looks well cool... on setting up i juat went tru all the preset patches..to find nothing but metal ds/od drivel drivel .... so getting down to making my own patches...noticing that the delays are secondy to the main signal... finding it tricky to get it frontal....but early days yet.
so as far as the ez tone ..ist not bad if yr into having someone elses sound. but very easy to use.
its got a lots of reassignable button featurs wich is good when i get my head round wher n how i want things to be .... very well thought out pedal for playing live handy for getting roud limitations on prevoius issues on other fx boards ..sound wise its got good toone for making a stable bodyed sound and from there you can skulpt yr sound to how ever you want....its a beast of a machine...still jousting with it just now but i shall provale !!!
GRETSCH Synchro-Sonic Bridge can this be fitted to
GRETSCGRETSCH Synchro-Sonic Bridge can this be fitted to a gibson les paul.? GRETSCH Synchro-Sonic Bridge can this be fitted to a gibson les paul.? H Synchro-Sonic Bridge can this be fitted to a gibson les paul.? GRETSCH Synchro-Sonic Bridge can this be fitted to a gibson les paul.?
i liked that feeling.
back to the bed room....the few things id leant ..messing around with them forwards. backwards.. fast slow.. then going out of tune with no tuner yet...grrr id have to get my mate to do it for me..lol
tuner equiped...met a guy who knew a few matalica tunes..not my thing but guitar guitar guitar was all i had in my mind... nothing else matters sad but true n a few other riffs....mega played them to death for a few months.oasis.....seen them n thought that looks farly straight fawrads to play .. look at them they look cool doing that..im having that i said..had been playing for 6 7 months now..n was starting to have more n more guitary friends...so of course i picked there brians to show me what they new..some way over my head but i was a determand lil fucker..couple of weeks latyer i got my self a tb book of oasis...didnt have a clue what all the tabs ment.. but i sat n sat n sat n sat some more till i managed to work out that ) ment an open string .. that was it... i worked the rest out slowly but surly ..next thing i knew i was playing all the oasis songs from start to finish .
i met a drummer tryed a few things with him.. and me being me i made my own arrangements from what i knew of the likes of aosis n matalica n wish you where here etc... i put em to gether n wrote some of my own tunes? was a start?
next thing i knew i was in a band playing away in rehercel rooms (a church) and no not a go'r
the band never really got a singer..so amounted to nothing really but was good playing at a loud gig level.
joind a beates tribute band become more of a sixties n 70's band ..but was far more accomplished than i had previuous so i learnt loads there... i sidelined my own makings of a band for a while..as this band had a few big gigs comming up to wich id never experienced before... oh the nerves..but the nerves drove me to excitment and i liked it ...
with a taste of how things where i made a band..four pive bass guitar drums n vocals...by this time i had been learning all the scean at the time indie bands kula shaker bluetones the verve cast oasis happy ,ondays the stone roses the beatles
and was getting not to shabby at the songs that i worked out and was starting to be haild as a guitarist ...i remember it like it was yesterday..when some girl saying to her bf.. that gitarist from that band was really good... guitarist . guitarist did she say... yas.. there it was.. music to my ears...all the picking n duff notes n rewinding n pasuing tapes to here solos n tricky jingly bits..had all come together...that was it..mindset . right im a guitarist..better get good then huh...from there i moved onto the likes of led eppelinn hendrix. took me some time to get the hang of it.. 4 years to be precice..lol
gigin away showin my influences off within my own arrangments in my own songs... but then i thought i was sounding like to many ppls styles and wanted my own style...with theluxuary of having a good band and our own studio we played nothing but our own music stwastin it round all ways for months n months till eventuly we developed our own style to wich i found my own playong stule too
from there on iv never doubted my playing my not be the strongest n your face player in the world..but i can hold my own in any league now..and now my guitar playing is my life..nothing means anything more to me than my playing.
ill be playing for ever thnx for your time ...Ringo
The real “heart of rock-and-roll” has to be the Marshall all-tube super-lead amp. From the Hendrix era down to today’s current crop of guitar-wielding Wylde men, Marshall amps have provided the power and tone needed to rage onstage.
The JCM, JTM, TSL, DSL, and Vintage Modern are the Marshalls that have ruled the rock stage and established this long and proud Marshall tradition. With so many great amps setting the standard, coming up with a new flagship amp had to be a challenge. Marshall has risen to the task—admirably. The new JVM410H 100-watt head fills big boots. It is an extraordinary amp—everything you love about an all-valve, high-gain Marshall and more. It has more gain than any Marshall ever, more channels, more switching, more versatility. It is quieter, stronger, and amazingly easy to drive. In short, it lives up to its promise on all counts.
Classic and classy
The look is standard Marshall trad: black case, gold panel, and big white Marshall logo to provide rock cred. You can’t mistake it for some poser amp. The most obvious difference between the JVM and other Marshall amps is the front panel. It’s filled with knobs—a control freak’s delight. There are 28 to be precise plus eight switches.
So many controls might make you assume that it’s complicated, but it’s not. It has four independent channels, and most of its knobs are Marshall’s standard channel set (gain, bass, mid, treble, and volume) repeated four times. There are also individual channel reverb level controls. In the master section, there are two gains that you can switch between. The last two knobs are global resonance (it’s the first Marshall amp to have a resonance knob rather than just a switch) and presence. Once you understand the layout, it seems simple and straightforward in spite of the number of knobs.
In addition to the four sets of panel controls, each channel has a three-way mode switch that changes the preamp gain structure, adding gain stages as you move from green to orange to red. This, in effect, makes the JVM410H a 12-channel amp. It’s the number of channels you find in modeling amps, but these aren’t modeled versions of anything. All 12 are pure, real Marshall tube. You have the basic clean, crunch, and overdrives that have shaped rock music over decades. And the modes add three variations of each. With all of this to work with, the JVM can match the tone of any Marshall of yore and come up with new tones that take high gain to new highs.
Marshall JVM410H Tube Head with Marshall Stack
Firing it up
I tried out the JVM410H atop a 4x12 Celestion Vintage 30 cab and started pumping out riffs in the clean channel. One thing that impressed me immediately was how quiet the JVM’s clean channel is. It’s almost as if it’s off until you make sound on your guitar. And when it is making sound, the clean channel is incredible—glassy and pure. Switching from green to orange to red modes bumps up the gain in increments, so that in red you have a sweet bluesy tone that is great for leads and responds nicely to the tone knobs, allowing you to focus the distortion at a desired frequency.
The crunch channel has the standard preamp topology of gain first, tone second; so in green mode it’s like the legendary Plexi but with a bit more gain. Switching to orange mode makes it tonally similar to a JCM800. Switching to red ups the gain more, so that the amp performs like an 800 on steroids.
With the overdrive channels, the gain starts high and goes insane. OD1 and OD2 are similar, both clearly in the metal and hard rock zone. The difference is even more gain in OD2 and a lower frequency center, dropped from Marshall’s standard (around 650Hz to around 400Hz). The effect is more power and more punch for leads that slice and rhythms that grind and churn. Cool.
The JVM comes with a six-button footswitch that is itself a marvel. First, it’s programmable. In switch assign mode you determine which button switches what. A lot of things on the JVM are switchable: Master Volume 1, Master Volume 2, channel and mode, reverb on/off. Even one of the amp’s two FX loops, the series/parallel circuit, can be switched. In its preset memory mode, the footswitch accesses JVM’s memory. In this mode, you can lock in a full setup, assign it to a footswitch, and save it. When you tap the footswitch it recalls all the settings—channel, mode, and effects. You can even use a channel multiple times with different settings.
The footswitch has another really cool feature. It connects to the amp with a regular guitar cable. No multiwire, hex-headed special cable to hang you up bad if it goes south during a gig or you forget to pack it. With this footswitch, you just plug in a spare guitar cable. If you need a longer cable on a big stage, you can sub a longer guitar cable.
Other pro features
In addition to its six-button footswitch, the JVM can be controlled from a MIDI footcontroller to make it even more facile onstage. If you’re running a MIDI effects unit, for example, you can set up MIDI commands that change the channel and effects unit in tandem, thus reducing the amount of tap dancing required to get you there.
Vintage purists will bemoan the use of digital rather than spring reverb, but there are bad digital reverbs and good ones, and this is a good one—very natural, smooth, and easy to precisely adjust. And of course, it won’t freak out when the floor starts bouncing. Separate level controls for each channel and on/off footswitching make it easy to use onstage, and it has natural decay when you switch to another channel or turn the reverb off.
JVMs provide an emulated line out for recording or feeding a board. Both the JVM410Hhead and the JVM410C 2x12" 100-watt combo have speaker outs for all relevant impedances, and the JVM410C combo is equipped with two different Celestian Marshall/Celestion 12" models (one Vintage, one Heritage) to make the sound richer.
With its pro features, tour-tough build, extensive switching, four channels with modes that give it vast tonal range, and insanely high gain, the JVM410 is a worthy flagship to carry the Marshall standard. It is classic Marshall with modern refinements. The Marshall roar is alive and kickin’, and rockin’ louder than ever.
Marshall JVM410C Tube Combo
Features & Specs
Valve complement: 5 x ECC83 (12AX7s) in preamp, 4 x EL34s in power amp
4 independent, footswitchable channels – Clean, Crunch, OD1, and OD2
Each channel boasts 3 footswitchable modes – Green, Orange, and Red
Studio-quality, footswitchable digital reverb with level controls for all 4 channels
2 footswitchable Master Volumes
Internal amp memory remembers most recent switch selection for all 12 modes
Daily Record – Razz Review Capstin poleOriginal by name original by nature. This band have a very strong presence with their uniform type clothing and very stern attitude, these guys have it all From good looks to cool styling and most of all they produce the best music to come out of Scotland in many years.With the collective mix from all genres all rolled into one,with a distinctive wide eye'd upbeat flavour, one that shouts " we are here " . Undoubtedly going to raise the bar by any bands standards the full package with in your face bouncing dance floor anthems to melodic chilled out indie pop with the rawness to wake you out of your daydream at any time of the day or night for that matter.The band have had a very hard time of things having doors opened and closed closed within the music industry, such as bands like The KLF and Primal Scream and The Stone Roses, out with Corprit Control, Having their hands tied, they've grown stronger and stronger to make their claim to be stood up and accounted for !Capstin pole as a live show has every bit of a strung up hyper active tention exstravaganza showcase I've ever seen from any band, they just go out there and give it some . With their endless talent , Vocalist Mikey at the helm of what seems a marching army of a backline enchanting vocal melodies, Ringo on guitar, indulgent axe wielder , flawless groove loop bass player Ricky's driven sound all supported by big beat and synths with electrical percussionist /drummer Kurt and keyboard synths and samples Fulton.The band has been playing up and down the UK scoring waves of new fans on their way. I think its fare to say that they most undoubtedly are going to be a huge success with their chart topping style and blend of fresh energetic wide eyed music.One for the watching peopleCheck them out !www.capstinpole.co.ukwww.myspace.com/capstinpole
BAXTER PARK SUNBATHER + CAPSTIN POLE + THE ELECTROLITES - Hustlers 26-09-08
I'd wanted to put on a dance gig for ages - I touched on it when I did the concert at the Westie last year in conjunction with my great friend Rudi, a DJ, a dance-rock act and Dundee's synth music act Altres. But it wasn't REAL dance - the itch still had to be scratched. Another itch that had been needed to be scratched for about 2 friggin' years was that of putting on in concert, Edinburgh's Capstin Pole. Elsewhere on this site - the review of the Emergenza "Battle of the Bands" - you'll find out how I first encountered this band. They'd got this song called "Nightclubbin" that lifeted the roof off and inexorably made me want to hear them do it one more time, but in my own back yard. So, thanks to the unbridled support from Dundee's Baxter Park Sunbather and The Electrolites, who agreeed to do this first ever Dead Earnest dance gig, I was finally able to put on Capstin Pole at a gig that fitted them - for they are a dance band - aren't they? Well, actually........ First off, in terms of turnout, the event was an unmitigated disaster. This had nothing to do with the acts playing but everything to do with mine and the venue's credibility as a dance venue. Hustlers is not exactly the first place that most of the dance fraternity think of when the words "night out" spring to mind.In fact the ever effervescent Elliot from The Electrolites said, kindly, that if it hadn't been for the fact that it was me organising this, he'd never have agreed to play there, as wonderful a complement from a musician as you could get. So, with the friends of The Electrolites out for a good time and some of BPS's people there too, we went ahead regardless. Now we had planned to have BPS (Baxter Park Sunbather) do a set on stage and a DJ set from off stage, but when Capstin Pole's gear ended up taking over the stage, we had no choice but to set him up at the back from where he just played. Soundchecks over, we handed it over to him and, when we'd finally got some sound coming from the PA, all of a sudden, this blast of electronic bass, booming drum rhythms and head-exploding mixes of samples, electronics, melodies and fx all erupted from the PA system, the urge to dance proved irresistible. The urge of the owner, who hates dance music such as this, to string me up over the yard arm, also reared its ugly head as he looked squarely at me and said, jokingly, "you know I'm going to have to kill you for this" and smiled knowingly. This was the sound of storm force hardcore techno and beyond with a vengeance, the sort of thing that you can just wallow in and enjoy hearing at the same time as moving uneasily from side to side as this wall of electronic density and rhythmic immensity engulf you in their charms. Throughout the night, the stuff this guy played from a laptop, programmes and fx, was absolutely mind-blowing, and his sheer power of asemblage and delivery was inspired. So, it came to pass that Capstin Pole took the stage. With keyboards, guitars, bass, electronic drums and vocals, they began. Now, before I tell you what I'm about to say, I would draw your attention to the 5 tracks currently on their myspace site - one kind of power ballad, one acoustic track, one dance pop track that sounds a bit more like Thompson Twins than anything, 2 strong dance styled tracks that are heavy enough but are quite "clean" in their sound, and "Nightclubbin" to which I alluded earlier. All good tracks, for sure but not brain-blowing....... .....unlike this live performance, which most certainly did!! Throughout a 25-30 minute set, and right from the start, they unleashed a performance, the power, strength and cohesion of which I could never have anticipated in a zillion years. The sound was immense, the playing tight and the songs stunning. If you want a comparison, think of The Draymin at their finest, add an extra dance dimension and inject a depth that The Draymin could only dream of, and you have the live tour-de-force that is Capstin Pole 2008. It was jaw-dropping stuff, as the band played their hearts out, the commanding rhythms coming from the electronic drums sounding solid and emotive, while the sound emanating from the rest of the band was huge and direct, while the vocalist delivered the songs wtih a passion and intensity that was spellbinding. Although they undoubtedly played a set to which you could dance, this is no "dance band" - this is an indie band that's just unbelievably brilliant - and you can dance to them, too. If this band had been at The Doghouse doing a performance like this, the crowd would be going wild - give them a Draymin support and you have a dream gig - honestly, this band just blew the roof off. Although excellent, forget the myspace tracks - in concert, this will knock your socks off. Brilliant!! So it was that The Electrolites - Elliot and cohort - bounced onto that stage - and pretty well never stopped bouncing! Determined to deliver a set to the faithful as though the faithful were a thousand, the pair powered out a sea of trance, house, hard dance and more as the rhythms proved unceasing and varied, while the layers on top were evrything that makes live trance music so exciting, way more so than yer average DJ and way more innovative, to boot. With the added strength of live bass guitar, the rhythmic portions of the set reached positively cataclysmic as the might and magic of live dance music had everyone on their feet. It was sensational and you couldn't help but get sucked in. So, although positively incendiary, the dance acts will keep their places where the best dance music resides - but for Capstin Pole, the world is their oyster, for, as one of the best kept secrets as one of the best live unsigned bands around Scotland right now, it surely can't be long before someone other than me, realises the incredible potential of this band - you have to see them!!
A MUST SEE LIVE Capstin Pole.......what can we say....this band HAS to be seen Live...their demo do them no justice....they came ...they played their hearts out and proved without a shadow of a doubt their place, not just @ the festival, but also in the freeserve comp...so if you haven't checked out the email about this competition ~ please do so and see what you think yourself. This Livi Band blew everyone in The Ferns away....if you didn't manage to make it ~ keep your ears peeled for the next time they play live......it'll be well worth the effort....they have the potential to go all the way...!
INTRODUCING a freshly-written tune entitled 55, Kasabian lead singer Tom Meighan announced that it was the sort of song which may inspire you to get into a fight.
Unless you're in the Rolling Stones circa 1968, it might be hoped that most new songwriters would be looking for a little more inventive results from their music. Still, the statement did neatly sum up the Kasabian sound - a blend of guitars, samples and hoarsely-wailed vocals which falls somewhere in between the adrenalin-fuelled and the clodhopping.
This low-key show by the band undoubtedly won them new fans among the sort of crowd who would doubtless have enjoyed the Happy Mondays or Primal Scream - or similarly-influenced local support Capstin Pole. But despite the fact that songs like Processed Beats and Club Foot fairly bristled with the release of pent-up male tension, the wirily handsome quintet didn't have the inspiration to go with the acceleration.-Capstin pole the support band showed the crowd how it was ment to be done with the scottish attitude in your face excitement.if bottled it would sell out in no time, one for the watching.!
Original by name original by nature. This band have a very strong presence with their uniform type clothing and very stern attitude, these guys have it all From good looks to cool styling and most of all they produce the best music to come out of Scotland in many years.
With the collective mix from all genres all rolled into one,with a distinctive wide eye'd upbeat flavour, one that shouts " we are here " . Undoubtedly going to raise the bar by any bands standards the full package with in your face bouncing dance floor anthems to melodic chilled out indie pop with the rawness to wake you out of your daydream at any time of the day or night for that matter.
The band have had a very hard time of things having doors opened and closed closed within the music industry, such as bands like The KLF and Primal Scream and The Stone Roses, out with Corprit Control, Having their hands tied, they've grown stronger and stronger to make their claim to be stood up and accounted for !
Capstin pole as a live show has every bit of a strung up hyper active tention exstravaganza showcase I've ever seen from any band, they just go out there and give it some . With their endless talent , Vocalist Mikey at the helm of what seems a marching army of a backline enchanting vocal melodies, Ringo on guitar, indulgent axe wielder , flawless groove loop bass player Ricky's driven sound all supported by big beat and synths with electrical percussionist /drummer Kurt and keyboard synths and samples Fulton.
The band has been playing up and down the UK scoring waves of new fans on their way. I think its fare to say that they most undoubtedly are going to be a huge success with their chart topping style and blend of fresh energetic wide eyed music.