September 30, 2012

New Scott Henderson, Jeff Berlin, Dennis Chambers CD




The solo sound on Mysterious Traveller.


"Thanks for coming to the gig! Thats the Z.Vex Fuzz Factory - it's awesome! You can set it so it freaks out when you turn the guitar volume up and down. Finding the right volume setting on the guitar can make it "sputter", making notes come out clearly or weird, depending on how hard you pick. I spent some time tweaking it, and now the settings I use work most of the time, but it's still a very unpredictable pedal." ( Thanks to Rob G for this quote from Scott.)

September 29, 2012

Vintage Guitarshow sept 29, 2012 Veenendaal


Peter Damm



Gosiaguitars.com

Vintage sound in a high tech unit.

GAS!

Bijschrift toevoegen






Me and Ron Baggerman. The guy is an amazing player and super kind!
More info in a future article.

Some kind of guitar tapping instrument from Belgium. It's kind of heavy so it's meant to be on the table and played like a piano. 

No interest for the original Hofner bass.  Individuals can always sell their stuff at the Vintage Guitarshow in Veenendaal.

A work of art!

http://teye-guitars.com/new-la-perla-guitar-ready/

Something for Pat Metheny?

September 27, 2012

Tim Lerch - Happy Birthday Ted Greene


Wonderful homage to the great Ted Greene

September 26 would have been Ted’s 66th birthday.
Thank you Tim for sending this sheet so quickly!!
Love it.



Here is Tim's Youtube channel for more amazing clips:
Telebasher
www.timlerch.com
Read more about an exciting new Project here:

September 25, 2012

Economic Pentatonics pt 2

First a vertical exercise and some licks combining lesson 1 and 2.  One lick reminded me of a Larry Carlton lick I once learned. Larry's no sweeper off course but neither am I. Just trying to pick up things I can use like most of us.


September 24, 2012

Oz Noy Interview: On GROOVE vs. CHOPS



Some of the things Oz mentioned in the interview I did can be heard here. Great guy.
Link to my interview with OZ  ( HERE)

Economic pentatonic pt 1

Hi everyone,

Here is the first of a couple of sweep picking/ economy picking lessons I am working on. I've been looking at a lot of videos but find that in order to digest everything properly I have write out my own stuff. This is an A minor pentatonic scale played over sets of two strings. Practice the mini- sweeps one bar at a time, or half a bar. Start on whatever string grow you like. There's no particular order. In the next lesson I will show some lines that you can use in a blues or jazz/ fusion context.

JB




September 20, 2012

Awesome Sylvain Luc using a pedalboard!!



Concert de Sylvain Luc, André Ceccarelli et Julian Mazziarello, le 19 juillet 2012 à Patrimonio.
Just saw this clip. Been following Sylvain for years now and am a big fan but this is the first clip I ever saw him using guitar pedals. Well there's a distortion and a vibrato pedal. More? Pics?


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September 19, 2012

iBook Demo: Barry Greene - Playing Jazz Guitar







"I've been enjoying the guitar as an instrument and its amazing artists all of my life. To me Barry Greene is just about one of the best; not only as a player, but also as a writer and a teacher. I agree with others who regard him as a world class musician."
-Pat Martino
"Barry Greene is a fantastic guitar player. He swings his ass off. Beautiful sound...beautiful ideas. I met Barry recently at the University of North Florida when I was doing clinics and a performance there. He teaches at that school. All the students rave about him so obviously not only is he a great player but a great teacher too."
-Mike Stern

"Playing Jazz Guitar" iBook is available at the iTunes Store!

Playing Jazz Guitar.225x225-75I'm very excited about this! You can purchase the book here. I've included a demo chapter for download as well at the iTunes store. This will give you a feel for the interactive nature of the book. Tap musical examples, play audio files! If you enjoy the book, please leave a review, it would mean a lot to me.
For those of you who do not own an iPad, I am offering a PDF version of the book for 4.99. The book does contain all of the notation examples but does not feature the audio and video interactivity of the ibook version. Click the ADD TO CART button to purchase the PDF file.




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September 17, 2012

"Intercity" - Leonardo Amuedo with TABS, transcription



This piece is called 'Intercity' and it's written by Leonardo Amuedo. Like all of Leo's work it's of a very high level of musicianship. Technically demanding, rhythmically perfect and melodic with lots of emotion.  I transcribed it and asked Leonardo if he had the time to maybe take a look at it, just to be sure there are no mistakes. Very kind of him to do it since he is in the middle of recording with none other than the great Ivan Lins! So here it is the officially approved version. Hope you like it. Nice fast piece with sweeps, a melodic B section and back to the rhythmic part of the A section again.











Leonardo Amuedo


Leonardo Amuedo was born in Montevideo (Uruguay). He learned his first guitar chords when he was 4 years old with his brother and by the age of 17, he was already playing with several top musicians in Uruguay like, Osvaldo and Hugo Fattoruso (OPA group), Mariana Ingold, Urbano Moraes Fernando Cabrera, and Mateo. In 1984, Leonardo received “The Best Guitarist of the Year” award in Uruguay.
He moved to The Netherlands in 1990 where he started playing and recording with: Laura Fygi, Jose Koning, Batida, Metropole Orchestra, Fernando Lameirinhas, Joia, Hein van de Geyn, Bacan, Ivan Lins, Dori Caymmi, Dulce Pontes, Hermeto Pascoal, Sticks & Strings, Jimmy Haslip, Michiel Borstlap, Paul van Vliet, Rosenberg Trio, Annouk, and Trijntje Oosterhuis.
In 2002 Leonardo moved to Rio de Janeiro (Brazil) and since then, he has recorded and/or shared the stage with world-renowned artists and musicians like: João Bosco, Caetano Veloso, Gilson Peranzzetta, Mauro Senise, Armando Marçal (Pat Metheny group), Wagner Tiso, Alejandro Sanz, Jane Monheit, Simone, Marcio Montarroyos, Leny Andrade, Hermeto Pascoal, Oscar Castro, Neves, Andre Mehmari, Herbie Hancock, Billy Hart, Maria Schneider, Vinnie Colaiuta, Dianne Reeves,Chris Botti, Vince Mendoza, Marcus Miller, Ivan Lins, Maria Gadu, and Alex Acuña (Weather Report).
From 2002 until 2010 Leonardo joined Ivan Lins' band and was awarded two Latin Grammy awards for his work on the 2005 Album of the Year Cantando Historias (Ivan Lins) and the 2009 Best Brazilian Pop Album Ivan Lins and Metropole Orchestra (Ivan Lins). Leonardo is currently touring with trumpet player Chris Botti. 


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September 16, 2012

BB King Movie - The Life of Riley



A powerful, insightful and heart-warming feature documentary about the King of the Blues.  
Narrated by Morgan Freeman, directed by Jon Brewer.





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September 14, 2012

Timing & phrasing pt 6 Mike Miller


Mike Miller

.. "Mike Miller is known as a "guitarist's guitarist" and is one of the most sought-after and respected players in Los Angeles. Miller's resume includes being a member of Better Midler's all-star band in Las Vegas, Chick Corea, George Duke, Vinnie Colaiuta, Yellowjackets, Brand X, Peter Erskine, Gino Vanelli. Miller is one of L.A.'s hidden gems, with the ability to play multiple styles and in almost any setting." - Tom Meek - LAJazz.com  


‘there's nothing like hearing yourself really suck to make you start practicing in earnest’

Did you train timing consciously? Were you aware of it or did people point this out to you?
How did you train this? What rhythmic examples were you listening for?
I've been working with metronomes since very early on. I became fascinated by different groupings (2, 3, 4, 5, 6, etc.) against 8th notes, triplets, later found 5s, 7s, a lot of math kind of stuff. In high school I toured one summer with a trio that had a cheesy drum machine. The sounds were cheesy, but the time was good. I was playing mostly bass at the time,which is fantastic for learning about time, harmony, and the power of the bass in a band. 

I've also been lucky to play with some great drummers, (Vinnie Coliauta, Peter Erskine, Chester Thompson, Simon Phillips, Mike Clark, Greg Bissonette and many others and, from early on, Mark Craney. He was from my hometown in South Dakota. We had a band that played a lot of improv, some Mahavishnu, Chick Corea, Yes, Zappa, anything we wanted to do. So that stuff is fascinating to me. 

I've always listened closely to piano players, the way they comp is much more interesting to me that the typical guitar scratch thing. Chick Corea, Jan Hammer, George Duke, Keith Jarrett, Bill Evans, Oscar Peterson, and of course the hilariously impossible Art Tatum.  

Did you record yourself in order to improve?
I've recorded myself a few times in order to improve, although, there's nothing like hearing yourself really suck to make you start practicing in earnest. No one goes home from a great gig and says, "I'm going to start practicing 8 hrs a day. It's only when you totally eat it in front of a crowd that people get serious about it. To a certain extent, anyway... 

Do you think of some kind of 'grid' between beats as to where to place the notes?
I think of time like a wheel, or like a clock, where "one' is the top of the circle and you try to just drop the notes in the right space when it comes by, instead of forcing them to fit. That the time exists on it's own and it's up to you to find it.

Is the bass player more of a rhythmic anchor than the drummer? (steady pulse)
The bass is driving the bus. No one has more control of how the music is going to sound and move than the bass. It's a completely different mentality and mindset that I try to get into when I'm playing bass, and i love it! I have enormous respect for great bass players, the old "bass players are failed guitarists" line is bullshit. 
    Playing with a drummer with a lot of chops and bad time is like dragging a dead body up a hill on your back. Awful. Give me a guy with good time and limited chops ANY DAY!

What's your definition of phrasing?
Phrasing...hmm.  You know this one JB? : What's the difference between Yngwie and a machine gun? Phrasing! Just kidding. 
Your phrasing is like a conversation as opposed to a monologuewheresomeonewon'tstoptalkingandafter5minutesyoujustwantotshoothimintheheadwithabiggun.

Do you still steal licks from records?
Licks? I really don't think in terms of licks. To me, it's all in the intervals. 
Everything is made up of the intervals. Licks, chords, arpeggios, scales, it's like the alphabet. It's like the difference between having a phrase book and being able to speak a language.

Do/ did you notice a difference in timing when you play with different people?
Playing with different people, yeah, there's usually a period where you figure out where people are feeling the time, on top, purposely behind, big band waaaay behind, but these are also just styles, as long as the time is good, you can adjust and let it move around a bit.

Do you consciously vary your timing?
Sometimes I think about Wayne Shorter or Jeff Beck and how they can just kill you with one note, how it's all about where they place it, how long it lasts, (where it ends) what it sounds like, and using those kinds of ideas to form what you play when you solo, instead of just playing a bunch of worked out stuff and trying to avoid wrong notes. I feel like maybe if I choose my notes better I won't be in such a hurry to get to the next one. Certainly moving a phrase around, starting it in different rhythmic placements is part of that palette.

I have bought 2 of your lesson videos. One about scales and what to do with them and one about looping. Since I saw that last video it changed the way I listen to your music. Do you use the layering of ideas to compose? 
I love my looper, I use it to gather ideas, I can edit them later, but the looper is great for just mining raw materials.

About the first: creativity is being fed by skill and methodological approach? There is too much 'feely' stuff going on? Too little skill?
For me, the scalar/intervallic stuff is just a way to increase your reach, it's like digging in the dirt, you don't use all of it by any means, but you find some real gems in there that you certainly won't find at all if you don't do the work. I think the feely thing is fine. I mean, if music is supposed to express an idea or an experience, it would help to actually HAVE an idea or experience, no?
You can bluff your way pretty far in this business, but eventually you have to back it up. So I've always wanted to have as much ammo under my belt as possible.


Hope this answered some questions for you, and thanks! MM
Sure did. Thank you so much for the interview and helping me with the poolguitarblog.


There are several clips and post about Mike on this blog. Use the search engine to find them all! 
tag: Mike Miller


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Have a nice day, JB


September 13, 2012

Have You Met Miss Jones- solo guitar

Have You Met Miss Jones
Me playing this great standard.




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September 11, 2012

"A peaceful place" Leonardo Amuedo



Guitar: Sadowsky Nylon string 
Interface: Apogee "Jam"
Program:Logic Audio

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September 10, 2012

Vertex Michael Landau Overdrive/Boost Prototype





Foto: Vertex Michael Landau Overdrive/Boost Prototype (back)

This is a prototype overdrive and boost pedal for Michael Landau that has a Vertex Clean Boost on one side and a custom distortion/overdrive pedal based on Mike's tastes on the other.  

The boost level is controllable with an expression pedal by the trim pot above the boost switch.  The amount of boost can be adjusted between unity to +10dB.  

When the expression pedal is used to control the boost level, the level trim pot determines the maximum level with the toe-down position on the expression pedal, and the heel-down position will always be off (silent) no matter how high the boost level is set.  In this way, the boost acts like a volume pedal, but it can provide more level than the original signal (boost).

The overdrive section is an extremely touch sensitive and dynamic and has a lot of available gain, but not a lot of level.  Mike preferred to have it only 6dB over unity gain when the level is at its max.

There is also an effects loop within the unit to allow other overdrive, boost, and distortion units to come between the Overdrive and Boost on the pedal.  The loop comes after the Overdrive and before the Boost.

There are also two 9VDC input jacks, one for the boost which draws about 30mA which sounds best on a regulated power supply, and a second for the overdrive that draws about 6mA which Mike prefers powered off of a carbon battery.


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September 7, 2012

Timing & phrasing pt.5 John Scofield


John Scofield on timing & phrasing

John Scofield is one of my absolute heroes. Ever since I first heard him with Miles Davis I've been a fan. I have all of his CD's and Dvd's. So honored that he took the time to help me with my Poolguitarblog. 





Here it is Jan,
good luck with the website!

---------------------------------------------

  Did you train timing and or phrasing consciously?

Absolutely....rhythm ,phrasing and delivery are the most important elements of this music

  How did you train this? What were you listening for?

Anayzing rhythms....learning what exactly they are and where they come on the beat and trying phrases on different beats(i.e 1,2,3 etc.)....listening to records i love to cop the feel!....si

nging along.....scatting rhythms alone and just improvising in time,getting in the groove!
copying the jazz playing that I love!
  Does Wes Montgomery's time-feel still influence you?

Wes reminds us how important HAVING a feel is and how compelling rhythm can be....Wes along with the greats on ALL instruments,not just the  guitar.

  Did you record yourself in order to improve?

Yes,sure.

  Do you think of some kind of 'grid' between beats as to where to place the notes? Like drummers do,
  I heard Pat Metheny talk about this. Straight 16ths or 16th triplets in the pit of his stomach he said.

Sounds right to me....internalize the music!

  Is the bass player more of a rhythmic anchor than the drummer? (steady pulse)

I guess but that rule can be broken....i try to listen to both equally

  Do you still work on your phrasing?

Absolutely

  Do you still steal licks from records?

Absolutely

  Any recent cool licks?

Find your own licks ;-)      ( Haha Ok I will, JB)

  Do you keep a  diary of licks like Scott Henderson?

I always have a notebook of music paper with me in my case.....i write out tunes,licks, ideas, lists, phone #s

  Do you notice a difference in timing when you play with eg. Robben Ford or Joe Lovano?

I respond to the people i play with but i don't think about it really, i just respond!....and listening to the band, making room for everone's part,...is paramount!

  Last question. Do you consciously vary your timing? Hold back and start a phrase a wee bit later?

Not consciously....i'm just phrasing and feeling it.....i try to play right in the rhythm actually ...people say i play"behind the beat" but i'm just trying to sound relaxed, you know?

John Scofield




September 5, 2012

Timing & phrasing pt.4 Josh Smith


Josh Smith, all heart!

 Josh Smith is absolutely one of the greatest soulful blues players. His love for jazz can also be heard in his great solos but the blues is King. 

Josh Smith is the 4th guitar player in this series that was kind
 enough to take the time and effort to answer my questions on the subject of timing and phrasing.



Did you train this consciously? Were you aware of it or did people point this out to you?
Phrasing is at its heart a very personal thing. It all comes down to how you hear and feel things. My phrasing and sense of time was built over years on the bandstand. Its something that gets ingrained in you the more you play. A lot of my sense of time came from learning to play rhythm like Steve Cropper and Cornell Dupree. Playing Motown or Stax chances makes your right hand a metronome, and then once you have that freedom you start moving things around. Its a balance between having a full vocabulary and knowing when to use what. There is certainly no right way or wrong way, just what we all hear individually. We are all just trying to play what we hear in our head, and then hoping people respond to it or "feel" it!
How did you train this? What were you listening for?
As far as training my soloing phrasing and time……a lot of course came from the blues masters. You can't possibly say more with less than those guys. Its learning to basically be a singer on your instrument. I'm trying to connect emotionally to my own ideas. I listen toy every one else on the stage and just react. I try not to have any pre-conceived ideas of how the solo should go. Feel and a natural unforced feeling comes before cool "out" note choices!
Did you record yourself in order to improve?
I would listen back to show recordings yes. Its a good to to know how in the pocket you really were and what really stands the test.
Do you think of some kind of 'grid' between beats as to where to place the notes? Like drummers do,
I heard Pat Metheny talk about this. Straight 16ths or 16th triplets in the pit of his stomach he said, depending wether he plays straight or jazz.
I don't think of time that way no. I tend to just latch onto the drummers snare drum and move in, around and on top of that. I use lots of triplets because I'm trying to make everything swing and sit deep in the pocket, but you can't predetermine that stuff.
Is the bass player more of a rhythmic anchor than the drummer? (steady pulse)
The Bass player is both an anchor and something that pushes you along and forces you to react harmonically. When playing in tio settings sometimes the Bass player has to be more foundational than the drummer to make things really feel deep and locked in.
Do you still work on your phrasing? What's your definition of phrasing?
I work on it by listening to other players. I also work on it by soloing over songs I've never heard and have no idea what changes are coming up. its all just training your ear and you mind to work together with your fingers and heart. My definition of phrasing is it your language, its how you represent yourself to the audience, so whatever you say, mean it!
Do you still steal licks from records?
Of Course!
Any recent cool licks?
I've been working on some cool stuff yes. Mostly country and bebop stuff. If I could phrase like Danny Gatton meets Charlie Parker all played by Magic Sam I'd be a happy man!
Do you keep a diary of licks like Scott Henderson?
I don't no.
Do/ did you notice a difference in timing when you play with eg. Travis Carlton or another bass player?
Of course, everyone you play with make you make different choices and pushes you along to places you might not have gone. so a great musician like Travis of course pushes you to new heights!
Do you consciously vary your timing? Hold back and start a phrase a wee bit later? Style?
Not consciously no. I just try to let it flow. I am a big believer in repition though and building motif's and climaxes, as long as they are spontaneous and from the heart!
---------------------------------------------------------------
Josh's new single : "Don't give up on me"
"Don't Give Up On Me" to be released Oct. 12th on Crosscut Records!


joshsmithguitar.com


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September 4, 2012

Timing & phrasing pt. 3 Oz Noy

This morning Oz Noy found the time to answer some of my questions on timing and phrasing.  As we all know Oz is a master of playing with effects etc. But the man is sooooo groovy. His time-feel is super funky! Thanks Oz for taking the time!


Oz Noy trio featuring:Oz,  Dave Weckl & Will Lee


What's your definition of phrasing?
A mix between rhythm & melody.
What's your definition of timing?
rhythms and where you put you notes in relation to the beat.
Did you train this consciously?
Practiced with a metronome to have good time & transcribe solos to study different phrasing.
 Were you aware of it or did people point this out to you?
People point it to me and then i got to be aware of it.
How did you train this?
Practiced with a metronome ,  transcribe solos , do all different exercises.
What were you listening for?
rhythm & melodies

Did you record yourself in order to improve?
No.
Did studio work increase your awareness?
Yes, but more to the rhythm part of it cause you usually record to a metronome and needs to be very precise.
Do you think of some kind of 'grid' between beats as to where to place the notes?
I just think of playing behind the beat or in the middle of the beat, not usually in front of the beat.

Is the bass player more of a rhythmic anchor than the drummer? (steady pulse)
They both as equally as important.
Do you still work on your phrasing? 
I dont work on phrasing , i don't really know how you do that, i just practice different things and it all effects my phrasing at the end.
Do you still steal licks from records?
I try.
Any recent cool licks? 
once in as while i get lucky with a good one but i really don't think of links or look for them.
Do you keep a  diary of licks like Scott Henderson?
No, i have a book with different concepts and ideas, its more patterns and exercises that i apply in different ways 
Do/ did you notice a difference in timing when you play with different people?
Yes.
Do you consciously vary your timing? Hold back and start a phrase a wee bit later? Style?
i dont have an answer for that BUT the most important thing is to be able to play in the middle of the beat , once you can do that then you can have the control to decide if you want to play behind the beat or in front of it, depending on the situation and the style of music you play.

More lessons with OZ Noy? click here:  Oz teach me!
Oz touring schedule : TOUR
Lesson from Oz's latest lesson Dvd's with Jazz Heaven


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September 3, 2012

Timing an phrasing pt 2 Sheryl Bailey



Sheryl: ' Time and rhythmic clarity are my obsessions, so I'm glad you noticed it in my playing. I am a metronome fanatic and I really feel it's a waste to practice without it, outside of solo guitar playing, because I think it develops bad habits in terms of developing a devotional awareness to the time.
The most important aspect of playing with a metrenome is interacting with it, paying attention to it and grooving with it. I "personify" the metrenome, so that it's not an annoying critic telling me that my time sucks, but rather my favorite drummer that I am giving full devotion to playing in the pocket with. If I train my attention in this way, when I play with a real life drummer, I'm right "in the zone" with them, because that's how I've trained my mind, body and spirit in my practice sessions.
Time and Rhythm are the physical aspects of music and they are the intention behind the music. Without the delivery of your ideas with strong rhythmic pulse, it's just a bunch of notes, like taking a bucket of paint and throwing it on a wall, there's no definition or clarity.
I work with my metrenome by finding a comfortable circle, or series of circles that help me lock in with the physical space of a tempo. I call this the "Pocket Tai Chi" study, and it applies to all tempos and feels, whether they are straight or swung.
The "Pocket Tai Chi" study is this: choose any tempo marking on the metrenome and move your arms in a circle that completes a phrase evenly. So for example, at 60bpm, if that's a quarter note pulse, you have a circle roughly 1.5 feet wide from the beginning of your circle to it's completion. You'll find if you make a circle twice as fast you'll have a circle almost half of that. You can feel multiple cycles of time to any pulse depending on how you treat the pulse and length of phrase. What the goal of this study is to find the circle that feels the most relaxed and internalize that feeling, or find a way in your body to express it, so that you are dancing and moving with the time, you get past thinking about time, but really feeling it. If you liken time to something that has a steady flow, like water, you'll understand the flow and volume of time, meaning that you'll get a deeper sense of how you move from beat to beat, and that it is very alive and very human, not like a metrenome at all.
All of this connects deeply to technique, in that all great technique is based on relaxation, and tension is the enemy of great technique. If I'm dancing with the time, I am having fun and not stressed out at all. I can sit right in the center of the time and be having a celebration because I'm relaxed and feeling the time.
These can be abstract issues to discuss in writing, but I love the challenge!"
Me: "About the circle movement: Do hold your arms sideways and make a circle complete in 4 beats? ( 1 bar phrase) Or could you do it in two groups of 4 beats ( making 2 bar phrases.) Or 4...etc etc. Does this make you almost physically feel the bigger beats?
Sheryl: 'I make the circles in front of me, but you could do them sideways. The most important part is finding the circles.
I have a video of this in my Guitar Sherpa program, it's a bit easier to see than describe!'

http://truefire.com/guitar-sherpa


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September 1, 2012

Robben Ford-Geartalk an Dojo news sept 2012



The gear talk starts around 5.00. First about his guitars. Basically Robben uses the tele nowadays and somekind of Les Paul type guitar. Nowadays loves the vintage guitars. Main Amp is the Dumble.

T.c electronic reverb Hall off Fame used in stereo. ( No toneprint haha)
Line 6 delay with a mod.
Lovepedal.
Zendrive
Volumepedal
Vintage Wha
Tremolo? What brand? Robben can't remember
No power supply just batteries.

Guitardojo.' I enjoy teaching and clinics' There were some delays with the original company so Robben went ahead and did it himself. The lessons are streaming videos now but will become Downloadable pretty soon!! There will be more development on the site, a play along thing. Solo with the band.


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