Maverick

Led Zeppelin - In Through The Out Door

Led Zeppelin - Carouselambra

He's definitely my favorite. I love Jon Anderson's lyrics, too. But Neil is my favorite.

I never got the big fuss over Resist. Geddy loved it, apparently. But it was completely forgettable for me. I didn't even remember it until I read your post.

September 10th, 1996 - Test for Echo is released. I only knew this album had come out because I was in the car and turned on the radio. A song was playing, and I really wasn't paying attention to it. But then I heard the vocals, and with a couple of words it hit - That's Rush! I haven't heard this song before. They have a new album! Not really one of my favorite albums. I can't remember the last time I listened to anything from it. Stand out tracks are Time and Motion, Driven, and the title track is ok. I don't really mind Half the World that much, but I know some here can't stand it. Kind of like how I like Red Lenses from GUP. But I rally, really like Red Lenses. I just don't hate Half the World.

'76 - '84 for me.

I feel the same exact way about Vital Signs. It could have appeared on Signals and been right at home alongside New World Man and Digital Man. Whether it was intentional or not, it was the perfect segue from Moving Pictures to Signals, and even Grace Under Pressure. It had the heaviness of Moving Pictures. It had the Reggae/Police feel of Signals. It was dark and ominous like Grace Under Pressure.

I'd go one album further and say Grace Under Pressure. There is an amazing cohesion to that album.

They can stop doing 40th Anniversary releases with full live shows after Grace Under Pressure. If they want to keep going, fine. But I only really want Signals and GUP.

September 9th, 1982 - Signals is released. Where's the Deluxe 40th Anniversary Edition already???

September 8th, 1987 - Hold Your Fire is released. Almost three months later, on November 30th, I would see Rush in concert for the first time. Interesting thing is, I really thought the concert was earlier in the month, on the 17th or 18th. As it turns out, I saw Rush for the first time thirteen days before I saw Yes for the first time.

He shares the top spot with Bill Bruford. Which one am I listening to right now? He's my favorite.

A single mom with a baby boy and a live-in boyfriend? Jesus, Mary and Joseph, you've got your hands full.

Steve Howe is my favorite guitar player. Alex is my second favorite.

1. Chris Squire 1a. Geddy Lee

The way I envision it working is that the Hot Rod is a higher gain version of the standard. The standard can be set to sound like a 1962 Blues Breaker, a JTM 45, a 100 Watt Plexi, a Vox AC30, or a Fender Tweed Twin or BF Twin, to name a few. So with that range of sounds, and the Hot Rod, I could have four different amp flavors at my feet, in addition to running straight into my Lonestar Special, or what have you. Honestly, this is all for situations that will likely never ever happen, like playing a real gig or such. But weirder things have happened, and really, it's just a lot of fun.

NPD - Origin Effects RevivalDRIVE Hot Rod Edition. A couple of weeks back I posted about the Origin Effects Cali76 Stacked Edition compressor. I was so impressed by the pedal that I decided to give one of their overdrive pedals a look. The RevivalDRIVE has been on my radar for a few years, and then the Hot Rod Edition came out, so I thought I'd look into both. Only 500 were made of the Hot Rod full edition. They still make a single sided Hot Rod, but it doesn't have nearly the number of controls of the full. This is true of the standard RevivalDRIVE, as well. Once I decided I was in on getting one, I decided to go with the Hot Rod first, since they are only available on the used market, and there were some available in mint condition at a reasonable price. These pedals aren't regular overdrive pedals, and they aren't regular "amp in a box" pedals, either. These pedals recreate, in compact form, the entire signal path of a tube amp circuit, minus the tubes. But everything from the input transformed to the tube or solid state rectifier stage. The idea is to have a pedal that can recreate the signal characteristics of vintage valve amps that didn't have a master volume. In the Hot Rod one, it is modded, souped up valve amps with high gain. After playing with the pedal for a couple of days, this is the closest I have heard a pedal coming to making my amp sound like a completely different amp. So far, I have only gone into the input of my Mesa Boogie Lonestar Special. But the Marshall setting sounds like a 70's higher gain Marshall, and the Train Wreck Liverpool setting sounds like a souped up, very lively Vox AC30. There's also sample setting for a modded Princeton Reverb, which was the first Mesa Boogie Mark I, and a setting for a higher gain Orange amp. Right now, I have one channel doing the Marshall and the other doing the Train Wreck, and it's just too much fun. I really need to experiment more with the Volume (gain) knobs for each. But yeah, this is an amazing piece of gear, and I'm looking forward to getting the standard RevivalDRIVE at some point.

You know, I have a Mesa Boogie 5 band EQ pedal. I really should put that in line with the compressor and see what it yields. I'll try it with my Lonestars (in the effects loop, after everything else) and with my Deluxe Reverb, which doesn't have a loop, so it will likely be last before the amp.

You should design a combination Compressor and EQ pedal and call it the Talent Booster.

Back last year sometime, I kept seeing this pedal on the EHX website and other places. I listened to the online demos and thought it was really cool. But it was chronically out of stock. A couple of weeks ago, I saw someone on Reddit post it as a NPD (New Pedal Day) so I searched and found that Guitar Center had them in stock. I ordered one, and have had it for about a week and a half now. The pedal is essentially a reverse tape simulator. It's main four controls are Volume (sets the output volume) Blend (blends in your dry signal, fully clockwise is 100% wet signal,) Attack (sets the quickness of the attack volume filter, counterclockwise there is no delay on what is played, turning up from there creates a volume swell effect) and Decay (sets the quickness of how fast the volume of the note is cut off, fully clockwise and the note will ring until it dies on the instrument, turning back from there and the note will cut off once it reaches a declining volume threshold.) The way I have it set in this picture is for reverse tape effect: The note will fade in and then abruptly cut off because I have the Decay set to 9 o'clock. If the Decay was set to about 5 o'clock, the note (or chord) would swell up like using a volume pedal. This gives the guitar a real violin type quality. Pair it up with some delay and a nice reverb, and I can play around for an hour and not be aware of the time passing.

I finally found a compressor that I am really happy with. Origin Effects compressors have been on my radar for a couple of years now. The Cali76 is like their flagship compressor, and then they put two circuits into the same box to get the dual studio compressor effect like Lowell George from Little Feat used on his slide playing. And then a year ago, or so, Origin released the Cali76 Stacked Edition, which is a nice hybrid of the Cali76 and the SlideRig. Ihave had several compressors including the original Empress Compressor, the Xotic SP Compressor (twice) and the Strymon Compadre (for about a week.) None of those really did it for me, although they weren't bad at all, but I just never used them, and they always ended up as trade bait. Except for the Compadre, I returned that because I knew right away I wasn't going to use it like I hoped. But then my favorite guitar shop had this, and I had to give it a try. Compression is probably the hardest effect to describe how it sounds. And a lot of times it can be as much about how it feels under your fingers as it is how it sounds through your amp. Everything gets evened out. Everything sounds more clear and full. I noticed the chords I play being more lively and sparkly. The best description I've heard about what compression does is: It does for your clean sound what an overdrive does for your dirty sound. So essentially it is an overdrive for your clean tone.

I saw the title of the thread and thought, "What in the world is he talking about?" Then I saw the video you posted. I didn't even have to play it, I already knew. :lol:

He's playing a Kiesel bass, so he's alright by me.