Every so often, a truly distinctive gem emerges amidst the sea of fuzz circuits that pay homage to the iconic Fuzz Face, Tone Bender, and Big Muff designs.

These moments, however, are far rarer than one might imagine. The prevailing trend often leans towards replication rather than innovation. Admittedly, this has its merits; I find solace in the likes of Analog Man, artisans who meticulously breathe life into vintage fuzz circuits.

Yet, how refreshing it is to encounter a breath of contrast. The Speebtone Jerkulator pedal, a revelation upon my first encounter through a video demo, stands as a prime testament to this refreshing departure. It refused to tread the well-trodden path of traditional fuzz pedals, carving its own niche.

I discussed some of my favorite musical accessories in episode 12 of my Anatomy of Tone podcast. I wanted to add an article with links to find these beautiful accessories.

In episode 12 of Anatomy of Tone, I discussed Rick James’ “Super Freak” and the use of mixed modes. The verse riff is based on the A Dorian mode, while the pre-chorus is based on the A Aeolian mode. This subtle change between modes creates a refreshing effect on the ears.

Step modulation, also known as pitch shifting, is a captivating technique in music that adds a unique and dynamic element to compositions. By altering the pitch of a musical passage or instrument in specific increments, step modulation offers an intriguing way to explore different tonalities and create a sense of movement within a piece.

A wide variety of phaser pedals are available, each with unique characteristics and history. One notable figure in the development of phaser pedals is Tom Oberheim, who was also responsible for designing the OB-X synth in the late 1970s.

While the Univibe, created in 1968, can be considered a type of phaser, it doesn't quite capture the distinct phasing tone that became the defining characteristic of phasers.

The term "phasing" initially started being used to describe the tape-flanging effect discovered by engineers in the late 1960s. Still, "flanging" and "phase" took a few more years to define and differentiate clearly.

In Episode 10 of the Anatomy of Tone podcast, I delved into Tom Petty's song "Yer So Bad" from his album Full Moon Fever. In the podcast, I love pinpointing standout moments in songs - not only to discuss songwriting and composition craft but also to share how I research music to build my own library of creative ideas.

The chorus section of "Yer So Bad" caught my attention due to its unique structure of measures, setting it apart from other songs. Tom Petty was a master of songwriting and took his craft seriously.

Learning scales is an essential aspect of every musician's journey. However, there often needs to be more connection between learning scales and the ability to employ them effectively in music.

I have witnessed numerous students diligently memorize scales without comprehending how to apply them to actual musical contexts. They seem to perceive it as a mere ritual they must perform because they were instructed to do so.

But let's not place blame on the students themselves. The emphasis has long been placed on mastering scale positions rather than integrating them musically and meaningfully.

Understanding registers is crucial when working with musicians or in any production scenario. Registers refer to different ranges or sections of the musical spectrum, typically categorized as low, middle, and high. By being aware of these registers, you can troubleshoot issues related to sound balance, clarity, and overall mix quality.

The Ebow was first released on the market in 1976. The Ebow intended to create a string (violins, viola, cello) like sustain on the guitar.

Players skilled in using the Ebow could also emulate stocatto-like effects from a bow and feedback style sounds.

For years it seemed like the Ebow was the only product of its kind on the market. Interestingly, the idea hasn't been expanded over the years.

That is until now. The Sound Stone was created as a more cost-effective version of the Ebow.

Listen to episode 6 of Anatomy of Tone on all podcast outlets including Apple and Spotify.

FSC Guitars has recently introduced their latest pedal, the What The Fuzz (WTF), based on a germanium Fuzz Face circuit (although using silicon) with some unique modifications.

While the WTF retains a silicon circuit's stability and standard power capabilities, it is designed to exhibit the sound qualities typically associated with germanium fuzz pedals. In addition, this innovative approach allows for increased stability and eliminates the need for specialized power supplies.

One notable addition to the WTF is the bias knob, a feature not commonly found on traditional silicon fuzz faces. This knob enables you to adjust the spiciness and gated characteristics of the sound by effectively starving the circuit.

Regarding guitar effects pedals, the wah-wah pedal stands out as one of the most widely recognized and iconic. Even those unfamiliar with guitars can often identify this distinctive effect, a rarity among effects pedals.

One of the reasons for its widespread recognition is that the wah-wah pedal was among the earliest effects explicitly manufactured for guitars.

The wah-wah pedal dominated the guitar effects scene alongside tremolo and fuzz until the 1970s.

The wah-wah pedal's influence can be heard on countless records by renowned artists such as the Beatles, Jimi Hendrix, Cream, and many others, including prominent funk musicians.

I'm a big fan of the surf genre, which had a short life in the late 1950a to early 1960s. The sound is fun but melancholy, fast but moody.

The early days of surf music were an underground movement. Long before The Beach Boys took over with their polished looks, real edgy characters like Link Wray and Dick Dale built the scene.

I'm a big punk fan, and bands like the Dead Kennedys led me back to discover many original surf bands, such as the Shadows.

I composed a lot of surf music for my Mark Marshall's Future Relics project. The concept is as soon as something is created (which is the future), it becomes the past. So in this project, I time travel to different eras to explore sonically the future of the time.

I begin this article by proudly declaring my unabashed love for chorus effects! While it may have been overused during its heyday and is not always my cup of tea in blues music, tasteful application of chorus can produce some of the most pleasing sounds.

The 80s, in particular, witnessed countless records across various genres, such as new wave, pop, and experimental music, that employed a flattering and captivating chorus.

The origins of chorus can be traced back to the Roland Jazz Chorus JC-120 amplifier. This solid-state amp introduced the world to the Roland CE-1 circuit, which provided a fantastic stereo-chorus effect.

Welcome, fellow music enthusiasts! I'm thrilled to introduce you to the podcast series, "Anatomy of Tone." In this comprehensive series, we embark on a journey through the various elements of music creation, covering everything from the art of composition to crafting unique sounds, selecting the perfect gear, and engaging in insightful business-related conversations.

Some may ask why I only specialize in intermediate to advanced guitar lessons. Although I could and have taught beginning guitar students, I discovered my knowledge and skill set were best for players hitting walls or feeling stuck.

I started self-taught, except for taking drum lessons to learn to read music. After that, I spent much time reading books on music theory, learning songs, and composing and recording songs.

Unfortunately, I hit a lot of walls along the way and felt stuck. IT WAS INCREDIBLY FRUSTRATING AT TIMES because I didn't have a mentor (and it was hard finding one living in a small town with limited arts).

FSC Instruments has introduced a unique version of the Klon Centaur circuit called the KB-1. Rather than simply creating a replica like many others have done, FSC Instruments decided to expand on the original idea.

However, it's important to understand the KB-1. It does contain the Klon Centaur circuit, allowing you to achieve 100% Klon tones. But the KB-1 takes it further by incorporating an additional gain stage.

Practicing in modern times is much more complex than in previous eras due to our many technological distractions. As a result, concentration is constantly being pulled from the present. 

The problem with so many distractions is that the human mind is not multitasking. We throw the term multi-taking around in modern times in the way of handling a lot at once. 

But, the reality is our minds don't adapt to multi-taking when trying to study information or practice. Our minds don't multitask as much as they switch channels. But, when switching channels, it takes a second or two to adjust to the change. We can only do one thing at a time and focus on each independently. 

The Klon Centaur pedal has achieved legendary status, with guitarists willing to pay thousands of dollars for an original created by Bill Finnegan. It has been dubbed the "holy grail" of guitar tone by many. In this article, I will examine the hype surrounding the Klon, its strengths and weaknesses, its intended uses, and its modern counterparts.

What's intriguing about the Klon is that it has become more of a brand name than a representation of its sound or design. Unfortunately, the Klon is a prime example of a brand or hype overshadowing the actual sound and purpose of the device.

At some point, almost every guitar player asks how to play the blues scale. Discussing the notes of the scale is easy, but the fingering and position can become a point of contention for many guitarists.

Why is the position and fingering of the blues scale so controversial? Part of the problem lies in the design of the instrument. The guitar can play the same pitch in different neck positions, making learning music more challenging. Finding the pitch, listening to phrasing, and considering positioning is necessary when learning music for the guitar.