All in Reviews

Plucking Perfection: Chicken Picks Evolution of Guitar and Bass Picks

Plucking Perfection: Chicken Picks Evolution of Guitar and Bass Picks

Mark Marshall
Reviews, Guitars

I recently tested out a variety of guitar picks from a company called Chicken Picks. I had heard the name before but had yet to use any. I do have a variety of picks I keep around in case I need to swap a pick during recording to solve some tone issues. Picks act as an essential tone point when recording guitar or developing a sound. 

Changing a pick is not the first place I start when adjusting tone as guitarists get comfortable with their picks. But if there is an overtone I can't get rid of or I have exhausted my other options, I reach for guitar picks. I have picks from different materials, weights, shapes, and sizes. It's surprising the difference a pick can make. 

From Saturation to Overdrive: Exploring the Versatility of the Sarno Earth Drive Pedal

From Saturation to Overdrive: Exploring the Versatility of the Sarno Earth Drive Pedal

Mark Marshall
Gear, Pedals, Reviews

It's intriguing to consider that three decades ago, we had a limited number of options when it came to guitar pedals. Nowadays, the tables have turned, and at times, it feels as if we have too many options. Options are a good thing, but there comes a point where there are so many options that many of the most incredible options get hidden from the masses, much like what is happening in the music business right now. The most interesting music is not what's accessible through the mainstream.

No style of pedal fits into this category more than overdrive pedals, which outnumber all other pedals by far. Everyone makes an overdrive pedal. If my grandma were alive, she would make one, too.

Capturing the Essence: A Deep Dive into the TUL G12 Microphone for Guitar Amps

Capturing the Essence: A Deep Dive into the TUL G12 Microphone for Guitar Amps

Mark Marshall
Amps, Reviews, Guitars, Recording

As a dedicated studio rat, I've spent countless hours composing and recording various music genres. Yet, one persistent challenge has been the limited microphone options that genuinely capture the natural sound when directed towards the center of the cone nearby.

My dissatisfaction extends to miking guitar amps on gigs. While some choices, like the long-standing favorite Shure SM57, have their merits, they always produce a harsh sound that I find myself battling within the mix.

The Shure SM57 has maintained its popularity for decades, and good reason. Its affordability, ease of replacement, and ability to handle high sound pressure levels, such as those produced by high-wattage guitar amps, make it a practical choice. For instance, a Marshall non-master volume 100watt amp at full blast is too loud for a ribbon mic placed close to the speaker, but the Shure SM57 can withstand this level of intensity.

But the SM57 can sound harsh and brittle. I fight with its sound every time I use it, as it doesn't sound like how I hear the amp in the room. I always wish I could find a mic that wouldn't make me rush to an EQ in a state of emergency.

Crafting Clarity: Shaping Sound with the FabFilter Pro-Q EQ Plugin

Crafting Clarity: Shaping Sound with the FabFilter Pro-Q EQ Plugin

Mark Marshall
Recording, Reviews, Tips

Incorporating an EQ into your setup is not just a suggestion; it's necessary for a seamless recording experience.

We use an EQ in several ways, including troubleshooting problem frequencies, tone shaping, filtering, and special effects.

The EQ is at the heart of your mixing and sound sculpting process, followed by a compressor and time-based effects. While other tools may be enticing, the first steps almost always involve EQ and compression.

The Rush Pepbox: Unveiling the Holy Grail of Early Fuzz Tones

The Rush Pepbox: Unveiling the Holy Grail of Early Fuzz Tones

Mark Marshall
Pedals, Reviews, Guitars

I've dedicated considerable time delving into the intricacies of classic fuzz tones. To my discerning ears, one fuzz pedal doesn't cover all the sonic ground I seek. I'm meticulous about embracing the diverse characteristics inherent in each era and circuit of fuzz, strategically pairing them with the specific session or gig at hand.

What has captivated my attention is the void in the reproduction of early-era fuzz pedal circuits. In particular, the resonant allure of the original Maestro FZ-1 has enchanted me. My 90s Gibson reissue, crafted during a limited run, has become a rarity to procure.

Unbeknownst to me, amidst this quest, another early fuzz circuit has quietly continued production—the Rush Pepbox, conceived by the circuit designer Pep Rush's daughter, Lucy Rush.

A familial collaboration, Lucy worked alongside her father until his passing, making the Pepbox a testament to generational craftsmanship. In an industry where legacy businesses are a scarcity, this connection to the roots is noteworthy.

Soundbrenner Pulse Wearable Vibrating Metronome

Soundbrenner Pulse Wearable Vibrating Metronome

Mark Marshall
lessons, Reviews, Tips

When I think of the passage of time, there are tools that I'm surprised haven't evolved sooner. One of those musical tools is the metronome. For many decades, the concept of what a metronome could be seemed cemented.

I'm not trying to imply that the metronome did not evolve. Metronomes with odd time signatures and programmable set lists appeared. Even though those small evolutions happened, one noticeable change hadn't occurred: Feeling a metronome instead of hearing it.

Peterson (the company known for strobe tuners) developed a vibrating accessory to a metronome that would attach to your pants. But it didn't take off for whatever reason and is now discontinued. Players didn't like attaching the vibrating accessory to their belt or felt it was limited to a physical connection to a metronome.

Make Music Research Easier with Tune Utility Staff and TAB Stencils

Make Music Research Easier with Tune Utility Staff and TAB Stencils

Mark Marshall
Reviews

Engaging in music research has become an integral aspect of my musical journey, as I continuously explore avenues to enhance my composition, theory, learning, technique, and performance knowledge. Several years ago, I initiated the practice of consolidating my research within the confines of an iPad app called Goodnotes. The app's unique feature of creating "notebooks" appealed to me initially.

However, my allegiance to Goodnotes waned over the past year due to an update that complicated backup access and an inability to address sign-in issues with the app's developers. This created a dilemma as it hindered my ability to seamlessly access my accumulated data on various devices, instigating a sense of vulnerability concerning the safety of my over 1,500 pages of painstakingly compiled research.

Realizing the potential pitfalls of relying solely on a digital platform, especially one with uncertain customer support, I made a conscious decision to transition back to traditional pen and paper. The prospect of safeguarding my research from potential app discontinuation or developer unavailability became a paramount concern.

Unleashing Creativity: Exploring the Red Panda Tensor Pedal

Unleashing Creativity: Exploring the Red Panda Tensor Pedal

Mark Marshall
Gear, Pedals, Reviews

Welcome to this week's dive into the world of pedal chemistry, where we're spotlighting the fascinating Red Panda Tensor pedal. This innovative reverse tape effects pedal is not just a tool; it's an instrument that invites experimentation and yields unexpected sonic delights. In this comprehensive review, we'll explore its features, delve into its capabilities, and share creative insights on how this pedal can transform your musical experience.

Douglas Vertical Pedalboards: Transform Your Music Setup

Douglas Vertical Pedalboards: Transform Your Music Setup

Mark Marshall
Gear, Pedals, Reviews

In this week's podcast, we're diving into the world of vertical pedal boards and exploring the unique craftsmanship of the Red Panda Tensor pedal. While browsing Etsy for pedal boards a few weeks back, I stumbled upon a fascinating niche – vertical pedal board stands designed for desktop use.

What caught my eye were these single pedal board holders crafted through 3D printing. However, I preferred handcrafted wooden options, as 3D-printed products feel impersonal and cheap. Enter Douglas Pedal Boards – a discovery that sparked my interest.

Douglas Pedal Boards, a small business in Canada, stood out with its beautifully hand-built creations. The boards exuded a unique quality, far from the mass-produced feel of assembly line products. I reached out to Douglas, delving deeper into his craft, and was fortunate to get my hands on one for my studio – an experience I must say left me truly delighted.

The Universal Audio Del-Verb: What You Need to Know

The Universal Audio Del-Verb: What You Need to Know

Mark Marshall
Pedals, Gear, Reviews

Let's explore the Universal Audio Delverb pedal. I was drawn to this pedal due to its combination of reverb and delay in a compact design compared to my other, usually independent, reverb and delay pedals. When I need both effects for a gig with a minimal pedal board, the Delverb is a solution.

Fitting a larger-sized delay and reverb, an overdrive, and a tuner, among other pedals, is challenging. The Delverb seemed to address this issue. While there have been other solutions, I wasn't satisfied with their sound; many delays and reverbs sounded thin to me, except for the Strymon El Capistan, which I like.

The El Capistan, while a great-sounding pedal, posed challenges as the reverb was not easily adjustable in my version. Even the newer version with adjustable reverb had the drawback that turning off the delay also turned off the reverb. I needed independent control over both effects.

SoloDallas Storm

SoloDallas Storm

Mark Marshall
Gear, Pedals, Reviews

Designer Ken Schaffer boasts a captivating history extending beyond the realm of music. His portfolio not only includes crafting the earliest wireless guitar unit and collaborating with the Rolling Stones but also involves a stint working for the US government, where he engaged in espionage on Russian satellites.

His narrative is rich and intriguing. Even the REM song "What's the Frequency, Kenneth" is an ode to Ken Schaffer. During an interview with Dan Rather, they were assaulted by individuals shouting the infamous phrase, linking back to Ken's days at Columbia University and the states he was studying.

Seeker Electric Effects Tonebender MKI

Seeker Electric Effects Tonebender MKI

Mark Marshall
Pedals, Gear, Reviews

The Tonebender MKI circuit is one of my favorite fuzz circuits and one of the rarest fuzz pedals. Luckily for us, builders such as Seeker Electronics are making the circuit in modern times, as finding a vintage pedal is highly unlikely, especially without a price tag that would make even the avid collected blink.

Knowing how many original tone benders inventor Gary Hurst made is impossible. The first run of them was made in wooden enclosures. Gary then switched to metal-pressed sheet metal enclosures that were painted gold.

The MKI as we know it only existed for about a year, from 1965-1966, before the MK1.5 came out, which had a considerably different sound.

Speebtone Harmonic Jerkulator Fuzz

Speebtone Harmonic Jerkulator Fuzz

Mark Marshall
Gear, Pedals, Reviews

Every so often, a truly distinctive gem emerges amidst the sea of fuzz circuits that pay homage to the iconic Fuzz Face, Tone Bender, and Big Muff designs.

These moments, however, are far rarer than one might imagine. The prevailing trend often leans towards replication rather than innovation. Admittedly, this has its merits; I find solace in the likes of Analog Man, artisans who meticulously breathe life into vintage fuzz circuits.

Yet, how refreshing it is to encounter a breath of contrast. The Speebtone Jerkulator pedal, a revelation upon my first encounter through a video demo, stands as a prime testament to this refreshing departure. It refused to tread the well-trodden path of traditional fuzz pedals, carving its own niche.

FSC Fuzz

FSC Fuzz

Mark Marshall
Pedals, Reviews, Gear

FSC Guitars has recently introduced their latest pedal, the What The Fuzz (WTF), based on a germanium Fuzz Face circuit (although using silicon) with some unique modifications.

While the WTF retains a silicon circuit's stability and standard power capabilities, it is designed to exhibit the sound qualities typically associated with germanium fuzz pedals. In addition, this innovative approach allows for increased stability and eliminates the need for specialized power supplies.

One notable addition to the WTF is the bias knob, a feature not commonly found on traditional silicon fuzz faces. This knob enables you to adjust the spiciness and gated characteristics of the sound by effectively starving the circuit.

FSC KB-1: Expanding Klon Possibilities

FSC KB-1: Expanding Klon Possibilities

Mark Marshall
Gear, Pedals, Reviews

FSC Instruments has introduced a unique version of the Klon Centaur circuit called the KB-1. Rather than simply creating a replica like many others have done, FSC Instruments decided to expand on the original idea.

However, it's important to understand the KB-1. It does contain the Klon Centaur circuit, allowing you to achieve 100% Klon tones. But the KB-1 takes it further by incorporating an additional gain stage.

Ampete 88S Studio 2 Amp Switching System

Ampete 88S Studio 2 Amp Switching System

Mark Marshall
Reviews, Gear, Tips

When recording multiple guitars on a composition, I often find using different amps on different tracks helpful. This is because guitars are very midrange-heavy instruments. The more guitars you layer on top of each other, the more muddy things can become.

Each part can lose its identity when you start layering the same sound on top of the same sound. So I often try different guitars and amps to help each guitar part stand out as a multi-guitar layered track.

I often see guitarists switch to another pedal on their pedalboard, but in my opinion, that doesn't change the sonic imprint enough, and stacked guitars can still lose their identity.

The best way to carve out some sonic space if stacked guitars are getting a little cluttered is to use a different guitar, amp, or both.

Effectrode Delta-Trem

Effectrode Delta-Trem

Mark Marshall
Reviews, Pedals

I have investigated, purchased, and sold many reverb and tremolo pedals. Unfortunately, tracking down what was missing for me in these effects took time. For many years the options were limited, and what I desired in reverb or tremolo didn't exist in pedal format.

In the past several years, some of my most significant tone gaps have been filled. So we're living in a noteworthy era for guitar tone.

Designers have been putting a lot of thought into the future and past of guitar tones.

One of my biggest complaints for many years was pedal format tremolo pedals. Unfortunately, there are a lot of amps that don't have a built-in tremolo, like my Victoria 35115.

Surfybear Metal

Surfybear Metal

Mark Marshall
Gear, Pedals, Reviews

For how seemingly simple surf guitar tone appears, it's pretty elusive. Like with cooking, the fewer ingredients you have, the better quality they need to be. There is no disguise or distractions.

Surf guitar is generally a guitar, reverb, and amp. Sometimes an early fuzz like the Maestro FZ-1A was involved. But primarily guitar to the reverb to the amp.

Each of these three ingredients needs to be correct to truly capture the classic surf guitar tone of artists like Dick Dale and the Ventures.

Performative Reverb Using the Chase Bliss CXM 1978

Performative Reverb Using the Chase Bliss CXM 1978

Mark Marshall
Pedals, Reviews, Gear

Plenty of people have a set it and forget it mentality when it comes to reverb, and that's fine and dandy. But there is a whole world of exploration there that can happen in real-time. Sometimes while recording, I venture into the sound design world. Meaning it's as much about the sound and feeling as it evolves as much as the part-writing. Which reverb I choose and the settings become an essential factor.

In this article, I will discuss sculpting tone with reverb, where the tweakability of a reverb is just as important as the guitar or amp you choose.

IsoAcoustics Stage 1 Board

IsoAcoustics Stage 1 Board

Mark Marshall
Amps, Reviews, Gear, Tour, Tips

For many decades guitarists would walk into a studio or gig and put their guitar amp on the floor without putting much thought into it. Sometimes, a guitarist would need to hear their guitar more so they would place their amp on an amp road case, chair, wooden box, or anything lying around.

There was little thought about how the guitar amp reacts sitting on a floor or on top of a road case. Guitarists would notice issues with the sound of their amp from gig to gig but often chalked that up to the venue or other circumstances.

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