#guitar pedalboard cables

[jibunbosh]

okay, let's try to identify all of the new gear in anon's brand-new-spanking signal chain, and see how much her total comes out to. values will be in both USD and JPY - not via direct currency conversion, but by prices I find online at american and japanese retailers respectively. (note that american retailers do not include tax in prices, but japanese retailers do. prices may also differ due to import/export costs.)

also thanks to @absolute-total-nonsense for helping me ID a bunch of these

the gray pedal at the top right is very clearly a tuner, displaying note information and pitch accuracy. it very clearly resembles the peterson line of StroboStomp pedal tuners, but is closest to the Peterson StroboStomp HD Pedal Tuner (MSRP $149.00 USD / ¥28,444 JPY).

the black pedal with green text, is, thankfully, clearly labeled. it is a Seymour Duncan Andromeda Dynamic Digital Delay pedal. there's a lot going on here! it clocks in at MSRP $299.99 USD / ¥44,000 JPY.

the next pedal to the right is similarly labeled with a distinct design, and is a Boot-Leg HZM 2.0 Quattro Valvole Distortion Pedal. it's our first Japanese-manufactured pedal in the signal chain, and doesn't have an official USD MSRP, but can be found for $135.00 USD, and is sold domestically for ¥21,120 JPY.

the next pedal was a bit hard for me to make out until I got a higher-quality screencap of the pedalboard and could actually read the label, but it's a Electro-Harmonix Soul Food Distortion/Overdrive Pedal. in the states, it clocks in at $101.60 USD. I couldn't find an exact MSRP for the pedal in JPY (perhaps due to it not being formally exported, speculatively), but I found it online for ¥16,088 JPY.

the text is a bit hard to read in the screencap for the next pedal, but the tricolor design and the seymour duncan logo is plain as day. it's the Seymour Duncan Forza (tm) Overdrive. it clocks in at MSRP $179.00 USD / ¥28,600 JPY.

the next few components that tie the signal chain are all Free The Tone products.

the large box is a Free the Tone ARC-3 Audio Routing Controller. it seems to be discontinued, but had a MSRP of approximately $599.00 USD / ¥63,800 JPY.

the input to the pedalboard is a Free the Tone Signal Junction Box JB-41S, priced at $159.09 USD / ¥18,000 JPY.

finally, the power supply is a Free the Tone Power Supply PT-5D, priced at MSRP ¥30,800 JPY, and seems to be resold for $309.99 USD.

so, not including any instrument cables, ac adapters, or the physical case for the pedalboard itself, anon's brand-new pedalboard is priced at a budget of a whopping $1932.67 USD + tax, or ¥250,852 JPY! damn, girl! do you really need that many different overdrive/distortion pedals!

BONUS:

anon's mini practice amp appears to closely resemble a Danelectro Honeytone N-10 Guitar Mini Amp, though the Honeytone text is ommitted and I don't believe it's ever been manufactured in pink. it's priced at $24.99 USD / ¥5,720 JPY.

[thekingofgear]

Thom Yorke's Guitar and Bass Pedalboard for The Smile's June 2024 Tour

A photo of Thom's pedalboard at Stadtpark Open Air in Hamburg on June 8, 2024. One can also see the back of Robert Stillman's pedalboard.

Thom playing his modified vintage Gibson EB0 at Stadtpark Open Air in Hamburg on June 8, 2024 (Stadtpark Open Air).

The Smile’s tour back in March was their first since the release of Wall of Eyes on January 26, 2024. However, much of that album had already been recorded at Abbey Road in early 2023. As such, a lot of the instruments used on the album were already known, since the band had testing new tracks on the road since 2022. Even so, the band brought plenty of surprises for the March tour, using the new gear both to play tracks off the album and for songs that are as yet unreleased.

The band’s setup for the latest July tour is quite similar to their setup in March, but Thom continues to experiment with new effects on the top row of his guitar and bass pedalboard. As we mentioned in our last post, his vocal pedalboard has remained nearly identical for the past few years. On this tour, it seems that Thom is particularly interested in experimenting with analog delays for his electric guitar. He already had an EQD Disaster Transport and an EHX Deluxe Memory Man XO back in March, but he’s now added a Fairfield Circuitry Meet Maude to the mix! (Thom’s Death By Audio Echo Dream 2 uses a PT2399 chip, which is technically digital but is meant function similar to analog delay chips, giving even more "analog" tones.)

Thom has also removed his EarthQuaker Devices Grand Orbiter V3 (he actually did so before the tour in March). That pedal was pretty essential to Bodies Laughing, so it seems unlikely that the band will play that track again, unless Thom has decided to use a cleaner guitar tone for the track.

The bottom row has remained the same since the Smile's Nov-Dec 2022 Tour (analysis of that board here). Those pedals provide his core guitar sounds, and are used consistently to perform songs off of A Light For Attracting Attention.

Complete Pedal List

Bottom Row, Right-To-Left:

Boss TU3 tuner (for bass)

Boss TU3 tuner (for guitar)

Boss RE20 Space Echo delay

Death By Audio Echo Dream 2 fuzz/delay

Pladask Elektrisk Fabrikat V3 granular sampler

Death By Audio Interstellar Overdriver

Earthquaker Devices Astral Destiny reverb

Top Row, Right-To-Left:

Earthquaker Devices Disaster Transport Legacy Reissue delay

Earthquaker Devices Plumes overdrive

Electro-Harmonix Deluxe Memory Man XO delay

Fairfield Circuitry Meet Maude delay

Earthquaker Devices Blumes overdrive

Origin Effects Cali76 compressor

Earthquaker Devices Hoof fuzz

As in the past, there also appears to be an Electro-Harmonix Hum Debugger hidden under the shelf at the back of the board (look behind the Blumes and Meet Maude). Thom uses the Debugger to reduce hum when using his vintage bass guitars with single coils.

The front edge of the Hum Debugger's silver enclosure and its footswitch can be just barely made out. The second image has increased exposure, revealing the "electro-harmonix" text on the face of the pedal.

Power Supply

Also note the evenly spaced white “blocks” in the shadows of the shelf. The white blocks are connections for power on The Gig Rig’s Distributor and/or Isolators units. These show that Thom is still using The Gig Rig’s Generator power system. Ed was the first member of Radiohead to use The Gig Rig’s power supplies back in 2014, when the company assembled their first custom pedalboard for Ed. Thom switched over around 2021, when The Smile played their first show on a Glastonbury live stream. The power supplies are clearly visible on Thom’s NPR Tiny Desk board from November 2022 as well.

Zooming in to get a better look at the Gig Rig power supply units.

Patchbay

All of The Smile’s custom black plywood pedalboards are fitted with patchbays at the back. A patchbay is just a set of jacks, which allow external cables to be plugged into the back of the pedalboard instead of connecting the cable directly to pedals on the board. The other side of the patchbay is connected to the first and last pedals in the signal chain with normal patch cables. This makes it way easier to set up the board, and also to swap out an entire pedalboard if there’s a mystery problem (as mentioned in our March Rehearsal Setup post, Thom and Jonny each have a (nearly) identical backup board).

Bass Guitar Signal Chain

The exact sequence of the guitar chain is too complex to guess at, but based on previous tours it’s possible to have a good guess about the bass signal chain.

Bass Guitar

Patchbay (input)

Electro-Harmonix Hum Debugger

Boss TU3 tuner

Earthquaker Devices Blumes

Origin Effects Cali76 compressor

Earthquaker Devices Hoof fuzz

Patchbay (output)

DI Box (sends signal to amplifier and FOH mixer)

Fender Super Bassman amplifier

Here's a bonus photo of Thom playing his vintage Fender Jazz bass during Read the Room at the Northside Festival in Aarhus on June 6, 2024 (photo by Joshua Mellin via Flood Magazine). Thom previously used his modified vintage Gibson EB0 bass for the song, but he's been using the Jazz Bass since the start of the March 2024 tour. His Hum Debugger pedal probably helps when he's playing this guitar, since the instrument features single coils.

[bubblesandgutz]

Hello again, Brian! New album is dope and on heavy, heavy repeat. So, thanks for that. Was wondering, now that we're a year out from you and the guys getting robbed, how are you liking the changes to your gear? I noticed your rig is predominantly Darkglass, do you still have the Meatsmoke? We're you able to rebuild your board with the same gear? New preferences? Thanks!

Hey y'all... big apologies for not getting through my inbox with any degree of regularity. This message is from last year, so I've obviously been slacking. Sorry! And thanks for the kind words regarding Gnosis.

Russian Circles were robbed in Chowchilla, CA back in October '21. Our box truck was parked at a hotel parking lot and we woke up in the morning to find the majority of our gear, merch, and a bunch of miscellaneous personal items gone. Personally, I lost two speaker cabinets, a synth, a MIDI keyboard, a baritone guitar, a bass, pedalboard, and a bunch of accessories (DI, strings, cables, multitools, etc). Oh... and they took a really nice pair of boots from me. Assholes.

It was an unusual tour for us because it was only a handful of shows and it was on the West Coast, so we flew out and Mike and Dave rented/borrowed a bunch of gear. I had just purchased three speaker cabs from Darkglass, so I had driven my rig down from Seattle. I was fortunate because my amps weren't stolen (they were in a beat-up cardboard box that the thieves must've missed) and I still had my Meatsmoke back in Chicago. But I had JUST bought those cabinets, so that was a very big bummer.

We were unlucky in that our gear insurance had lapsed. This was because the renewal email from the insurance company was sent to a label employee that had gotten a new job during the pandemic. However, because so much of the gear was rented/borrowed, it likely wouldn't have covered much of the loss. But we were very fortunate that fans were generous via GoFundMe and several instrument companies immediately offered to help us out (thank you Darkglass, Electrical Guitar Company, Dunlop, Fuzzrocious, and Keith McMillen). It was also a big turning point for us because Hiwatt loaned Mike a backline for the remaining shows, and Mike has never been happier with his sound now that he's playing Hiwatts.

Ever since the robbery, I've been cycling through a lot of different gear options. I was able to rebuild my pedalboard, but my new bass and baritone have slightly different sonic characteristics from the instruments that were stolen, and as a result my sound changed slightly. Most of my first shows back after the pandemic were nowhere near Chicago, which meant I didn't have access to my 8x10 and Meatsmoke. So I used the Darkglass amp and cabs for the TAAS shows, SUMAC shows, and remaining stateside RC dates in 2021 and early 2022. Russian Circles went back to Europe in Spring '22 and I rented a couple of Ampeg SVT3s for the tour just because they tend to be the amps that I'm most comfortable dialing in. I felt really confident about the sound I got in Europe... felt like it was closer to my pre-robbery sound... so I got back to the States and bought two cheap used SVT3s for our Fall tour. By the end of the tour, both amps were broken beyond repair. I finished the tour using my Meatsmoke on bass and Darkglass for synth stuff. The Meatsmoke is still an excellent amp but I'm nervous taking it on the road now that Verellen isn't making amps anymore.

My Meatsmoke and 8x10 are still in Chicago. Most of my Darkglass stuff is in LA. And since most of my musical activity this year has been in the PNW with Botch and SUMAC, I've had to cobble together a backline from borrowed stuff here in Seattle. Been using a pair of cabs that belong to Cory from Minus the Bear and have been borrowing amps from Science and Hiwatt. Both amps are fantastic. I actually bought the Science amp after recording the new SUMAC album on it, and am currently talking with Hiwatt about getting one of their DR201 amps.

So that's where I've been at with gear. If you've been wondering why every picture of my backline on Instagram is different, that's the reason.

[deebeeus]

I came for the #Klon...I stayed for the insanity!

Check out this unbelievable plug-n-play preloaded #pedalboard I came across at @thetwelfthfret on the weekend, engineered (that is the only word that does this thing justice!) by @nicerackcanada.

You guys know I don't know much about #pedals...but the Klon drew my attention to it* and once I started looking I could not look away! This thing is absolutely incredible.

First of all, pls don't ask me what any of these pedals do! I presume they all make fun sounds of some kind. What I am blown away by is the wiring (swipe to pics 2 and 3). All the myriad cables are tied together at precise 1.5" (I think) intervals to keep them tidy and every plug is LABELED IN HEAT SHRINK with the name of the pedal it goes to!! This takes organization OCD to a whole new level! 😳

Maybe this caliber of tidiness and attention to detail is "normal" in the world of preloaded pedal board-making, but I doubt it! Anyhoo: I don't often do pedal posts, but this thing was absolutely insane and deserves it!

It is currently available for purchase as a complete unit (along with a second, similar but Klon-less unit) shortly. Sorry folks...they WILL NOT be breaking it up - so don't even ask! Contact the shop for more details.

#effectspedalsgeek#guitarphotography#guitarre#tone#guitargear#chitarra#guitarra#vintageguitar#vintageguitars#guitarsofinstagram#guitars#geartalk#vintagegear#guitarsdaily#guitar

*tbh it was Jeremy that drew my attention to the Klon! I walked right by it... 😂 But after that I was captivated by the beauty of this creation!

[axeandyoushallreceive]

Great demo of the Benson Fuzz!! Smoking!!! Posted @withrepost • @martinysuona Monday mood 🏴‍☠️ Here’s some Mississippi Queen by one of my fav guitarist @reallesliewest 💘 Using the @bensonamps Germanium Fuzz at the limit of distortion, what a sound 🤯 Swipe for a climax of gain 🏋️‍♀️ Gear used @gibson_italy Lucille BB King legacy @twonotesaudio Torpedo CaptorX @voltagecableco Coil Cable @tomsvintagestraps White Diamonds @surfyindustries SurfyBear Classic Please COMMENT, LIKE AND SHARE if you like the channel🐙 #guitarpedal #guitarpedals #pedalboard #guitar #guitareffects #stompbox #effectspedals #guitarfx #guitargear #guitarist #knowyourtone #guitarplayer #axeandyoushallreceive #pedalboards #geartalk #fuzz #guitarporn #fuzzpedal #pedals #aaysr #guitars #gearybusey #gearnerds #overdrive #pedalboardoftheday #pedal #pedalsandeffects #bensonamps #mountain (at Axe and You Shall Receive Inc.) https://www.instagram.com/p/CmYGDKoO9qe/?igshid=NGJjMDIxMWI=

[charlesmwa]

Top Audio Gear Recommendations for Touring Musicians and Bands

When you're a musician or part of a band, having the right audio gear on tour can make all the difference in your performance. Whether you're playing in small clubs or big arenas, quality equipment ensures that your sound is powerful, clear, and consistent every night. Below are some top audio gear recommendations that every touring musician should consider.

1. Portable PA Systems

A portable PA system is essential for any touring band. These systems are designed to be easy to transport and set up, while still delivering excellent sound quality. Look for a system with a built-in mixer, multiple input options, and enough power to handle both indoor and outdoor venues. Prioritize systems known for their clarity and ease of use.

2. Reliable Microphones

Your microphone is your voice on stage, so it’s important to choose one that complements your sound. For vocalists, consider a microphone known for its durability and warm sound. If you're a drummer, choose models specifically designed for kick drums and toms. Opt for mics built to withstand the rigors of touring while delivering excellent sound quality.

3. In-Ear Monitors (IEMs)

In-ear monitors are a game-changer for live performances. They allow you to hear yourself and your bandmates clearly, even in noisy environments. Look for IEMs that offer superior sound isolation and comfort, paired with a wireless IEM system that allows for freedom of movement on stage.

4. Guitar and Bass Pedalboards

A well-organized pedalboard is essential for guitarists and bassists. It keeps your effects pedals secure and makes setup and teardown faster. Choose a sturdy design with a customizable layout. Make sure to include a reliable power supply to keep your pedals running smoothly throughout the show.

5. Portable Audio Interfaces

For bands that record on the road, a portable audio interface is a must-have. Look for interfaces known for their high-quality preamps and compact size. These are perfect for capturing ideas on the go or even recording a live show directly to your laptop.

6. Durable Cables and Stands

Don’t underestimate the importance of reliable cables and stands. High-quality cables reduce the risk of interference and signal loss. For microphone stands, choose models known for their stability and adjustable height.

7. Backup Gear

Always have backup gear on hand. This includes extra strings, batteries, cables, and even a spare microphone. Emergencies happen, and being prepared can save your show. A backup power supply is also handy for keeping your pedals running if your main power source fails.

8. Protective Cases

Finally, protect your investment with quality cases. Whether it's a guitar, mixer, or microphone, transporting your gear in durable cases reduces the risk of damage. Look for cases that offer a range of protective options, from soft gig bags to rugged hard cases.

[havnblog]

Non-Reversible USB-C

What???

I’m a big proponent of the _USB-C Lifestyle_™️. All my chargers are USB-C, and so are my electric razor, dremel and screwdrivers. So I, of course, sneer at savages with their USB-A ports, where they have to guess which way is the correct one (and always choose the wrong one first, of course). But this summer, while helping some young family members with their pedalboards, I encountered something that shocked me to the core: A USB-C usage where you had to put it in the right way for it to work. 🤯

The boys working. I wanted them to make it themselves so that they knew all about it.

A great power supply for the price

If you’re searching for budget options for power supply for guitar pedals, I’d really take a look at what Thomann offers in their Harley Benton line. Some better options, are

this one, with an integrated power brick (like all of these options) and 10 isolated ports,

this one, with 12 ports and power-thru,

and this or this for a some quick expansion with very flexible voltages.

But the one I went for to the boys, was this neat one: It has 9 isolated ports (one of them with adjustable voltage), and is battery powered and chargeable via USB-C. Not only can you play without plugging into the wall, you can also use it to charge your phone or whatever. So it’s actually a power bank! Really cool.

Providing access

I prefer building boards from Temple Audio, so that’s what we built. We fastened the power bank under the board, but in a way so that the On button was accessible through one of the larger holes:

I helped him put together a decent starting board with some very cheap (and some gifted) pedals.

However, I also wanted the USB-C port to be accessible, so I bought this thing from Redco:

The idea was to mount this on the side of the board, so they could just plug into that to charge (with) the power bank. So the chain is like this:

USB-C wall charger

USB-C to USB-C cable 1

Panel mounted passthrough (Redco)

USB-C to USB-C cable 2

Powerbank

However, it first didn’t work (even though we used the original USB-C cable), so I thought maybe the passthrough didn’t pass enough power through. But then I saw this on the Redco website:

Be advised, certain USB-C cables require specific positioning to allow data and/or power to flow through.  If you are not getting the expected connection, rotate cabling on rear or front and check again to correct the issue.

What!?

Since when was that a thing?

And guess what: Flipping either USB-C cable 1 or USB-C cable 2 made it work! So everything kind of works as expected – but only one way! The USB-C cables have to be the same orientation… It’s just like USB-A, but worse because it can actually plug in the wrong way. 🤷🏻‍♂️

How did we let it come to this?

Do I have to re-evaluate my entire lifestyle?

[aaryan-mwa-blogs]

Understanding the Different Types of Guitar Pedals and Their Uses

Guitar pedals are essential tools for shaping and enhancing your sound, whether you’re jamming in your bedroom or performing on stage. With a plethora of options available, understanding the different types of guitar pedals and their uses can help you create the perfect rig for your musical style. Let’s dive into the world of guitar pedals and explore how they can transform your sound.

1. Distortion and Overdrive Pedals

Distortion and overdrive pedals are the backbone of rock and metal tones. They add grit and sustain to your sound, creating a powerful, crunchy tone. Distortion pedals, like the Boss DS-1, provide a more aggressive sound, ideal for heavy riffs and solos. Overdrive pedals, such as the Ibanez Tube Screamer, offer a warmer, more subtle breakup, emulating the sound of an overdriven tube amp. These pedals are perfect for blues, rock, and country music.

2. Delay and Reverb Pedals

Delay and reverb pedals add space and dimension to your playing. Delay pedals, like the Boss DD-7, create echo effects by repeating your notes at set intervals. They can produce anything from a subtle slap-back to long, atmospheric repeats. Reverb pedals, such as the TC Electronic Hall of Fame, simulate the natural reverberation of different spaces, from small rooms to vast cathedrals. These pedals are essential for adding depth and ambiance to your sound.

3. Modulation Pedals

Modulation pedals offer a variety of effects that can drastically change your tone. Common types include chorus, flanger, and phaser pedals. Chorus pedals, like the MXR M234 Analog Chorus, add a shimmering, doubling effect to your sound, making it richer and more vibrant. Flanger pedals, such as the Electro-Harmonix Electric Mistress, create a sweeping, jet-like sound by mixing delayed signals with the original. Phaser pedals, like the MXR Phase 90, produce a swirling, spacey effect by altering the phase of your signal. These pedals are great for adding movement and texture to your playing.

4. Wah and Filter Pedals

Wah and filter pedals shape the tonal qualities of your sound by emphasizing certain frequencies. Wah pedals, like the Dunlop Cry Baby, create a sweeping, vocal-like effect by rocking a foot pedal back and forth. They are perfect for funk, rock, and expressive solos. Filter pedals, such as envelope filters, automatically respond to your playing dynamics, creating funky, auto-wah effects. These pedals are excellent for adding rhythmic and dynamic interest to your performance.

5. Compression Pedals

Compression pedals, like the MXR Dyna Comp, even out the dynamic range of your playing by boosting quieter signals and taming louder ones. This results in a more consistent and polished sound. Compression is especially useful for clean tones, fingerpicking, and adding sustain to solos. It can help your guitar sit better in a mix, whether you’re recording or playing live.  

Incorporating Pedals into Your Rig

When building your pedalboard, consider the order of your pedals, as it can affect your overall sound. A common signal chain might look like this: tuner > wah > compression > overdrive/distortion > modulation > delay > reverb. However, there are no strict rules — experiment with different setups to find what works best for you.

Start with the essentials that match your musical style, then gradually expand your collection. Don’t forget to invest in a good power supply and quality cables to ensure your pedals perform reliably. Guitar pedals are powerful tools for shaping your sound and expressing your musical creativity. By understanding the different types and their uses, you can build a rig that enhances your playing and helps you achieve your desired tone. Whether you’re a beginner or a seasoned pro, exploring the world of guitar pedals by visiting well known shops like VIP PRO AUDIO in Brooklyn can open up new sonic possibilities and elevate your performances. Happy playing!

[flatpatchcablesonline]

Discover TourGear Designs' authorized retailers near you with our official store locator. Get the best guitar cables, pedalboard accessories, and more from trusted dealers.

[princessfortgd]

Girls can perform guitars with pedalboard patch cables too. TourGear Designs introduce Ruxandra, a promising young guitar player from Toronto, Canada. She write her own music and is also interested in collaborations with other artists and bands. Listen to their music by visiting our website!

[thekingofgear]

Hi, I have a full jonny-inspired board that I mainly use the Fender 85 with my Tele Plus. I have been using this combo for 2 years now and I am aware that the distortion sounds never sound a like unless I mic it up for recording. I am mainly a bedroom player and I am wondering if there are anyways in which I could replicate this tone in the room? Maybe an equaliser pedal, or a different but similar amp to the 85, or even a speaker swap?

Many thanks,

We addressed this question in detail in this post, though it sounds like you may have seen that.

We rarely hear Jonny's heavy distortion tone in isolation. There's almost always a rhythm guitar, some bass, some drums, etc. These other instruments simultaneously fill out the distortion sound and mask some of its detail. Jonny's distortion tone definitely has some low-end, but on a recording it's hard to hear exactly how much when we also hear Colin's bass. The producer might even have cut some of the low-end to give Colin's bass more space.

Half of Jonny's live pedalboard in 2006 (the edge of the other half can be seen in the bottom left corner). He's used these Marshall Shredmaster settings pretty consistently since the 2000s, but in the earliest days of the band he likely used a wider range of settings, especially when recording.

Before you add any new gear, you should first consider whether you can get those sounds with your current setup. The Marshall Shredmaster and the Fender Eighty-Five both have powerful EQ sections — have you tried adjusting those? I can only assume you have them set to match Jonny's settings, but have you tried adjusting them until you get closer to the sound you want? Jonny sets both the Shredmaster and the Eighty-Five to be a little dark, which sounds great when mic'd up. But you can always boost the high mids and/or treble on your own pedals and amp for a more "direct" sound.

I wouldn't recommend modifying a Fender Eighty-Five. The Eighty-Five's speaker is actually pretty clear, definitely more so than most guitar speakers which heavily cut low bass and upper treble. And for the cost of a new speaker, you could simply buy a powered PA speaker, for example a used JBL Eon 10" or Yamaha BR10. Connecting the Eighty-Five's preamp output to a PA speaker will give an extra punchy sound. Perhaps that will get you closer to Radiohead's early live shows, since Jonny used both the preamp output and the mic'd speaker at those shows.

A simpler option is to put an EQ pedal in the effects loop of the Eighty-Five, so you can take on the role of the mixer/producer a bit. The MXR Ten Band EQ is a good option: fairly inexpensive (especially used) but still very powerful. As mentioned, the Eighty-Five speaker has a fairly clear sound, so you can take full advantage of the EQ's frequency range. As for settings, perhaps some upper mids would help for that really cutting sound. But ultimately, you'll need to use your ears.

Jonny playing his Fender Telecaster Plus in 1997 (photo by Gene Shaw). Note that the Eighty-Five is mic'd with an Audix OM3, but there's also a cable connected to the preamp output. On the Eighty-Five, the power amp stays connected when you plus into the preamp out, so the preamp and speaker can be used simultaneously.

[flatpatchcables]

Girls can perform guitars with pedalboard patch cables too. TourGear Designs introduce Ruxandra, a promising young guitar player from Toronto, Canada. She write her own music and is also interested in collaborations with other artists and bands. Listen to their music by visiting our website!

[actingdeep]

Individuals [In Progress]

I

Pools are collecting round. Emptiness filling slowly the basin of the day so far while Hector stands in the light evening rain and smokes a cigarette; micro-dots of wet leopard-skinning the shaft of it, and the crackling end flickering from bouncing drips. Only cars and a low humming from the muffled electric sounds from upstairs make a stir beyond the winds against him. Upstairs, a rock and roll band is scheduled to practice at six; now minutes away. Hector is not in the band; but is simply here to try and feel out his mood for the hour. A door opens, and the music heightens; but only for a moment, as the dripping drains down into evening. The upperlevel of his old singer friend Scott's pad could be reached only through what felt like a cardboard tube: a narrow set of stairs within two white walls that seemed to be having a permanent staring contest. Impassively, Hector entered the tight bay of foot-long and toe-wide steps, reaching a door cut off from the middle up, like one you might see in your great grandmother's kitchen before you pass through it to watch her bake you cookies in tablecloth apron on copper linoleum covered in mushroom-like patterns; the rudiments of the practice exciting. He opened the heavy door to the practice room, band tuning. The full stack two feet from his right ear was Scott's. Connected to his band's rhythm guitar was a Sunn amplifier: the growling, unmatched demi-god of all guitar amplifiers. Hector's ears would be hearing faint, reverberating pitches for the rest of the night until he slept because of this (to satisfaction). Playing behind Scott was Wes, the lead guitarist, adorned in an aqua Fender strat; followed to his left by bearded bassist Chaz and drummer Eli; over to Hector, blocking the door and sitting on a mini inner-tube he had found; back round to standing Scott, with a campfire of rugs and cases and pedalboards in center. Song one, titled "Over" (in C) began. Four hits from Eli first, then all at once: the melodic, airy, pulverizing, biotic chugging commences; the vocals roaring, yet almost inaudible completely. Their sound one could describe as ironically disheveled sonic organization-- cathartic anarchy; maybe the catchy side of grunge with a predilection for melody, quickness, and keen on the mastery of the outro. A few songs in, with only quick seconds between each one--this one now a bit slower and heavier than those previous--filled the hot air; then, a sprightly will-be crowd pleaser: a cover of The Misfits' "Hybrid Moments." The lights were flickering now: Hector not realizing this, being caught in the bright madness of head-bobbings, bass bendings, stompings of homemade pedals, scattering like rats scribbled with blue Sharpie, heavy crushings of gum in teeth, disconcerted bookshelves, cables and cymbals, microphone stands;--the forever distorted, laconic pool of aptitude. Him and Scott having been more or less stoned since four--Soon, an unexpected wave of warming calm fell upon Hector (the band not noticing; being caught up deep in the zone of wire and thunder). Hector looked up, and his ears came back for a moment. The band was mid-outro to a very Bon Scott-y cover of "T.N.T." The song came and went like the pop of bubble gum. A hop of light feedback; then the jacks clicked. Smoke break was happening now. Porch for smokers, attic for pot-smokers. The sticks dropped and stretching, the musician Eli smiled cooly and descended the cardboard tube to the rain and pools collecting out the other end, Wes following. Having just recently smoked his own leopard skin, Hector went this time with Scott, the noble pot-smoking general of the club, who had a leftover half-blunt that the two were burning a few hours before. The attic was like a large, wooden tent, and silent. It had a mild smell of laundry detergent (likely Snuggle, from what Hector could surmise). They slouched and settled into the run-down linty couches. Lighting up, old Scotty and Hector--friends since this particular band's formation (and Scott's others from long before)-- shared the moment quietly together; passing the halfer blunt in reactionary silence, comfortable in their own worlds. Back in the practice room only the bassist Chaz remained; sitting Indian style to practice a song he was a week behind on. The singer-songwriter Scotty had layed out the notes for him when Chaz politely and halfheartledly apologized for his slack; for he was at the Fountain of Wayne show in Logansport, which, according to him, was "actually, pretty okay," which he quietly and happily came to notice, as the other musicians had exited, plucking watchfully.

II

Sigmund was a grateful man when outside moments of pain. Sigmund lives alone. When he walks down the hall and hears the soft creak from the wood floor, he becomes irritated; because if he didn’t exist, there wouldn’t be a sound. He is polite in company. When asked a question about himself, he grows weary and unfocused. Sigmund would arrive at home and turn the doorknob slowly to be as quiet as possible. He lives alone. He would walk gently in hopes of not hearing a toe knuckle crack or a pant leg brush. He angers himself deeply with his loathsome, superfluous racket. He dreads cooking because of the sound the silverware drawer makes when he pulls it open. He detests the clatter of plates if he’s the one causing the noise. Plus, all the water droplets the faucet will make. Sigmund cares about the impression he makes on others. He doesn't know why. He wants to seem cool--unfazed by anything that could possibly happen or be said. He hates himself for that. One evening, he was sitting up in bed as still as he could so he wouldn’t make the springs squeak and asked himself why he loathed himself so. He decided that he was simultaneously in awe and terribly frightened of life. He was a great bother to himself. Sigmund wants everyone to love him. Despite everything, Sigmund sees mountains of insight. Unfortunately, this insight is unintelligible. He doesn’t know how to articulate his important thoughts--and even if he could, he can't think of a good reason why he ought to. He knows what he feels inside is true insight--pure and fragile--but can never put it into words on the rare moments he tries. Sigmund longs to be advantageous. To him, advantageousness is a perfect blend of bravery and audacity, the ingredients of a hero. “What a thing to be,” he thinks at times. “Nothing could be better than to be advantageous.” Sigmund knows that he is vain and morally indecisive. He’s a perfect gentleman, until he finds himself in the mirror. Then, he becomes a beast: a frothing caricature, a ripe mask dangling in the glass. The crooked smile he perceives, the wasteland of emotional potential, the vibrant fragment of something meant for much more: frighten him.

III

Conversations with Marcus are a disheartening balance: precious, his words--pouring out like a bag of gold, but all the while making your own worth less than the dust of an afterthought. His peculiar framework of indisputable confidence alone could generate, in others, a sense of pure prestige emanating from him; and--extraordinarily--could seemingly deactivate any and all around him with half-open ears from their personal judgements and perceptions and pull them away effortlessly like nature's most insidious vines of and into his own. This is what Marcus craved most: humbling others to the point of sickening, making their individuality shrink like a vampire in light as it nervously crosses between the shadows. His voice was the light. He takes aim at personal fortitude and laughs aloud beside all your enemies while still coming off as rather friendly—even encouraging. Life to Marcus is a test in which the answers that aren't etched into a pristine and preeminent brain, or written upon the flesh and hidden under the sleeve are the ones not worth getting correct. To Marcus, diligence, compassion and honesty are wastes of time: uninstinctive flourishes only superfluous members of humankind (of middling cleverness) should implement out of pure weakness. Marcus could take hold of any fancy, opinion or musing you could put forward and decide undoubtedly whether it held credence for not just now, and not just for one person, or a few--but for all beings, across all of time itself--simply, and totally. No person that knew Marcus would likely find a man with a higher regard for courtesy and politeness in his assertions; but when faced with rival assertions, he would mock them with wit, irony, sarcasm and laughter. Sometimes, when his nose ran, Marcus would blow it into an old T-shirt that was laying on the floor.

IV

Ernest is at peace. The people around him are anxious, and are usually away for a long time because they are busy making money. After they have made money, they spend it so they may no longer be so anxious. Ernest feels pain because he feels their pain, and can only appease the pain by directing all of his energy into loving contemplation for their souls. As a young man, Ernest would go around from person to person, asking how they were feeling, and if anybody were honest enough to say "not so great," he would offer them advice, and became widely known as the best man to go to for advice. As he grew older, Ernest stopped giving advice because of all the same people continued to feel not so great. He laughed to himself over his harmless follies. Where others crave, Ernest is satisfied. Where others loop around the edge of a circle, Ernest floats inside a sphere. Where others study upon statistics, Ernest simmers in the mysterious. When Ernest is at peace, the people around him forget completely that he is even there. They will walk by him in crossing into a different room, spot him, and say, "Oh, hello! I forgot you were here!" This would make them laugh, and Ernest would smile because they laughed. Sometimes, he is at peace for so long, he begins to feel rather spoiled, and will willfully exit his trance and seek material pleasure. In doing this, he sets to purposefully bring upon him sadness, or anguish, or even despair, so that when it is time to step back into the trance, it becomes all the more beautiful. Ernest knows this trap he has placed himself in well; yet is still weary of leaving it. The day Ernest stopped giving advice was on a day when he had asked a person how they were feeling, and they said "Really great!", and he could tell from their voice and eyes that they meant it. At first, he smiled and moved on; later on, however, he relized that he had actually hoped she would have said "not so great." After this realization, he shuddered and became quite weary, but did not understand. Years later, he understood.

V

As long as he could remember, Joseph was afraid to feel pride. In all pursuits, he would carry the deep fear--not of failing--but of becoming the greatest. His soul would tell him that he was indescribably exceptional; and that he could easily conquer over any man. "Nothing," he would think, "could possibly come close to the tortures." "No ruler with true authenticity wishes to rule. This life is burdensome, and conciousness has always flown with dubious discretion. Life fools it's own sheep, making them unite in a bliss, seemingly so real. The left has life it's leaders; whereupon the vast majority of it's true weight can reliably fixate itself, with no fear of collapse. Such a distribution," thought Joseph, as he walked, reflecting, "should appear impossible, unsustainable. Yet upon thought, becomes so infinite, resolute." "Man can neither be confident, nor insecure," Joseph thought, "but be either resolved, or vulnerable." He crossed a river. To Joseph, breaking the code of life, and answering the biggest question man has ever asked himself in his most quiet moments of reflection was to be his own burden, his blessing; all else seemed so trivial. "What is left, but to search?" said Joseph, before seating himself on a sunny patch of grass beyond the river, looking East.  

VI

"Would you mind if I sat here for a little bit?" "Free country." He pulls out the chair to the right of the cute girl and sits. When the bartender asks what he can get him, he orders a moscato. "But could I please have it in a regular rocks glass with ice? I have bad luck with stemmed glasses." "I can do that." He sits upright, and is looking forward with a calm smile, joining his hands and resting his arms on the bar. The girl glances at him from the side. Her legs are crossed and she's also very upright. There's a purse on the floor near her feet. Once he has his drink and has paid, he takes a couple sips and remains still just as before and calmly and pleasantly looks ahead. "Muh-ska-toe," she says, scratching away polish from a fingernail with another nail. "Indeed." "Never had one." "One of my go-tos." "So why no stemmed glass?" The bar is dim, except because of the afternoon sunlight coming in; and mostly empty. It's not quite five-o-clock. A car outside honks. He takes a gulp of the moscato, asks what she's having, which happens to be a vodka tonic. "With extra, extra lime." "So I see." "Lime all the time." "I like your lime rhyme." She laughs. "I use it all the time." "Will it cost a dime?" "That would be a crime." The front door opens behind them with a loud clash and ringing of bells, and less than a second after, a booming masculine voice was calling: "Cass-ie! Let's fuckin' go," and then the door shutting again with another clash. "That's me," she says, after a little nervous start, looking over her shoulder and reaching for her purse. She smooths her clothes as she stands up, sets the purse on her chair and pays for her drink. She waits for her change and begins tying up her hair in the back with a black hair tie that had been wrapped around her wrist. "Sorry. That was loud." He moves his arms to his lap and watches her neck come out as her hair goes up: the skin looking very delicate and milky compared to her much more tan face. The bartender gets her change for her with a placid round face looking at her and she looks up and says "Thank you, Donnie. Keep it real, man." Now she's pushing things around in her purse as if searching for something but not finding it, all the while seeming to get just a tiny bit more nervous with each second that passes. With her head looking down, still digging around her purse, she says: "So listen, I gotta go now. It was nice meeting you. What's your name?" Do you come here very often?" She gives up the search and huffs out, composing her thoughts. She looks at him. "Isaac. Nice to meet you, too." He put out his hand and they shook. "Cassie. Well--obviously--you know that by now." "Have a good evening." "Bye."

VII

She come in talking like, I think I wanna do porn. These are three thousand, four thousand dollar offers here. I mean wouldn't you? Talking about she has dead kids, she knows grief. Talking about how she been all fucked up and drinking Hennessy. Talking about Tim, divorcing after a decade and all the confusion. Talkin bout Jews and Egypt, after a long silence I finally give the best advice she got all night. I dont care about her. If only her brother sitting right in front of her knew what I did. He is full of love, among other things; displaced so far and away like now. We be talking about people in jail and mad laughter. I wanna tell her about the dirt. The discovery, the mushrooms I took, and what I was told, about the dirt. Oh they think it actually means something. All the effort is truly astounding, So much effort. This girl is going to Chicago to meet directors. This family shit too much. Good vibes and silence once I get to typing. SIlence. Yes. Good. That's the dirt. It's what was once, and will be and always has. He's got a lot of old friends that he calls brothers and sisters, so every other face I see pop in the door becomes my face, my blood. It's a fine and delicate trick we play on ourselves; nothing in the world of beauty can compare to the sophistication. Real shame that wore off. Very rarely do we abscond the distractions and truly dissolve. Most have no fear of the outside, but fear the inner. I always enjoyed the middle of the pool; just below the shoulders, with my toes barely dragging below. What I feel in the room tonight is like that perfect medium space in pools as a kid. SHe might do porn. She has a sugar daddy. (So does he). But he got a job this morning. Hers is pissed at her. Sugar daddy, that is. Talkin bout she can barely text a sentence and that's totally bogus upon her part. Verbatim. Talkin bout she treatin him like a peon. This dude forty seven, by the way. At least she's laughin. Usually it's not this sister but another pair of sisters. They're teenagers and lesbians and both seem to have mental things happening once in a while so it's usually these two girls huddled up together looking at their phones for hours upin end. They're kind enough. The whole world seems detatched, but kindly: lost, forgotten, perhaps even dead inside. But the soul can only sleep for so long.

VIII

Just before daybreak as Tommy Wexler was preparing coffee for himself in ritual for his Monday morning paper route, he came to the casement window to breathe in what the day would offer him to discover an indeterminate package nearby his front doorstep. Perfectly square in the typical brown paper, it bore no visible label or address, sitting in solitude in the quiet morning. After a brief struggle between openness and neurosis, he brought it inside and set it on the counter where he already had his mail bag and uniform for work set out and ready. Tommy's first instinct told him not to bother himself about the mystery box until after his work shift. Nothing much in his life was happening as of late, and this fact Tommy was growing (some might say unhealthily) accustomed to. He woke up that morning feeling well rested, and having had his second favorite Sunday dinner the night previous (steak and sweet potato salad), he was feeling generally grateful all around, and decided the best decision to make was to spend his good energies focusing on his job. He brought the mystery box back outside and replaced it in the same spot and position he found it. He did this with curious caution, after considering that the package may have been put there by mistake and was not even meant for him; for he truly could not find any reason to have expected it. He unconsciously hoped that the package would be gone upon his return home. Tommy was sentimental, and since he was still to be considered a rather young man supposedly tasked by society to attain supreme achievements and influences with unrelenting determination, he considered this his presiding weakness; he felt that sentimentality was the guaranteed, natural killer of ambition. Some days, he wished he were the type of headstrong and unscrupulous man that stops at nothing to get what he wants: a man of impact. Some days, he wished he could think of something, anything, that he wanted to get. In reality, he was gracious, pleasant, empathic, merciful, trustworthy, a pushover. He often wondered about the inner-workings of the minds of those men those uppermost regimes of success were occupied by. He fancied that they were either the most insecure people alive or the very least. He still cannot decide which is more likely. Tommy always had a sneaking suspicion that he was not among the least or the most secure. He was only "scientific" when completely necessarry, and he considered psychological self-exploration and improvement being a given, if not the top necessity. Was this "necessity" the means to his insecure end? Was he a classic overthinker? He would ponder. Would the term "overthink" exist at all were it not, as he believed, the guaranteed, natural killer of confidence? Was "insecurity" not a simple rephrasing of a general lack of confidence? He hoped not, for it would mean that those uppermost regimes of society were, in fact, made up of wholly "secure" persons; this, Tommy found quite unsettling. The most difficult aspect about Tommy's incessant self-scrutiny was the fact of him having very few friends or friendly people to discuss all of his possible adequacies and inadequacies, leaving him without any "relative to"s to substantiate his theories. Only in books and poetry did Tommy ever uncover those everlasting and ubiquitous human qualities with which we remain eternally connected with, and without them (the books and poetry), he fancied that he would be firmly sinking, and beyond alone. And yet, he remains pleasant and grateful most of his days. Once more considering the package, Tommy mulled over the idea that he might be grateful for all the wrong reasons. Going further, he immediately began to theorize upon the possibility of cowardice behind many of his actions he commited in the name of gratitude: his eleventh year at the postal service, the unchanging list of his top ten Sunday dinners, an unending corpus of literature as his sole interest. Should he dare consider his personal habits and passions, at first so seemingly sound, a hallmark of cowardice? Could a would-be friend of his also consider such an idea in regard to Thomas (or to himself)? He did not know. Upon turning right onto Webster Street after hitting the last house on Southlea, Tommy continued to deliberate, against his previous resolve to focus on the mail. His usual control of emotions wavered atypically. "No addressee, no definitive stamp, no anything--dead mail." A light drizzle was beginning to come down and Tommy once again elected to try and focus all of his attention to the day's work. Though not exactly a proud mail carrier, Tommy often recognized his consistency of overall competence at his perennial occupation, always with patent surprise--and always with gratitude. The big balloon slapping against his blue shorts was slowly deflating to Tommy's relief; for he was not anticipitive of this chilly wind and rain, the morning having been quite luminous and somewhat tepid. He had about an hour left before his mind, once again, began to linger elsewhere. "What is to be done when dilligence bumps against futility? Are the repercussions of abandonment overstated? That box! How many of us walk around in hidden, dampened fear? Moreso: what do we not admit to ourselves more than anything if not deep, subconscious enduring traces of fear? Do we worship the conquerer for his lack of fear? No! We worship his pugilistic grappling with it. That box..." On approaching his driveway around four o'clock Tommy spotted the mystery box exactly as he left it; outside a damp coating that wrinkled the top of it from the afternoon drizzle that had since finished. He called his buddy Tracer on his drive home, having the typical catch-up after Tommy's impromptu dinner invitation. Tracer insisted he would make it up to him soon. They would arrange a dinner for a week from tomorrow. "How much nuance is there in accomplishment? How much merit is lost when reaching the summit turns out to be futile, and failure rather a guarantee? Is abandonment self-mercy? Is there anything within self-mercy other than veiled cowardice, the shadow of fear? Is "futility" simply a pretext for calculated fear, a simple forecast of instinct?" He brought the package inside and set it on the counter next to his coffee pot and tea kettle, preparing the latter for his ritual Matcha Monday. After looking over the package once again, his thoughts still adrift. Tommy began scrubbing out a sticky spot on the side of a cabinet. Then, he found himself removing the stovetop grates in order to scrub some more against the edges of the ignitors, then the handle, then the control panel. Looking over during the deep cleaning, he noticed a smudge on the "Start" button of his microwave, and proceeded to wipe it away. In a minute, he was vaccuuming and dusting shelves, correcting the angles on every one of his fixtures and homely accessories as he passed by them. Everything went from his mind, and he was content. In an hour he would find nothing left to neaten, so he made a second cup of tea. In the brief lapse of duty he caught himself avoiding the direction of the counter where the box lay. Now adorned in his maroon fleece robe and linen pajamas, the light from outside fading away, Tommy glared mildly at himself in the mirror throughout his brushing and flossing. He came back into the kitchen and flipped off the light, and the box vanished in the darkness. He settled himself in his Chesterfield, opened up his copy of Tender Is The Night and managed to put the mystery box out of his head, his overtaxed brain ingraining into the pages until, at last, he fell asleep. The next weekend passed. On Sunday night, Tommy ate a Lean Cuisine out of the plastic container that it came in. "What do you think of gratitude?" Tommy asked as they wiped their mouths over freshly cleaned plates. "I'm grateful to you for the invitation, and for the tuna," Tracer began. "But, you know I'm not religious." "Does gratitude have to be synonymous with faith?" "I think so. When you say 'I'm grateful' do you mean grateful to God?" "Well, yes...perhaps "thankful" is more secular?" "I don't know. After all, you must have someone or something to thank. I would say 'appreciative' is a good way to put it." "How did you feel when Christine was born? Did you ever think the word 'grateful' to yourself?" "Maybe. Once we got her into her crib that first night--I'll admit--I prayed." "Didn't you once call agnostics fence-sitting pussycats?" They both laughed. "I'm sure I did. But I feel like even atheists probably say a prayer once their child is born safely without any issues," Tracer suggested. "I mean, it's because after that happens, you're just so...I don't know. Happy. And It's not going to hurt anything." "What about luck?" "I feel lucky sometimes; in the sense that everything is random and happens for no reason. So if good things happen to you without even trying, I'll call it being lucky." "But isn't luck considered superstitious?" asked Tommy. "I guess it is. I don't know. I just know when I feel lucky, it's not because I think God did something for me. More like, calling a coin flip correctly. It's just us against the odds." There was a moment of silence. "So what's this?" Tracer asked, indicating the box. "I don't know. It just showed up. I don't know who it could be from. It has no labelling whatsoever. Should I open it?" "A mystery box. Bring it over." Tommy grabbed the package from the floor beside the sofa. He was excited to see what was inside, and this he noted to mull over later on. Tracer moved the plates to the sink, clearing a space on the table. Tommy grabbed a small knife from a nearby drawer as Tracer made his way back to the table. Tommy pulled the box toward him and opened it.

IX

Only Penelope could manage to mend and remain. Marvin was the opposite: tending to leave displeasure altogether, or ignore it's entire existence. She could remain in the most sacrifical stances and poses for hours; gliding over the outstretched fingertips and just safely enough outside of tumbling into Marvin's greedy field of gravity: a force of attraction fully emcompassed already to be honest; over-full by now with his egregious mis-shapen posse of greaser followers right behind groaning and foaming 'Penelope! Penelope! Save us, Penelope!' not far behind.

X

Mac was blessed with the ability to enjoy himself. He had a few friends and mentors who had told him to play it straight, tow the line, and other such things. The way to live life, they had said, was to embrace an unyielding sense of discipline, to make no compromise in developing an inner toughness, to sacrifice his favorite things that happened to exist at the same time he did. He was so open-minded and ready to listen he forgot to place stakes, to only hear. In due time the question he ultimately had in mind in regard to these others’ insistences and his own personal reactions had become:“ What do they have that I don’t?” Only after much time had flied did he realize the dao, equitable counter-response to these torturing advices would have, could have and should have been: “What do I have that they don’t?” All of this, though in his mind, never presented itself in the ideal  conscious fashion and, after two years and two months of mental struggle and impossible attempts at reconciliation, he took out, sniffed out, eliminated completely and totally what he considered for the source, to he mainspring, the base plague of all these symptoms of his stress and confusion: his life.

XI

Darik was a victim. He was, but he would never admit it. It was the mainspring of his sadness, that damn victimhood, was. He though he was invincible, he thought he was ageless, he thought he was a genius. Two things he always thanked atheistic luck and randomness sources like that’s a real act you could possibly do for was his humor and humility. (Not to mention, gratitude—a soul requisite.) Darik would rather vomit a comet than dime on his own masked insecurity. Darik Isn’t very smart. But that doesn’t mean he isn’t noble—Isn’t wise. If, just maybe when, he came to reason and crawled out of this terrifying Pink-Floyd-The-Wall state of mind, he dreamed. He would float along forward, in a clouded yet unhazy road into something along the lines of fantastic light streets and cars passing with indescribable shadows, reflections, expulsions. But in waking moments?

[ofs-tourgeardesigns]

Girls can perform guitars with pedalboard patch cables too. TourGear Designs introduce Ruxandra, a promising young guitar player from Toronto, Canada. She write her own music and is also interested in collaborations with other artists and bands. Listen to their music by visiting our website!

[tourgeardseo]

Girls can perform guitars with pedalboard patch cables too. TourGear Designs introduce Ruxandra, a promising young guitar player from Toronto, Canada. She write her own music and is also interested in collaborations with other artists and bands. Listen to their music by visiting our website!

[notesdrita]

Clip converter

CLIP CONVERTER HOW TO

CLIP CONVERTER PDF

The manual also provides troubleshooting for common problems.

CLIP CONVERTER HOW TO

The user manual lists all of the functions of the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173, all the basic and advanced features and tells you how to use the effects pedal accessories. That’s why we and other Truetone users keep a unique electronic library for Truetone effects pedal accessoriess, where you can use our link to download the user manual for the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173. It is also quite common that customers throw out the user manual with the box, or put the CD away somewhere and then can’t find it. pdf format if it did not come with your new effects pedal accessories, although the seller is required to supply one. The user manual for the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 can be downloaded in.

*.pdf, *.doc, *.txt, *.jpg - Other formats are unfortunately not supported.Īdditional parameters of the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173:.

You can upload and download the manual for the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 in the following formats: If you own a Truetone effects pedal accessories and have a user manual in electronic form, you can upload it to this website using the link on the right side of the screen. The 1 SPOT Battery Clip Converter from Visual Sound is a 9V adapter cable that allows the 1 SPOT power supply and MC5 cable to power anything that runs on a 9V battery such as a pedalboard or an effect pedal. User manual for the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 The user manual for the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 provides necessary instructions for the proper use of the product Pro Audio - Musical Instruments - Guitar Accessories - Effects Pedal Accessories. We recommend checking out our discussion threads on the Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173, which address similar problems with connecting and setting up Effects Pedal Accessories Truetone.

Startup and operation of the effects pedal accessories.

Product classification: Pro Audio - Musical Instruments - Guitar Accessories - Effects Pedal Accessories.

Basic description and contents of package.

User manual for Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173

CLIP CONVERTER PDF

Operating instructions and pdf manual for use - Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 User manual, User manual Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173, Truetone, 1, SPOT, Battery, Clip, Converter, 9V, W1CP2US3173, User manual Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 User manual Truetone 1 SPOT Battery Clip Converter 9V W1CP2US3173 | | User manual here!