One of my favorite computer pass times is to head over to the You Tubes and see if I can find something new musically. I really like music. I like playing. I like listening to it, but what I really like.. is to be inspired from it. That inspiration can be found in many forms – oldies but goodies, a horrible musician, that made a good noise at one point, or even an interview of a musician that makes me think of music in a new way.

Usually during this process I find at least one band that caught my ear for whatever reason, so I really try to do this a couple a times per month. The worst is being stuck in a musical rut. I think back to high school and how so much music was ‘new’ to me. Every person I met, every party I would go to, would be a new musical discovery. It’s not because there was more music back then, but I was very open and I wanted to explore. I think it’s good to keep that attitude today.

Anyways, I stumbled upon The Joy Formidable and something about it caught my ear. I like the chaos that was created by their effects. I like the drive of the tune countered by the pop/nice vocal style of Ritzy Bryan. I like that this video (by kexpradio) was shot in a bike shop, etc. They are from North Wales, UK and.. I want to hear more.

So, as you can see, there are some pedals on the floor. Let’s break down Ritzy Bryan’s board for this post:

Line 6 Echo Park Delay
Boss GE-7 Equalizer
Boss DD-3 Digital Delay
Boss DD-3 Digital Delay
Boss GE-7 Equalizer
Boss LS-2 Line Selector
Electro-Harmonix Micro POG
Line 6 DM4 Distortion Modeler
Line 6 FM4 Filter Modeler
MXR 10 Band Graphic EQ
Boss PH-3 Phaser
Boss TR-2 Tremolo
Voodoo Lab Pedal Power 2+

I saw that she was manipulating two pedals, and I had a hard time seeing what that pedal was below her hand in the photo above, but I was able to capture one frame that shows it. It looks like she’s manipulating a pair of Boss DD-3 Digital Delays. It was also interesting to see that she has a total of 3 equalizers (2 Boss GE-7 and 1 MXR 10 band). I’m guessing she has a lead route and a rhythm route (based on the Boss LS-2). Still not sure what the MXR 10 band is there for. I was unable see the settings on the 10band, but both GE-7 were flat with the exception of the output (so using them as boost maybe?).

Let me know if I missed anything.. or if anything is correct by commenting below! Thanks!

UPDATE
The pedal I identified as a Line 6 Echo Park, might actually be a Line 6 Verbzilla. Additionally, right of the MXR 10 Band EQ is a Boss TU-3 Tuner (not seen in the photos above)

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I’ve been keeping an eye out at Amazon for some good deals… and it’s been rough. Not a lot going on after the Christmas sales I imagine. I did find a good deal on the Line 6 Uber Metal pedal at Amazon though. The Uber Metal lists for $179.99 and you usually see it available in the $100 range, but is currently on sale for only $91.83. You save a few bucks, and the Uber Metal does ship with FREE super saver shipping. I wasn’t able to find any ‘good’ demos of this pedal on youtube (I’ll spare you), but it seems the Uber Metal is similar to the MXR M116 Fullbore Metal pedal (which is also on sale for $91.73). Has built in noise gate and EQ adjustments to get that super scooped mid metal tone.

Here is the official description on the Line 6 Uber Metal:

So much gain, so little time. The high-gain model in the ToneCore pedal line, Uber Metal brings you massive amounts of gain in one tiny, tough package. You can chose from some of the best Line 6 high-gain tones including Metal, Pulverize, and Insane. Also included with the Uber Metal is a built-in selectable noise gate, and scoop control for massive tonal contouring.

Again, the Line 6 Uber Metal pedal is currently on sale for only $91.83 at Amazon.com

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Today’s pedal line is from A. Bovara. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

This is my working board. I used it to record my latest solo album. You can hear it here:
No Place for the Dead

I only route my pedals one way, from beginning to the beginning to the end.

Bass (Shamray Custom or ESP Ltd. F-205) >
ISP Decimator G String >
Behringer BLE100 Bass Limiter Enhancer >
Boss GEB-7 Bass EQ >
EHX Octave Multiplexer >
Delta Fuzz (BYOC Ampeg Scrambler clone) >
EHX Metal Muff w/ Top Boost >
Dunlop Bass CryBaby >
Boss ODB-3 Bass Overdrive >
Morley PBA-2 Dual Bass Wah >
Boss BF-2 Flanger >
Line 6 Echo Park >
Boss LMB-3 Bass Limiter Enhancer >
ISP Decimator G String (again) >
Mark Bass CMD 102-P.

Sitting on an SKB-PS-45

ISP Decimator G String- Bass in. This is my favorite pedal. For all the sounds I get out of everything else, without this pedal all anything would sound like is cosmic microwave background radiation.

Behringer BLE100 Bass Limiter Enhancer- This is the first of my two limiter/enhancer pedals. The enhancer knob might as well be re-titled as, high pitch hiss mix. Other than having flimsy feeling controls it works just as good as the Boss Limiter later on in my line. This Hi-C carton helps keep things even when I switch from deep low end to clangier highs, since both my basses have pretty strong onboard EQ.

Boss GEB-7 Bass EQ- I bought this pedal before I knew what to do with it. I used to hate it. Now that I have learned that sliders, or knobs for that matter, don’t have to maxed out one way or the other, I really like the pedal. EQ is a powerful thing, just a dab’ll do ya.

EHX Octave Multiplexer- I made this as a deaf trade. I never heard it before in my life; I didn’t even check any YouTube demos. I find I am really happy with it. It’s nice for simple harmonies with myself and can thicken up bass very well. It’s part one of a happy accident.

Delta Fuzz (BYOC Ampeg Scrambler clone)- This is part two of the happy accident. I bought this from Build Your Own Clone because it was one of the cheaper kits they had. I wanted it so my wife could do some doodles on it and I would have something from her on my board. She is the one who named it “Delta Fuzz”. I was going to call it, “Octave Up Fuzz Pedal”. It is a fuzz with some subtle octave up change happening. She called it “Delta” because of that subtle change in harmonic pitch. Anyway, I discovered that putting the octave down EHX in front of this octave up fuzz created some of the most terrorizing signal distortion I’ve ever heard. The Multiplexer into the Delta Fuzz is unlike any distortion/pitch switch out there. I contemplated getting a WMD Geiger Counter, then this happened and I’m happy enough.

EHX Metal Muff w/ Top Boost- This is my go to distortion pedal. I usually like to run distortion EQ flat, but since this is high end focused, and I am a bass player, I had to bump up the lows and mids to compensate. When I do want the high end splatter it’s as easy as kicking in the Top Boost.

Dunlop Bass Cry Baby- My first wah pedal. I hate that it is a click to engage pedal, but I do really like its tone. It’s a much…thicker(?)… sound than the Morley. I need to get around to doing the step on to engage mod. It sounds really nice sitting between my two main distortion pedals, the Crybaby acts on the Metal Muff while the ODB-3 acts on the Crybaby. I can make it scream like Dax Riggs in 1994.

Boss ODB-3 Bass Overdrive- This is a love it or hate it bass player standard. It has a smooth overdrive, like a steady static but hearty. It’s nice to be able to blend the distortion with the dry signal here.

Morley PBA-2 Dual Bass Wah- I love that this is an instant engage pedal. It has a much smoother tone sweep than the Crybaby, but isn’t as thick. It does great as an effect filter. When I have the octave and two distortions engaged, my Morley can bring the entire line from dead wood to a raging fire of sonic eruption.

Boss BF-2 Flanger- I really like this flanger.

Line 6 Echo Park- The Echo Park is pretty versatile, but that’s mostly lost on me as I only use it for two different things. I use the normal delay, quarter note type, with tap delay timing. It’s cool to get a delay/echo just how you like it while playing, instead of tooling around with knobs while you should be plucking strings. This pedal does not work with the G-String on. I guess the G-string picks the echo up as noise and filters it out; so, I have to be careful to have the G-String off when I use this. Except, that is, when I use the “Swell” setting. The swell setting combined with the filtering of the G-string make an interesting volume rise sound, similar to what the Boss Slow Gear did (but better).

Boss LMB-3 Bass Limiter Enhancer- My second limiter in the series. With all my gain stages (EQ, Delta Fuzz, Metal Muff, ODB-3, Morley Wah) this guy helps me even everything out. It is especially important when I use the Delta Fuzz, as it doesn’t have a volume output control and bumps up the volume a little. The Delta Fuzz isn’t too bad when it’s on by itself, but when combined with either other dirt pedal the volume jumps can get pretty bad. This limiter takes care of these problems.

ISP Decimator G String- (again)- effects return.

This smaller board is my DOD board, Screem for Bleed (Feat. Gouge, Twist, Crank, and Harm)
This is my tribute to all the pedals I wanted, but couldn’t afford, when I started playing bass in the mid-90′s. It is my prize collection of the craziest, cult followingist, hard to find, unnecessarily expensive DOD pedals.

The route is:
Bass (Shamray Custom or ESP Ltd. F-205)>
DOD FX32 Meat Box
DOD FX13 Gonkulator Modulator
DOD FX76 Punkifier
DOD FX33 Buzz Box
Mark Bass CMD 102-P.

Tied with some twine to an old board I tore off an abandoned barn.

I also gave each pedal a name, to be in line with the crazy DOD knob names. I think the names are somewhat reflective of what the pedal does, to either your signal or your ears.

DOD FX32 Meat Box, aka Gouge- This pedal digs deep into the low end frequency range, almost sub-sonic, and boosts the 30 Hz and 60 Hz frequencies. The low end you can pump out of this slab will tear your flesh down through your bone.

DOD FX13 Gonkulator Modulator, aka Twist- Right up front, the Gonk is a simple toned ring modulator with a built in distortion circuit. However, if you play it just right, this pedal sounds like it can twist your pitches around. For instance when playing three notes close in pitch, the note that is highest in pitch on your neck will come out as the lowest pitch from the Gonk. Crazy.

DOD FX76 Punkifier, aka Crank- Some good ol’ screamin’ demon distortion. It’s pretty simple, this box can crank up your signal so that it sounds like you’ve been slapped in the ear with a pan of hot oil.

DOD FX33 Buzz Box, aka Harm- This pedal has no consideration for the feelings or emotions of any signal coming into it. It’ll break your sound down to something akin to a jar full of M-80′s and chainsaws. If you’ve ever wanted to turn you ax into a dirt bike simulator, this is your pedal. If you’ve ever wanted the sound of broken speakers without breaking your speakers, this is your box. If you’ve ever wanted to harm the hearing of those around you, this is a good place to start.

I play with this board every once in a while just to tool around. It’s pretty fun, although I sometime worry about my amp, speakers, and windows. Totally brootuhlz.

-
A. Bovara

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The following is a guest post by Dan Vuksanovich of WhyISuckAtGuitar.com. If you are interested in guest posting, please contact me!

I’m a classically trained guitarist and a former information technology consultant, which makes me a guitar nerd with an insatiable craving for the latest and greatest technology. I also play in a local cover band, for which I need a tonally flexible rig which is easy to transport and doesn’t break the bank. The solution? You guessed it: amp and effects modeling.

My rig consists of a Line 6 HD500 with a QSC K8 powered PA speaker for stage volume. That’s it. All my gear combined, including my guitar, weighs less than fifty pounds. I used to drive a Mini Cooper and had room for all my gear with tons of room to spare. While our other guitarist and bassist are lugging in their tube half stacks, I’m at the bar having a beer.

Yup. I’m the weirdo on stage with nothing behind me but the wall, the “amateur” who hears the whispers and snickers of sound guys behind my back. All the whispering and snickering stops, though, during sound check. This past Saturday I literally had a sound guy insulting my rig to my face during load in. He was desperately searching for a way to not let me go direct into the house PA. I asked him, nicely, if we could just give it a try. He said OK. I played for about 10 seconds during sound check, paused, and then heard him say sheepishly, “Uh, that actually sounds pretty good.”

So how do I do it? How am I the one guitar player who can coax direct tones from his modeler that don’t feel like an ice pick in the ear? Here are some best practices for getting good live sound from a modeler:

Not all modelers are created equal – There are lots of wild claims out there about tone quality by companies that make amp modelers and multi-effects units. The problem is that tone quality is subjective, so the manufacturers can basically claim whatever they want. Now, I’m not going to tell you what you should and shouldn’t buy, but I will say that if you buy a $99 entry-level modeler, don’t expect it to sound like a $3,000 Axe-Fx. My POD HD 500 cost about $500, and for my purposes it gives me the best bang for the buck. It might not sound 100% as good as an Eleven Rack or an Axe-Fx, but let’s be honest here, I play at local bars and clubs, not Madison Square Garden.

Your home amplification method matters – The way you amplify your modeler when you’re not playing at a venue is a huge consideration. The goal here is to make your bedroom setup as much like a live setup as possible. Enter the QSC K8 powered PA speaker. Yes, it cost me $600. Yes, that’s more than the cost of the POD, but I need to be able to hear what my tone will sound like when I get to the venue, and what better way to do that than with my own personal PA? Let me state the inverse of this for total clarity. If you run your modeler through an amplifier, even if it’s directly into the effects loop, the amp will color the sound… a lot. Therefore, if you try to go direct into a house PA after you’ve tweaked your sound through your amp, you’re in for a shock because it will not sound even remotely like you remember it sounding at home. What you need is a full frequency, flat response (FRFR) powered PA speaker. This works out perfectly because at home the PA speaker will be your amp, and at the venue you can use it as a personal monitor for stage volume that you can control.

Be the opposite of a kid in a candy store – All those models! All those effects! I can make my guitar sound like an alien spacecraft if I want to! Time out. Listen, there might be 600 amp models and 4,000 effects to choose from, but all you really need is a few usable live sounds. I’ve got four: acoustic, clean, crunch and saturated. Instead of going crazy and filling up every available effects slot just because it’s there, spend some time researching a typical signal chain for the type of sound you want. For example, my saturated sound is the one I use most on stage, so I needed to make sure that it was just right. I started with the assumption that I would use one of the high gain amp models, noise gate, reverb, and potentially a distortion pedal to smooth out the gain. I’ve got a bunch of empty effects slots and one empty amp model slot (I could run amp models in parallel if I wanted to) but my sound is just the way I want it.

Listen… really listen – There are plenty of ways to dial in awful tone with a modeler. You’ve got to use your ears to find something that works, probably even more so than with a real amp. Being an 80′s metal guy, my initial assumption was that I would use the Marshall high gain amp model. No matter what I did, though, I couldn’t dial off the shrill high end on the Marshall. I tried the Mesa Dual Rectifier model instead, and it was perfect. It gave me exactly what I wanted: a sleazy, nasty tone at the lower frets for chugging and riffing, and a sweet singing tone at the higher frets for soloing. I experimented with a few distortion pedal models to smooth out the gain as much as possible, but couldn’t find one I liked, so I decided to try compression instead. Bingo! That was the one missing ingredient and it completed my saturated tone.

Some sound guys will help you – One night we had a sound guy who I thought was just interested in insulting my rig again, but it turned out he wanted to help me out with my sound. There’s a difference in volume between bedroom and stage can create some EQ problems. At bedroom volumes my sound was not quite powerful enough so I cranked up the bass, which sounded great. At stage volume, though, the bass simply too much and the sound guy told me as much. He used his equipment (and his ears) to help me EQ, and I’ve had those settings dialed in ever since. He also helped my fine tune the levels of my patches so that I could switch back and forth without forcing him to use the faders to bring the volume up or down.

Modeling isn’t perfect, and it isn’t for everyone. Does our other guitarist’s tube half-stack sound better than my POD? A little. Is it worth it to me to lug around over 100 pounds of gear in an SUV to make my tone a little better? Absolutely not.

Ultimately you’ll have to make your own decision, but I can assure you that quality live sound with a modeler is possible. You just have to avoid the pitfalls.

About the author: Dan Vuksanovich received his Master of Music degree in classical guitar performance from the Peabody Conservatory of The Johns Hopkins University in 1999. He currently teaches and blogs about how to get better at guitar via his website, www.whyisuckatguitar.com.

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Today’s pedal line is from Michael Stettes. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

I play bass (and do some light synth work) in Sam Cooper & The Sleepwalkers, a Wilco-ish, Sun Kil Moon-y sort of band that I love dearly. We just did a winter EP called “Snow” and you can download the three songs off it for FREE at http://samcoopersolo.bandcamp.com/releases. It includes an original as well as two covers. So if you wanna hear some slackers put their own spin on “Kiss From a Rose” as well as the Christmas classic, “Walking in the Air,” boom, do it. I mean, it’s friggin’ Seal, man. Get some.

The Bass: I’m only using one bass guitar right now–a MIM Fender P-bass that’s been completely gutted, sanded down, and rebuilt to emulate a 60′s P-bass in every way. Electronics have been replaced, frets have been sanded, and it’s been repainted with a nitrocellulose laquer (ReRanch Sonic Blue) with the headstock matched. The coat has started to become a little seafoamy with time, but that’s just fine. Here are a few pics, one with me in it from a gig a little while ago. The pic with the driftwood came from the luthier who sold it to me, and he didn’t include the tugbar, but I wouldn’t have used it anyway. I also put a sizable nick in the headstock that I’m irked about, but like the luthier told me to do when I bought it from him, I’ve been “playing the hell out of it.”

The Board: I use a modified Pedal Pad AXSII. It’s really heavy but it’s super durable. I loved the board but since I bought it used, the carpet wasn’t in the best condition. I ripped it off, painted the bare wood black, and drilled some 12″x12″ aluminum sheets into it. They’re lightweight, and good for adhesive strips of velcro. I’m thinking of modding it further by drilling a handle between the wooden flaps so I can lift both up at once.

The Power: I use a Voodoo Labs Pedal Power 2 and have a Visual Sound 1-Spot plugged into the PP2′s outlet. The only thing I don’t like about the PP2 is the fact that because the barrel connectors are straight, it’s hard to fit them in tight spaces, like on pedals with 9v jacks on the side right next to the jacks. That’s where the 1-spot’s angled connectors come in. I have the PP2 attached with velcro to the underside of one of the flaps, reinforced by super glue. Super-glue is awesome. I’ve noticed some minor noise that I think is likely ground-loop related and cuased by the daisy chain, so I’ll likely get a Voodoo Lab ISO-5 at some point to supplement MAH POWAH.

The Cables: Most of the connections on the board are made using Planet Waves Solderless Pedal Board Cables. I strongly recommend them. Easy to make and use. I have a couple of DiMarzio Patch Cables, an Armor Gold one, and a few cheapies of origins unknown. I use a Monster Rock cable from the guitar to the board. People say Monster is overrated, and that’s probably true, but their Rock cables coil extremely well, look good, and have never given me an issue. From the board to the amp, I use an Armor Gold cable.

Korg Pitchblack Tuner: Nice and bright. Does its job and does it well. The footswitch has gotten a little glitchy over the years and I might repair it soon. I’d prolly get another if I had to replace it.

Boss DF-2 Super Feedbacker & Distortion: Many reviews knock the dirt of this pedal, but I actually dig it. However, I don’t use this as a dirt pedal live. I solely use it for its feedback function in combination with my other pedals to create cool, droney soundscapin’, which is why I don’t mind it being in front of the compressor. I’ve toyed with the idea of getting the new Boss FB-2 Feedbacker/Booster as a replacement, and storing the SF-2 for safekeeping since it’s discontinued. Oh, and I had a guy put a purple LED in mine, because fuck red.

Ashdown Dual Band Compressor: A buddy of mine had this sitting around his house and just gave it to me. I had never messed with a bass compressor pedal before. I was definitely missing out. I almost always leave it on now. It’s got a pretty big footprint, but I love the sound it gives me. Plus, the EQ on it is really powerful.

Fender Sub-Lime Bass Fuzz: What a cool pedal in both looks and sounds. Rockin’ ballsy vintage bass fuzz. Comes with a price though: learning curve, weighs a bit, and some of the controls are under the pedal. I’ve thought about having it rehoused by Walrus Audio and renaming it the “Sub-lemon-al Bass Fuzz” (see what I did there?). Still, I love it. This is my go-to pedal for dirt live. I stack it with the El Oso if I need even more.

Devi Ever U.S. Fuzz: Gated, sputtery doom. Lacks a little low end, but I can adjust the amp for that and it’s good for smooth, synthy, saw-like fuzz. It’s actually off my board now (I had stolen it from my guitarist and he wanted it back, d’oh!) I now have a clone of the U.S. Fuzz that Noisekick FX did for me called the “DEUS,” which means “GOD” in Latin, but also pays tribute to the original: Devi Ever US. The clone has an an additional toggle switch for more low end. I combine it with the Hummingbird for cool pulse sounds.

Heavy Electronics El Oso Bass Distortion: Use this when I want a mostly clean tone with a background of sizzle. Thank you Blend knob! Sayer, the proprietor of Heavy Electronics, is an awesome chappie, and you really can’t go wrong with his pedals. Ever.

Earthquaker Devices Hummingbird: This is essentially a tremolo, but Earthquaker refers to it as a repeat percussion pedal, which is probably more accurate. It’s all chop, can get really fast, and its depth goes all the way to silence. Exceptional pedal.

Danelectro Cool Cat Chorus: While this can definitely add some thickness to the dirt and the drones, this is strictly a placeholder pedal. I will soon be replacing this with the Source Audio Soundblox Bass Envelope Filter. And yes, I’m getting the Hot Hands to go with it. I’m torn on whether or not I should get the “Pro” version of it. If I get a bigger board though, I’ll keep the Cool Cat because I like the spund of chorus on bass, but in that instance, I may replace it with the Tech 21 Bass Boost Chorus.

MXR Carbon Copy Analog Delay: You see this bad boy everywhere for a reason. Solid, dark, analog delay. I’ve tweaked the internal controls for more modulation.

Line 6 Verbzilla: There are two main things I use this reverb for. The first is the Octo setting for thickening the feedbacker drones and for other shimmery things. The second is the Ducking verb, which is really ideal for bass guitar. It responds to your playing dynamics. The louder you play, the less reverb you hear, so your signal isn’t muddied, and when a note rings out, the verb fades back in. Plus, the Verbzilla has a trails switch that I think is ideal for delay/reverb pedals.

The Amp: Nothing fancy. Just a little Ampeg BA115 Combo.

Thanks for reading! i know I probably included a lot of details you don’t care about, but I personally like reading that kind of stuff, and thought others might as well! Again! Free songs! Seal! http://samcoopersolo.bandcamp.com/releases

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This morning I came across a nice deal on the Line 6 Space Chorus at Amazon. Apparently this pedal is no longer in production and isn’t commonly available any more.  When it was in production and available you would see it new for about $70.00 – $80.00. The Line 6 Space Chorus lists at $165.99, and is on sale for only $56.58 at Amazon and ships with FREE super saver shipping.

Here is the official description of the Line 6 Space Chorus:

The Line 6 ToneCore Space Chorus effects pedal has 3 killer models, all based on analog effects: Chorus, Tri, and Vibrato. Tweak your sound with adjustable speed, shape, and depth while controlling the rate with tap tempo. Stereo I/O.

ToneCore pedals consist of a ToneDock base–in stereo or mono–and interchangeable effects modules that snap in and out, allowing you to change effects without rearranging your pedalboard. The ToneDock is powered by a 9V battery or optional DC-1 adapter.

Here is a video I found posted by thommc:

Again, the Line 6 Space Chorus is currently on sale for only $56.58 at Amazon.

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I had a chance to speak with the guitarist/vocalist in one of my favorite bands, Arma Secreta (for those of you that aren’t certain on the pronunciation of Secreta – It rhymes with Beretta). Chris Wark is the singer and sole guitarist in the 3 piece band out of Memphis, TN. I remember catching a live performance on YouTube, and that clip sold me right away. Chris plays Travis Bean guitars (I love aluminum neck instruments) and he utilizes live guitar loops to create the signature Arma Secreta sound. Their sound is all about tension, intensity, melody and energy. The definitely have elements of math-rock, which I’m a big fan of, but I only like “math rock” if it maintains melody and emotion.

You can learn more about Arma Secreta from the following links : Arma Secreta BandCamp | Arma Secreta Facebook | Arma Secreta YouTube

Chris Wark is also a cancer survivor. He was diagnosed with Stage 3 Colon Cancer in 2003 (26 years old) and radically changed his diet and avoided chemotherapy to overcome the cancer. He has a great blog (chrisbeatcancer.com) which talks about diet for a healthier lifestyle. But what I like about that blog… it’s not preachy or annoying. It’s very informative and realistic, from a musician’s point of view.

Recently, Arma Secreta just released a new album titled – Dependent Lividity and is a fantastic recording. The album that I was super psyched on and had many plays in the office was their last album – A Century’s Remains. Great, great album!

I mentioned that I wanted to do some interviews with musicians and have very gear-centric discussions. I started things off with John Haughm so I’m very pleased to follow that up with Chris Wark. Below is a shot of his pedal board

TC Electronic Polytune Tuner
Boss TR-2 Tremolo
Boss PS-6 Harmonist
Boss DD-3 Digital Delay
Harmonic Percolator (Made by Chuck Collins)
Electro Harmonix Holy Grail Reverb (not pictured, older unit)
Line 6 Echo Park Delay (not pictured)
Boss LS-2 Line Selector
Akai Headrush E1
Boss RC-20 Loop Station

- How would you best describe what Arma Secreta is all about?
Clubbin, thuggin, chuggin, huggin, jugglin… but no druggin.

- What pedal is the most crucial to achieving your sound in Arma Secreta?
None of the pedals are “critical” to our sound.  The sound of the band really shaped most by the guitars and amps and they way we play them. The pedals all contribute in small ways and add textures to certain musical sections, which I thinks makes for more interesting music; providing sonic variety and surprises. The Boss Harmonist is responsible for some of the weirder guitar sounds for sure.  I use it to triple my signal adding an octave above and an octave below.  That has become a familiar part of our sound as it makes appearances in many songs. I will say that the Akai Headrush is the most critical to the music we make, as I loop guitar parts often. Many of our songs would be impossible to play without it.

- I see you have an Akai Headrush (older version) and a Boss RC-20 loop station. Do you loop guitar signals with both loopers?
I only loop with the Headrush. It’s very user friendly in a live setting and I’ve been using it for 10+ years. So I’m pretty good at tight loops, which our drummer appreciates. The loop station is only used to trigger pre-recorded and saved samples.

- Do you split the signal to different amps with the Akai?
Nope.

- What are some of the pros and cons with the Akai Headrush?
Pros are: ease of use, it’s built like a tank, never had to replace it. I really like the sound and decay of the tape delay setting on it as well.
Cons for some would be that it only will loop 22 seconds if you plan on looping multiple layers. And it doesn’t save loops. The first time I saw/heard one in action was Ian from Don Cabellero on the “American Don” tour in the late 90′s. Had to have it.

- Are there features that the Akai has that the RC-20 does not.. and vice versa?
The RC-20 has a longer recording time and saves 10 loops, but it’s difficult to make tight loops live. I use it because I own it, but I wouldn’t really recommend it.

- Have you considered picking up the Akai Headrush E2?
Yes, mainly because it’s got a longer recording/looping time. I’ll definitely get one if mine ever dies…

- How are you liking the TC Electronic Polytune?
I love it. It’s amazing.  You can play a six string chord and it tells you which strings are in or out of tune. The screen is large and bright and easy to read onstage.

- Chuck Collins Harmonic Percolator – was that a Steve Albini influence in that purchase?
Yes and like the Travis Bean guitars the scarcity of it was also an attraction.

- How would you describe the Harmonic Percolator to someone unfamiliar with that effect?
A little back story first: Chuck Collins acquired some spare parts from Interfax after they went out of business.  And apparently hacked the schematics from several percolators.  The original circuit boards were glued together for prevent anyone from stealing the circuit design. When I bought mine around 2001 he told me that it was one of the last ones he was going to build because he was basically out of original parts. The Harmonic Percolator is a distortion pedal. Mine has a silicon and a germanium transistor.  There are two faders: volume and distortion. The input jacks are backwards, consistent with the original, and it only takes a battery, which is a pain. At a low distortion setting it produces a broad spectrum fuzz/noise as apposed to a tight buzz.  When the distortion is wide open it produces an incredibly nasty, fat, compressed noise distortion.  There’s a ton of low end and sounds like it’s melting on the inside and frying the guitar signal.  You would think the pedal is literally smoking, which is pretty awesome.  I typically use it on the lower distortion side, on about 5 out of 11, with 11 being wide open of course.  Dialing it down gives individual notes more clarity, but some times I push it full blast.

- Since you and Steve Albini both use Travis Beans and Harmonic Percolators, do you think that pedal compliments Travis Beans in particular or is the Percolator great for other guitars?
Not necessarily, but I do think it sounds best with single coil pickups.

- Have you played around with other delays?
Not really no.  I’ve never been on a “delay quest” to find the best delay pedal on the planet or whatever.

I use the Line 6 Echo Park mostly for short delays (3-4 repeats), which fills out certain picking parts, which I do a lot of. I’m definitely a picker.  That’s the most recent addition to the arsenal. A gearhead/guitar tech buddy of mine who has literally owned every delay pedal ever made swore by it.  It has a lot of delay options, tap tempo, etc.  I really like it a lot.

- What do you primarily use the Boss Delay for.. long repeats? Slap backs? etc.
The DD-3 has one useful function for me: The hold function on infinite delay. It lets you control delay in the same manner you would control sustain on a piano.  As long as you are pressing down on the pedal the delay is on.  When you let up the delay stops. This allows me to reset the delay with each chord change.  I can play a chord and hold the delay while I play another part over it.  I wrote a song called Kilowatt Lake which centers around the function of that pedal.  It’s on our new record Dependent Lividity.

- How are you liking the Electro-Harmonix Holy Grail?
I like the large knob as I adjust the reverb mix with my foot from one part to the next.

- Similar question to the delay, have you tried any other reverbs out there?
It does what I need it to do so I haven’t had any reason to try any others.

- Are you using the Boss LS-2 as a selector between instruments or are you splitting off effects in a loop or switching signals to the amp?
I use it to A/B my amps.  It has several A/B options and a signal boost which is really nice. I use it on “Bypass / A+B” setting.  When the pedal is off and bypassed you hear my Fender Bassman, when I kick it on “A+B” the Sovtek Mig-60 comes in and the Fender signal gets a boost.

- Are there any pedals that your interested in that you’re thinking about picking up?
I recently acquired an Xotic EP Booster, MXR DynaComp, and MXR Boost Line Driver from a buddy that needed cash.  I’m playing around with those right now. I’m definitely interested in broadening my horizons, I know it when I hear it.

- If you could keep one effect from the board, what effect would that be? Your deserted island pedal.
Definitely the Akai Headrush. It’s great songwriting tool.

- Looking at the photo, I noticed the black and red tape on the boxes? What’s the story there?
Years ago I covered all my pedals with electrical tape so no one could tell what I was using.  If someone really wanted to know they had to come up and ask me after the show and I would tell them. A girl came up to me at our record release show and told me my pedal board “sounded amazing” and that she’d seen a lot of them having dated several guitar players. That was definitely the first and probably the last time a girl will ever comment on my pedal board.

- Is that a home brew pedal board and case? What’s the story there?
Yep also made that years ago.  I didn’t want to spend $250 on a large pedal board so I built one with 3/4″ plywood and black spray paint.  It has two tiers which made the second row of pedals easier to get to. I bought a gun case to carry the pedal board in.  Actually I bought the gun case first, then built the pedal board to fit inside it. I think it cost me around $50 bucks total and it’s held up really well.

- When you’re picking up effects, what is the most important factor when buying? Build durability, quality of tone, etc.  
I really have never considered either of those factors.  I’m more interested in what the pedal does and how I can use it.  Yes some pedals color my tone but it’s negligible.  I’m a practical guy and am very content with the pedals I have. Aside from adding a few here and there I really haven’t changed anything out on my board since it was originally assembled.

- I know you use a couple of Travis Beans in Arma Secreta, do you use any other guitars live or for recording?
I play the Travis Bean TB 500 the most, and on the neck pickup exclusively. Nothing sounds like it and it has shaped my playing style to such an extent that I really don’t want to play any other guitar. It has a warm hollow sound that’s also metallic and brittle, which I realize doesn’t make sense at all. And it’s incredibly responsive. I ask, and it delivers.  It’s always funny when other guitar players ask me to play it.  You just can’t play it like any other guitar and so they have no idea what to do with it.  They will fiddle with the pickup positions and the amp eq, but they can’t get it to sound like a normal guitar and invariably put it down confused.  I bought a Dan Armstrong style lucite/aluminum neck guitar built by Electrical Guitar Company in early 2011.  It’s the closest to the TB500 that I’ve heard, but still very different. It’s more of a tight, hard, and focused sound, less articulate and with less individual string clarity. But I like it. I’ve been playing that live along with the TB500.  I also have a TB1000 Artist, Fender Bass VI, a Telecaster, and a Peavey T-60.  They don’t get much attention.

Let’s talk about the amp set up for a bit.
- How did you come about using the Sovtek Mig 60 head?
I played through one in a guitar shop 15 years ago and liked it.  A few years after that I saw one in a pawn shop and bought it.  It’s super loud , great natural distortion, and built to military specs with Russian cold war surplus parts. It’s never failed me ever.

- You mentioned your 70s Fender Bassman Ten was modded to blackface specs. Did you request the modification, or did you pick it up that way.   What does that mod give you over stock Bassman?
I read up on it and I had it modded. The blackface Fenders did not have a master volume, so that is bypassed.  There were some other tweaks involved but I forget what they are now.  That was years ago. I should Google it, but I’m too lazy.  Definitely tonal and overdrive improvement.

- I played with a bass player that used the Hartke 4×10 cabinet and that thing weighed like a tank. How is the 4×12 guitar cab?
It’s never struck me as being particularly heavy, it’s not deep like a bass cab.  That’s another item that sounds super weird. Aluminum guitar speakers sound much more metallic than aluminum bass speakers. I never play it by itself. It is always running in tandem with the Fender.  The Bassman 10 has four 10″ speakers and produces a loosely distorted noisy sparkly “fender tone”.  The Sovtek Mig-60 running through the Hartke 412 produces an EL34 Marshall Plexi-style distortion, it’s creamy with a tight low end and a cold metallic ring in the upper frequencies.  The Fender and Sovtek together make an incredibly huge and complex tonal blend and are critical to the Arma Secreta sound.  I once had a guitar player ask to borrow the Hartke cab at a show after his Marshall cab blew, and he couldn’t figure out the tone. It confused him like a TB 500 would. After much knob turning, he got so frustrated that he went found another cab to play through.  Probably why they don’t make that guitar cabinet anymore. On the plus side, it’s easy to talk people out of borrowing it. Incidentally I bought the Bassman for $75, the Sovtek for $150, and the Hartke cab for $100 bucks about 10 or 11 years ago.

Thanks Chris for the great interview. Now, for those of you wanted a little taste of Arma Secreta.. here is 60 seconds with Arma Secreta, Live From Memphis:

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Today’s pedal line is from Ted Harms. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

I’m a double bassist and lead the VOC Silent Film Harmonic, an ensemble that accompanies silent films with improvised soundtracks; I also just make noise for my own enjoyment. Penny the dog provides inspiration.

The pedals on the floor are powered by a Voodoo Lab Pedal Power 2 Plus and,in signal order:

Digitech Digidelay – left on the short loop setting. I’ll run it, turn the other effects on/off while having the DL4 on. When the DL4 is full, then I’ll cycle through the DL4′s half-speed/double-speed/reverse settings to provide extra ambiance.

Electro-Harmonix Big Bass Muff – nothing like it to add some fur; can get wooly when I’m really leaning on my bow.

Boss OC-3 Super Octave – in the poly setting, and especially with the Muff, can make a nice wide sound bass of doom.

Marshall VT-1 Vibratrem – left on trem setting with the depth control maxed and the speed about halfway. With the Muff and Super Octave, gives a great pulse. A trick is to loop it with the speed & depth on one setting, then change those settings to get some arrhythmic pulses

DOD FX90 Delay – all controls dimed. Can’t leave it on for too long otherwise it overloads but a nice atmospheric swell as it ramps up.

TC Electronics Nova Reverb – set on plate for a big sound. Gives a great effect when I hit my bass. Might be replaced as I’m having my Alesis Nanoverb rehoused in a floor pedal.

Line 6 DL4 – left on loop setting.

The effects on the table, handy for live knob-twiddling and powered by a Godlyke Power-All are, in signal order:

DOD DFX9 Delay – commonly used in the short loop setting and then subsequent pedals turned on/off, much like the Digitech on the floor.

Red Panda Labs bitcrusher – a wonderful bit of freaky goodness dropped in a Line 6 Tonecore pedal. Many, many sweet spots on this pedal.

DAED-modded Boss SD-1 & DAED-modded DS-1: no modding to original circuits. Modding by the freaks at Disagreeable Audio Experience Designs introduces mega-heavy fuzz, mini-theremin, high-pass filter, etc.through the swithces. The SD-1 has a power-choke for extra square-wave/bit-starved wonder.

WMD Geiger Counter Civilian Issue – love scrolling through the effects (in low-fi mode, of course) while the DFX-9 loops.

Boss PS-2 Digital Delay/Pitch-Shifter – glitchy goodness when running through the mode knob. Using the octave down, when it’s already getting a low signal, makes it glitch nicely.

Subdecay Noisebox – should’ve have been called Rice Krispy as it adds lovely snaps, crackles, and pops!

Alesis Ineko – a very handy and tweakable multi-fx unit.

Line 6 DL4 – as the floor unit, left on looping mode.

Each effect chain runs through a volume pedal, to take the whole chain up and down, and then through a Wounded Paw Ultra Blender switcher.

ted harms

storiesseenandheard.blogspot.com
www.myspace.com/tedharms
www.myspace.com/vocsilentfilmharmonic

Summer’s ready when you are. Kim Deal

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I just found a great deal on the Line 6 Echo Park Delay on Amazon. This pedal lists for $279.99, and is usually available for $150, but is currently on sale for $99 at Amazon. This pedal also ships with FREE super saver shipping. Not bad.. $50 off normal retail and free shipping!

Here is the official description of the Line 6 Echo Park Delay:

Echo Park is based on Line 6′s award-winning DL4 Delay Modeler. Echo Park is loaded with unbelievable sounding models including analog, tape, and digital delay, all easily adjusted with the Tap Tempo feature. Different delay patterns such as slap, ping pong, swell, and sweep can be adjusted with the twist of a knob, and the Mod dial can be tweaked for even more variations. Echo Park also features stereo ins and outs.

Here is a great video submitted by Nrgguitarist

Again, the Line 6 Echo Park Delay is on sale at Amazon for only $99!

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Today’s pedal line is from Justin Wright. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

My name is Justin Wright. I hope you’ll accept my submission.

I’m not in a band right now, but I work for and play at a large church in Atlanta (www.evangelcc.org). My own personal style is blues rooted. We play a variety of music styles so I keep up a pretty large board to keep my options open. Here’s my line in the order I route the signal:

* Pedal Train PT-Pro Pedal BoardPedal Train PT-Pro Pedal Board *
* Crybaby Wah * – My first pedal ever, using it since high school
* DOD EQ * – I use this at the front end, mainly to scoop some mids and give me some line boost because of the long chain.
* Ernie Ball VP Jr. * – Great for swells and just muting the chain.
* TC Electronic PolyTune * (Fed from the “tuner” out on the VP Jr.)-Great tuner, lets you tune one note at a time or strum all six and see anything flat or sharp.
* Digitech Harmony Man Intelligent Pitch Shifter * – This pedal is just fun, makes tons of usable sounds from harmonies to normal octave up and down. Has to be near the front as it requires a clean signal.
* Mad Professor Sweet Honey Overdrive (PCB Version) * – This is a great natural sounding over drive. The great feature of this one is that it has a “focus” know that responds to your guitars attack. I have it dialed in so that playing soft/medium is pretty clean and digging in breaks up. Very versatile. (This pedal is fed from the Dist. Send/Return from the Harmony Man so that I can have dirty octave sounds if I want.)
* Visual Sound Route66 * – Another one of my original pedals. Combination Compressor (based on the Ross and the MXR Dyna Comp) and a Overdrive that’s a TS-808 clone with a bass boost, which I keep on. One of these effects is usually on at all times.
* ZVex Vexter Series Fuzz Factory * – I honestly don’t use this much, but it’s great to bring the noise if you need that.
* Carl Martin Classic Chorus * – This pedal has a great chorus and a switchable vibrato sound. I use both sounds some. The great part about this one is that it has a great gain circuit that gives lets me dial in that “tubes are just about to break up sound” with ease.
* Lovepedal Les Lius * – This one is supposed to sound like a Fender Tweed amp set to explode. Not so sure about that. To me this is the Keith Richards box. It just sounds like the Stones to me.
* Line6 DL4 Delay Modeler * – This is not the best sounding, most nuanced delay out there, but for ease of live use, versatility and cost it’s a winner for me. Also, it’s built like a tank.
* Visual Sound H20 Liquid Chorus * – Love this one, much less subtle of a chorus that the Carl Martin one plus it also has a great analog sounding delay that I’m currently using as an echo.
* Godlyke Power Supply + Visual Sound 1Spot Supply * – I’m using bits and pieces of both of these systems, but I find Visual Sound to be superior in all cases.

My current amp is a Fender Deluxe Reverb Reiss

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