Sonic Edge (Fargen Amps) Announces New Tumbleweed Compressor/Clean Boost

Today, Ben Fargen emailed his loyal fans of a new pedal being released by Sonic Edge, the guitar pedal side of his well-known boutique guitar amp business: the Tumbleweed.

The Tumbleweed appears to be a combination of compression and clean boost, both able to be separately engaged. Separte LED's are available for each side of the pedal. The pedal appears to take AC power (battery power is assumed), and it's assumed that the pedal will also be true bypass.

Here's the email that went out from Sonic Edge:

It seems like yesterday that we launched Sonic Edge, and I am happy to say that we nearly sold out of our first line of J&J Overdrive pedals, which were shipped a few weeks ago!  Many pros are now using the J&J, it was well received at Summer NAMM in Nashville last month, and the next few months will include ads along with the Goo Goo Dolls and Kenny Olson from Kid Rock, as well as several articles and reviews.

I am now happy to introduce our second pedal … the Tumbleweed!

The Tumbleweed is an innovative country pedal – a two-fold compressor and clean boost in one pedal.  The comp side has level and sensitivity controls, while the clean boost sports a level control and a three-way toggle switch with Brit, Cali and Jazz voicing.  Separate bypass switches allow the comp and boost to be used together, or separate as two individual units.  Tumbleweed is two pedals in one … a combination compressor and gain.  We haven’t seen anything quite like it, and when we demoed the prototype at Summer NAMM, anyone who tried it was floored!

Pricing on the Tumbleweed is $269 (MSRP $329) and once again, the first run will be limited.

If you are interested, please use this link to pre-order the Tumbleweed, which will ship this October, just in time for the holidays:

At the time of this posting, guitarists can pre-order the pedal and vote for their favorite color. The color contest will conclude in early August, and the pedal will start shipping in October.

This will be the second guitar pedal in the Sonic Edge line. Here's a video of the first pedal in the Sonic Edge line, the J&J  Overdrive:

Jimmy Herring Jam Session Videos

Guitar World put together an inside look at Jimmy Herring's guitar style with a series of instructional videos. For any Jimmy Herring fan out there, this is quite a treat. Enjoy.

Jimmy Herring Jam Session #1

Jimmy Herring Jam Session #2 (New Blues: How to Play "Scapegoat Blues" Part 2)

Jimmy Herring Jam Session #3 (How to Connect Different Scales w/ Chromaticism)

Jimmy Herring Jam Session #4 (Getting Your Pick-Hand Technique Together)

Jimmy Herring Jam Session #5 (Half-Step Bends, Inside & Outside the Scale)

Jimmy Herring Jam Session #6 (Emulating Slide w/ Normal Articulation)

Jimmy Herring Jam Session #7 (Expanding Your Harmonic Language When Improvising)

Blackout Effectors Twosome Fuzz | 2-in-1 Musket + Fix’d

If you're looking for a highly versatile fuzz, the Blackout Effectors Twosome Fuzz pedal is worth a look. Capable of everything from classic Big Muff fuzz tones, to velcro fuzz tones, to smooth overdrive tones, the Blackout Effectors Twosome Fuzz is a tweaker's delight.

The pedal is a combination of two Blackout Effectors pedals: the Musket Fuzz and the Fix'd Fuzz. Each side can be toggled between via the right stomp switch (nope, can't have them both on at the same time but not really necessary for most people). The left stomp switch is a true bypass on/off switch.

Fix'd Fuzz

The Fix'd Fuzz side of the Twosome Fuzz (on the left) has various toggles that you can use to include/exclude from the circuit: Tone, Boost, Fuzz 1, and Fuzz 2. Yep, this side has two fuzzes in one. One fuzz circuit is spitting and splattery in a vintage way, allowing you to get velcro type fuzz tones and so much more. The other fuzz circuit is smoother and provides a different array of fuzz tones. You may toggle both circuits on at once, and each has a knob to control the amount of fuzz. The boost control allows you to slam the input of your amp and make the fuzz tones that much bigger and fatter. The tone knob helps you dial in the tonal color of the fuzz you're looking for, helping to take the tone from dark, to warm, to present, to bright.

Musket Fuzz

The Musket fuzz side of the Twosome Fuzz (on the right) is reminiscent of more classic muff tones. Big, fat, fuzz tones can be achieved along with many color variations through use of the Mid range knob. A Pre-Gain knob helps to goose the fuzz circuit for bigger fuzz tones. Tone tone knob acts a little differently than the Fix'd Fuzz side, but it also helps you dial in the tonal color that you're seeking.

On both sides of the Blackout Effectors Twosome Fuzz, keep in mind that the control knobs are quite interactive. When you change one, it will change how some others interact. This opens up a world of tones, and is truly a tweaker's dream.

Interested in the Twosome Fuzz? Here's some for sale right now on eBay:

ProGuitarShop.com Demo: Blackout Effectors Twosome Fuzz

Tonefactor.com Demo: Blackout Effectors Twosome Fuzz

GuitarGear.com Demo: Blackout Effectors Twosome Fuzz

Jetter Gear Interview

SSS caught up with Brad Jetter of Jetter Gear to discuss Jetter effects in detail, what's in Brad's guitar rig, what's on the horizon for Jetter Gear. Learn all about the Jetter Gain Stage Red, Jet Drive, Jetter Vibe and other Jetter effects and in this exclusive interview with Six String Soul.

SSS: Of all the Jetter overdrive pedals in and out of production (Gain Stage Red, Gain Stage Blue, Gain Stage Gold, Gain Stage Purple, Gain Stage Green, GS3, Jet Drive, Helium, and Tritium), can you briefly align each pedal with the type of guitar player/tone-seeker it would fit best?

Jetter: For the past year or so I have been designing the next generation of Jetter Gear pedals. The lineup now consists of the Red Shift, Jetdrive, Helium, Tritium, Vibe and GS3. These pedals offer a broad palette of overdrive from the low gain sweetness of the Helium to higher gain overdrive with the GS3.

I design all of my pedals with live performance in mind. I expect the designs to remain sonically consistent whether it is in front of a gently purring 18 Watter or a raging 100 Watt beast.

I spend most of time testing designs at gig level volumes. In other words, I expect my pedals to really shine on stage. I not only want the player to notice the difference but the audience as well.

Nothing satisfies me more than when I get feedback from a player who tells me that people come up to them after a gig and compliment them on their tone.

SSS: Jetter pedals have become well-known for their stacking capabilities? What are some of your suggested combinations, and order of placement?

Jetter: My philosophy is fairly conventional: the signal path should be from low to high. Start with low gain pedals and finish with higher gain ones. This is my personal preference that is based on my own playing over the years. Of course, ultimately there is no right or wrong way to do it. However, I find that this guideline for stacking greatly lessens the chances of developing a mushy or bloated tone or extreme saturation where the definition and character begins to collapse.

SSS: At the time of this interview, there are very few video demos of the Helium overdrive. The Pro Guitar Shop demo titled "Stones Tribute" lends guitarists to think this pedal is designed to get vintage Tweed tones. The pedal does seem to have somewhat of a bite built into its sound. What other sonic possibilities would you say are possible with this pedal?

Jetter: I thought that demo was very good--I wish I had thought of it! Tweed never came to mind when I was designing the Helium. I was after low gain performance that let as much of the guitar’s character remain intact while subtly embellishing the harmonic overtones. I wanted a pedal that could make an amp really shine by simply giving you “more” amp. Within the upper limits of the Helium’s gain envelope, I realized that some very nice crunchy rhythm tones were coming out as well as that “edge of breakup” lead tone that seems to be so elusive at times.

SSS: The Gain Stage Red has a rather chewy quality to it. Without giving away any secrets, how did you achieve this? Are there any settings that you suggest to get the most of this quality?

Jetter: No secrets really. It is all about what you hear in your head and then try to get the pedal to accomplish it. I think it ultimately comes down to a designer’s ear--it has very little to do with math or circuit theory.

There are so many options to consider and then sift through them to reach your design goal. The individual components all have a sonic character--some more noticeable than others. The most basic component, a resistor for example, can have a slightly different sonic characteristic depending on the manufacturer. Granted, we are talking about very slight differences but when you begin adding together all the different component choices, they start having a significant impact on the final performance.

A specific case in point: Let’s say that you want to use a specific model IC chip. You then realize that there can literally be scores of chips with the same fundamental model designation. Although they are the “same” (for the purposes of this discussion we don’t need to go into the chip subsets) there can be some fairly significant sonic differences.

It gets so crazy that I not only found sonic differences from different manufacturers, I actually found that chips by the same manufacturer can sound different depending on the particular factory they were made at!

It really boils down to the ability to translate what you hear in your head into an actual pedal that achieves it.

First and foremost you must define sonically what it is you want and--very importantly--keep that sound locked in place regardless of how long it takes to achieve it.

I have literally made hundreds of tweaks to certain designs before I finally settled on a production circuit.

It is an exhaustive process but I believe that you have to explore every option in order to find what you do want. Leave no stone unturned.

And as to the Red, I am just now starting production on the Red’s replacement, the Red Shift. I have received a lot of feedback over the years on what players want. A common request was to somehow incorporate more features to the Red. I came up with what I feel is a very significant upgrade to the Red. Instead of the Red’s Hard/Soft switch, it is now a Red/Shift switch. In the Red position, it is 100% Red. In the Shift position, the pedal transforms into, essentially, a Gain Stage Purple. So you now have, with the flip of a switch, either sweet and sticky, or hot and nasty. I think it offers a tremendous tonal palette in a single pedal footprint.

SSS: How would you say the Jetter Gear Vibe compares (to your ears) with other popular vibes used by electric guitarists?

Jetter: I took the Vibe project as a personal challenge. I wanted to try and fit a version of the classic Vibe into the smallest pedal possible, have it run on 9V and also be able to run on an internal battery for at least a set.

I also wanted it to interact with other pedals nicely.

There was a lot of tweaking to the final sound but I am very happy with the result.

The Vibe is not an exact clone of the classic Univibe circuit so there are some slight sonic differences.

I will say that during the prototype listening sessions, The Vibe prototype was directly compared with a dozen or so Univibe clones. If my Vibe couldn’t compare favorable, I wouldn’t do it.

Almost every player in those sessions said that the best sound was from an absolutely mint 1969 Univibe that still had the protective plastic on it! These players also agreed that the Vibe mimicked the essential qualities of that particular Univibe. I was very humbled and pleased by that.

SSS: Your product line focuses heavily on overdrive pedals. Why is this, and why haven't you produced any fuzz pedals?

Jetter: The players I have always admired had gorgeous overdriven tones. This became my paradigm for tone so I naturally gravitate towards that type of sonic envelope. A few of my major influences include: Jeff Beck, Cream-era Clapton, Al DiMiola, Buck Dharma, Andy Powell and Ted Turner (Wishbone Ash), Bill Nelson (Bebop Deluxe), Michael Landau, and Eric Johnson.

Fuzz is an interesting topic. For me, the fuzz master was Jimi Hendrix. Specifically, we are now talking about germanium or silicon Fuzz Faces. Unfortunately, the real magic of a Fuzz Face only reveals itself when driving an already cranked amp...preferably a full (or several) Marshall stacks.

Putting a Fuzz Face into a Deluxe Reverb with the amp volume on 3 is usually a very unsatisfying experience.

The secret of a great Fuzz Face lies with the transistors, particularly the original germanium fuzzes. Trying to source good transistors for use in classic Fuzz Face type circuits is becoming next to impossible.

As an example, about 10 years ago, I was on a mission to build the “perfect” Fuzz Face. I sourced approximately 200 new old stock NKT Newmarket transistors.

Do you know how many pair I wound up with that measured within the “ideal” range of what I was after?

Zero.

I think I had three pair that were marginally within the “magic” range but they nevertheless sounded mediocre.

I realized that chasing the germanium ideal was only going to be an exercise in futility.

I have recently explored some off-the-wall approaches in achieving a fuzz exhibiting the essential qualities that make it a stand out--and importantly be consistent from pedal to pedal. I prototyped a proof of concept with very encouraging results--very interesting indeed!

This idea can hopefully be brought to fruition soon and I should lead to a fuzz in production later this year.

SSS: What other-branded pedals do you stack, or have heard stack well with Jetter pedals, and why do you think they work well together.

Jetter: I would simply say to try whatever you have and hear if it works for you. Generally, I hear from folks that are successfully stacking mild to moderate gain pedals with a Jetter Gear pedal.

SSS: Which of your pedals has left the most notable impression upon you after completing its design?

Jetter: If I had to choose only one, it would be the Jetdrive. That design process led me to discover ways to increase transparency and enhance a pedals feel or, possibly better expressed, the pedals touch response. The Helium and Tritium are extensions of what I learned with designing the Jetdrive.

SSS: What's on your pedalboard?

Jetter: Today? Right now I am running an Ernie Ball Jr Volume pedal, Helium, Tritium, TC Nova Delay and a Sonic Research tuner. A Voodoo Labs Pedal Power 2+ provides the DC and I am using Lava Cable ELC between pedals and VoVox Sonorus from the guitar to pedal board and from pedal board to amp. My favorite grab-and-go amp right now is the Dr Z Maz Jr NR.

SSS: What's next for Jetter Gear?

Jetter:The fuzz project I alluded to is going to happen. I also have plans for modulation and a few really strange devices that I have been contemplating for a while now.

LINE 6 Launches New Online Learning Center for Guitarists

Nine Genre-Based Programs Teach Music Theory, Guitar Technique, Songs & More!

Line 6, Inc., the industry leader in digital modeling technology for music-creation products, recently announced the addition of an online Learning Center to GuitarPort® Online, the company’s popular online guitar instruction service.

“The Learning Center gives subscribers a focused and user-friendly path to realizing their guitar-playing goals,” remarks GuitarPort Online manager Marc Block. “Guitar players now have a place to go that offers guitar instruction catered to their specific interests, and integrates music theory and application, technique lessons, guitar effects lessons, and song lessons.”

The Learning Center on GuitarPort Online offers subscribers nine genre-based programs: Blues, Classic Rock, Country, Jazz/Bebop, Metal, Modern Rock, Progressive/Instrumental, 50’s Rock/Surf/Rockabilly, and 80’s Rock. Each genre includes both lessons and songs grouped together by beginner, intermediate and advanced skill levels.

GuitarPort Online offers all guitar players everything they need to learn, practice and jam. The service has three main features: over 1000 song tabs and lessons, with more added weekly; professionally produced songs (available with and without guitar parts) for players to jam with; and dialed-in Line 6 guitar tones that match each song (via a Line 6 USB interface).

Guitar players who don’t currently own a Line 6 USB interface can purchase a bundle, which includes a Line 6 TonePort® DI and three months of unlimited access to the service, for $29.95. More information about the bundle can be found at guitarport.com/bundle.

About Line 6, Inc.

Based in Calabasas, California, Line 6 is a leading manufacturer of guitars, amplifiers, effects, effect processors, and recording interfaces. Line 6 is world renowned for its studio- and stage-standard gear featuring its patented amp and effect modeling and digital wireless technologies. Line 6 invented digital guitar amp modeling technology in 1996, and is currently the #1 maker of guitar amplifiers. Its award-winning products are used by musicians worldwide and have been featured on countless platinum and Grammy-award-winning titles. Line 6 is distributed in over 60 countries, with operations in the United States, China and the United Kingdom. For more information, visit line6.com.

About GuitarPort Online

GuitarPort Online is the ultimate guitar learning and jamming tool for guitar players of all levels. Perfect for players who are tired of playing alone, GuitarPort Online lets guitarists learn tunes, jam with fully produced songs, and take advantage of dialed-in tones that perfectly match each recording. A brand-new learning center offers genre-based curricula that teach lessons and songs for all skill levels. For more information, visit guitarport.com.

Analog Man ARXD20 Dual Analog Delay

For those who weren't aware, Analog Man has finally released a successor to the popular but hard-to-get AR20DL analog delay!

From Analog Man:

The new ARDX20 is based on the awesome tone of the old pedal, but adds several features that customers have been requesting, and are now needed in the ever-growing boutique delay market. About 100 pedals were sold in the summer of 2009, then full production ramped up, so availability should be good starting in September 2009. Designed by Analog Mike in the USA and primarily by Analog Man Japan, the pedal also has final assembly, calibration, and graphical engraving completed in Japan after being hand built to our precise specifications in China by a few assemblers who we chose for their excellent hand-soldering and detail work.

The ARDX20 uses a specially designed ergonomic enclosure for ease of use and best fit on pedalboards without taking up too much valuable real estate. This pedal will cover echo and delay functions for almost any musician, as it's designed for flexibility and tone. Some features are external and optional, as not everyone may want to pay up front for these. Standard delay time can go up to 600mS, higher than most analog delays, with clear, not dull, delay sounds, and very little noise. The repeats are easily controlled for infinite feedback without runaway volume problems which can damage your speakers. There are two LED lights which blink in time to the delay setting. These lights are always flashing, so you know the current setting before engaging the delay pedal and turning on one of the two channel's LED.

True bypass switching is now used, for no change of tone when OFF. There are two channels with two complete sets of controls. Not only the delay time, but also delay level and feedback can have two independent settings, chosen with the footswitch on the left. This allows, for example, a short, quiet slap-back delay with just a few repeats for rhythm parts, and a long, loud delay with several repeats for lead - just what most players need. There is a handy battery compartment on the bottom and a normal 9V barrel type power jack on the back which most people will use. Unlike digital delays (including "analog sounding" digital delays), power consumption is low, only 15mA. So an alkaline battery should last about 30 hours of use in emergencies or if you prefer not to use a power supply. Jacks are on the top of the pedal for the most efficient layout on pedalboards.

There is an EFFECTS LOOP jack next to the input jack. The delayed signal only, not the dry signal, goes through the loop. Use a Y-cable to run any effect in the loop. Modulation pedals like chorus or vibrato are cool here, for a natural modulated delay sound. Or use a VOLUME pedal with a Y-Cable (or an expression pedal) to control the level of the delays. Or use both, or even more pedals in the loop! Pulling back the volume pedal will kill the delay sound. You can also control the FEEDBACK this way, as lowering the volume will reduce the feedback, so you can easily control infinite delays. Great for jams!

Another request was fulfilled by the DELAY TIME EXPRESSION jack. Use a normal expression pedal to control the delay time of one channel. This allows pitch bends and whammies of the delayed sounds, as well as fine control of the delay time to match the music. This jack will also be used for external options that we will introduce, including tap tempo, modulation, multiple delay time preset boxes, etc. Between the Delay Time jack and Effects Loop jack, there are a multitude of ways you can use the ARDX20.

The ARDX20 will stand atop the effects world offerings along with other Analog Man pedals like the Sunface, Beano Boost, Peppermint Fuzz, Choruses, BiComps, King of Tone, and modified pedals, with value, performance, and support that is second to none. Please see buyanalogman.com for more information, videos, and ordering.

ToadWorks Pipeline Harmonic Vibrato/Tremolo & Fat City Overdrive

PipeLine Harmonic Vibrato / Tremolo

ToadWorks USA is pleased to announce the release of PipeLine, the only stereo tremolo pedal capable of replicating the fabled ‘harmonic vibrato’. With the addition of a Waveform adjustment, wide range of speed, low-pass frequency trim adjustment and an expression pedal input, ToadWorks has taken Tremolo to the next level.

MSRP: $300.00
MAP: $250.00

ToadWorks entered the boutique effect market in 2001. With an artist roster that includes Howard Leese, Paul Jackson Jr. and Paulie Z, ToadWorks has raised the standard for quality effects while remaining affordable to the average musician. With a product line that includes the Award-winning Barracuda ® Analog Flanger, all ToadWorks effects are carefully handcrafted in the USA.  For more information, visit www.ToadWorksUSA.com.

Fat City Dual Overdrive

ToadWorks USA is pleased to announce the release of a new Dual Overdrive pedal, Fat City. Two years in development, Fat City is the next step in analog overdrives.

With two unique flavors of OD, an independent clean boost and the ability to stack the overdrives, Fat City gives bedroom players and working musicians an affordable, reliable method of reproducing overdriven tones normally found in high-end tube amplifiers.

MSRP: $375.00
MAP: $300.00

ToadWorks entered the boutique effect market in 2001. With an artist roster that includes Howard Leese, Paul Jackson Jr. and Paulie Z, ToadWorks has raised the standard for quality effects while remaining affordable to the average musician. With a product line that includes the Award-winning Barracuda ® Analog Flanger, all ToadWorks effects are carefully handcrafted in the USA.

Diamond Compressor Review

The Diamond Compressor is a studio-quality guitar compressor pedal that does a damn fine job providing subtle compression while keeping your tone intact.

The EQ Tilt at noon will allow you to get everything from darker/beefier compressed tones, to more present compressed tones, while keeping your eq unaffected in the noon position.

The Compression control allows everything from an ever-so-slightly compressed boost (with the volume rolled all the way up and compression all the way down), to mild all-around compression, to country chicken-pickin' tones.

The volume control does what you think it would.

Overall, this pedal improves your tone, and is the kind of compressor pedal that you can leave on all the time.

Here's a great video review of the Diamond Compressor:

If this Diamond Compressor review helped you determine that this is a pedal for you, check out the current eBay auctions:

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