The first 'boutique' pedal I bought was a Fulltone Full-Drive 2 Mosfet OD; actually, it was a gift, in November of 2007. I still have it and use it, as it is a supremely versatile and reliable pedal. I have used a few others(it would be imprudent to name them), but have always returned to the FD2. The second Fulltone was bought in 2013, the OCD. Somewhat different in tonality than the FD2, it has a lot more headroom, and is more 'British' sounding. It took a while for me to learn how to use this one, but it's as equally compelling as the FD2. The latest one to make it onto my pedalboard is the SECRET FREQ. Again, a very versatile sonic footprint, yet different from the aforementioned FD2 and OCD. The range of overdrive textures is staggering; from a very useable clean boost to a flat out high gain overdrive, and everything in between. Along with a variable midrange sweep that does not affect the bass and treble.
Fulltone is one of the few products that never fail. Mike Fuller is a [...]
Ce plus que ca change, ce plus que ca meme chose. The more things change, the more they stay the same. An old French saying.
What I'm referring to in this inquiry is guitar equipment, as a metaphor. When I first started playing gigs professionally, I had one guitar, one cable, and one amp. Then as time went on, to fill the needs of the different types of music I was playing, I got a chorus pedal; then a flanger; then an overdrive and/or distortion box. Then along came Mesa Boogie, which did away with the overdrive pedals. Around 1992, I started to use a volume pedal. I've used one since then. It is truly an indispensable part of my guitar/amp connection. For a while, I used Fender and Vox amps, adding an overdrive pedal to the chain, as the amps themselves are great 'platforms' to build a sound on, but not really great for amp overdrive unless they're really cranked up. I've tried a lot of different boxes; Fulltone, Xotic, J Rockett, etc. And the pedalboard became more 'involved' shall [...]
I have been interested in a semi-hollow electric for some time. The sonic quality of thickness and air is a sound I've been enamored of, since I first heard Larry Carlton and Robben Ford. The recordings 'Casino Lights', ' The Inside Story', 'Miles of Aisles', and 'The Yellowjackets' all had the unmistakable touch of Robben Ford playing a Gibson ES-335 through a Mesa-Boogie or a Jim Kelley amp. Larry Carlton's recordings 'Room 335', and 'Sleepwalk' had this same thick air of tonality. Other examples are 'In Pas(s)ing' by Mick Goodrick; 'The Royal Scam' by Steely Dan(with Larry Carlton); 'Still Warm' by John Scofield. I could wax poetic for a while on other recordings with this sound.
I've always been drawn to the Gibson 335, but never found one that truly suited me; outside of a 1963 VOS Reissue that was not affordable, to say the least.
Which brings me to Guild Guitars. A former student had a Guild Starfire that was made in the USA. A beautiful instrument all the way around, [...]
I find myself returning to recordings I listened to years ago. One example is In Passing, by Mick Goodrick; an ECM release from 1979, with Eddie Gomez, John Surman, and Jack DeJohnette. A musical colleague introduced this to me in 1984, a few months before I moved to Boston. The clarity of their playing as an ensemble is astounding. Air, space, the unbelievable quality of ECM, and the looseness of the compositions still inspire me. Mick is the rare Guitarist who is a true original. No one sounds like him, but according to him, no one sounds like anybody else. I had the privilege of studying with him for a short time. And his knowledge still resonates for me. I bought his book, The Advancing Guitarist, in 1988, from the International Reading Room; it was an independent bookstore in Harvard Square. This is, in my opinion, one of the most important books I've studied from.
The EBMM Cutlass represents a refinement of the 'S' type guitar, almost to a point of a re-think. To me, this is one of the top 2 60's genre strat guitars I've played; the other being a real 1965 Fender Strat.
The pickups are Music Man single coils, with a 'silent circuit' that removes 90% of the 60 cycle hum. While I don't think they are overwound, they are the most 'full and present' pickups I've played through in a production guitar. There is also an active buffer on the output jack that allows for full treble response, regardless of pickup volume. The bridge is an original Music Man design that works flawlessly, in combination with locking tuning gears. I'm a big fan of stainless steel frets; the Cutlass has them, perfectly leveled and crowned.
Ernie Ball is one of the last family owned companies in the US. Their quality and usability comes through in everything they produce.
I think the Cutlass has the potential to re-imagine what a 60's type S guitar is capable of.