The Mighty Rack Gear (currently in use)
6 Space Rack
This replaced my Gator
Console Rack, when I got tired of lugging that around. It
is made by Gator Cases,
for Mars Music. It has wheels!! How long did this feature take??
All cases should have wheels and be as easy to transport as
this case. Gator makes cases as well as SKB for a lot less money,
and they are based here in Florida. This case has 1 flaw, and
that the handles hurt your wrists and hands. I solved this by
putting some foam around them from Home Depot- the kind used
for pipes. |
Coming out of this rack
is a tangle of wires. One set is for the mixer, the other for the
pedalboard, I split these up then bound them together with split
tubing from (again) Home Depot, which is about 1" wide, and
cost maybe $3. I know online music retailers sell that stuff for
a lot more, but just get it at Home Depot. It looks great, and now
only 2 big snakes come out of the rack. Much neater than individual
wires, and much easier to set up.
This is my pedalboard- what I see when I look
down. The Behringer
FCB-1010 is my midi controller (detailed notes below), amd
above that is the standard controller for my Echoplex.
To the left, you see 2 Boss switches, the first one sends a
control change message to the Roland GP-100, for things like
octave jumps, auto-feedback and turning on effects in the chain.
The second is a hold pedal for the GI-10. When chords are held,
you can't re-trigger synth notes on those strings. Not really
a limitation, I have gotten used to it. I can then solo over
the held synth notes without having to re-trigger the synth.
The pedalboard case was made by
NYC Pedalboards, and called The Big Shot model. It is about
35x14x5, and the lid is removable. This is a very elegant solution
for carrying this, and it looks cool onstage as well in the back
of the van. While the outside is covered in dark gray carpet, the
inside surface is covered in velcro, but like most pedalboards,
the other side of the velcro has a hard time sticking to the pedals.
I will say, everything sticks to the carpet outside. Lint,
pet hair, etc...keep a shop vac handy. Yes, that is a clock in there-
I have to know what time it is! |
OPEN CASE VIEW
CLOSED CASE VIEW
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This replaced my GP-100, and provides me with better
tone, more options, and hours of delightful tweaking. Two preamps
at once, a software editor (yay!), and lots of effects in any order-
it blows away the PODxt I had. Real, rocking, touch-sensitive guitar
playing from a modeler. Yeah that's right, it is true. Lots of midi
control too- and with some seriously twisted effects as well.
The only things I miss is the GP-100's panable and reverseable
harmonies. But the connectivity and sound of this thing more than
makes up for it. |
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This is my favorite toy of all. This is
a different product than the Maestro Echoplex of the 70's.
Made by Gibson's Oberheim division (now made by the Trace
Elliot division), this one rack-space unit is one of the only
devices made solely for live looping of sound. Essentially,
the Echoplex records sound as you play it, and after recording
it, it repeats it over and over, until you tell it to fade
out, or stop altogether. Now while it is playing back, you
can overdub on the loop as much as you want. Or solo over
the loop. Or reverse it. Or copy it. All kinds of things.
It is usually controlled by a footpedal, the EFC-1,
which I did for years- although I relplaced the switches with
good metal ones. I now use the above PMC-10. Less stuff to
carry. |
The great thing about this unit is that it is made
for live performance. The recording made is CD-quality,
and indistinguishable from live playing. So, it is difficult
for the audience to tell what is 'looped' and what is
'live'. Also, since the Echoplex does not save loops
when powered down, it forces all of the loops to be
made live, with no pre-recording. So, the audience and
the performer watch and hear a multi-layered composition
evolving. It is a wonderful tool for improvisation as
well as composition. At home, it saves a lot of time
when writing a song, as you can quickly record rhythms
and let them repeat as you work on a melody.
I first got into 'looping' from listening to Robert
Fripp's "Let the Power Fall" and Fripp and
Eno's "No Pussyfooting" albums. I had done
experiments using 2 reel-to-reel tape machines, but
they were impractical live. |
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The Echoplex takes those ideas (and many
more) and really expands the possibility. This is one deep
box. I'm sure I've only scratched the surface of what I can
do with it. I patch my Echoplex into my Mackie 1202vlz’s
AUX 1 send, so I can rout either straight guitar or guitar
synth (or anything else plugged into the mixer) directly to
it.
There is a wonderful mailing list and website
devoted to the art of looping, called Looper’s
Delight. They have some wonderful pages there about all
past present looping devices, including the Echoplex.
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I use
this to provide compression and reverb for the piezo pickups.
I originally bought this to replace my guitar preamp, but
I don't think this sounds too good as an electric guitar preamp.
You do have many effects, but the amp modeling is really awful.
The effects themselves, though, are quite amazing. Mostly
overkill for most people- things like a 20 tap delay and a
'slicer'. It is designed as a studio effects processor, so
it has stuff for all types of instruments. It is probably
overkill for what I use it for, but it sounds great, and I
love the digital output. Yes, I owned this once before, sold
it, and bought another one back. |
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I bought this to replace my 8 year old (archaic
in keyboard years) Roland M-GS64. This one comes with 8 times
more memory for samples than my old synth, and is expandable
with 2 SRX expansion cards. While my old synth had about 5
parameters to tweak per sound, the XV has about 300 more The
old synth had some good samples, particularly string, choir
and basses. The XV has those too, and a whole lot more. By
freeing myself from the GM sound set (and variations), it
leaves open the possibility to create very dense, expansive
sounds. The XV series can use stereo tones (4 per sound) and
can import patches from the JV line. I used to have a JV-1010,
and all the programming I did for that was transferrable to
the XV-5050. My basic programming starts with a sound that
is close to what I want, and then I modify it. |
The
XV-5050 also has a great effects section, which it borrows
from the Boss VF-1.
I use the XV-5050 mostly in performance mode, as I use another
midi channel to trigger bass notes with my feet with my Behringer
FCB1010. In performance mode, you have to share effects across
patches, but I don't generally get too wild with those- I
reserve wacko effects for my straight guitar signal.
The XV-5050 has some great orchestral sounds, pads, basses
(including a great Stick), and pulsating sounds. Such a huge
update compared to my old synth. It also imports Roland JV
patches, which is great because I have collected several thousand
online which I am still going through.
The XV series comes with a USB port and
a great software editor. All gear that requires programming
should come with these- I am hooked. I record with the digital
output on the back. I never use it for sequencing, but record
the actual audio of what I play.
In conjunction with my GI-10, the XV-5050
tracks very well. Even very fast passages fly by with no problems.
Listening to my old synth, it is amazing how far advanced
this one is. My M-GS64 was recently sold on Ebay, but lives
on in the many recordings I have done with it.
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The
guitar cannot be plugged directly into a synth. In order to
play the synth’s sounds, the guitar signal must be converted
to midi information so the synth can understand. The Roland
GI-10 is a half-rack spaced unit that takes the audio information
from my RMC pickups (or my spare
Yamaha
G1d pickup) mounted on the guitar and converts
it to midi. You then connect the midi ‘out’ of
the GI-10 to the midi ‘in’ of your favorite synth.
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Roland GI-10
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This little
box is wonderful, because it lets me connect any synth that
I want, and as synth technology changes, and sounds get better,
I can upgrade the just the synth- or if I go into a studio
that has better synths than I do, this box makes it easy for
me to connect to them. The Yamaha G1d pickup is better
designed than the Roland GK2a pickup, but is electrically
the same. The Yamaha has a nice big volume knob, can be mounted
effectively with suction cups or a bracket, and can usually
be found cheaper than the Roland model.
Roland recently came out with the GI-20,
but has been avoiding questions about tracking improvements.
Now I have heard lots of things about people
trying this out at the store, or even my system, and being
disappointed with how it ‘tracks’ the guitar’s
notes. The first thing is that there are many parameters which
must be set specifically to the player’s playing style,
so my system will sound terrible with someone else playing
it (store personnel even have no idea how to set these things
up, judging by the stores I’ve been to).
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BOSS
FS-5U footswitch
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I set mine with a
bend range of 0, unless there is a part that I need
specifically to bend- otherwise, with 6 strings, it
is VERY easy to have string sounds that are way out
of tune, due to unwanted bend messages being sent.
I connect a volume pedal to the GI-10, for controlling
volume of the synth’s sounds, and a Roland FS-5U
unlatched pedal to act as a sustain pedal for the
synth.
Right now, I only control 1 midi
channel with all 6 strings of the guitar. This allows
me to quickly switch between sounds, as opposed to
using 1 midi channel for each string (6 channels).
This allows me to change settings on each sound quickly,
without having to do it on all 6 channels. I have
not noticed any problems doing it this way, and I
can’t think of musically useful instances where
I would want a different sound on each string anyway-
to me this always sounds very unnatural, like a bad
keyboardist is playing.
A Note About Guitar
Synthesizer Playing:
A Guitar synth is not a guitar.
Therefore, it can not be played like one. Techniques
such as hammer-ons, pull-offs, strumming, tapping,
most bends, and yes, fingerpicking usually sound terrible
using a guitar synth. It usually winds up ‘sounding’
like a guitar player, or at best, a really awful keyboardist.
I approach guitar synth playing totally different
from straight guitar. I try to mimic the techniques
the instruments use that I am trying to emulate. Learn
the range of a clarinet, the expressiveness of an
oboe, the attack of a piano and the way a harp glisses.
It does take a lot of listening to other instruments-
not just the notes, but the way the instrument is
played. This will ensure accurate reproductions of
the sampled instruments. Once these techniques are
mastered, then it is fun to mix in a few ‘guitarisms’
in there. |
Technique
is very important. I pick every note, and this remains
the best way to ensure accurate tracking of the synth.
Sloppy playing translates overtly well to guitar synth,
so it is important that your playing technique is
pretty good.
I have never really had tracking
problems with my synth. When the synth, GI-10, and
the GK-2a pickup is properly set up, I do not hear
a delay between striking the string and hearing the
synth.
When using a guitar synth, a volume
pedal is almost mandatory to ‘swell in’
sounds like strings and horns. I tend to lean toward
chordal work with the synth and leave the solos to
the straight guitar sound. I do this simply because
I like the way the guitar sounds for solos- that’s
why I started playing guitar to begin with! Still,
I do quite a bit of synth soloing too, mostly with
instruments like trumpet, vibes, piano and recorder.
The Guitar synth system I
use may not be right for everyone. There are certainly
cheaper alternatives out there: several Roland models,
like the GR-1, GR-09 and the offer the midi interface,
synth sounds, and foot pedal all in one unit (you
still have to use the Roland GK-2a pickup). However,
these units convert the incoming guitar signal to
a synth sound without using midi. After the sound
is converted, it is then converted again to midi information.
This makes these boxes too slow to use for external
sequencing, and connecting to external synths.
Also once you buy these self contained
units, you are essentially stuck with the sounds that
come with them. Since music is constantly changing
(it is easy to tell early 80’s songs by listening
to the synth sounds), I wanted to be able to update
the synth I use so the sounds do not become ‘dated’,
and because sampling technology is evolving at an
incredible rate. New synths have unbelievably realistic
sounds as memory becomes cheaper. |
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This sits on top
of the rack and I plug my whole setup into it. What
a great sounding mixer! I don't think I will ever sell
it, as it sounds too good.
This is the way I was using it (here
is the tricky part!):
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Guitar preamp into channels 5
& 6 (stereo)
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The guitar synth goes into channels
7 & 8 (stereo)
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The Echoplex’ input goes
into Aux Send 1- anything plugged into the mixer
can be sent to the Echoplex. Aux Send 1 is set to
pre-fader, this allows me to have a constant level
going into the Echoplex, no matter where that channel’s
fader knob is set. Having Aux Send 1 pre-fader makes
it so I don’t overdrive the Echoplex’
input, it also makes it easier for me to make sure
the volume between live playing and the loops remain
exactly the same, making it difficult to tell where
one ends and the other begins. The Echoplex’
output goes into Aux Return 1.
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The Piezo output of my guitar
goes in channel 4, to take advantage of the mic
preamp.
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Channel 9 gets a separate signal
from my XV-5050 for the the bass notes triggered
by the midi foot controller.
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Channels 1, 2, 3, 11 & 12
are free, and can be used by any other musicians
I play with.
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Mackie 1202-VLZ
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I chose the J-Station because it is one
of the best direct-to-board preamp/amp-simulator/effects devices
for guitar today. It is inexpensive (I hear Johnson is discontinued
it), is made of metal, and it sounds great. It sounds much
better than my old Roland GP-100 for miked amp tones. It's
amp modeling technology is newer, and models quite a variety
of amps and cabinets. Almost all amp modelers have no problem
replicating clean and heavily overdriven sounds. The J-Station
is the first one I have tried that captures the dynamics of
those in-between sounds. I can use my volume control just
like on a normal amp.
The J-Station has great effects too. Their
noise gate is the most transparent one I have used. Great
time-based effects as well, but they are not as extreme as
my Roland GP-100, which had an incredible effects section.
It is a great box for recording as well
as playing live. For recording, I use the digital output.
Live, the signal went from this into my main effects noisemaker,
the Boss VF-1. I edit the sounds on computer, which I do with
all of my gear. More companies should make editors for their
gear. Editing the J-Station is possible without a computer,
but it isn't easy. You need a copy of the manual handy. |
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I did replace this with the
Roland GP-100, but I am not selling it. It sounds great on
its own if you don't want to get too crazy with effects. Many
people say it sounds better than a POD, but I haven't compared
them.
I use this for recording and practicing
all the time. |
ART SGE Mach II
I can't believe I kept this as long as I
did. It was a first-generation digital effects box that make
everything sound like you were under a pillow. It had to go
back to the factory twice for a known mysterious 'memory problem'.
It was advertised as 'always upgradeable, never becomes obsolete'
and they never came out with 1 upgrade. What is with that
paint job?? I haven't bought an ART product since. Truly garbage.
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I owned this, then bought a Boss VF-1/Johnson
J-Station combo, bought this back, then bought a PODxt,
then bought the GP-100 back. That is, after I tracked one
down. I would have loved to have kept my original one, but
had to sell it to buy the VF-1! Such the musican's life. The
PODxt sounds wonderful, but the effects are not as tweakable
as the GP-100's. The PODxt does clean and semi-clean better
(so does the J-Station!), but the GP-100 can cause more sonic
mayhem. Also, the J-Station and PODxt are not easily put in
a rack. I know, there is the PODxt Pro, but it is horribly
overpriced right now, so maybe down the road it could be possible.
Anyway, this is Roland's first generation COSM preamp, and
it sounds awesome. Effects in any order! An effects loop (or
2) placed anywhere in the chain! I think they didn't keep
this around because there were so many options. I love the
feedbacker, slow gear, tapped delay, and 20 seconds of reverb.
The distortion sounds huge. Sold again, as I am happy with
the GT-Pro.
The is another item I owned, then sold,
then bought again, and then sold. It is a very quiet line
mixer with 8 stereo channels, and an aux send, which I use
for the Echoplex. It has no aux return, so you have to return
it through one of your channels. I use this to mix my guitar,
guitar synth, piezo pickup, bass pedals, and looping all together.
It works pretty well for a no-frills mixer. It doesn't have
eq, or XLR outputs, which sucks (they could have fit them
on the back). My problem with it was the sound- a little uninspiring,
and not enough output gain. Listening it next to my Mackie
1202vlz is quite a revalation |
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