The "Best" Overdrive

Lordy!  It has been quite some time.  I've been rather busy with various projects, so busy in fact, that I have yet to come up with a reasonable excuse for my absence.  To the few of you regular readers, I apologize for my absence.  Very soon I should have a nice photo blog of my 70's Guild S-100 project.  I just need to locate a bridge position Guild HB-1 and I'll be raring to go!

In the meantime, let me get back to some smug gear talk.  Probably the most common question I've ever been asked is, "Which overdrive is the best overdrive?"  If I was a prattling snob I'd tell you to get out your checkbook and buy an original Klon.   If I was a true TGP'er I'd probably tell you to buy my old dirt box, so I can leap on the next overly priced bandwagon dirt pedal.  But glory be!  This is Stonewall's Guide, not theirs!  First thing I'd like to clear up, is that there's no best dirt pedal.  If there was, we'd all have one and there would be one company.  That being said, your musical tastes will change and you may use one consistently for years and then one day, never use it again.  I used a Fulltone OCD as pretty much my only drive pedal for a long time.  I've recently gotten a new amp and now all I use is my Xotic RC Booster and my sweet sweet Orange amp breakup.  It's going to change, you'll have to get used to that.  However, don't get caught up in hype, or you're going to end up one of those people losing lots of nickels constantly buying and selling new "best pedals".

Pedals are a math equation.  Your playing/style + your guitar + your amp.  They all make a big difference on the sound that's finally going to come out of the speakers.  If I don't know you all that well, my first question is always going to be "What kind of music do you like to play?".  Please don't tell me that you like everything, that doesn't narrow things down at all.  What do you truly like to play?  Rock?  Blues?  2 Step Thrash?  All of those are going to make a difference.  Basically it helps me decide if you might be looking for something with lots of gain on tap, or just a little bit of drive.  This also tells me what kind of overdrive voicing you might like.  In a really oversimplified way there's really only two voicings, Modern and Vintage/Classic.  Modern voiced pedals are typically going to be much brighter and have a more scooped sound, which is very common in that racket you kids call "metal".  As you might guess, Classic/Vintage voiced overdrive will sound a tad darker, have a more pronounced mid range, and might be more raw sounding than edgy.  I will digress for a moment, and say that with so many boutique pedal makers there are plenty of pedals that can be vintage voiced with a scooped sound and vice versa. Some pedals even can do both with the flip of a switch.

The next bit of information I'll need to know is how you're going to use it.  Are you running a completely clean amp and using it for your rhythm sound?  Are you going to be blending any amp distortion/overdrive? Are you wanting to just massacre everyone in a 9 mile radius with your Big Muff?  Some pedals don't stack well, meaning, they sound like shit with other dirt pedals or amp distortion.  (A Merriam Webster definition of course).  Stacking is a whole 'nother ball game I'm probably going to save for a later post.  It can get complicated because it depends on what order you have your stack, how you're running each one, etc.  We're just talking about "best overdrive" here.  The final piece of the puzzle is what amp you're using.  Clean Fender-esque amp?  Pushed class A amp?  Crunchy British amp?

Here are a few recommendations that've worked for me.  They may or may not work for you, but it would be selfish of me to withhold my experience.  I haven't tried everything, but I have tried more than my fair share.  Don't take my lack of examples as lack of experience.  I only recommend the "shining stars" that come immediately to mind.  The best drives, in my humble opinion, are the ones you can get at least 3 different usable sounds out of.  There's no bigger pain in the ass than bumping the setting and feather touching the knobs to get that non existent "sweet spot".  (Guess what?  You turn your amp up or down and that "sweet spot" moves around or disappears).  I tend to prefer "Vintage" voiced pedals, but I used to love that "Modern" sound.  Both have their place in music, you just have to use your ears.

On Clean High Headroom Amps
Fender amps are fairly "neutral" sounding to me, which makes them a great platform for using dirt pedals for different colors of drive.  Since amps like a Twin or a Hot Rod series amp have lots of headroom, they also provide a great platform to use the full range of gain in a pedal.  High headroom prevents lots of natural clipping; or the amp being overdriven/compressed on its own.  Once an amp starts to overdrive by itself, there's only so much gain you can work with before that gain knob just turns into a noisy mess.  This is what worked for me:

-  Wampler pedals:  The large amount of headroom allows the "amp in a box" Wampler pedals to really shine.  Given, you're not gonna turn your Hot Rod Deville into a Mesa Rectifier, but you'll still have a better platform to work with than say, a Vox.  They offer a pretty wide selection of tones, but I really bonded with the Black 65 and the Pinnacle.  The JHS stuff claims to do the same thing, but to me sounds like nasally shit.
-  Fulltone OCD:  It's based on a Marshall circuit, I used this for years.  I like the Fulltone stuff.
-  Tubescreamer Variants:  Although TS circuits aren't my cup of tea, they really fatten up a Fender.  Fender amps lack midrange, and a TS has a mid hump, making it an obvious choice.
-  Proco Rat (only with LM308 chip):  If you want to sound like old Sabbath get this.  The models without the LM308 chip sound thin and fizzy to me.
-  Visual Sound Jekyll and Hyde:  These pedals are underrated.  Despite the ugly triangle (even uglier on current versions) they sound great.  Provides you with a TS circuit on one side, and a nice distortion on the other.

On Class A Amps
All you need to know about Class A amps for this post, is that they have a different power section, which in turn creates less headroom for you to work with.  (If you want to know more about Class A, Mesa has posted a nice little article about most of the differences).  Due to the lack of headroom, your amp will break up nicely without having to kill everyone at the volumes you'd be playing at with a non Class A amp.  A Vox AC15 or a Mesa Lonestar Special are great examples of a Class A amp.  Most people who buy these types of amps do so, because they want this type of natural drive/compression.  So if you've got this nice creamy  drive, why would you muck it up with an "amp in a box" pedal?  You can, but I'm not a fan.  I like to simply blend a more transparent drive, or simply boost the amp to get more gain from the amp itself.  If you boost the right frequencies on these amps, you can get a nice warm fat sound.  If you boost the wrong ones, you'll get an ice pick in the ear.  Here are some recommendations:

-  Xotic RC Booster:  Does a nice job of getting more dirt out of a Class A amp, while leaving the natural tone of the amp intact.  The Gain on the pedal itself blends very nicely without taking over the show.
-  Durham Sex Drive:  Same deal as the RC Booster, just with the ability to choose a Raw, Soft, or Hard Compression within the boost.
-  Fulltone OCD:  If you turn the Volume up to 2 or 3 o clock, and the Gain down to maybe 9, you can get a nice crunchy rhythm tone.  A lot of people recommend the Hot Cake for amps like an AC30, but I much preferred the OCD because it wasn't as fizzy.
-  Klon:  If you know what a Klon is, you can feel however you want about it.  I like it.  It's a Swiss Army knife for either a little grit or just a boost.  It's not my go to, but it sure makes a Class A amp sounds pretty.
-  Fuzz Face Variant:   I think FF's sound incredible when blended with some natural amp drive.  It makes 'em warm and fat. (Everything a man looks for in a lady).  I had great success with Analogman products and the new version of the Fulltone '70 (the old one sounds like shit).
-  Muffs:  A Muff can be brutal sonic mayhem, but like the FF I think they sound best when blended with a little drive.  I personally like the Wren and Cuff stuff, but I've heard Mojo Hand has been making some great clones as well.  You'll have to look online at the different types of muffs (probably shouldn't search that word at work) to find the kind that suits you best.

For Those High Gain Fiends
If you asking me, and you're wanting to play high gain/heavy music, buy an amp that's gonna get you there.  Although I don't dabble in the black, hairy, unshowered corners of music anymore, I learned quickly that there's no pedal that will ever do it right.  Some do an okay job, and will get you by if you're not wanting to dish out.  But, do you really think a little metal box with transistors can do a better job than 15 glowing KT88's?  If you didn't buy that $250 boutique "Mesa in a box", you could have saved up a few more bucks on gotten yourself a used Sovtek MIG, Read Bear, or 5150 secondhand that would leave you feeling more satisfied.

You can blend drive pedals with these types of amps, but once you reach a threshold of distortion you're either gonna get lots of buzz or not as much buzz.  You should sit down with a well produced metal record and listen to how "distorted" the guitars are, not as much as you think.  If you really need a little push, this is what I'd recommend:
-  Turn the Gain halfway down on your amp and try some pedals and see if you like the blended drives more than your amp alone.  If you do this, Muffs and FF's come back into the picture and they'll actually be usable.
-  TS Variant:  Turn the Gain down (or even off) and turn the volume up on the pedal.  It'll have the same effect as those Class A amps, but you can use the tone knob to color your drive without adding unnecessary gain from the actual pedal.
-  EQ or Clean Boost:  When you're dealing with lots of distortion, it's all about hearing the right frequencies. The audio engineers out there will appreciate this advice, don't always boost frequencies.  If you find that you  want more Treble, cut some Bass.  If you cut frequencies to enhance others, you'll get much less noise and your signal will be "cleaner".



This obviously was a very short overview.  It'll at least get you looking at videos deciding which ones work best for you.  I'm obviously biased, but it's been based on what's worked for me.  If you want a recommendation, feel free to drop a comment.  Although they won't throw me shillings for this, I would recommend checking out the Pro Guitar Shop, "Demo It Live" service on their site.  It allows you to hear various pedals through your amp so you can get an idea how they'll work for you.

Until next time,

Cheers!

- Stonewall

Help Yourself Out Without Spending a Dime

I apologize for the long absence from Stonewall's Guide, I was taking some much needed time off for a short vacation in Las Vegas.  I visited a fantastic guitar shop called Cowtown Guitars, and I was blown away by this small little store.  Cowtown had an excellent selection of interesting and vintage guitars, and the staff was extremely knowledgeable.  (I will post a couple photos later, since I foolishly do not have photos from my trip on this computer).  Since my return from the land of debauchery, I've been working on a few projects (both music and guitar related) that I've had to catch up on.  I've got a few posts in the near future that should be pretty interesting such as a Guild S-100 restoration and possibly a video demo.

Anyhow, I'd like to dabble with a topic I've been thinking about a lot lately, which is improving your presence as a musician, without spending a dime (or very few).  Since the baby boom of the Guitar Hero generation, it's difficult to discern the wanking turds from the young musicians who are actually pleasant to work with.  Unless you aspire be a Prattler, sitting alone in your dark bedroom playing with yourself (music, you perv), you're going to have to go outside and meet a few people.  This means networking.  Here are a few tips on how to make yourself less of a schmuck:

Make Yourself Searchable

Raise your hand if you've ever been perusing the local Craigslist and ran across an ad that read:  "I'm looking for X person to play on my record/in my band!  If you know how to get in touch with X, please email me!".  I've never had to post that, so I don't know what the success rate is.  But as a musician you should never make people do that, or you're probably going to miss out on a gig aka extra cash.  Even something as simple as having some form of social media (Facebook, Twitter, MySpace (is that still alive?), etc.) will allow someone to search for and find you.  Make it simple too.  What if I wanted to hire Nels Cline or Eric Heywood?  Glory Be!  Their websites are (their name).com!  See what I'm sayin'?  

If you've got a few extra bucks, make a web page.  The nice thing about the modern world, is you don't have to know squat about web programming to create a page anymore.  Personally, I recommend Squarespace.com.  They have great layouts, and most everything is just drag and drop.  It's $8/month and you can have it charge you monthly or annually, and you can also use your own custom domain name.  Skip eating out twice a month and it's already paid for itself.  Make it look good too.  There's nothing more frustrating than having a bad site that lacks photos and audio.  For all of you groaning right now about how bad you are at designs, shoot me a comment or email mscaseyadams@gmail.com for free graphic design.  (It's not me, sorry).  She does excellent work and right now she's free, (simply because she's new).  So you have no excuses.  Last thing for all you old school dudes out there, if you don't want to deal with the internet, you better damn well get a business card and at least an email.  Preferably with your name on it, phone number, email, and not some silly made up business ("Pickin' Pete's Professional Audio".)  

And put some sounds on your site!  People need to hear you in order to like you!

Communication

Learn to be a good communicator.  I hate, Hate, HATE, it when I send an email to a musician/venue and I get a reply weeks or even months later.  The ship will most likely have left by that point.  If you're inquiring about joining a band, follow up.  If you're leaving a project, give them a good notice, fulfill all final commitments, and always leave on a good note.  Those people are your references when you try to join something new.  

Remember, the people you work with are your reputation in town.  Leave them with good things to say.

Communicate with fans or people who even remotely care about your band.  Even if it's your family.  If someone sends you a message, reply.  It's so simple, but it's unbelievable how many people neglect this.  Be courteous too, these people are your audience and payroll.  

Getting Other Musicians Into the Sack

Hey, we all wouldn't be musicians if we weren't a little socially awkward.  So how do you find other people to play with?  I guarantee if you do some looking, you can find at least a couple free shows with no cover.  You should go out even if you think the band sucks (play some pool or something).  I've met dozens of new people by enjoying a cheap beer (always Molson's for me) and making fun of the band.  Don't be straightforward about getting them in your band within the first 10 minutes, cause you'll be wearing awkward pants before you know it.  It's never worked for getting ladies, and it won't work on musicians either, sorry.  If you're serious about it, share a pitcher.  The time it takes this person to drink approx. 2.5 beers will be more than enough to get into a conversation.  Ask them what kind of music they play, bands they've played in, etc.  If they sound cool, just ask to jam.  No commitments.  Don't spew your life story over the first pitcher either.  There have been more than a few times I was interested in playing with someone, and then I was just creeped out by family issues and weird fetishes.  Keep the music in music.  

Most music stores have listings on a message board to meet people.  So check those once a month.  Craigslist is very hit or miss, but it's been known to work.  I actually met my current bassist of 5 years via Craigslist.  However, we have met half a dozen jabronis that route as well.  Use your discretion.

Practice

Be smart about your extra time if you're not doing anything.  You want to be prepared when opportunities come up.  Don't play what you already know, actually learn something new.  I watched an interview with Captain Kirk of the Roots and one thing that pierced my brain was:  "If you're practicing and you sound good, you're not practicing correctly."  I'm not going to get too into detailed about this, because there are countless resources and tips for this.  If you don't know how to practice, go here:  http://musicdiscipline.com/

Finally,

For Gosh Sake, Stop Whining

This makes me want to pull my hair out.  Don't whine.  Don't make excuses.  I don't do it so much anymore, but we all do it from time to time.  However, I have two guitar friends in particular that are quick to sully me if I begin to whine.

Common examples:

Excuse:  I don't have good enough gear to (make a recording/play in this project/play a show/etc.).

Answer:  Gear doesn't dictate anything, and don't let the smug players tell you that it does.  No one is expecting you to roll in with a Private Reserve PRS and a Dumble for an audition.  If you do, you darn well better have some chops.  

Excuse:  I don't know how to (sing/play this solo/write a song/etc.)

Answer:  Then learn.  All it's gonna do is broaden your musicianship.  Yeah, you're going to suck at first.  But if you refer to the bold face "practice" heading above, you can find the answers to the test.  Comment if you want recommendations.  I won't leave you high and dry.

Excuse:  I don't have a band, so there's nothing I can do.

Answer:  Nope.  You can learn how to write a song.  If you're not the songwriting type, get better at your instrument.  If you're satisfied (which you should never be), learn a new instrument.  You need to learn sooner than later how to work with and without people.  

Hopefully you can pull a grain of advice from some of this this.  

Cheers!

-  Stonewall