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.

Hello, everyone. Welcome back to another episode of Anatomy of Tone, where we learn new tips, secrets, and improvements to our music journeys. In episode 26, we delve into the techniques of improvisation, its benefits, and how to enhance those skills.

Improvisation is an important aspect of musical comprehension whether you're a guitar player, a jazz enthusiast, or a classical composer. It's a journey that needs time, patience, and most importantly, skill development.

Recording and analyzing live performances has become integral to my musical journey, providing valuable insights into my improvisational guitar solos. Utilizing a simple iPhone placed strategically on stage or near the amp, I capture the raw essence of each gig, allowing me to reflect on what worked and what didn't.

Reviewing these recordings is a powerful tool for self-assessment, dispelling the tendency to overly scrutinize minor mistakes made in the heat of the performance. It's a means of separating perceived errors from the overall impact of the musical experience, providing a more balanced perspective.

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.

In this week's episode of the Anatomy of Tone podcast, I delve into the enigmatic essence behind Angus Young's legendary Back in Black guitar tone. The Schaffer Vega Diversity System, a pioneering wireless unit used by prominent guitarists during the late '70s and early '80s, concealed more than its cordless stage prowess. Musicians soon realized its studio magic, offering a distinctive tonal hue coupled with subtle limiting, a lower mid-range boost, and a touch of gain.

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.

Stevie Wonder is one of my favorite songwriters. His adventurous chord progressions and melodies really excite my ears and mind. Stevie is one of those artists that can make complex ideas sound simple and approachable.

In this week's podcast, episode 15 of Anatomy of Tone, I mentioned one of my favorite Stevie Wonder songs, “Too High,” from the Inervisions record released in 1973.

In episode 14 of the Anatomy of Tone podcast, I talked about how the Bee Gees used an expansion technique in the bridge to take a familiar phrase and wake our ears up. The Bee Gees were crafty songwriters. Not only did they write a very memorable riff for this song they found ways to reuse the riff without it feeling overdone.

An example of this is in the bridge. If we look at the song's intro, we’ll see two bars of a riff in F minor. Then we move to two bars on a Bb chord. This is the basis for the instrumental hook of the song.

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.

I discussed some of my favorite musical accessories in episode 12 of my Anatomy of Tone podcast. I wanted to add an article with links to find these beautiful accessories.

In episode 12 of Anatomy of Tone, I discussed Rick James’ “Super Freak” and the use of mixed modes. The verse riff is based on the A Dorian mode, while the pre-chorus is based on the A Aeolian mode. This subtle change between modes creates a refreshing effect on the ears.

Step modulation, also known as pitch shifting, is a captivating technique in music that adds a unique and dynamic element to compositions. By altering the pitch of a musical passage or instrument in specific increments, step modulation offers an intriguing way to explore different tonalities and create a sense of movement within a piece.

A wide variety of phaser pedals are available, each with unique characteristics and history. One notable figure in the development of phaser pedals is Tom Oberheim, who was also responsible for designing the OB-X synth in the late 1970s.

While the Univibe, created in 1968, can be considered a type of phaser, it doesn't quite capture the distinct phasing tone that became the defining characteristic of phasers.

The term "phasing" initially started being used to describe the tape-flanging effect discovered by engineers in the late 1960s. Still, "flanging" and "phase" took a few more years to define and differentiate clearly.

In Episode 10 of the Anatomy of Tone podcast, I delved into Tom Petty's song "Yer So Bad" from his album Full Moon Fever. In the podcast, I love pinpointing standout moments in songs - not only to discuss songwriting and composition craft but also to share how I research music to build my own library of creative ideas.

The chorus section of "Yer So Bad" caught my attention due to its unique structure of measures, setting it apart from other songs. Tom Petty was a master of songwriting and took his craft seriously.

Learning scales is an essential aspect of every musician's journey. However, there often needs to be more connection between learning scales and the ability to employ them effectively in music.

I have witnessed numerous students diligently memorize scales without comprehending how to apply them to actual musical contexts. They seem to perceive it as a mere ritual they must perform because they were instructed to do so.

But let's not place blame on the students themselves. The emphasis has long been placed on mastering scale positions rather than integrating them musically and meaningfully.

Understanding registers is crucial when working with musicians or in any production scenario. Registers refer to different ranges or sections of the musical spectrum, typically categorized as low, middle, and high. By being aware of these registers, you can troubleshoot issues related to sound balance, clarity, and overall mix quality.

The Ebow was first released on the market in 1976. The Ebow intended to create a string (violins, viola, cello) like sustain on the guitar.

Players skilled in using the Ebow could also emulate stocatto-like effects from a bow and feedback style sounds.

For years it seemed like the Ebow was the only product of its kind on the market. Interestingly, the idea hasn't been expanded over the years.

That is until now. The Sound Stone was created as a more cost-effective version of the Ebow.

Listen to episode 6 of Anatomy of Tone on all podcast outlets including Apple and Spotify.

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.