Jan and I at WoodStock




Guitar effects… which came to nought.. and a traditional, well-ish, pedal


Going through Reaper, had a tryout of a) ReCabinet, b) Line6 Pod VSTs – just could not get them to work, or at least produce any more than a minimal change in the guitar tone (this was the strat going through the USB interface into the laptop and DAW.

Then moved onto the actual Pod – great sound – shame I can’t attach it here… but I can do that on SoundCloud, except I need to sharpen it up quite a bit, even if nobody knows who I am.

At $49, Recabinet is pretty cheap, but no good if I can’t use it – doubtless me, but anyway quite liking the physical Pod at the moment.


And the Pod VST:


Similarly, can’t get that to work.

The physical version, ie the one I have. Launched in 1999, and still excellent:


But a lot of the links 404, but at least got this:




cab models














Musical scales and modes

The various scales and modes are taking a while to stick. However, this is quite helpful. Example of C Major / Ionian, and more generally on C Major. , Dorian Mode C example. Just found this generally on Modes – looks OK — Doing a song on the guitar, for which the verse is B / A / E , I know that although I know all the chord shapes on the guitar, I never relate that to their key. So working through the notes of the chord B major, these are, on the 7th fret, from the bass up, B / F# / B / F# / D# / B . On the keyboard, that gives B, then Tone / Tone to D# (B=>C#=>D#), then SemiTone / Tone to F# (D# => E => F#), so B / D# / F#.  But this still doesn’t add up, because this diagram of B Major does not show A as one of the possible chords: BMajorScale


So what are the intervals of a major scale? They are: TTS/TTTS For C Major, that gives C => D (T, ie C has  a sharp) => E (T, ie D has a sharp) => F(S, ie E has no sharp) => G(T, ie F has a sharp) => A(T, ie G has a sharp) => B(T, ie A has a sharp) => C(S, ie B has no sharp) Applying that pattern of [TTS/TTTS] to B Major, that gives… B plus T => C#, plus T => D#, plus S => E, plus T => F#, plus T => G#, plus T => A#, plus S => B, qed. However, that means although the chords of  B / A / E may sound right, they clearly are not in the key of B Major. We saw that B Major contains [ B / D# /F#]. What does A Major contain? Well, each of its 3 unique notes must be a full tone down from B Major, ie [B minus T => A], [D# minus T => C#],  [F# minus T => E] That gives 6 notes out of the 7 we are looking for, ie [B / C# / D# / E /F# / A] And maybe that 6-note scale is all we want. More after tea… That missing note is between F# and A (i.e. it’s the only interval there that is more than a tone). It must be G or G#. My guess is that the mode is Mixolydian, and the missing note is G# / Ab. How do I prove that? A quick Google for [b major mixolydian] gives this. B-Mixolydian That now gives a sequence of  [B / C# / D# / E /F# /G# / A / B] , with the flattened 7th that makes a Major scale Mixolydian mode – I’ve haven’t phrased that quite correctly, but I know what I mean. While I was looking for confirmation of the chords for the Mixolydian mode, I realised from this that I am indeed mis-phrasing matters:

Say your band wants you to solo over A7 chord. You can use the A Mixolydian Scale to solo over this chord. Then the chord progression switches to an D7. Then switch over and play D Mixolydian to solo.