Music + Technology = Pete Lacis

Whenever I have the opportunity to play a new guitar, I opt to bring one of my own along to serve as a point of reference.  This held true earlier this week as I had the opportunity to play the new EVH Wolfgang and compare it to a few other guitars that, based on their specs, should  handle the “same chores.”

Ernie Ball Muisc Man EVH
- from the 1st run of the originals
- Has a brass block on the floyd

Suhr Standard
- basswood body, maple top, one piece maple neck
- DSH – V60lp – DSV pickups, VG300 bridge

Suhr Modern
- basswood body, maple top, maple neck & fingerboard
- Suhr Aldrich pickups, Gotoh Floyd

FYI – the Suhr Standard is my guitar, while the other Suhr Modern and the 1st run Ernie Ball Music Man EVH model belonged to a friend. Everything was played through a 5150 III head & cab.

According to my ears….

The new EVH sounds bigger (more lows and highs) whereas the original EBMM EVH sounds thicker in the mids. The EVH Wolfgang is also punchier sounding and has more overall low-end. If you’ve caught any of the clips or heard any bootlegs of Eddie from the most recent tour, the new EVH Wolfgang (especially through ch 3 on the 5150 III) IS that sound.

The neck on the EVH Wolfgang is much slimmer and flatter than the EBMM. I would consider it more a Charvel type of neck as opposed to any Ibanez comparisons that some have mentioned (I just don’t see that). To that point, my favorite neck shape is an even C medium with a compound radius (10-14) and I was much more comfortable on the new EVH Wolfgang than on the old EBMM EVH.

As far a quality is concerned, the EVH Wolfgang felt like a really nice guitar. It felt like a very solid construction and played effortlessly. The action was insanely low and the stainless steel frets really add to the ease of playability. A real plus in my book.

As these guitars were not available for sale yet (at the time of this demo), we didn’t break into the case candy for the trem arm, so the Floyd wasn’t put to a full out test. We were also not able to verify if these guitar were sporting brass blocks or not. I would tend to think not.

Compared to the basswood Suhrs, I honestly say that the EVH Wolfgang is right up their in tone. The pickups are clearly high output, but retain a great amount of clarity….especially compared to the old EBMM. They are almost hi-fi by comparison. While the EBMM would certainly nail the Van Halen sound, the Wolfgang felt much more versatile…..it did the Van Halen thing for sure, but also did a lot more.

This all said, I was immediately more comfortable on the Suhrs than on either of the EVH guitars, but that’s because the Suhrs sported necks much more similar to what I normally favor (even C medium types).

In the end, I’d say the EVH Wolfgang is a great guitar for Van Halen music and more. Is it worth the money? Based on quality of construction, playability and tonality, yes it feels like a $3,000 guitar should. But as I mentioned earlier in this thread my tastes are suited to different neck styles and I’m not huge on putting down that kind of coin if I can’t pick out all the specs.

But don’t take my word for it, check one out for yourself.

Pete Lacis guitar, musical instruments ebmm evh, ernie ball music man evh, evh wolfgang, suhr

This is the sort of story that we gearheads just love.  Being that I was heavily influence by the music of Phish and its guitarist Trey Anastasio in the 90’s, I became a big fan of hollow body guitars used in conjunction with a compressor pedal to achieve loud and clear sustain with a clean, undistorted tone.  Well in the last few years of Phish’s existence, Trey ditched his long-used compressor and his tone took on a darker, edgier and grungier sound which was far removed from its pristine and singing mid-90’s hey-day.

As fate would have it, I was not alone is my disdain for Trey’s tone of late.  The folks over at phantasytour.com had been discussing the demise of Trey’s tone and the discussion heated up once the band announced that it would be reforming for some shows this spring.  The conversation got to Trey via his long-time songwriter partner and lyricist Tom Marshall who had stumbled up these discussions.  The following is an excerpt from Tom Marshall’s conversation with Trey Anastasio:

I spent the last two days and last night in New York writing three cool songs with Red. In direct response to msharky’s request, I asked Trey what the deal is with this compressor stuff?.I explained the PT threads requesting that he bring back the compressor. He was very surprised that I was asking him this, because I’m not really a ‘tech’ guy…you know? I also don’t listen too much to old shows, and so the “tone change” was lost on me. I like writing new songs, and I don’t focus too much on the past. First i must explain that he found it funny that I brought it up, because he had been thinking the EXACT SAME THING: Phish is coming back, maybe the Ross should also come back. He’s thinking of the Mesa and possibly the cabinets too — but he does like that little fender.

Basically, he used the compressor differently than people normally do — often people will place it early in the effects chain to smooth the sound going into the other effects. Trey did it backwards, and had the Ross last — AFTER his two tube screamers. The Ross was always on. Always. His signature Squirming Coil “playable sustain” was the result of full volume pedal and both screamers on and pumping that signal into the Ross.

Me: and so you got rid of it?

Trey: I started playing without it after Phish and found that I could get an “edgier” sound that I can’t get with it.

Me: so it’s gone? or just off?

Trey: gone

Me: forever?

Trey: no, I’ve been thinking of bringing it back for a while now…if i can find it!

Well with the news that Trey would consider returning to his old sound if he could find his old compressor, the People for a Compressed Trey banded together to procure one for him!  The future just got a lot smoother!

[Show as slideshow]

 

Sources: Relix, Rolling Stone, Phantasy Tour, Tom Marshall’s Picassa Album

Pete Lacis amplifiers, guitar, music, musical instruments, musician compressor, phish, ross compressor, tone, trey anastasio

It’s official! My wife Erin Weed has been chosen by Campus Activities Magazine as a top 5 finalist for Best Female Performer.  This is a tremendous honor in recognition of her speaking on the topics of personal safety and self-defense for women via her Girls Fight Back program.  Please join me in congratulating her on this wonderful accomplishment and cast your vote!

Pete Lacis life best female performer, campus activities magazine, Erin Weed, Girls Fight Back

As I’ve been finding myself lately really gravitating to the sound of my VOS 1960 plain top Les Paul Standard, I’ve become curious as to why folks chose Les Paul Standards over Les Paul Customs and vice-versa.

Through my own observations, I’d say that most organic classic rock stuff (Allmans, Zeppelin, Skynard, Aerosmith, etc) tends to be played on Standards (with Fogarty & Framptom being the exceptions) while more metal tends to be played on Customs (John Sykes, Zakk Wylde, Adam Jones (Tool), Randy Rhodes, etc).

I also realize that there are a few different variations of the Custom including the fact that several were all mahogany (no maple top i.e. Black Beauty I believe) while others sported maple necks instead of mahogany (namely 70’s era Customs favored by Wylde & Sykes).

So to that point, what style of Les Paul would you use for which styles of music? I’ve been thinking about getting a ‘68 reissue custom (black one at Wildwood), but I really love the organic nature of my VOS Standard and wonder if I would wander away from the tones that I favor by going the Custom route.

To help gain perspective on this, I’ve posted these sames questions along with a poll at Huge Racks Inc and The Gear Page.  Please visit the threads to cast your vote and participate in the conversation.

Pete Lacis guitar, music, musical instruments classic rock, ebony, Gibson, les paul custom, les paul standard, mahogany, maple, metal, rosewood

I’ll be playing with Stone Blue on Saturday, December 27th at The Buffalo Rose in Golden, CO. Classic rock covers. Show starts at 9pm.

Check out more information at http://www.buffalorose.net/

Pete Lacis music, musician, pete lacis classic rock, Colorado, gig, golden, live music

In an effort to decode the mystery between high-priced Gibson Les Paul’s and their lower-priced Japanese siblings manufactured by Edwards, we are comparing a Gibson Les Paul VOS 1960 with a Edward Les Paul LP130.

We recorded four clips with each guitar, playing essentially the same riffs/changes through the exact same amp & volume settings in order to get a truly fair comparison. To that point, example 1 is a riff (same one that I used to demo the Egnater seminar head last February for Premier Guitar), example 2 is a series of distorted chords, example 3 is a brief solo/lick and example 4 features some changes played clean through the neck pickup (all other examples feature the bridge pickup). Each clip is short so you can go back and forth between them for comparison purposes.

Edwards Les Paul

http://www.petelacis.com/music/gibson-vs-edwards/Edwards-1.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-2.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-3.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-4.mp3

Gibson VOS 1960

http://www.petelacis.com/music/gibson-vs-edwards/Gibson-1.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-2.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-3.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-4.mp3

A few interesting points to note. First off, the Edwards was considerably lighter in weight and rang much more loudly when strummed acoustically. The body seemed to just resonate much more than the Gibson. To that point, when I bought the Gibson, it was after playing about 30 Les Pauls and this one was the lightest and most resonant of the bunch, so take that into consideration. The Gibson did feel more solid to the touch…..but dare I say it was like the “solid” you feel from late 70’s and early 80’s Les Pauls by comparison…..they’re solid, but they don’t sustain well acoustically. Point for Edwards.

The stock Burstbucker 1 & 2 pickups in the Gibson are clearly hotter than the Seymour Duncan Antiquities that are features in the Edwards, but I think that was certainly a plus for the Edwards (for my tastes), especially when the neck pickup was concerned. When plugged in, the Gibson appears to have more “ass” to the sound (i.e. low-end) which I found surprising, because I’ve found that guitar to sound much brighter and less “thick” than many other Les Pauls, and I have since been interested in finding a LP with more “ass.” I had recently played a Warren Haynes model that had the same pickups as my VOS 1960 and it just sounded so much thicker…..still kicking myself for letting that one go.

From a playability standpoint, the action and set up on the Edwards (out of the box, actually) was fantastic. The fretboard radius on the Edwards appears to be flatter than that of the Gibson. As a result, I’d dare to say that the Edwards played better with lower action than the Gibson could. At first glance, one concern about the Edwards was that the tune-o-matic bridge was set up rather high. However, after close inspection, it appears as if the neck angle on the Edwards is considerably more steep that that of the Gibson VOS. Not sure what that means….just found it interesting. You can see examples regarding this in the pictures which will follow below.

Bottom line is that I would be impressed with the Edwards if it was as $2,000 guitar…..but its a $800 – $1,200 guitar and that’s just fantastic. If anyone was hesitating to give these guitars a try, I don’t see what could possibly be stopping you now. I wonder if they make a non-reverse all mahogany Firebird!

[Show as slideshow]

 

Pete Lacis audio clips, music, musical instruments comparision, Edwards, Gibson, les paul, VOS

If you’re running a mac with OS X and have a Motorola DVR with Firewire ports on the back (such as the popular Motorola DCT3416), recording digitally from your DVR to your computer is very simple if you follow these steps:

1.  Download and install the latest Firewire Development Kit from Apple.  The download is free, but you do have to register first.  This download will include AVCVideoCap.app which is the software you need to capture and/or record from your  FireWire connected HDTV-tuner or DVR.

Once this file is downloaded and installed, when you connect your computer to your DVR or HDTV tuner via firewire and launch this application, the DVR should be automatically detected.  Simply press “capture from device” and whatever is playing on your DVR or HDTV tuner will automatically be recorded on your computer.

2.  If you just want to play back the file that AVCVideoCap.app creates (which is a *.m2t file), you can download and install VLC which is a very handy video player for many formats.

However, if you want to export and convert the file for use in another way (i.e. sharing with others as a quicktime move for example), you’ll have to do two more things:

3.  The MPEG-2 Playback component is required if you want the capability to convert the *.m2t file into another format (such as a .mov).  Its available from Apple for about $20.

4.  Once you have the MPEG-2 Playback compondent installed, you can download and install MPEG Streamclip.  This software will then enable you to not only watch the *.m2t file that AVCVideo.app created, but also enable you to “Save As” or convert to a number of other file types including *.mov

I would also suggest if you don’t already have it, purchase the upgrade to Quicktime Pro for about $30 so that you can export Quicktime movies for the web in the excellent H.264 format.

Pete Lacis apple, technology DVR, firewire connected HDTV, firewire DVR, motorola dvr, record off dvr

Check out this article by Nancy Colasurdo on foxbusiness.com in which my company Phaseous was featured discussing the virtues of Search Engine Optimization, branding and putting users in control of their online communications.

“You Are Your Website”

Pete Lacis marketing, pete lacis, public relations, technology branding, fox business, nancy colasurdo, optimization, phaseous, seo, wordpress

Through a relationship I’ve built over at the Huge Racks Inc Forum, I was asked to participate in a pilot program to help test out and launch the new Cool Cat! pedals from Danelectro.

Pedals tested: Vibe, Fuzz and Metal II Danelectro Cool Cat!

In attempt to keeps things equal, I played each pedal via a Suhr Classic (alder body, Brazilian rosewood fingerboard, Suhr V60LP single coil pickups and Suhr SSC system) through a Custom Audio Amplifiers (CAA) OD100 Classic Plus. Cabs are CAA 1×12’s with Eminence Governors and I mic’d one of the cabs with a SM57. There are two clips for each pedal: one through the clean channel of the amp and one through the overdrive channel. Each clips begins with an un-effected riff for two bars and then alternates between effected and un-effected each two bars after that. Some clips have a little extra “stuff” going on at the end to demo the pedals a little further.

Danelectro Cool Cat Vibe – Clean

Danelectro Cool Cat Vibe – Dirty

Danelectro Cool Cat Fuzz – Clean

Danelectro Cool Cat Fuzz – Dirty

Danelectro Cool Cat Metal II – Clean

Danelectro Cool Cat Metal II – Dirty

Out of the three pedals, I dug the vibe pedal the most. That said, it had a rather pronounced (or perceived) volume boost when the pedal was engaged. It was the only pedal I tested that does not have a volume control (only mix).

Being that these pedals were true-bypass and of solid construction, I’d say that they would make a solid addition to any pedalboard. I’m certainly interested in checking out more of their product line. So far, so good.

Pete Lacis amplifiers, audio clips, musical instruments alder, audio clips, Cool Cat!, Danelectro, fuzz, Metal II, pedal, SSC, stopbox, suhr, v60lp, vibe

During the mid 90’s when it wasn’t cool to be good at guitar, I eschewed the grundge movement and threw myself into the world of jazz. Being a big fan of “Birth of the Cool” music up through the heavy, funky grooves of Medeski Martin & Wood, I decided to focus my efforts on playing bass with my organ trio (sometimes quartet and quintet), Thique. It wasn’t long before I discovered the power of the bass in music, and the bassist among musicians. Truly, the bassist has the power to subvertly (or overtly for that matter) influence the entire rest of the band through changes in groove, rhythm or harmonic structure. I was truly in awe of this awesome responsibility.

Fast forward more than 10 years later, I found myself looking to influence the music and the musicians I play with in a new way. I wanted a way to extend the range of what I was doing without playing a completely different instrument. I like the way guitar can influence harmony and rhythm. But I wanted a little of that subversion back. Enter the seven string guitar.

Steve Vai can be thanked for bringing the seven string solidbody (seven string guitars archtop hollowbodies have been popular with jazz guitarists for many years) to the masses in the early nineties via his solo album “Passion & Warfare” along with Whitesnake’s “Slip of the Tongue” (the latter gig which he took to fund and promote the prior). The seven string solidbody then experienced a renaissance in the late 90’s/early 2000’s when nu-metal bands like Korn and Limp Bizkit. However, because of its extended range and ability to be significantly down-tuned plus the addition of more modern amplification options with solid state rectifiers, most seven strings found their way into metal, nu-metal, nu-nu-meteal, etc.

Since the music I enjoy and play is more of an extension of jam bands (fusion of rock, funk, jazz, electronica, etc), I thought it would be really cool to bring the new sonic capabilities of the seven string to that sound…..to the best of my knowledge it hasn’t been done before. Only problem was most seven strings were designed for extreme metal. That certainly wasn’t going to do.

So enter January 2008. At the NAMM Tone Merchants party I had an opportunity to play a seven string Vigier through a Cornford MK50 II. Wow! What a sound! OK, now I confirmed that I wanted to explore this further. Then, after Suhr Guitars debuted their new “Modern” 24 fret model, there was talk that they might offer a seven string model. Being a fan of Suhr’s work, I was very excited about the prospects. However, that hope was short-lived as the Suhr guys soon found themselves overwhelmed with demand for their new products that had been developed, let alone any items that they might develop. So my dream of a seven string Suhr would have to wait for some time.

Based on my own tonal explorations, I knew I wanted a guitar with a mahogany body, mahogany neck, maple top and Brazilian rosewood fingerboard. The trouble was finding one. There weren’t any mass-produced models that met my needs. Ibanez is probably the most well know main stream seven string manufacturer, but there guitars always had maple necks and I can’t say enough about how much I dislike the sound of a maple neck on a mahogany body. That, and well, I’ve never cared for Ibanezes. I soon realized I would have to go boutique if I wanted anything that was of quality and with the woods that I wanted. I new Gene Baker make a few sevens years ago, but his old company was since out of business and his new pursuits were focusing on more “conservative” models. Luckily I’ve been following the muses of Matte Henderson for some time (extreme seven string enthusiast). I’ve kept in touch with him over time in case he ever wanted to sell any of his custom seven string beauties and he had one for sale…..but it was korina. I learned not too long ago (through a couple of Gene Baker BX3’s) that I greatly preferred the tonal qualities of mahogany over korina…..though they are within the same ballpark. However that interaction brought to mind another Baker seven string that I became aware of at least a year earlier.

My friend Dave Kaplowitz had acquired a fine Baker B1 7 from Joe Gamble (in of all places, about ten miles from where I live in Colorado). As fate would have it, Dave wasn’t really playing the Baker and a deal was struck to bring her back to CO.

While I would have preferred a trem and 25.5″ scale length, I’m more than happy with the quality, sound and playability of this 25″ fixed bridge Baker B1 7. I’m going to experiment with new pickups (the stock Dimarzio Airbuckers are way too dark and hot for my tastes) and some different string gauges (the low A is an .080!), but all in all, I’m very excited about the prospects of developing some new sounds with this guitar. Look out jamband scene of Colorado! This is not Jerry Garcia’s kind of guitar!

Pete Lacis music, musical instruments, musician, pete lacis b1 7, baker, Colorado, jamband, matte henderson, music, seven string, suhr