The Lost Hotels Of Paris
A Blesing From My Sixteen Year's Son
Postcard From the Party
Homage to Wang Wei
The Highest Hill of Hope
On 52nd Street
By Small And Small: Midnight To 4 a.m
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I used to think that a dry uneffected sound was equal to pure and authentic musical expression-that reverb was a cover up for bad playing. I guess I've changed my mind (or I'm no longer pure) because I've gone a bit crazy for stomp boxes these days. The one I can't live without is the electro-harmonix "memory man." This has a beautiful warm analog delay and 5 knobs to give a lifetime's worth of sound variations. This is the Bill Frisell delay sound, or at least one of them. I also, use the electro-harmonix "holy grail", which is a heavenly reverb box with 3 different rich echoes. One other box that does some unexplainable warmth thing is the ZVEX "super hard-on" . They make alot of cool boxes including the "Lo-Fi Loop" that I'm fooling around with.One problem is setting all these things up at a gig. I saw a band in Hollywood recently and the guitarist had at least 50 or more pedals hooked up on a huge pedalboard. Hey, I know the feeling, why not eat the WHOLE cake!Other cool EFX I'm experimenting with are the Hughes-Kettner Leslie simulator, an MXR "distortion+" , various Wah-Wahs, and a very rare strange pedal called the "Able Strings Machine" that triggers cheesy 70's synth sounds along with select guitar notes. I got this froim a guy called Pedalman in New York whose website is always worth browsing through. So far this one has the coolest unpredictable other worldy sounds. Just not sure where to put it in my confessional singer/songwriter music!

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