In an effort to encourage Guitar Moderne readers to submit their rigs for the new Reader’s Rig section, I proffer my own basic board. I thought it also might be educational to explain how I arrived at this particular configuration. It involved decades of experimentation with dozens of effects, as well as the knowledge gained by being in the lucky position of reviewing and writing about pedals for many years. That said, I am as neurotic as any other guitarist, so rest assured the experimentation is not over, nor ever likely to be.
But more important, he plays. David speaks briefly at the end about the harrowing experience with a benign but big brain tumor that left him deaf in one ear. First, however, we get to hear him do that ambient looping voodoo that he does so well, and get to hear his new Ronin guitar in action.
A typical jazz guitarist might record a collection of tunes by, or associated with, important influences. Eivind Aarset is no one’s idea of a typical jazz guitarist, but his first record for ECM, Dream Logic, echoes his early influences, as well as some more recent ones.
Though “Homage to Greene” inadvertently misspells the name of the British guitarist who formed the original Fleetwood Mac, it perfectly captures the blues player’s more ambient side, as heard in the Mac’s first hit single, “Albatross.”
Not one to dwell in the past, the larger portion of Dream Logic reveals the influence of Aarset’s recent collaborators. The Norwegian guitarist has engaged in much performance and remix work with Dream Logic producer and sampler wizard, Jan Bang, and the inspiration of their past pairing hovers over cuts like “Black Silence,” “Active,” and “Reactive.” They have also worked together with Jon Hassell, and elements of that groundbreaking trumpeter’s work infect “The Beauty of Decay,” with Aarset’s harmonized guitar recalling Hassell’s seminal use of that effect.
Eivind Aarset was fittingly the first interview subject featured in Guitar Moderne and it was a pleasure to catch up with him again. Here he goes into detail about how he created the sounds on the new record.
Tired of connecting those boutique pedals before the gig and worrying about which little cable is dysfunctional this time? Or, maybe you are just tired of paying $150-$300 for the pedals themselves.
Devi Ever, who offers a variety of extreme fuzz type effects out of Portland, OR. has a cool concept for a unit called Console that will accept more modestly priced effect cartridges. This will allow you to bring a different, prewired, group of analog effects, depending on the gig, and reduce set up time. Other boutique manufacturers, like Analog Man and Trombetta, are ready to get on board after the launch. Check out the Kickstarter page and scroll down for full details.
Or check out this video. (Skip to about 2:30 if you want just the facts without the philosophy.)
PAUL TROMBETTA DESIGN
By Michael Ross
In the summer of 2011 I reviewed Paul Trombetta’s Tornita pedal for Premier Guitar. Trombetta built the fuzz to specs requested by sonic explorer David Torn. Based on Trombetta’s discontinued Donita pedal, it is a high gain, fuzz/distortion that can produce self-oscillating feedback.
I discovered Torn also used the Trombetta Mini-Bone fuzz. A quick check of the Paul Trombetta Design site revealed the Mini-Bone was another interesting unit. After sending the Tornita on to Torn at Trombetta’s request, I decided that I needed to have both. A chat with the pedal-meister led to the construction of my very own Feederbone: a Tornita and a Mini-Bone combined into one pedal.