I think it’s a good thing, from time to time, to indulge your obsessions, and what musicians often refer to as “gear lust” has certainly affected me from time to time.
but these days, that very general lust for guitars, keyboards, amps, and all kinds of music gear, is also now joined by a very specific new affliction; the endless watching and listening to of, effects pedal demo videos. On You Tube, of course.
as with all new phases (if you will pardon the expression) of internet development and the progress of content, it started out small, as the occasional demo of a pedal to show us what the pedal looked like, what it sounded like, in case we might then wish to buy it for our own pedalboards at home.
from professionally produced by the established old world pedal manufacturers – your Boss, your MXR, your Electro-Harmonix, your Digitech, and so on – to videos by the boutique crews – your Earthquaker Devices, your Chase Bliss, your Catalinbread, your Z. Vex, your Robert Keeley – first came videos that were mostly about sales, but with generous helping of sounds, too – but ultimately, were on the whole, made with sales in mind.
finally, now, another type of pedal demo has arrived – the artistic, creative demo – and these seem to be non-commercial, not sales-oriented – but instead, they focus solely on the sounds that each device can make, and what a creative musician might do with those sounds.
A good example of one of these creative style effects video makerscreative style effects video makers, would be You Tube artist ‘Knobs‘, who tends towards more in-depth analyses of effects units, but using a unique artistic style – found objects, arranged around the device in a very careful way – combined with a fantastic, verbose, humorous set of titles (a veritable barrage of typed information, instead of verbal narration) and explanations, interspersed with jokes and bizarre video snippets, anything goes, but “Knobs” has a brilliant and consistent artistic style – and I NEVER ever feel like he wants me to buy any particular pedal. He just wants me, and the rest of the effects pedal world, to HEAR how brilliant each pedal is, in exquisite detail, providing both highly useful technical information alongside humorous vignettes of all types – you never know WHAT might happen in one of his videos.
I have been through a lot of these videos, all types, and I seem to have settled on a few favourites from both camps. For the ‘quick overview” type of video, which might run between 4 and 8 minutes in extreme cases, my very favourite vendor is “Andy” from Pro Guitar Shop (and Tone Report weekly magazine – the most brilliant magazine ever dedicated solely to effects pedals – and it’s free, every week!) – Andy is an extremely proficient guitarist of some experience, and his skill at showing each pedal he demos off in it’s best light, is undeniable – but, it is usually a quick demo only, just to get an idea of what the device in question sounds like.
Generally speaking, they don’t get into a lot of detail, or do in-depth videos, except in a few extreme cases. So for the quick overview – I always turn to Andy first, and his videos are always in heavy rotation at my house – plus, over time, I’ve watched him grow from a good guitarist into a great guitarist, and I really enjoy his playing, regardless of the subject songs or snippets, or what pedal he is demoing – he is just a good, good player.
My other (new) favourite has to be “Knobs” whoever he might be – his videos are always well in-depth, and he tries very hard to describe clearly and in great detail, what each control does, exactly, and, how the controls interact, and what combinations of controls you need to set to achieve certain musical goals – all typed out in his inimitable style. But – be prepared to keep your eyes glued to the screen – the titles go by quickly. Having the no-nonsense explanations of how an effect’s controls affect what sound you acquire, is extremely useful (to me) and I really appreciate both his attention to musical detail, a well as his remarkable sense of humour which has to be read to be appreciated!
Some videos favour verbal narration along with guitar sound, others, use titles as “Knobs” does, to explain what the pedal is doing (which allows the music and therefore, the sound of the pedal, to go undisturbed by narration, others, such as our friend Andy from Pro Guitar Shop, intersperses narrated sections with undisturbed musical sections to demo the sounds he has just discussed, and I’ve even seen videos where there are no titles and no narration – and the pedal, and where it’s knobs are turned to, has to tell the entire story without any supporting titles or narration. Those kinds of videos, while interesting, are probably a bit less informative than the other types, but really, no matter what the content, no matter whether they are short form, long form, or no form – I enjoy them all.
I would say that during the last two weeks, I’ve easily spent six or seven hours watching (and listening to) guitar effects videos, usually on YouTube on my television, but often, on YouTube on my tablet – either way works for me. It is becoming an addiction, and for example, today, a lazy Sunday, I started watching Earthquaker Devices videos from the moment I got up, and now, a few hours later, I have to admit – the videos are still running while I am typing this blog.
And I was watching them yesterday, too. Hmmm. I am sensing a pattern here. It started out, with a few Pro Guitar Shop quick overview with Andy videos, at night at bedtime – and then it started to move onto the real TV during the day, and today, I was even watching them during my lunch.
Another aspect of this that is good, is the musical ideas presented by the various musician-presenters, and you get some extraordinary guitarists demonstrating pedals, from Pete Thorn who has a massive collection of effects and pedalboard related videos, and onto other ridiculously talented guitarists hired by the big guns to demo their products, like the amazing Alex Hutchings who does demos of very complex Roland effects units. So becoming addicted to effects pedal videos does have some very positive side effects – one of which is learning about some of the amazing professional players out there, as well as learning about a whole new group of home or small business musicians, who are equally talented and are often extremely interesting to listen to.
I’ve even learned guitar techniques, riffs and other guitar content, just from watching these demos, they are often quite inspirational, and often, after I’ve viewed a set of guitar effects demos, my tendency is to then go into the studio and play some guitar, and use the pedals that I do have, to try and create some new ideas and uses for them. So watching these demos, and hearing how other guitarists put these very musical tools to use, is also very inspirational for my own development not just as a player, but also, in how I use the effects I have, to create unique and hopefully, amazing-sounding guitar sounds.
Mixing and matching different effects pedals (often called “stacking”) is yet another kind of pedal demo video, and there are endless demos where one or many devices are “stacked” to hear what the sound outputs of various interesting pedal combinations are, what is possible when you plug pedal a into pedal b, and then into pedal c? These are some of the most amazing videos, because the sounds that can be achieved via stacking, even if it’s just stacking two pedals, are often astonishing in themselves – from incredibly powerful, distortion based stacks, to eerie, spacey, ambient wonders – amazing combinations with endless musical possiblity.
Finally, there are the “versus” (or “vs.” or “v.”) effects pedal videos, which range from comparisons of different manufacturers’ pedals that perform similar functions, or, between reissues or clones, to the “original” pedals from the 60s, 70s, 80s and so on. Does the new version sound as good (or better) or not? The “versus” videos answer all of these questions and more – which fuzz tone sounds the best, which overdrive is the most transparent, which reverb has the most ambient possibilities, which ring modulator gives you the most insanely distorted and warped sounds?? – I am a big fan of the “versus’ style of effects pedal videos.
As time has gone on, I’ve become very interested in certain pedal manufacturers, and this is probably the last category of video I will mention today: the “about the manufacturer” video. For the lines I’ve become interested in, after exhausting the majority of their videos for their actual pedals, I recently branched out still further, and started learning about some of the people behind the products – beginning with a pedal manufacturer that I really admire, Earthquaker Devices, and while I so far, so not own any of their pedals, I am very interested in some of them, because – well for two reasons, really, they are all hand-made in Akron, Ohio, and, they often explore sonic territory that other manufacturers’ pedals do not. So I wanted to learn more – and boy, was there ever a lot of content available about Earthquaker – their history, the bands that their employees are in, and so on – absolutely fascinating to watch, and after doing so – it just makes me want to go out and buy my top ten EQD-wanted pedals – which would set me back a few thousand pounds that I do not have.
But – these videos do allow for one thing – I can dream. I have a want list, that changes almost every week, one week, I am wanting EQD pedals, the next, I am looking at Strymon pedals with my lustful effects desiring eyes – and so on. I dream of building special pedalboards, using all of the strangest sounding Earthquaker Devices pedals, in a special all-EQD board – probably containing an Arpanoid, a Space Spiral, an Afterneath, a Transmisser, and an Avalanche Run for starters (as the imaginary pound notes start to fly out the imaginary window…) which is huge fun – and while I probably won’t ever be able to build that imaginary EQD board, what I can do, is go into the sound libraries of my Eventide H9s, and see if I can emulate the strange and wonderful sounds that EQD pedals make, with the Eventide Algorithms and settings for individual voices.
That is then, giving me ideas for my own guitar sounds, which happen to be Eventide-based, but that is not what is important – getting new ideas for new sounds is always inspirational, so I think that this new addiction to effects pedal videos, is absolutely one of the healthiest addictions I’ve ever had the joy to experience, and I recommend it highly to both musicians and non-musicians like, and in particular, I think that visual artists and anyone who appreciates art, would enjoy some of the content in the more creative series of effects pedal videos.
I cannot recommend the experience of tuning in to You Tube for a morning of video enjoyment, preferably with your theatre speaker engaged so you can experience the subtelty of tones that the guitarists bring to us in these amazing, informative, inspirational videos – I think they are brilliant – please check them out on a tablet or a TV set near you.
And now, I am off to turn on my own pedalboards and see what new sounds I can coax from it, after a day of being very inspired indeed, by hearing what modern sound technology can do to the sound of a guitar or a keyboard or even a voice – these effects pedals have come so incredibly far from the early days, when if you had a pedal board at all, you were unusual, and it would normally have two devices on it – a Vox wah-wah pedal, and an Arbiter Fuzz Face.
A few players might have a third device – a primitive Octaver like the one Jimi Hendrix used to use – but for most, it was a wah-wah pedal, a fuzz tone of some sort, or if you were really lucky, both – no matter what, you learned to use those primitive devices make your guitar sound better…and nowadays, you have not hundreds, but thousands of different effect pedal designs to choose from – a mind-boggling assortment of sound-creating machines, designed by musicians for musicians – with making amazing sounds the goal – and so often, these manufacturers not only hit that goal, but they exceed it, producing devices capable of a stunning diversity of incredibly musical sound…it’s amazing how far these devices have come over the relatively short period of time from let’s say, 1963, to today. Simply astonishing technology.
I started out with just a Vox Wah-Wah, and that was my main pedal for a long, long time. Then gradually, I ended up with things like an original Echoplex, which I absolutely loved, primitive, monstrous, tape-driven delay – I also used my two-track Sony reel-to-reel as a delay, with a reel running in record mode so I could then switch on the delay whilst playing live. It wasn’t easy to do, but it sounded great!
Over time, I went through many Stompboxes, then onto rack mount devices (controlled by MIDI and switches and expression pedals – and then back again. I can tell you – it’s all good. I managed to make good music with every pedalboard I ever built, and I am glad to have been able to experience a wide range of musical products over time, and it’s made for the creation of a lot of very interesting music – from very loud and distorted, to as ambient and quiet as I could get – I am interested in it all. I think maybe it’s more of an addiction to amazing sounds, than the actual videos – I just love the sound of guitar effects!
It all sounds good to me 🙂
I have to admit, of all of the few unusual instruments I have run across, the Ibanez RG Series Kaoss model guitar is one of the best in so many ways. It’s simply fun to play, and what you can do with one electric guitar that interfaces with one set of 100 (yes, that is One HUNDRED) kaossilator effects to give you one of the most tactile and hands on guitar to synth “instant treatments” experiences since Brian Eno ‘treated’ Phil Manzanera‘s guitar on stage with Roxy Music back in the early 1970s. No longer do you need to run your guitar through a very large and very expensive VCS3 synthesiser, but you can do the ‘treatments” by yourself, as you play – and the sounds you can get out of it are simply amazing if you just work at it….
What more could I ask for? What more could any guitarist who also happens to be a Kaossilator Pad player, who also is a synthesist – ask for? This is the inexpensive way into a Kaoss-pad-controlled-by-a-guitar or rather, by-a-guitarist – you.
Before I try to describe the experience of playing this unique instrument, I should probably approach the negatives – of which there are one or two – depending on your viewpoint. The guitar is deliberately built down to a price, it’s possibly, the cheapest Kaoss guitar on the market – and that is possible the way Ibanez and Korg wanted it – who knows? So some of the features you might expect in an expensive electric guitar simply aren’t really here in this guitar. Like super low super easy action. Not here – you have to work to play this guitar. I am going to need to take it in, and see what can be done about the action – which is less than ideal. I end up thrashing the fingers on my left hand every time I play it – but I am determined, so I don’t let something as unimportant as somewhat high action bother me – I just play anyway, and ignore it.
One alleviating factor or solution I have found, is to go to an extra light gauge of string. This DOES help a little bit, when the guitar you are playing has action that is too high – for me, it seems to help on the higher strings, but no so much on the lower strings. It was strange – I hadn’t tried an .009 on my high E since I was about 13! But I find it helpful to switch from, in my case, Regular Slinky, to, Super Slinky – with a .009 top rather than the .010.
The other thing that I really miss, is a whammy bar. I think that alongside the awesome distortion circuit built into the guitar, that a whammy bar would have been just the ticket – switch on that fuzz and start yourself a crazy whammy solo….but not this time. So – two negatives; it’s hard to play, and, no whammy fun – but I can easily forgive both – there are actions I can take, I can get the guitar set up, I can put lighter strings on it, I can even get the neck fretted or shaved – I mean, there is room to improve the action, that is for sure – but it needs investment, and a good luthier too.
Getting over the whammy is easier, for one thing, you have 101 on board sounds to replace it with, the first being, the very usable on board distortion circuit which I really like, it isn’t the most amazing distortion box in the world, but, it gives you plenty of sustain when you want a sudden kick-ass solo – and so easy to switch it in!
So that is the 101st effect, I would say, and then what you have is 100 more on the kaoss pad, to make up for that missing whammy. For example – may I suggest, voice 16, “vinyl break” – that gives you the ultimate dive bomb, and you can have it at any speed imaginable – very quick indeed, or, very very slow…taking a high note down to a low note that my 12 inch guitar speakers have trouble delivering it’s so lowl!
Or really, instead of thinking of it as 101 effects – the built-in distortion plus 100 Kaoss sounds, you could actually look at it as 201 sounds – the built-in distortion is 1, then you have 100 kaoss sounds with clean guitar, and, 100 kaoss sounds with heavy distortion – and some of these Korg sound respond very well to clean or distortion, and, behave differently depending on what is chosen.
So now that I have got through the tricky stuff, I can go on about how much fun it is to actually PLAY this guitar – and, you have to understand, the kaoss pad that is built into it, is not like the kaoss pad “synths” (like the little hand held pink synth kaoss pad I started out playing a few years back) you buy to play on stage – it is instead, an “effects” kaoss pad, a “Mini-Kaoss pad” – and it’s been made into part of the guitar’s circuitry – it has actually been embedded into the guitar’s DNA – being at the end of the guitar’s audio output.
I think that learning how to play this guitar effectively is something that has to be learned over time, and each time I pick up the Kaoss guitar, I learn a little bit more about what is best in terms of technique – and a lot of the sounds aren’t totally suited to using them like a normal effect, they actually seem to work the best as sudden events in between notes, or, at the end of phrases.
Vinyl Break, good old number 16, is suitable for either, and I had a blast just suddenly DROPPING a note, a millisecond after playing it, down a few octaves, and the real beautiful of the Kaoss pad becomes apparent in the amount of control you have over the timing of that event, of that note drop – if you do it at the “top” of the pad (i.e. the edge nearest the strings, rather than the edge near the edge of the guitar’s body) the drop is incredibly fast, and you are at that low, low tone so fast you can hardly believe it.
If you drop it in the centre of the pad, it drops substantially more slowly, but still at a pretty good speed, and you can learn to “time” these smoother, more elegant drop curves to suit your musical taste…it becomes quite an art, can I make this note drop really smoothly down to it’s lowest tone and then still hit the next note in my solo or improv at the “right” moment, and most times, I can. It’s a huge amount of fun, trying to control the duration of a note drop event, and get it to work in a really musical way.
Finally, if you choose to drop at the bottom of the pad, well then you are going to get the longest drop of all, possibly a bit too slow to be very musical, but just as useful – and everywhere in between, you get all the different speeds. So to put it into phonographic terms, it can be like dropping from 78 to 16 rpm in a millisecond, or from 78 to 16 rpm in a second, or maybe take five seconds to get there – or, you can stop the process anywhere along the way, so maybe you might just go from 78 rpm down to only 33 1/3rd rpm, instead of all the way down to 16 – it’s entirely up to you.
The pad is physically pretty tiny, and you have to learn to use it … sort of… “in between” your notes, or, at the end of a series of notes – it CAN be used while you are playing, but that is hard – it’s possible, with some of the more standard sounds, like a jet flanger or a nice phaser, you can hold a finger on the pad while you are strumming or picking, but – it’s a difficult act of co-ordination, and really, you would be a lot better of concentrating on playing your notes properly, and using your stomp box flangers or phaser, and they very probably will sound better – and, they stay on, too, until you shut them off, whereas, the pad stops working as SOON as your finger or fingers lift off of it – and that makes it tricky to use as a “regular” effect (whatever THAT means lol).
However, the real strength of the Kaoss guitar, isn’t the more “standard” effects, but the ones that work well when used in between notes and in between phrases, like my best friend the vinyl break, but also, the large selection of various loopers are truly useful and give you some remarkable effects if used well. It’s tricky, but, it’s do-able.
There are different ways to approach it, and I keep trying new things, or picking one of the 100 voices I am not as familiar with, and trying to see what I can do with it over a longer period of time – high pass filter, low pass filter, mid filters, you name it, it’s all there, there is even a decimator, which is an amazing patch – I absolutely love the decimator, it’s a brilliant sounding effect. Most of the effects sound really good, but some of them are hard to use in the sort of “momentary” way you need to use this guitar to it’s best effect (no pun intended).
One trick I have found helpful, in making sure I co-ordinate playing a note or chord, and then, immediately applying the pad (before the more or chord fades away so much that the pad then does NOTHING to it – very embarrassing!) is by likening the pad to a whammy bar in your brain – a whammy bar used, of course, in the more usual way, where, at the end of a phrase or chord, you use it – well, the Kaoss pad works best that way.
Just as with the whammy, of course, you CAN whammy WHILE you are playing – but it is more difficult to do, and the results might not always be consistent. So if you tell yourself to use it in the same times you might use your whammy -and if you are fortunate, it will work well – although there is no guarantee. And that’s where you can have surprising and dismaying failures – let’s say you’ve worked out a part where, you stop playing and then do a move on the pad, a really dramatic move like a drop or a pitch shift of some kind, and you do it say, for four bars in a row, once each bar….and on the fourth one, you are a tiny bit too late on the pad – and out comes….silence.
That can be embarrassing, and even disappointing, because maybe that fourth amazing Kaoss swoop – should have been the most flamboyant and remarkable of the four in a row – but instead, you play three good ones, and the fourth one – just isn’t meant to happen.
So you lose an entire perfect take, because you timed your Kaoss sound off by nanoseconds – and that resulted not in an error, but instead, in a fail – a silence when your audience would clearly be expecting some kind of fantastical Kaossilator effect – and that is annoying! I have lost solos and takes because of one failed or less than spectacular Kaoss swoop.
The remedy for that, of course – is more practice, and, of course, the more you practice, the less likely these time-based mishaps will haunt your kaoss playing. No one said this would be easy – but sometimes, it is pretty easy to make the pad sound good, on other occasions, not so much so – but if you work at it, you can play some truly extraordinary and more importantly, utterly unique chord patterns, notes, guitar solos and sound effects – I mean, with 100 sounds to choose from, you have an enormous palette of high quality Korg effects with which to modify your beautifully clean or very distorted Ibanez guitar – and that to me, is a winning combination.
RECOGNISING STUPIDITY WHEN I COME ACROSS IT
like my late father before me, I find that there are certain aspects of life that are just so stupid, that you can’t help but become agitated and very outspoken when one of these “stupidities” comes to light.
I actually have a real knack for recognising stupid issues, and that realisation came home to me in a quite surreal experience I had at a Guitar Craft course held in Ojai, California back in the 1990s. It was a very good course, with mostly good weather, and we got to listen to Robert Fripp rehearse his Soundscapes, not to mention hearing an early DAT of the then non-existent King Crimson album “Vrooom”, which of course preceeded the album “proper” which is the even more awesome “THRAK”.
but i digress, the incident that confirmed to me that I do have a real knack or propensity, if you will, for seeing stupidity for what it is, and usually, confronting it head on….started like this:
A GUITAR CRAFT STORY
The course was in a lovely, big house on a lovely big green hilltop, a grassy hilltop lawn that of couse, being in California, was fully equipped with sprinklers, which went off automatically at pre-set intervals, to keep that hilltop lawn watered and healthy and looking good. That is absolutely standard practice in southern California, because, if you don’t water…your lawn, and / or your plants, turn brown and then die. California, after all, is basically, an artificially-irrigated desert, with water piped in from other states! – from many hundreds of miles away.
part way through the course, on a rare rainy day, where it was raining pretty hard, but in that warm kind of unconvincing California way… I believe it was just before lunch, and the whole group, including Robert were sitting in silence (as you do quite often at Guitar Craft) and of course, if you are not quiet inwardly (as I often wasn’t) your attention may start to wander, and I confess that at this point, where a long, uneasy silence was waiting to hopefully, become a proper silence…I was looking out the window, watching the rain and looking at the plants and the lawn.
the silence went on and on, and after an uncomfortably long time, suddenly, Robert spoke: “can anyone” (he said, addressing the entire course) “give me an example of real stupidity that is going on here, right now” and he sort of, gazed up and around the room.
confused silence was the first response, while people tried to think if perhaps, THEY had done something stupid earlier on, and now here was Robert Fripp calling them out? You could sense some rising panic in some of the faces…but no one answered.
then, the answer smacked me right in the brain, that Stafford tradition (my Dad would have been so proud of me!!!!) came back and I blurted out “the sprinklers”. “The sprinklers are on, watering, while its pouring with rain”. I added.
“Thats right, the sprinklers” Robert agreed.
And of course, thats pretty much the only time that I had the answer when the gathered elders of Guitar Craft did not, so I was pleased that I’d seen it so quickly. And no one except Robert had a clue, it is just one of those things that people born in California, are used to seeing, all the time, all of your life.
And, it IS a pretty stupid thing, to have your sprinklers busily overwatering your lawn, and indeed, the combination of a substantial rainfall and the powerful large radius-coverage sprinklers running at the same time, could and often did turn your lawn into a green soaking wet sludge – serious over watering can occur.
I have told this story before, in a more abbreviated form, and I apologise if you have heard it before – but it was necessary for me to restate my “credentials” as a more than “averagely aware of stupidity” kind of person. I see stupidity in many designs, processes, and even in well establish practices, where people are doing activities in a particularly stupid way, when a much better way is or at least, might be available.
for example – sprinkler systems that can be overridden and can be programmed NOT to turn on, in the case of rain.
clearly, the owner of that nice house on the hill in Ojai, was unaware of this possibility, and because of that, would be always overwatering his lawn and plants when the sprinklers regularly came on while it was raining!
Stupidity at work, in the universe…a perfect example, and both Robert Fripp and I, while looking out the window at the garden in the pouring rain, had realised what was going on just outside the room, while the other fifty five people were only thinking inside the room, or, hadn’t noticed or, hadn’t realised – that a really stupid thing was going on, right then and there – but outside, not inside!
It’s a day I’ve never forgotten, not only because I knew the answer when RF was the only other person who did, but because it was a great course, and my “Stupidity Detector” was clearly working better than it ever had done before. A very useful tool, being able to recognise stupidity when you see it – and, if you look around, you will often find that its … EVERYWHERE!!
So what does this long and somewhat tedious Guitar Craft story have to do with today’s blog? Not a lot, really, except perhaps, to establish that I have this knack, this ability to spot stupid practices, and that, coupled with some forty years in the business world, makes me the Customer From Hell, when companies have to deal with me.
THE ISSUE IN QUESTION
Today’s blog, however, is not about a gentle, somewhat forgivable stupidity such as watering your lawn while its raining…no, today’s blog is about something much, much stupider than that – and therefore, a hundred times more irritating because the stupidity actually has a real, negative effect on you.
I am writing today about a very specific “policy” that a particular music store has, which is, in short: supplying the wrong type of power supply with almost every guitar effects unit they sell: a European power supply with round pins that cannot be plugged into the wall in the UK! (where we use flat pin power supplies only). To me, this “policy”…is right up there on my “stupidity radar” – supplying a useless power supply that could only work in Europe…in the UK.
a) it is a policy that makes NO logical sense – and the stream of useless Euro power supplies arriving every few months – utterly useless
b) I am sick and tired of ARGUING about it each time I make a purchase – and, an important point here – having to ask in the first place is bang out of order – when it SHOULD HAVE BEEN in the box when it arrived!!
Life is literally too short for me to waste my time railing against such a stupid thing – and they, unwilling to do as I, the customer politely asks again and again – well, the most recent sale they made to me – will be the last bit of business they get from me…I need vendors that will work with me on this.
Not, fight me tooth and nail when I try to get a useable power supply for my effects unit – that I have already paid for (it is part of the effect units’ purchase price)
Meanwhile, I have grown so frustrated with this “policy” over the past six or seven years (!!!!!!!) that I have recently reached the point where I told them that, if they were unwilling to continue to make the situation right, each time I make a purchase of an effects pedal from them (containing a European supply), that they will no longer get my repeat business or any of my business, because I refuse to participate in this specific power supply stupidity any more!
I’d like now, to ask you a few simple rhetorical questions:
Note: today’s “stupidity” only occurs in the United Kingdom to my knowledge. It does not occur in Europe or elsewhere that I know of. This is important to remember.
So – UK residents only, then – when you buy a new toaster (or any small appliance) do you expect it to have a UK style plug (flat blades, three pronged) attached, so you can plug it in the moment you get home, and have some nice toast with your cuppa tea?
when you buy a new iron, do you expect it to have a UK style plug attached, the correct flat-bladed UK style plug, so that when you get home, you can plug that iron in right awaty, and get your three week backlog of ironing done in a jiffy?
when you buy a new hair dryer, do you expect to be able to plug it into the wall, and dry your soaking wet hair right away, without waiting?
when you buy a new alarm clock, do you expect a UK style plug attached right to it, so you can plug it in straight away, set the alarm, and then get woken up ever so gently to the quiet strains of Rammstein’s “Zwitters” blasting out at 6:05 a.m., at volume 10…?
when you buy a new Hoover, you expect it to have its UK style flat bladed plug already attached, so when you get home, you can plug it in straight away, and hoover your dirty ole carpets to yer heart’s content?
If you got a new set of hair straighteners, you would definitely want to go hone and plug them straight into your UK 230 volt wall outlet, so you can then wait for them to heat up, and straighten your hair to PERFECTION??
Let’s go large now, you finally bought that brand new washing machine you wanted, and I just know you will expect that it will come with a UK style plug already attached, so you can plug it straight into the wall outlet, hook up the water, and wash all those dirty clothes that have piled up everywhere??
I think you can see the everyday truth in the above statements. Nothing tricky about them – just ordinary appliance purchases and expectations.
You may have gathered that I am making a point, and I am, and yes, OK I have rather belaboured that point (apologies)…but there is a reason for the many, many examples of ordinary electrical appliances both small and large – so that we can establish that for any electrical item that you buy in the United Kingdom, you have developed the perfectly reasonable expectation that the moment you get it home, whatever it is – you can plug it in, and start using it immediately.
What if that were NOT the case? What if, you brought that toaster home, and it didn’t have a UK plug on it, or with it, so you couldn’t plug it into your common, ordinary, garden UK 230v outlet – in fact – you couldn’t plug it in anywhere in the UK.
First of all – that would make you feel very frustrated, because, you couldn’t feed that horde of screaming children waiting for their morning toast. You would all starve, or at least you’d be eating untoasted bread which is almost as bad – when you want toast. and it goes on for days and days and days – no toast, and a useless, cold toaster.
That scenario is pretty unpleasant, but let me take this story one step further. Let’s say that on that same day, the day you got home, took that toaster out of the box, and THEN realised that you couldn’t plug it in…that you rang up the store you bought it from, and asked them to please provide a proper UK plug, and they said, yeah, OK we’ll do that, you will get it in a couple of days.
Three days go by, with no toast made, that toaster not lighting up at all. The toaster is dead. The promised UK plug does NOT arrive. You ring the store again, they say they will send the plug…so now three weeks have gone by and you still have no working toaster and no plug from the store…
After many calls, much argument with the store, pleading, cajoling…You reach the three month mark…THREE MONTHS WITHOUT TOAST…and finally, you get a UK style plug for your toaster delivered, finally sent by the store at long, long last.
And if the children haven’t all starved by now, they finally get some toast – but you’ve been through three months of hell trying to get the store to make things right for you, and you really begin to question your sanity. You have argued calmly that it should have had a UK plug all along, but, the store seem unconcerned, and they also seem bent on supplying the NEXT item you buy from them…with ANOTHER useless Euro style plug. Repeat of same scenario above.
Now, I could build a similar scenario for each and every item above, but it would take far too long, and I think the toaster example is a good enough example.
Three months without being able to plug in your new toaster? Can you imagine?
Now – with the above everyday analogies, I’ve set up the background here, I’ve created practical examples of how it would feel if you got home to find that you could not plug your new toaster in, and then, the store you got this rather useless appliance from, took over three months to make it possible for you to plug it in and finally have some toast.
How would that make you feel?
IT’S BEEN MY EXPERIENCE…THAT WHEN THE ROW GETS SERIOUS…
A CERTAIN SILENCE WILL FALL.
How would that make you feel??
Now – that is a question.
Unfortunately, I can answer that question. I can provide in fact, a first hand account of exactly this “toaster experience” but with something else in the way of “small electrics” that I regularly purchase: effects pedals for guitar.
For the past several years, I’ve been purchasing the odd guitar pedal or two, and often from one of my favourite stores, DV24/7. They were, and are, a good store – they delivered quickly, they always had the lowest price, and eventually, they got all of my business.
Until a few days ago, when I reached such a point of impatience and sheer frustration with their attitude regarding the power supplies for said guitar effects – that I’ve told them that I will be taking my business, my REPEAT business, to another guitar store. ANY OTHER STORE. One that will truly want AND truly appreciate (not just say that they appreciate, but ACTUALLY appreciate) my repeat business. GAK, Dolphin, I really do not care. Just – no more Euro power supplies. Please.
I must have at least six of these useless Lumps Of Plastic with round pins sticking out of them, cluttering up my storage area at home. They are worthless in the UK, sadly, they would be quite handy for any number of young guitarists in Europe. I have enough for a whole Euro power pedalboard. In Europe. Where I don’t live.
They are doing me not one whit of good unless you think it’s perhaps, a good reminder from myself to myself to say NEVER AGAIN to accepting a Euro style power supply for any UK-purchase / UK-use electrical appliance or guitar effect pedal. Ever.
DV24/7 refused to listen to the pure logic I presented to them regarding this very, very stupid “policy” of theirs – which is this:
Each effects unit they sell IN THE UNITED KINGDOM, comes supplied with a power supply (as intended by the manufacturers – who meant for the correct-country power supply to come with each pedal, it is included in the PURCHASE PRICE!) but with a twist; its a EUROPEAN power supply that DV24/7 regularly send to their UK CUSTOMERS. That cannot be plugged into ANY power outlet IN THE UNITED KINGDOM. Now – where, exactly, is the logic or sense in THAT?
Answer? There is no logic present in this odd policy of supplying useless / wrong power supplies with each effects pedal sale. If I just shelled out £400.00 for a really nifty pedal, it had darn well come with the CORRECT, USEFUL POWER SUPPLY. That will plug into one of the many UK OUTLETS that I have in my UK HOUSE.
TALK ABOUT SPOILING YOUR ENJOYMENT!
So, you’ve finally decided to buy your first Eventide H9, a truly powerful and exciting new guitar effects device – you order it from DV24/7; it arrives in a day or two..
but…BUT…it comes supplied with a EUROPEAN power supply. So all that anticipation, all the excitement – dies, because you cannot PLUG IT IN. So you then get to LOOK at it, but not use it, or hear it, for several days or even weeks, while you impatiently wait for the store to send you the right, usable power supply. After the fact, after the purchase….”oh please, kind sir, may I have a UK power supply so I csn actually USE my guitar effect??”.
Now, the first few times this happened, I would just ring or email them , and say “can you please send me a UK power supply for this REALLY EXPENSIVE pedal i just bought from you?”. And – generally, they would. I just had to ask. (Not my job, really, but, whatever).
And I would then have to wait, a few days, a week, whatever, and the power supply arrives – so I can FINALLY plug in my brand new effects pedal. Finally use it, finally hear it – at last. But it is just not the same, as being able to plug it in the moment it arrives…nope. A third-rate experience at best. Sheer frustration and mounting anger at the worst end of the “DV experience” 🙂
After this had gone on for some five years, let’s say, they started resisting me when I would insist on the proper UK power supply, and then finally, just a couple of weeks ago now, their salesperson told me, in an email, no less “you will have to accept that some of these effects (read: all of these effects) will come with a Euro adapter, and we may then provide a UK plug adapter with the Euro power supply”.
And, that, dear reader, was the wrong thing to say to me. my reply was “Salesperson’s Name Here, I must certainly do not “have to ACCEPT” anything – “I am the customer, and, you’ve set a precedent with me, i.e, you have been supplying me with the proper UK adapter, AFTER each effects sale, with NO ARGUMENT, and at no charge for several YEARS NOW – and now, you are reneging on that, and saying that I MUST ACCEPT Euro plugs, and a crappy plastic ‘plug adapter’ to go with it ! – no thank you, and furthermore, I refuse to trust my really expensive device to a £1.79 plastic UK plug adapter”.
So because they instigated this new “policy”, where they no LONGER supply the proper UK power supply at request or at no charge…which they had done for about five years out of the six OR seven years (or more) I’ve been buying from them, I’ve had enough – more than enough of their attitude – and if it costs them money, to supply what should have been in the box all along – well, that is NOT my problem.
I was a good, repeat business customer, a good one – but over the past two years, I’ve had to argue, argue, argue, and eventually they would reluctantly send me a UK power supply for the device I had just bought.
I got really tired of the whole subject. I even called the UK store manager in Romford, and had a long talk with him about..about just how incredibly STUPID (THERE IT IS….THE ‘S’ WORD) the policy of sending Euro plugs (aka, something that in the UK, MAY AS WELL BE A LUMP OF USELESS PLASTIC WITH SOME ROUND PINS STICKING OUT OF IT) – and he agreed it wasn’t the most brilliant policy, but I thought we had reached an agreement, that they would continue to supply them to me when I ask for them…but I was wrong.
not so. In fact, after the last conversation with the boss, it was then that I waited THREE MONTHS for a UK adapter to arrive for my Ground Control Pro. Almost as if he had told them to drag their feet…
But not long after that, the real arguments started, and the salesman started telling me what I “MUST ACCEPT”.
That was the signal for me to end my relationship with DV24/7 (except of course, in the event of me needing to use one of my many, many, three year warranties that I have with them for a number of my effects devices).
So the income and the profit from sales to me have how stopped, permanently, they claimed, in an email that they “valued my repeat business” but basically, I would have to accept Euro plugs with UK plug adapters…so from that threat, I could tell that clearly, they do NOT value my repeat business at all.
If they did, the precedent set six or seven years ago, would still be in place, and I would still get a proper UK power supply for each device I purchased. But – no more
All the other stores, I will be completely honest with them going forward: I will EXPECT a UK adapter with each pedal I purchase – or, I will give the business to the vendor who will happily say “yes” to that humble, simple request.
WHAT THE MANUFACTURERS MEANT TO HAPPEN
(and what they supply to MAKE it happen in the different markets)
As if the all of the above wasn’t enough, now, please consider this:
Each manufacturer, for example, Eventide (USA based) or Electro-Harmonix (USA based) has included in the price of their effects pedal, a working power supply for that device, which should be different for each non-USA country it is sold in.
So let’s imagine that you bought a pedal from a well known online store in the USA, and you LIVE in the USA.
Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, with a US style two-flat-bladed-plugs-bearing power supply. You open the box; you plug that two prong flat bladed US style plug directly into the nearest 110v US outlet in your US home – And you are instantly delighting in the beauty of the H9 experience.
So let’s now imagine that you bought a pedal from a well known online store in Germany, and, YOU live in Germany…or anywhere in Europe except the UK.
Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, with a Euro style two-round-pins-plug bearing power supply. You open the box; you plug that two round pin style plug directly into the nearest 220v German outlet in your German home – And, you are instantly delighting in the beauty of the H9 experience.
Repeat above paragraph for Japanese market.
Repeat above paragraph for South American market.
Repeat above paragraph for any non-UK market.
Finally – let’s now imagine that you bought a pedal from a well known online store in the UK, and, YOU live in the UK.
Let’s say it’s that Eventide H9 I mentioned earlier. You would receive that H9 in a box, BUT, much to your everlasting astonishment – instead of the 3-flat-bladed UK style power supply you expected (just as with your toaster, your hair dryer, your washing machine, your hoover…) but instead, to your ultimate dismay – you find, inexplicably, that you have instead been sent – a Euro style two-round-pins-plug bearing power supply.
You open the box; you remove the wrongly supplied Euro power supply in disbelief, which you cannot plug in anywhere in the country you live in – And, you now have no idea what the H9 SOUNDS like, because you cannot plug it INTO THE WALL as you can in every OTHER COUNTRY ON THE PLANET. And – you DO NOT GET TO DELIGHT in the beauty of the H9 experience. Not for days or weeks or latterly, apparently – ever.
Eventide MEANT for you to get that box, open it, plug the RIGHT power supply into the proper outlet, and play your guitar through their pedal. Immediately. You PAID for that, you paid for the good experience, the one where you get to actually use the pedal you just bought.
No..not here in the UK. Instead…you get argument. You spend literally hours, emailing, calling the DV24/7 boss AGAIN to complain.
THE LAST STRAW
There is one remaining wee story to tell. And that story is about a device that I bought from DV24/7 … LAST YEAR.
I bought a new Voodoo Labs Ground Control Plus MIDI controller from DV24/7 in late October or early November – the actual date isnt really important.
you’ll never guess, to my amazement…it TOO, like the Eventides and the Electro-Harmonix pedals before it, the Ground Control Pro arrived…with a Euro style round pin power supply – with a twist, it was an AC adapter (rather than the much more common DC adapter), with a higher current requirement than most pedals have. Still useless though…I did say “Euro” and “round pins”.
So standard procedure, I rang up or emailed DV24/7 and said “please send me the correct voltage Voodoo Labs UK power supply for my Ground Control Pro”. I got argument and stalling. I rang the boss yet again, applied pressure verbally…he promised they would send the adapter.
still no adapter. Christmas passed. I cajoled, I asked nicely, I became irritated…no result.
New Year passed. I wrote again, this time simply saying “appalling customer service, making a good, repeat customer wait OVER THREE MONTHS for a lousy power supply that costs £2.00 to produce in Asia…you ought to be ashamed”.
Nothing.. No response to my emails anymore.
then, tonight, on January 20th, having waited thru November, thru December and thru most of January with no power supply – when I got home, a small box from DV24/7 had been delivered to my neighbour. I went to retrieve it. Finally – and, by the way, NOT a Voodoo Labs supply at all, but the cheapest of the cheap generic type adapter, BUT the right voltage 9 volts AC at 500 ma – so theoretically usable with the Ground Control.
The adapter was promised over and over, the salesman promied, then his BOSS promised it, and it didn’t arrive.
I doubt it was my “you ought to be ashamed” message that finally caused it to ship to me – but it should have been.
They still owe me a power supply for an EHX pedal I bought recently. But we shall see what happens with that one. But, I won’t expend the least bit of effort on DV24/7 any more, no more chasing down a power supply EVERY SINGLE TIME I BOUGHT SOMETHING. For SEVEN YEARS.
A SIMPLE, SIMPLE SOLUTION EXISTS
DV24/7 have some internal “problem” where some their stock that is to be sold in the UK, comes from Europe, and it has Euro plugs in it. But guess what – the manufacturers make at least four different adapters, that are supposed to be sold in the US, the UK, Europe, and Japan. So – you, as the distributor of these products, are supposed to be SMART ENOUGH to order the right boxes with the right adapters for each country you are selling them in.
A quick example of a smart policy:
You are a big music store with stores in Europe and in the UK. Sales are roughly equivalent in both areas, so, instead of buying 1000 boxes of EURO Eventude H9s, you order instead, 500 boxes of Euro H9s (which you sell in EUROPE) and 500 boxes of UK BOXES, (which you sell IN THE UNITED KINGDOM). Simple.
Under my clever scheme (see above) the customers in BOTH Europe AND the UK END UP WITH THE CORRECT POWER SUPPLY when they receive their order. Rejoicing. No more phone calls. No more emails. No more arguing with customers. No more customers so traumatised by their never-ending NEGATIVE EXPERIENCE AT DV24/7 that they finally just say NO MORE.
Now – clearly, their purchasing department wasn’t smart, and all their pedals are in EURO boxes. So this won’t ever end, with DV.
BUT INSTEAD of them making their problem by MY problem, and pawning off their unwanted garbage/Euro Lumps Of Plastic onto UK customers who DO NOT WANT THEM…instead of you making your problem be my problem…why don’t you just SOLVE the problem, and buy the boxes with effects with UK power supplies in them, to SELL IN THE UNITED KINGDOM???
by the way: I ***HATE*** it, when companies, or people, make THEIR PROBLEM be MY PROBLEM. I refuse to allow that. My time is too valuable, too precious to waste on the “Euro round pin power supply game”. It is a game that sucks, I can tell you that much for free.
THE REAL INTENTIONS OF THE EFFECTS’ MANUFACTURERS
Remember, the manufacturers, WANT YOU not only to get a power supply with your device, but, they WANTED for it to have a power supply with it, that meets the following criteria (you PAID for all this – it is included in the effect’s price!!!!):
a) fits the outlets in your country
b) supplies the right voltage and has the correct current handling requirements for your device and your country’s power outlets
c) you PAID FOR THAT privilege, to be able to plug right in and enjoy your purchase – whereas, I got to LOOK at how nice my new effects looked, for many days, while I waited for the “afterthought” correct UK adapter to arrive – and, looking is not HEARING or ENJOYING, is it?? and
d) they did NOT intend for you to receive the WRONG PLUG type, that does NOT plug in, in your country, and is, to a UK customer anyway, a useless LUMP OF PLASTIC with two round pins sticking our of it.
i rest my case. As Bryan Ferry once said “don’t let this happen to you!!”
I told you I could find the STUPID stuff.
peace and love and UK POWER SUPPLIES FOR ALL!!!!
of course, it’s one thing to get routing, cables, and set-up done – that’s great, but then there is the other”set-up” the one that takes even longer, which is setting up each individual tool.
so there is still an enormous amount of work to be done, particularly with the newer hardware – so that will be my next task. I’ve been working with the roland gr-55 for almost a year now, and while I’ve done some work on customising it, I have reached a point now where I “know” what sounds I like to use, I have created a handful of “custom” patches…but I want to create many, many more (because the combining of sounds is what this device is all about!) – so I have my work cut out for me. I need to plan out how I want the user bank to work, and “group together” voices that I use and prefer, into trios of voices that make sense for live looping. so I need a good long session with the pedal, so I can set up several banks of sounds suited for ambient looping, which would incorporate some normal guitar patches suitable for ebow, as well as synth voices such as “rich strings” and the many, many other ambient synth voices I’ve used over the past year, so that when I do ambient looping, all those sounds are grouped together; then I would want some “loud” banks, with trios of voices that I know will work well together in a live loop situation, for the loud/active material, and so on.
there are so many programming tasks ahead it’s not funny: choosing my favourite voices, modifying them where needed, creating new voices, grouping together voices for live looping purposes, and just generally working on guitar sounds: synth sounds, normal guitar tone, and hybrid combinations thereof.
the other new device is of course the delay, which doesn’t have as much programmability, but it does have some, so again, I’ve worked with it for a number of months now, I need to identify the sets of delay settings that I use the most often and put those into the memory banks, and make sure my switching is in order. and I also need to set up the expression pedal and test out what it is capable of with this device, I am really looking forward to that, as I don’t think I’ve ever really had an expression pedal available on a delay device before (well, I would have done so with the digitech tsr-24s continuous controllers, but it wasn’t a dedicated delay – so effectively, I’ve never had an expression pedal dedicated to a delay before), so being able to manipulate delay parameters via continuous controllers while I play will be a lot of fun.
and given how incredible the time bender sounds, use cc pedals with it should be very, very interesting indeed!
so while everything is hooked up now, physically, there is still much to be done in the setting up of individual tools, but I am confident that over the next few weeks, I will make the time to get this done, although as with everything, it will probably have to be done in stages – starting with the ambient patches and banks, of course ! 🙂 I want to create some brand new, very atmospheric and creative patches to use on the sketches for the upcoming orsi / stafford record, so I will also take time to create some patches that can be dedicated initially to the project, but then can probably also be used ongoing.
it does seem as if when I was younger, I had “more time” to prepare sounds, to tweak patches and especially, set up interesting continuous controller pedals – because I did spend what seemed like endless hours working on patches, working on tweaking sounds, working on presets – and I do find it very difficult indeed to find time to dedicate to this kind of “other” set-up work now.
instead, I think what I have tended to do lately (well, for the last several years, actually), is look at the set up of each recording session, and sort of…”on the fly”…take whatever measures I need to, even if that is creating a new hybrid voice for the synth; or working out a delay sound that suits that newly created voice; or storing three or six patches into convenient banks so that it’s easy to switch between the desired sounds during that particular session. the latter is of course crucial when it is a live session, if it is studio work, less so – but I do really wish I could sit for about 40 or 50 hours with the roland gr-55, test each and every preset sound again, organise, modify, and save those that I intend to use, document all the best sounds and categorise them based on how they will help me achieve the best active, standard and ambient sounds possible.
I am really looking forward to doing more of this kind of advanced programming – I find that the more that is pre-prepared, the quicker I can adapt sounds for the actual requirement of the session – but strangely, on the other hand, even if I did no preparation, no customisation, I would still be able to set something up – I just might have to rely on more “stock” sounds – which isn’t necessarily a bad thing.
users are often quick to say “oh, this device, device x, or, device gr-55, the presets are all rubbish” – I’ve been hearing that about device after device that I’ve owned, and I must say – I disagree. many of the presets on many devices are not just usable out of the box but sometimes, incredibly beautiful – and for me, it’s more about recognising which presets sound great (even if that is a small percentage), good, ok, and not so good…and then taking the appropriate action based on that assessment. to dismiss them out of hand as rubbish – I don’t get it, personally – I think that is probably ego-driven, “oh, I am the artist, I can make better voices than roland – or digitech – or whoever – can”.
I disagree, because the staff at these companies are often musicians themselves, and they understand just as well as you or I do “what sounds good” – so I would speak in their defense, they do the best they can, they create presets that will hopefully either be useful right out of the box, or, with a little bit of work and customisation, voices that have potential. if you look at it that way – all the presets are “good”, because if you tweak them enough, they will be good! of course, they aren’t “presets” at that point, but, if you haven’t changed much about them, they are very close to being presets – and I often use presets without modification. if they sound good…if the shoe fits…if it isn’t broke…don’t fix it.
in the end, it’s always back to time though – if I can figure out how and when I have the time to work on the other side of set up, customisation and programming – obviously, I will need to find a way to do this “in stages”. I have already begun a document that categorises some of the voices I use, and describes all of the custom voices I’ve built so far,for the gr-55, but I want to take that much, much further than I have to date.