touches that can shine in the studio. It's got a very vocal yet sweet character to the throw. There's not too much high end and certainly not too much low end. In short, the Oxbow sounds like a very good original. You could spend years and boatloads of cash trying to find the original that works and sounds great, it's a joy to have modern replicas like the Oxbow available to make that tonal journey a bit easier to ride.

If you don't have either of these pedals or want to work on getting the best out of your own equipment, it's important to use the ideology of what will work best for each situation. Think about how your pieces work in a live environment versus the studio. Choose your tools correctly for your style, performance and tone. It's all about maximizing what you as a musician can give to the song, because without the song we are just a piece of the puzzle. Happy tone hunting!

Tracking Tools ::: Double Tracking Tones & Teamwork

Hey friends! Today I'd like to talk a bit about the idea of double tracking guitar tones, and the combination of gear used, to get the best out of a very useful and often invoked utility in the recording studio. If you're not familiar with the idea of a 'double tracked guitar', it is as it sounds -- adding multiple layers of guitar tracks to beef up and thicken parts. It's most often used on choruses, and can often be more than 2 tracks on top of each other, especially in commercial rock and pop music. Why must we thicken and beef up these parts?! Some purists and producers would argue that it's not necessary and the mix should feel big and huge on it's own. While I mostly agree with that idea, it's also important to note that our ears are used to hearing double, triple, and quadruple tracked guitar parts in much of today's music. It's what makes the moment feel right, it settles in the listeners ear in a way that's familiar yet powerful.

I've been using this method for years in the studio, trying many different combinations of effects, guitars, and amplifiers to yield the best results. For me personally, I find that it comes down to a simple ideology: Contrasting tones within a musical "hand-shake". Breaking it down, it means that if we're talking about just two parts here, they should be contrasting in tone yet act like a puzzle piece for each other. This takes experimentation and time, as each players rig, technique and touch are all different -- much less the material you're recording. Each part is played as close as possible in time, feel and phrasing to create the doubling effect. It thickens and beefs up the part musically, because no matter how close you are to the original part, the double will always have little tiny bits that are different. This is what makes this process worthwhile. This is also why you must actually play and record the part over on a separate track rather than just copy and paste it. It's the different performance that makes it work.

Now on to the toys! I've experimented with a bunch of different ways to approach doubling guitars and I've found that the contrasting tones and hand-shake approach yields the best results. Currently, I record mono-sends to two differently voiced amplifiers at the same time. At the moment, these are a Blankenship Twinplex and a Morgan JMI AC15. I then use contrasting guitars and gain pedals (boost, overdrive, distortion, fuzz) for each part. I'll break it down here....

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Part I: Blankenship/Morgan Amps + Danocaster Stratocaster + Shin's Music Dumbloid ODS

Part II: Blankenship/Morgan Amps + Montuoro Hollowbody + Nobels ODR-1

The contrasting tone of each guitar and pedal create that musical hand-shake that sit in a track very well. For instance, the single coil pickups of the Danocaster contrast with the humbucker pickups in the Montuoro hollowbody, as do the ragged edges of the Dumbloid ODS, and the softer bold attack of the Nobels ODR-1. Each part and performance could dictate different pieces of gear of course, but for a powerful rock chorus --- this combination is incredible and I found it to be a perfect match. You don't have to have these particular pedals to establish this technique -- it's all about using what you have to get the most out of a session.

Essentially, the most important thought here is contrast and connection. How well the different pieces of the puzzle fit with each other but also how the distinct differences can sum a whole, larger than each part. It's essentially the ideology of teamwork. Regardless of what gear you might have, you have to take the time and listen to how each ingredient interacts with the other. Making those choices and experimenting to find the best combinations and ultimately making that musical "hand-shake"... ultimately creating stellar and powerful tracks! Happy tracking!

The King of Analog Delays ::: Electro Harmonix Deluxe Memory Man

Hey folks! Today I'd like to share with you a bit about one of my most favorite recent acquisitions. While I'm incredibly late in the game on picking up this pedal, I have fallen head over heels and am very happy nonetheless. What dastardly piece of magic could I be speaking of?! Well, none other than the "King Of All Analog Delays!" Ok... sorry for shouting! 

While there are many incredible and amazing analog delay pedals in this musical world, the Deluxe Memory Man from Electro Harmonix could quite possibly be the reigning champ. Specifically the "big box" Deluxe Memory Man from the 90's with the attached AC power cord, which is the one that I currently own. My pal Dave Phillips, resident pedalboard and tonal guru who is the genius behind LA Sound Design, recommended this particular iteration of the EHX Deluxe Memory Man. As many Los Angeles gear hounds will tell you -- when Dave recommends something it's usually right on the money. This particular DMM (as many of us gear geeks will call it) is nothing short of that.

The Deluxe Memory Man has been made by Electro Harmonix since the 1970's and has undergone many different versions of itself. Originally, the DMM only had 330ms of delay time and was a simple analog delay. This 90's version I have is the most famous version with vibrato/chorus/delay. Essentially it's a fantastically voiced analog delay with roughly 400ms of delay time. 400ms is quite enough for most parts you might use this type of delay for --- which is simply gorgeous and juicy tones. That my friends is the beauty of this giant beast of a pedal... the tones of the Big Box DMM's of yesteryear are just something you need to hear in person (and hopefully play) to really get the whole picture.

In my opinion, the tone of the DMM is in part due to the analog chips it uses (mine uses the fabled geek alert Panasonic MN3005 delay chips, which are no longer made); but also equally in part due to the pre-amp that powers the whole enchilada. There's just that sweetness that even when you run the pedal at minimum blend, there's no delay effect but the signal is still running through the entire circuit. It's just one of those things in this life as a guitarist and gearhead that once you try it --- it's quite hard to replicate or replace. It just has "that" thing that makes your heart and music flutter.

You can't really speak about the big box DMM without talking about it's gorgeous modulation. It has a subtle or crazy vibrato, chorus tone, and delay. It's what makes this pedal perfect for clean ambient passages or crazy noise filled explosions. It's all in there. Even if you don't play guitar or have no interest or dog in this fight, you've heard the Deluxe Memory Man in so much of our musical vernacular. One of the most famous users would be Edge of U2 fame. Much of their early recordings were just guitar, Vox AC30 and the Deluxe Memory Man. It goes without saying, the DMM is a venerable and historic monster of a pedal.

If you'd care to delve into the history and very interesting journey of the DMM, take a look at this great piece from Tone Report. Thanks for the Memories, Man: Evolution of the Legendary Analog Delay

Lastly, I must give a shout-out to Mike Piera of Analogman Effects who helped return this particular DMM to it's fullest potential. The 1990's are at this point (much to my dismay) of "vintage" era, and this pedal needed some TLC after purchasing it. It had a previously awful true bypass modification which caused the pedal to cut out intermittently along with some noise issues. The crafty artisans at Analogman took great care and got it fixed up and re-calibrated, hence making it sound as good as it can. It's nice to know that you can always make this beautiful gear of a bygone era not only function in this fast paced digital landscape, but also sound incredibly beautiful.

Mono Cases ::: Papa's Got a Brand New Bag

Today's post may not seem like the most exciting facet of the musician's experience, but anyone who travels by plane, train or automobile with any type of music equipment will tell you tales of the grave importance of high quality protection to withstand the dangers of travel. While safety might not appear to be the first thing on a musician's mind, when it comes to expensive and irreplaceable tools of the trade -- it's all too important.

Which brings me to the incredible cases built by Mono Creators. All Mono cases are "soft shell" hybrid designed cases that actually offer more support and protection than many hard shell traditional cases. I have traveled in and out of town with two different models from Mono for years and couldn't be happier and more assured that my sensitive instruments will travel, arrive and be stored in total safety. Mono uses some very cool lightweight yet extremely durable materials in their cases, offering an ergonomic "back-pack" type harness making it wearable on your back.

I use both the M80 Vertigo for my electric guitars and the M80 Classical/OM for my acoustics. While both have some differences, they both offer the same key components. The most important being neck support. There are countless fright-night stories of someone traveling with a Gibson guitar and finding out that the headstock has been broken in the same spot all Gibson guitars get broken (due to the design and tension of the strings on the headstock)... it's a nightmare situation. Mono keeps the neck and the headstock safe during travel with it's proprietary "Headlock" systems. Basically, it creates a sandwich of support between the top and bottom of the case itself. While nothing is truly indestructible, this type of neck protection is spot on.

The M80 Vertigo is a slimmer case designed for electric guitars mostly. It will fit most guitars, and even fits a slightly oblong custom Montuoro hollowbody guitar I have, just fine. The M80 Classical/OM is slightly more robust and fitting for an acoustic guitar. There's a little more room to breath and also includes a bit more storage space. Both cases offer ample storage for any accessories you might need. Mono also offers additional cases that can clip on to the Vertigo itself: The Guitar Tick, which allows for even more storage.

I literally cannot recommend Mono Cases enough for your valuable pieces of music equipment. Mono is of course not limited to keeping guitars safe, they've got you covered for most anything you might need to travel and protect. Pedalboards, DJ's, Drummers, Producers.... they've got something for everyone. Lightweight and durable is the name of the game here and I couldn't agree more, or be any happier with these cases. I'm truly happy to support a company that cares so much about supporting musician's in their craft and the often overlooked aspect of not just performing or creating, but getting there.

In the end, it's always about the journey anyhow right!? Thanks for reading and catch you on the road!

Berkos FX Third Stone II ::: My Favorite Prize For Every Fuzz Fight

Hello Gearheads! Today we talk FUZZ! Ok, now many of you actually know me, and of my personal journeys into the descent of the deep and dark abyss of Fuzz pedals. It's been an interesting and wild road that's led me through (and to) some of my favorite circuits derived from one of the oldest --- the Fuzz Face, Dallas Arbiter to be exact. It's completely a classic, used by so many great tone-meisters including of course, Mr. James Marshall Hendrix. Jimi was indeed the spark to the flame in many a young guitarist's hearts including mine; He practically founded the tonal landscape any modern guitarist might navigate. One piece of Jimi's circle was the Dallas Arbiter Fuzz Face - An enormously versatile and incredible sounding effect. The Fuzz Face could be used to make clean tones all the way to monstrous distorted fuzzed out bliss. It's a very interesting and simple circuit that's unique to every moment in the way that life is really --- this is why I think I'm personally drawn to them. So much control and many shades of color much like a great painter's palette, the Fuzz Face is simply put... inspiring, which leads us to the fuzz of the hour.

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The Berkos FX Third Stone II is a fantastic fuzz pedal. It's a very good sounding and feeling Silicon Fuzz with some very cool and helpful tweaks. The Third Stone has landed it's completely permanent spot on my pedalboard since it first came out. It allows me to recall the feeling and tone of a great vintage fuzz but with the ability to really dial it in each rig or mix.

Most typical fuzzes have two controls: one for volume and one for fuzz. Usually you must 'dime' each and just use your volume knob on the guitar to get the tonal shifts you might need. The Third Stone II offers that same elemental control but with some very useful additions. Take a look at the description below for each control's functions.

I tend to set my Third Stone II with moderate to full fuzz. Usually I will bring the fuzz control all the way up, then bring back that control while playing to get the amount of fuzz dialed in just right. Often I'll find I like and settle on less fuzz than I'd originally thought. That's the magic of fitting in a mix whether it be live or on recording -- it's detrimentally important to get that dialed in right if you'd like to be heard. I prefer the 'BASS' and 'EXP' modes as they offer the fullest and warmest range on the pedal. Earth, which is a low cut control, I typically set to taste (most often around 3:00).

In the clip below I've used the Third Stone II on all the guitars. The clean tones are the volume knob on the guitar rolled back. The signal path is: Danocaster S Style > Drybell Vibe Machine 2 > Berkos Third Stone II > Strymon Timeline > Tortenmann TT3 Tremolo > Subdecay Super Spring Theory > Blankenship Twinplex & Kerry Wright Cab with Celestion Vintage 30's.