Guitar FX Pedals
Entertainment instantly all of a sudden recently on tv and internet is lots of talk about how huge the band headspun have grown in the last year. Selling out every place they play. They’re trying to setup a tour with collective soul, but no word on that yet. When you’re scrambling through the papers looking for michael jackson, you turn on the television and you don’t see music videos anymore, you turn on your internet to connect with bands and the most popular movie stars just to find out that you’ve got to hear some of their
new songs, it is killer great awesome, and I mean totally dude! I go to their website every week to see if new songs or video have been posted. I love that song they sing called
lullabye baby, been so long, navigator, ludicrous. Do, I do believe that
collective soul’s producer worked with imre on some of the songs. lullabye - vocals, been so long - vocals, guitars,
navigator - vocal harmonies, ludicrous - vocals screaming and guitar. Those guitars with a dreamy feel to it, love those. He’s also worked with duran duran, john cate, coby grant, the band "I" broke up I guess, they were a tight band, he’s used marshall amps and tuned them in the studio. Anthony produces, karyadi engineers and they mixed the "
hollywood" song on afterwords collective soul. COLLECTIVE SOUL - What pedals are in your rig?
I use a handful of BOSS pedals. The (
AW-3) Auto-Wah with Humanizer effect, and the
OC-2 (Octave) in particular. On my solo during “Listen” and on “Home,” I get this distinct sound. I set the Auto-Wah to static – almost a half-wah sound. It’s a really cool way to get a filtered sound.
Any other Roland gear you use? I’ve used the
1080 and
2080 sound modules forever, and I still love some of those sounds. The Melotron, and a lot of the pads are great!
Will, what BOSS pedals are you using on stage? WT: I use the BOSS Bass Equalizer (
GEB-7) and Distortion (
DS-1), and the Stereo Chorus (
CH-1), and Dean (Roland – rhythm guitar) uses the Digital Delay (
DD-6) quite a bit. All of us use the
TU-2 tuner. That is definitely a must-have!
What’s coming next for you guys? WT: Our seventh studio record, “Afterwords” comes out on August 14 th. On this record, we used some different production and drum sounds than in the past – it’s a somewhat new sound for us, working with producer Anthony J. Resta. We start touring in July with Live and The Counting Crows. For tour dates and more information on
Collective Soul, visit their website at www.collectivesoul.com. What is Imre’s favorite guitar? I would say he like his Coroner with a Univox pickup, he hasn’t played it much because it’s all out of tune, and besides the intonation, the frets are in the wrong place. Does he use a Marshall amplifier? No. Does he use Randall? Yes. What is his favorite distortion pedal? Bjfe, Zendrive, or any Tubescreamer. Favorite overdrive? Boss OD-1. Favorite strings? Mr Fuzz, Daddario. Favorite line driver booster? Mxr. Does you use acoustic guitar? Never. Does he use Dillion Guitar? Never. What is Tony Wilson's favorite pedals? Adrenalinn III, DL4, Barber Burn Unit, Mayer Voodoo, LovePedal Believe, EVH Flanger, MXR Supercomp, Way Huge , BYOC, Analogman KOT, Mad Professor, Zvex, MJM, Weber Mass, Ibanez Airplane Flanger, DAM Meathead, Ramping vibe, Blue SIB Echodrive, MXR, Ibanez, Skreddy Screwdriver, EFX , Clean Boost and Keeley , DAM Super Bee , Puredrive , Danelectro French Toast , MXR CAE , EHX Flanger Hoax, Dr. Scientist Frazz Dazzler , Way Huge, Pedalworx, Subdecay, Fulltone 70 fuzz, Basic Audio / Mr Springy / Hudson / Loop Mirage compressor, EMG gearmanndude luther drive, Ethos Overdrive , Boss PS-3 and Boss OD-2, Creation Audio MK Catalinbread Super Chili Picoso, TC Nova System Pedaltrain PT2,
Sweet Honey. What is Sean Coleman's
favorite pedals? Electro-Harmonix Micro POG Lo Fi Loop Junky, Vintage Rat, Prometheus, Fulltone '70 Fuzz, Earthquaker Disaster Ibanez Handwired Tube Screamer, Demeter Fatboost/Buffer, Arion Stereo Chorus SCH-1, Catalinbread Semaphore, Boss PN-2, Line 6, BYOC Delay, Ethos Overdrive , Fryer , Lovepedals, Timmy, Fender, Vibe, Badcat 2 BJFE Honey Bee , MJM London Fuzz, D*A*M 1966 , Maxon OD-820 Overdrive Pro, Eventide ModFactor, Landgraff Boost, Red Witch Fuzz God II Fuchs , Malekko 616, GI Fuzz, vintage Ibanez PT909 Phase Tone, Digitech RP350, Zvex, Keeley, Kendrick Reverb, EHX Big Muff , MXR M-80 Bass DI+, KOT, Ultra II vibe, Vintage Rat or Keeley Rat, Tim, Ibanez PH99, FL-9, Digitech JamMan, Rocktron Intellifex , ProAnalog Power Driver, 60's Fender Reverb Unit / 80's TC Electronic Sustain , Hot Plate 2ohm , Line 6 M9, Xotic, Barber, TC Electronics, Analog Man King Of tone, Tim Klon, Malekko Spring Chicken Skreddy Screwdriver Deluxe, Fuch's Plush Cream Drive, Malekko Echo 600 Bright Jacques pedals,OCD,Verbzilla,Dl-4,Fl-9, Hughs & Kettner Rotoshere,SweetSound, Pigtronix Philosopher's Tone Maxon/Analogman SD9 Sonic Distortion , Maxon OD808, Mica, Throbak Stonebender, Carbon Copy , EHX Tube Zipper Lovepedal Eternity, Line 6 DL4. JImmy Page effects. Effects Vox wah-wah Sola Sound Tonebender fuzz Maestro Echoplex MXR Phase 90 MXR Blue Box (used for the guitar solo in "Fool In The Rain") Boss CE-2 Chorus DigiTech Whammy pedal. The MKII is the only straight on exact replica that D*A*M produce and with good reason too. The MKII is a rebuild of the mighty Sola Sound Tone Bender MKII that was made famous by a certain Jimmy Page. The Sola Sound Tone Bender MKII needs no improvement!! It is one of the finest British fuzz boxes ever made and the D*A*M MKII is as close as you can get to the real deal with out paying serious amounts of cash. It is a part for part sound for sound recreation of the original Sola Sound unit so whether you are after that elusive early Led Zeppelin/Page era Yardbirds tone or just after one fantastically organic sounding fuzz box this could be for you. Features a three stage transistor circuit that has almost endless amounts of sustain which will remain remarkably controllable and melodic. The MKII will be fitted with high quality British made
"Lullaby" was more than just a one-off novelty hit that unexpectedly established the career of longtime indie singer/songwriter Shawn Mullins in 1998-1999 (though it was that, too). It was a song that encapsulated both of Mullins' strongest traits. In its semi-spoken verses, he revealed his eye for detail and his sardonic outlook; in its choruses, he demonstrated his ability to craft a pop hook. On Beneath the Velvet Sun, his first real major-label album (its predecessor, Soul's Core, was picked up by Columbia after release on his own SMG label), Mullins leans more to the latter tendency, but he provides enough of the former to pacify the audience he earned with "Lullaby." The album's first single, "Everywhere I Go," is a good example of Mullins' pop talent, a catchy but somewhat weightless effort with a bland love lyric. But the song Columbia really should have released as the first single is the lead-off track, "Up All Night," a story song about a lowlife rock & roll couple full of Mullins' wry observations and the album's only song to be half-spoken in the style of "Lullaby." A bigger budget allows the artist to indulge in string and horn sections here and there, demonstrating the breadth of his stylistic reach. But the fans he earned with "Lullaby" are more likely to respond to more conventional pop/rock songs like "Amy's Eyes," not only because of its catchiness but also because of its name-dropping third-person description. Another good song is "Santa Fe," a driving song with a twangy guitar hook and more of Mullins' individual characterizations. If one of these songs takes off, it may not matter (at least to the bottom line) that there are too many simpleminded, vague love songs among the other tracks. But Beneath the Velvet Sun is the uneven work of a talented artist who doesn't seem to trust the idiosyncratic approach that brought him to national attention enough to really let himself go. You can hardly blame him for trying to play it safe, given his one-hit wonder status, but the album's very bow to commercialism may keep it from being the hit it might have been. ~ William Ruhlmann, All Music Guide 
