Most loopers who do time based loops tend to work alone. If they use bass and drums as part of their act, they layer the instruments themselves. Rarer are loop-based performers who work with a live bassist and drummer. Teddy Kumpel has perfected the art of looping with a rhythm section through his steady gig at the Rockwood Music Hall in New York City. It helps that his locale offers him a menu of the best rhythm sections in the world to work with. Kumpel was kind enough to explain how he keeps the sections in sync, before leaving on tour as guitarist for Joe Jackson.
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Fuzz played an integral part in the early days of modern electric guitar: Jimi Hendrix, Jeff Beck, “Satisfaction”—it was one of the signature sounds of the experimental Sixties. The effect fell out of favor in the late Seventies as powerful pickups pushed more distortion-friendly amps, or overdrive pedals added muscle to weaker single-coils, and a smoother dirty sound became the rage. By the Eighties, electric guitar tone was associated with clean jangle, silky smooth Santana or Carlton-esque drive, or metal scooped fizz (not fuzz). It wasn’t until the Nineties that fuzz pedals saw a resurgence, with Grunge leading the way.
We now live in a golden age of fuzz, with boutique builders copying esoteric vintage pedals like the Jordan Bosstone, the Shin-ei/Companion Superfuzz FY-6, or building brand new concepts.
I have gathered eight of the newest fuzz pedals for your perusal: ScreaminFX 1954 Fuzz, main.ace.fx’s Awdrey-Gore, Tribute Audio Designs’ The Big Fatty, RT Electronix’s Ultimate Analog Fuzz, Dusky Electronics’ Octomotron, Joe Gore’s Duh, and Animal Factory Amps’ Baron Samedi and Chemical Burn.
Every now and again it seems best to record a video interview with a musician who has something to demonstrate that might be lost in print. A video interview appeared a good idea with Avi Bortnick because, aside from being devilishly handsome (sorry about failing to notice we were cutting off the top of your head Avi), it let him show Guitar Moderne readers some of the laptop techniques and plugins he has been employing in the second guitar chair in John Scofield’s Überjam band. We also covered a wide range of other topics including the cool apps he has developed: Time Guru, and Voxbeat. Be sure to check out the videos below for demonstrations of his rhythm guitar genius and laptop effects in action, as well more info on his gear.
With its new One Series effects, Source Audio has created a line of products that should be equally appealing to conservative and progressive guitarists alike. With its rectangular housing and 4.5 in. long x 2.75 in. wide x 2 in. high (including knobs) size it their most traditional looking and pedalboard friendly unit yet. Combine this familiar package with classic effects (Tremolo, Chorus, Flanger, Phaser—and soon, Overdrive and Fuzz) sporting a quartet of recognizable control knobs, and you have a stompbox series that should make even the most hidebound picker comfortable.
But, in the Source Audio tradition, underneath the hood of each pedal lurks a high degree of tweakability for creating a wealth of typical and atypical effects, as well as a luxurious level of parameter control—both of which will delight the modern player. Here we look at the Vertigo Tremolo pedal.