Effects Bay

The following is a guest post by Kevin Ian Common. If you are interested in guest posting, please contact me!

Hello Everyone!

Life has been pretty busy as of late, and I have also been trying to find a way to use video in these columns, as it will be easier for everyone to understand my chord charts if I put them to practical use. Until then, here is a short and sweet column about ending songs… or “cadence.”

A cadence is defined as a harmonic sequence (at least two chords) that closes a musical phrase, section, or piece of music. Songs that end without a fade out have some kind of cadence. I’m going to define the most used or identifiable forms of cadences and give you simple chord examples (no charts, just chord names).

I will also simplify these as best I can, so you can utilize them right away. Mind you, some music theory is required to understand some of these progressions, but logical reasoning and your ear can help you out too… it just takes a little longer

Authentic Cadence:

Most pieces of music end in an Authentic Cadence. It is defined as IV V I, or, in the key of C:

F G C

In the key of Cm:

Fm G7 Cm

Half Cadence:

Most songs that have different sections use these without even knowing it. They are considered “open” or “imperfect” because they don’t really end the song, they lead to something else. In the key of C, they end in V (G):

C Dm G, C G, or D G

In the key of C, a D is a Secondary Dominant. You can Google this term, but it basically means the borrowing of other tones from other keys to make the main key stronger. You use D to make G stronger so when it resolves to C, it’s even stronger still!

In the key of Cm:

Cm Ddim G, Cm G

To make a Half Cadence make more sense, let’s take a basic progression:

Am F C G for the verses. Let’s say your chorus is: C F G C. The G in the first progression acts as a Half Cadence when it leads to C.

Plagal Cadence:

This is a now-disputed type of cadence, but I will still include it here. It is also known as the “Amen Cadence.” It is defined as IV I. In the key of C:

C F C

In the key of Cm:

Cm Fm Cm

Deceptive Cadence:

This cadence is defined as V (G in the key of C) resolving to any other chord, most likely IV, vi, or ii. It is known as deceptive because it deceives the listener when it ends. In the key of C (it is most effective when writing in major keys):

C F G Am, C F G Dm, C F G F

Picardy Third:

This is the most basic kind of manipulation at the end of a song. Whatever key your song is in, change the last chord, whether from major to minor, or minor to major. In the key of C:

C F G Cm

In the key of Cm:

Cm Fm G7 C

Thanks again! My life has slowed down a bit for the next few weeks, so I hope to have another one to you soon!

- Kevin Ian Common

So, I’m going to do something potentially fun.. who knows. If you’re a pedal or guitar manufacturer/builder, dealer, band, musician, or anything to do with the music ‘industry’ I invite you to send me a shirt or hat. In exchange for the gear, I will take a pic wearing your shirt (and hat and whatever other stuff you send). I will also add some information about what it is that you do. If you or your company would like to participate in the EffectsBay.com Free Shirt Wednesday event, the first step would be to SEND ME A FREE SHIRT! I wear a L t-shirt.

You can send your goods to:

Hank / EffectsBay.com
Attn: Free Shirt Wednesday
P.O. Box 2364
Missoula, MT 59806

Please remember to include a link to your site, or any additional information you can so I can add that to the post. This is a great easy way to promote your business, product or band!

Now, if I start getting Viagra shirts or Teeth Whitening shirts, I’ll wear them.. since I think a Viagra shirt would be fun to wear, but it’s not getting a post. This is for music related topics only.

Once I get a few shirts in the queue, I’ll start the posts.

Popularity: 5%

If you’ve been following this site early on, you know how much I loved the movie “It Might Get Loud“. I was fortunate enough to see it in a theatre (granted it was sort of a crappy theatre). I went to the movie by myself, and I was completely blown away by what I saw, heard and felt. I remember it stayed with me for a long time. This movie is suppose to be a “documentary about the electric guitar from the point of three significant rock musicians”. I would definitely disagree. Sure it was about guitars, but to me, it was really about showing passion. Passion to ‘create’, and the tool just happened to be a electric guitar. I thought it was interesting how they related to each other, I thought it was interesting how I related to them. Great movie.

Well, I wanted my wife to see the film so we rented the DVD the other night, and she was absolutely blown away as well. I also thought I enjoyed it even more the second time around. I think every guitarist on the planet should watch this movie.. it is quite inspirational. But if you’re a fan of documentaries this is great regardless of playing a instrument or not. Passion is infectious and inspirational.

The DVD also has some bonus features, and we watched a few of the deleted scenes,etc. But there is a great press conference where the producers, directors and the three musician’s get to answer some interesting questions and provide further insight to the film.

You can pick up the DVD at Amazon.com

Popularity: 7%

A few months ago I posted about Reggie Watts (who is from my home state) and does some fun things with loops.  Well, I just found out he’s in a commercial for DieHard batteries!

He use to primarily use the Line 6 DL 4 delay for loops, but I’ve been seeing him use a second unit for his main loop building. I took a quick still from the above video. Anyone know what the unit is to the left of the DL 4?

Popularity: 7%

This morning, a friend of mine from high school days sent me a link to this interview of Paul Rivera Sr. of Rivera Amplifiers. I’m a big fan of Paul Rivera and his company. I currently own a Rivera Knucklehead 100 head (vintage grey model). Love that head, it’s too freakin’ loud, but sounds great.

Rivera definitely make some great stuff. That Clubster Royale sounds awesome! Any other Rivera owners out there?

Popularity: 8%

Just found out that Iain Burgess died yesterday morning. I’m a big fan of music from the Chicago area, and Iain is a giant part of that. He engineered many of the albums I highly admire, and his loss is great.

Here is what Steve Albini had to say (from the Electrical Audio Forum)

Iain fell ill after a trip to Florida to visit his family and had to be hospitalized, where his condition worsened and he died Thursday morning. Although he had Pancreatic and Liver cancer, his death was ultimately caused by a pulmonary embolism as a complication of the cancer.

I went to Black Box, the beautiful studio he built in the French countryside in January, and while he was sick, he was in good spirits and essentially the same guy we’ve always known. From the conversation I had with Dave Odlum, who works and lives at Black Box, the doctors said every indication was that Iain’s passing was peaceful.

There will be a funeral service on Friday, February 19.

Iain was a dear friend and mentor, and I consider him responsible for a good many of the best things that have ever happened to me. As is the case when someone important dies, I find it hard to imagine the world without him. Black Box survives as a testament and monument to Iain’s imagination and perseverance. It’s in the running for the best place on earth to make a record.

Requiescat in pace Iain.

If you’re unfamiliar with Iain’s work, he recorded some great bands.. Big Black, Poster Children, Naked Raygun, Ministry just to name a few

Popularity: 9%

I was thinking it was a little while since I posed a question to the community, so I thought I’d ask a simple one. Not sure if you guys are like me, and wonder what others are using. I mainly like to do this just to open eyes on new brands, styles, etc. Maybe I’ve heard of something, and then when I see others using it, it might motivate me to personally give it a shot. Or just finding something you never heard of.  Exploring can really help one grow. So today I thought I’d ask what picks people are using. What brands, and what gauge. Wow, the answers sure came in. To contribute myself, I use the .88mm Dunlop Tortex (greenies). Please feel free to continue the discussion below by commenting to this post!

Twitter:

benzakonium @effectsbay I’m using Dunlop Ultex .60 for Acoustic, .73 for Rhythm and 1.0 for Lead and heavy riffing. Awesome tone from these picks
Mayhem208 @effectsbay Pickboy Edge Carbon Nylon .88 and 1.00mm
MMisanthropy @effectsbay Dunlop 1MM Nylons
AndrewElmore @effectsbay Picks… Fender Meds, Dunlop Tortex heavys, Dunlop 73 and 88s (held sideways like the Edge) and Dunlop Big Stubby 3mm’s
CorydooM @effectsbay dunlop .88 nylons 4 lyfe
ferbass @effectsbay erinieball medium. What would you use for bass?
rodseney @effectsbay Jim Dunlop nylon .88 gauge.
worshiprocker @effectsbay. Jim dunlop nylon .73 gauge
RockMetalfan666 RT @effectsbay: What picks are you guys using? Brand and gauge Dunlop jazz 3 .93 I think
arruniel I use Dunlop Nylon .60 (med. grey). And you? @effectsbay: What picks are you guys using? Brand and gauge #guitar
theevanmiller @effectsbay i use the Dunlop jazz III picks(the black ones since they are a little thicker).
MojoCaster RT @effectsbay: What picks are you guys using? Brand and gauge.»» my finger nails. No picks needed here
pelossus @effectsbay dunlop tortexes, the only way to play. the purple ones [the thickest they come!] thinking of moving to the black jazz 3’s.
nogoodguitarpkr RT @300guitars RT @effectsbay: What picks are you guys using? Brand and gauge.»» Pro Plec 1.5mm triangle (mando) and Martin .96mm (guitar)
aloomens @effectsbay Standard Fender shape picks, but made from Agate. I guess you could say extra, super, ultra heavy?
TeeAreBee @effectsbay Fender or Dunlop picks. Medium gauge (dont know the number)
AxeStaticFitz @effectsbay Dunlop nylons. Ranging from .46- .88 depending on what i’m playing. Best. Pick. Ever. love your site, btw!
Alexchapel @effectsbay Dunlop Standard Tortex .88
tsworthin @effectsbay Fender Abalone Mediums or Thins, depending on my mood.
landosaurusrex I just went to the Dunlop Gator Grip .060’s…the orange ones. Still expierementing though RT @effectsbay: What picks are you guys using?
davmac Jim Dunlop 0.60 Orange. RT @effectsbay What picks are you guys using? Brand and gauge
dustinfuerst @effectsbay Dunlop U.S.A. .58mm. They wear fast but I love ‘em.
ryansguitars @effectsbay I use the red Dunlop Jazz IIIs. Love ‘em!
JacobyDave @300guitars @effectsbay ” What picks are you guys using?” Dunlop Ultex 1mm are my go-to. Just got a National medium thumb pick, too.
kstraine Fender Medium Celluloids RT @effectsbay: What picks are you guys using? Brand and gauge
rickshort21 JIM DUNLOP NYLON .88 CONSIDERING PUNCHING A HOLE IN CENTER RT @effectsbay: What picks are you guys using? Brand and gauge
300guitars RT @effectsbay: What picks are you guys using? Brand and gauge.»» Clayton Jazz 1.52mm & V-picks small 1.5mm.
CJBadge @effectsbay Dunlop Ultex Standard 0.73
GreggSantee @effectsbay Dunlop .73mm
markgrundhoefer @effectsbay I use the Dunlop Nylon .73mm. I like using the different edges because of the raised lettering. It makes for some neat textures.
fadyperdana @effectsbay Planet Waves Joe Satriani Signature
Milaneus @effectsbay A .88mm Dunlop Tortex, and a .60mm Snarling Dogs Brain.
VanDyckBrownNL @effectsbay big stubby 3mm, i think it’s from jim dunlop.
mojosarmy @effectsbay my pick of picks: Fender heavy celluloid for bass, medium standard tortex for guitar
clydetweets @effectsbay I use Medium Pointed V-Picks (electric and acoustic). My old preference for acoustic was Dunlop Nylon Standard .60 or .73.
SDMFNoah @effectsbay Jim Dunlop 1 .mm
D_Kurt_Green @effectsbay my fav is Snarling Dogs Brain picks. In .73mm and .88mm.
_LeoFerreira @effectsbay I don´t have a favourite brand. But I prefer a 1.0mm up to 1.5mm and smooth. And it also can´t be soft.
SvNDeaTh @effectsbay Dunlop Gator grip 0.96
longhair43228 @effectsbay Fender med.
tonytooke @effectsbay I’m using picato picks .60mm
erockpgh @effectsbay Adamas graphite picks 2mm
dannfeltrin @effectsbay Dunlop Tortex, the green one! I think the gauge is aprox. 0.88mm
PeterBerki @effectsbay I’m picking with Dunlop jazz 3
22frets @effectsbay been using my fingers a lot more lately, but when I use a pick it’s green tortex.

Facebook:

Travis Gauthier Fender Medium
Dave Novak Dunlop Tortex .88 and .60
Brian Steven Mejía Dunlop .73mm
Trys Mudford Jazz 111’s
Zack Dowell Dunlop Tortex .60mm
Kevin Ian Common dunlop tortez 2.0 mm, or dunlop big
Randall Brown A pearloid medium gauge that I found on the stage at a gig.
Leo Back dunlop tortex-asst. gauges
Ron Hostetter fender mediums. cheap.
Tom Worthington Fender Abalone Mediums or Thins, depending on my mood.
Josh Kampa Clayton Acetal Rounded Triangles .80MM. Bass player.
Christopher Badgley Dunlop Ultex Strandards 0.73
Half Blind Frank i just gave up on picks entirely – been fingerpickin. even on the electric. before that i was using Fender Mediums.
Manuel McNelly Dunlop Tortex .88mm and Dunlop Gator Grip 1.5mm
Rich Werden dunlop tortex 2.0mm or Wegen Gypsy pix for the acoustic swing gigs.
Michael Jason Sammut Dunlop Ultex .73
Todd Sinclair I love my Dava picks. They are variable in gauge depending on how you hold them and have a great rubber grip. Only pick I don’t drop while playing.
T.J. Harris Dunlop Ultex Sharp 1.14mm – I love the material and the extra-pointy shape. I wish I could find the Ultex Jazz IIIs in stores, though.
Nikolaos Triantafillou V-picks, ultr-lite large for acoustic and the screamer for electric

Thanks everyone!

Popularity: 9%

The following is a guest post by Kevin Ian Common. If you are interested in guest posting, please contact me!

Greetings! In this second installment, I’ll talk about drones and interesting ways to use them in constructing guitar parts. I will also include some tips, tricks, and quick fixes when it comes to improving your tone.

The concept of using drones–also known as pedal tones–involves using one note and building chords around it. This is a common method of composition, particularly in Art Music (what is generally referred to as Classical Music) and songwriters who use pianos. The possibility of ten fingers on a keyboard offer a great amount of lush chords with complex harmonies. Guitarists who exercise a little savvy can achieve the same thing.

The easiest way to build a pedal tone would involve an open string.

We’ll take the lowest string, E. I’ll give you some basic chord charts, then I’ll examine further to show you how the chords work off each other.

From low to high: E A D G B E

Em (ver 1): 0 7 5 X X X     (ver 2): 0 10 9 X X X

These are two versions of Em. Version 1 has The root (E) and 3rd (G). Version 2 has the full harmony with the 5th (B)

Em7: 0 14 12 X X X

The minor 7th (D) makes this chord a minor 7th. There is no 3rd, but you can leave the G string open if you wish. I think it sounds great as-is.

F#m7: 0 9 7 X X X

The minor 7th (E) makes this F#m7.

Am: 0 12 10 X X X

This is a full Am chord with the 5th (E) in the lowest register.

C: 0 15 14 X X X

This is a full C chord with the 3rd (E) in the lowest register.

Dsus2: 0 5 4 X X X

This is D major with the suspended 2nd (E) in the lowest register. You COULD make the argument that it is an Em7add9–root (E) minor 7th (D) 9th (F#), but for the sake of this installment, we’ll take the D name.

Now, take these shapes and perhaps play them in this order:

Em (ver 1) – Dsus2 – F#m7 – Em (ver 2) – C – Em7 – Am – Em (ver 2)

Notice how interesting that sounds? You get a low E droning the entire progression, but you still have a sense of movement in terms of harmony.

To build upon it (those of you with multiple guitars, a bassist, or multi-track capabilities), try this:

1) Take the original progression:

Em (ver 1) – Dsus2 – F#m7 – Em (ver 2) – C – Em7 – Am – Em (ver 2)

2) Now, have a bass play the following notes (changing in the same order as the above progression):

E – D – F# – G – C – B – A – G

The bass follows the progression of the notes you play on the A string. You’ll get interesting harmonies when the notes stray from the droning E.

3) Have a second guitar play these open position chords (once again in the same order as the original progression):

Em – D – F#m – G – C – C/B ( X 2 0 0 1 0) – Am – G

Or, to spice things up, you could do this instead

Emadd9 – Dsus4 – D – G – Cadd9 – Bm – Am – Am7

By keep certain chords static over other moving harmonies, you create a sense of independence between instruments, making it even more interesting.

Moving on, I wanted to talk a little bit about tone. The quest for tone is about as on-going as life itself and also a huge headache as it is totally subjective. Everyone has their own idea of what “ideal tone” is all about. This is merely a set of observations I’ve made in my time in live and local music scenes. Whether or not you decide to try or keep these tips is ultimately up to you. But, like I’ve said before, this column is meant to encourage experimentation. Have fun with it

Most of these tips are either free or inexpensive.

1) Use your neck pickup.

Obviously this one is impossible if you ONLY have a bridge pickup, but take a break and flip it to the neck pickup. Notice how full and well-rounded your tone sounds already? If anything, use combined pickups if you MUST use the bridge pickup (most strats have 5 way switching which offer great tonal possibilities, and even two-pickup models have a both-pickup position).

2) Scoop your mids if you just, but use restraint.

Ever been to a local show where a metal band is playing? How about listening to them do a sound check and remembering the wonderful crunch of their tone? What happens next? Generally what happens is… once the drums kick-in, you lose the guitars. Even Kirk Hammet has preached the glories of the mids Use just a little, and you will go a long way.

3) Roll off the gain.

Rolling off a little gain yields two very important things: 1) A distortion that reacts better to your picking technique, style, dynamics, etc and 2) Gives you way more definition. Great riffs are one thing… being able to hear each note clearly without a wall of gain behind it makes it far more enjoyable.

Granted, there are elements of shoegaze, hard rock, metal and noise that benefit from tons of gain. I kick on extra gain–sometimes I run ALL THREE of my distortions at once!–at times, but more often than not, I use little to mild distortion as my one-size-fits-all starter tone.

4) Use heavier strings.

Most guitarists I know use 9’s. Try 10’s, or even 9.5’s. You will notice a difference, especially in your clean tones. Heavier strings = heavier tone. I used to use 8’s until I tried out a guitar that was strung with 11’s. It sounded massive, and I never looked back. All of my guitars are set-up and strung with 11’s.

Thanks for taking the time to read!

I’m hoping to make this a regular column, so if anyone has suggestions for future columns, please feel free to comment me or contact me. I have some ideas, but who knows what ideas you may have for me!

- Kevin Ian Common

The following is a guest post by Kevin Ian Common. If you are interested in guest posting, please contact me!

Growing up a guitar player was tough in the early years. I picked up a guitar a few years later than many of my friends, so when I tried out for bands, most of my friends in bands already had guitarists. This prompted me to think differently about playing guitar and how to play the guitar.

While most of these techniques are tried, true, and probably printed in many magazines before me, chances are you might have a small flash of inspiration. Maybe I will mention something you’ve never thought about. It’s also come to my attention–being in various bands in various cities for the past 10 years–that many bands have guitarists who simply strum power chords or basic open-position chords. Even the simplest variation can make a two-guitar texture sound full, or even a single guitar part sound distinctive.

Hopefully I will be able to continue this series which will include techniques, tricks, tips, and even ideas concerning effects pedals.

Let’s get on with it, shall we?

We’ll start with chords. Chords are the building blocks of any great song. Let’s take a simple progression:

A     D     E     A

You already have the building blocks of a great song. A typical guitarist would simply strum open position chords and call it a day. Let’s look at some alternative ways to play these three chords.

The following charts will be from left to right: E A D G B E

A:

X 0 2 2 2 5     X 0 7 6 5 0     X 0 11 9 10 0     X 0 7 9 10 0     X X X 9 10 9

D:

X 0 0 2 3 5     X 0 0 7 7 5      X X 0 11 10 X     X 0 7 7 10 X     X X 7 7 7 10

E:

0 2 2 4 5 X     X X 6 4 5 0     X X 9 9 12 X      0 7 9 9 0 0     X X X 9 9 7

If you have two guitarists, try having one play the open chord positions and have another play one of these alternatives. You notice that the sound is fuller because different positions/octaves now have a voice in the overall texture. Also, if you are a single guitarist, 9 times out of 10 you have a bassist in the band, why not play an alternate voicing of chords and let the bass form the foundation? Even if the bassist is walking, you will create interesting harmonic movement while keeping everything simple.

Also, try these:

Another easy way to thicken a double-guitar texture is adding a capo to the proceedings. With a capo at the 2nd fret, A D E becomes G C D. At the 7th fret, A D E becomes D G A.

Try playing A D E octaves while letting the high B and E strings ring.

Have one guitarist isolate the third of each chord (A D E is C# F# G#) and play them in octaves. This is a popular technique in modern rock music, but that is because it’s very effective at achieving fuller sounds.

Better yet, for more linear harmonic motion, have a guitarist play E F# E over A D E ( the 5th of A, 3rd of D, Root of E) or C# D B over A D E (the 3rd of A, root of D, 5th of E) for even more interesting results.

Have one guitar distorted and one clean. Japanese rock band Luna Sea used this technique to great effect. You can find various videos on YouTube.

I hope you have found this interesting!

- Kevin Ian Common

The Common Men
www.myspace.com/thecommonmen

Popularity: 18%

I’ve been thinking about re-doing my entire pedal line set up and starting with some pieces that will form the foundation. Thinking maybe getting a Pedal Train board, Voodoo labs power and connecting all the pedals with some good cables. But what to buy? I figured I’d ask the Effects Bay community at Twitter and Facebook to see what others thought. I’m sure a few of you might find this interesting and useful.

Twitter (follow me on Twitter)

7R4V1S @effectsbay I’ve had too many George Ls crap out on my and then obsessively had to check each one to find the problem. No fun.
7R4V1S @effectsbay The Lavas have been good so far. A bit a skill/learning curve on building them. Just got them for Xmas so I’m still learning.
7R4V1S @effectsbay Last thing in terms of good adordable premade cables I bought some from Lyt pedalboards and they’ve been great “go to” cables.
7R4V1S @effectsbay Just started using Lava solderless since George L’s and I didn’t get along (they’d always short out if you looked at ‘em wrong)
victimrocks @effectsbay Mogami balanced cables from the pedalboard to the amp and short Monster gold patch cables on the pedalboard itself.
nickbearden @effectsbay monster cables all the way around!
simonkurt @effectsbay Neutrik! Swiss quality, great warranty services.
benzakonium @effectsbay Fulltone from begining to end, awesome noise free and transparent cables
evitagen13 @effectsbay Good old Belden.
creeperbryn RT @Alexchapel: @effectsbay planet waves cable kit!
CheeseBlocks @effectsbay I make my own with the “pancake” terminals (knockoff switchcraft) and bulk guitar cable. Cheap, and lets me do custom lengths
CheeseBlocks @effectsbay Agree with @al67 on this one. Your chain is only as good as its weakest link, and the weakest link is usually wire in the pedals
Michael_Pope @effectsbay I’m using George L’s because they sound really good and they are really easy to put together. They hold up pretty well too.
BrooksCS @effectsbay I make my own…its alot cheaper and allows me to customize everything.
thenealon @effectsbay I use a random assortment I found in a tub.. Why, what should I be using?
al67 @effectsbay Actually, if you’ve ever seen the skinny wires to the footswitch in some true bypass pedals you’ll realise all cables are better
al67 @effectsbay I use cheap 6″ patch cables bought in packs of 12 for peanuts. Tiny capacitance/inductance/resistance. Pedals worse than patches
willblanton @effectsbay I use George L’s. Why? (1) COMPLETELY customizable length! very important (2) Best quality and clear,chimy highs which i LOVE!
300guitars @effectsbay George L’s because they sound decent, flexible and easy to make for custom length and easy to fix.
johnnygizmo @effectsbay Lava solderless, CoreX2 and homemade cables with the leftover CoreX2 cable and panhead right angle plugs from Radio Shack
gearalley @effectsbay Lava or Core X2
markgrundhoefer @effectsbay whole board is wired with Lava solderless right angle connectors.
dvpstar @effectsbay Monster & Mogami are my main stay for cables.
Alexchapel @effectsbay planet waves cable kit!
seanmbrage @effectsbay George L’s! You’ll be amazed how much of your tone is missing in those bad cables.

Facebook (follow me on Facebook)

Trey Bliss George L’s and then Monster to the amp and the VOX coiled cable to the guitar.
Andrew Green george ls and monster. considering using solderless lava cables.
Bill Thompson George L’s
Randy Whitten Lots of Bayou Cables, a few Hosa and a new Elixir cable.
Michael Jason Sammut Hosa and Elixer and recently some GFS (http://store.guitarfetish.com/gfsguca.html). Inexpensive and quite good!
Donald Mark Silva Jr i use hosa….no problems so far

So it appears that the popular kits are George Ls, Lava Cables, Hosa and Planet Waves.

George L’s Effects Pedal Cable Kit
George L’s Effects Pedal Cable Kit lets you get rid of that motley collection of unmatched, crackly old patch cords strung between your effects pedals. Includes 10′ of .155 cable and 10 right-angle solderless plugs. George L’s was voted #1 for sound clarity by Guitar Player magazine.
George L’s Effects Pedal Cable Kit costs $79.20 at Musician’s Friend

Lava Mini ELC Cable Pedalboard Kit with Right Angle Plug
The Lava Solder-Free Pedalboard Kit includes 10 feet of Mini ELC Cable, 10 Lava plugs, and a stripping tool.

Lava Cable DIY solder-free plugs—developed with G&H Industries—is specifically designed with tight tolerances to match the Lava Mini ELC cable. The Lava Plug is the first solder-free DIY plug on the market not to use a set screw to make the ground connection. Instead, Lava Cable plugs employ a sleeve that makes a 360° ground and outer jacket contact.
Lava Mini ELC Cable Pedalboard Kit with Right Angle Plugs costs $89.95 at Musician’s Friend

Hosa 8-Pack Cables
You can’t have too many cables on hand and these Hosa quality cables in multiple colors make patching easy to trace. 1′.
Hosa 8-Pack Cables cost $14.99 at Musician’s Friend

Planet Waves Cable Station Pedalboard Cable Kit
The Planet Waves Cable Station Pedalboard Cable Kit helps you to get rid of signal loss and unwanted coloration of your sound from inferior patch cables. The kit comes with 10′ of cable, 10 right-angle plugs, and a Planet Waves mini cable cutter. Planet Waves Cable Station cables and 24k gold-plated plugs are specially designed for the most reliable, accurate reproduction of your sound from guitar to amp and everywhere in-between.
Planet Waves Cable Station Pedalboard Cable Kit costs $59.99 at Musician’s Friend

Let me know what you use.. and why by commenting below!

Popularity: 14%