I have been following Deimel Guitarworks on Instagram for a while. With creative wiring, pickups behind the bridge, and Piezos embedded at various points in the guitar, Frank Deimel has been in the forefront of creating instruments for experimental guitarists. His latest, the Firestar LesLee Synchronizer, combines a fascinating, built-in Leslie effect created by automatically switching between pickups, as well as the ability to synch with modular synths, or any device that uses CV.
We live in a world of post Frisell-ian guitarists. A couple of generations have grown up influenced by this modern master’s use of space and effects. His influence shows more in some than others and, and, in fairness, his style is so idiosyncratic that it can be hard to find a unique identity under his musical spell. Still, British guitarist, Harry Christelis has managed that feat, learning all the right lessons while carving out a sound of his own through masterful, personal use of a different set of effects, and finding his own compositional and performing voice. We find out how, among other things, in our wide ranging interview.
If you are a modern guitarist you need to know about Rainger FX pedals. In the world of effects manufacturers, it sometimes seems that, not only are there too many versions of a tube screamer, but that even with the more modern effects, i.e. glitch, micro-loopers, etc., effects manufacturers are often releasing variations on a theme—not so David Rainger.
At first glance, his pedals can seem like some random gimmick, designed to be willfully different. Further investigation reveals that, for starters, their basic sounds are uniformly terrific: musical, lush, warm—all the usual coveted qualities. It’s just that on top of that Rainger has added functions that demand creativity, often inspired by non-guitar music like hip-hop and synth-based songs. It is a joy to watch his pedals force Mick and Dan into new sonic territory and the palpable joy it brings them. (Check out my review of the Mini Bar here)
Happy New Year. My interview with Markus Reuter is long overdue. He has been a major part of the modern guitar community for decades, from his brilliant work with The Stickmen and versions of King Crimson, to his recordings ranging from ambient to prog, to his terrific podcast featuring a number of modern guitarists. He has worked with Tim Motzer, Adrian Belew, Robert Fripp and Mark Wingfield among others. Our conversation ranges wide and long, covering many things of interest to the modern guitarist.
Eventide’s H9 became one of those instant modern pedal classics like the Line 6 DL4 and the EHX POG. As it basically allowed only one effect at a time, it was not uncommon to see the boards of professionals and more well off amateurs sporting two. This week Eventide revealed the H90, the equivalent of two fully loaded H9s in one box for a bit less money. But the H90 is not only twin H9s; it has some tricks of its own, with new algorithms (notably polyphonic pitch shifting) and routing options. It apparently was an epic undertaking to put together such a complex product during Covid, but that just adds to the Eventide legend.