Endorsements and Friends



Setup Clips:

Live Video covering Dixie Dregs classic, “Cruise Control”

Amp channels: Egnater SLA (rhythm) and SL B (slightly boosted for leads)
Synth: K2500R, Dirty B program
FX: Modulated Eclipse delay
Switching: Soundsculpture Switchblade GL and Axxess FX1 floor controller

I use two Switchblade presets that have two states each for this tune. One is the rhythm SL amp ; when I press a pedal (could be either momentary, latching or EB pedal tied to the internal SB controller), then the K2500 organ stabs pop in. When I call up this preset, it loads up with the amp-only state.

The lead SL preset also has two states: state one (rhythm) a rhythm amp tone with the keyboard together; state two (lead) a boosted SL with Eclipse delay. The tricky thing about this one is that I had to program it so it loads up in the lead state. It wouldn’t be convenient if I had to press a preset button to get it to the second preset and then hit a second button to get it into the lead state of the preset. So, the first time I nudge the pedals, and then it defaults back to state A to begin doing all the call-and-response figures.

Live Video with HWM 07 rig on "F Street Fulano" mega-patch:

Here's a clip from the opening of our last show on 3 July 07 at the San Diego Fair. The tune is F Street Fulano. You can see how I like to morph between the two Egnater heads, one with a Twin pre, the other with the COD for a range of rhythm and lead sounds. The Twin signal path has a Fulltone Choraflange, and Eclipse reverb and mod delay coming through the two cabs, and a piezo and K2500 Gooshey lead coming through the EV Full Range cabs. The COD signal path only has the mod delay. I have it all dialed in so there are various useful zones in between the two extremes. The dry signal just hits on cab and the stereo wet signal gets routed to both using the two MOD 50 heads' power sections like a stereo power amp patched through the Switchblade. The FX lets me morph them with a pedal or punch them all the way with either a momentary or latching Boss footswitch.

In the above Soundsculpture Javablade screenshot, Mix One is a rackmixer group that goes back to the guitar cabs. The Chorus is always patched directly there. Mix Two group goes to the EV full range cabs and FOH Stereo XLR outs off the interface mixer. The Lexicon G2 post section always goes directly to Mix 2 and is used primarily for piezo. Also, for those unfamiliar with Javablade, the nomenclature you see in front oof the Chorus: -6 (Down) Off, means the controller indicated by down arrow goes from a nearly full, -6dB value in this case, all the way down to off when the Down arrow controller is moved through its full range. You can then see how all the other values move with this one single controller to get these sounds on this particular tune. It may seem like a ton of stuff if you are unfamiliar with the rig, but it is actually really easy to set up and get used to with some trial and error.

Live Clip with W/D/D/W rig on "Sacred Watershed" mega-patch:

Little Black Baby Jesus and Sacred Watershed Live Clip (Dec 06)

Without the Switchblade and FX-1, I couldn’t achieve these live sounds with same convenience and flexibility. In this live clip from our CD release concert, I am using a single Switchblade “mega setup” to fade in between three main sounds with variations in a W/D/D/W rig. It is basically three discreet signal path sets that are always on. The FX-1 and Switchblade allow me to switch or fade in-between them without an MIDI program changes occurring and the associated problems or risks. It’s kind of like new old-school. The Sounds and signal paths are:

A. Psychedelic Backwards guitar:
    a. (100% wet) patch that is Magnetic pickups—Egnater M4 (MHG channel)-Eventide Block A—Rack         Mixer—Wet Power amp—EV  PA Speakers.

B. Clean w/ Chorus+piezo+Resorgan K2500R:
    a. Dry: magnetic pickups – Keeley Comp – Egnater ie4 ch 2—VHT 2-50-2 (class A mode) Ch A—Earcandy 2x12s (Eminence TX heats).
    b. Wet FX: In parallel to this is the wet chorus and delay sent from Egnater ie4—Lexicon G2 (with speaker emulator)—Rack mixer—Wet Power amp—EV PA Speakers.
    c. Peizo:
         i. (dry) RMC Pickups—Joe Meek VC6 pre— Rack mixer—Wet Power amp—EV PA Speakers.
         ii. (wet) VC6—G2—etc.
    d. Synth: RMC—Axon—K2500R— Rack mixer—Wet Power amp—EV PA Speakers.

C. Distorted Lead (with modulated Analog Delay):
    a. Dry: mag pickups—Egnater M4 (MHG channel still)—VHT Ch B (class A/B)—Earcandy 2x12 (Swamp Thang and Governor)
    b. Mic’ed dry lead cab—to little Mackie mixer—Eventide block B—Rack  mixer—Wet Power amp—EV PA Speakers.

Mix, Control and Application: Note that the FOH gets a summation on the Mic’ed cabs and all the “wet” stuff going to the EV PA cabs. I dial the mix at home and don’t need to mess with it much at the gig since the Switchblade pedals let me adjust minute details. That thing is just freeeeeking incredible. I control it all with the Axess FX1 with an array of Boss FS-5U A/B switches and Ernie Ball pedals. The Axess lets me punch from the clean to lead with either a momentary or latching Switch or morph with the volume pedal. This later effect is really important live for our tunes “Sacred Watershed” and “Subterranean Rapid Transit.” I also have a hold pedal that can keep the synth going on a chord while I do a lead if I want. This is really important in “Sacred Watershed” in a few places.