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This is so true!

It might be my lack of experience but I need to hear a song or a melody to appreciate the value of the (a) pedal. Perhaps you could do demos as you some times create great intros to illustrate the possibilities of your Tilt?

I was on the fence for quite a while, but I got an evertune, and it solved a lot of issues I had. Using thick picks, no longer an issue… using lighter strings for a brighter sound… still stable.

There are interviews with Chris and Sekou on Joelmartinmastery on CZcams as well.

Did he say "dingus?" I hope I spelled it right.

Does Evertune suck your tone? That's the question

I saw Big Wreck in Nashville and it was just insane! Chris sounded incredible. Massive tones.

I expected the sounds to be very different but I think after has a more fuller image. c]8-)

Bicycle pedals cars pedals ,, spooky foot jobs dookie 👶🎤🙏🎻👶🎤🙏🎸🧚‍♀️🧚‍♀️🖼️🩲💩👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣👣🩲💩🩲💩🩲💩🩲💩🩲💩🩲💩🩲💩🩲💩🩲💩👣👣🆎🅾️🅱️🅰️

Sounds terrible

If you play different styles at a gig where you need subtle to overbearing gain, depending on which song one is playing? All the gain pedals make perfect sense. If you play metal or hard rock only- then just the amp and a boost for leads makes the most sense to me. I think guys just starting out get too confused when there are so many overdrive choices but actually the need is very small. Point being, if you are buying every pedal out there to get your sound? Then you need a better amplifier. Find the perfect guitar and amp performance and then add two or three pedals that work well in that configuration.

Every amp is a player's amp - what else would you do with it 😂

Wow!... very cool But me Strandberg has duh whammy granny..😮

It does mean fragile in Dutch 😉

CC is a gem. wonderful human that is really good at guitaring

i genuinely thought that was lars

Such cool construction

Big wreck !!!! Big tone big beers!

Chris is a monster player. And the fact that he plays a Yamaha SG gets him even more respect.

Sweet. I have been waiting for this interview. 🤘

An easy way to locate your 5 chord is if your root is an E shape barre chord, the 5 chord is an A shape two frets up. If your root is an A shape barre chord, the 5 is an E shape on the same fret.

I like GENUINELY beaten up guitars. I can't imagine paying extra for someone else to do it for me. To each his own, though. I don't look down on those who do... they're spending their own money.

Usually use more effect for rhythm playing and dryer for a solo parts to make them stand out.

I’m severely torn on this. You kinda buy a Jazzmaster for those shitty kinda weak ass Jazzmaster pickups because well, nothing sounds like them. But at the same time, I LOVE the way a Jazzmaster body FEELS, so I understand the humbucker install too. Fuck it, give me two. I’d probably add a couple of buzz stops though. 😂

It's the first EVH model I've ever been excited by.

@RevvAmps - Derek swap them... hear and feel the difference... 👍

Awful overpriced guitars

You've got great tone on that Strat. Thx for the vid on Schon magic.

Hey guys, what is your take on pedal kits that try to take your designs and sell 1:1 copies that you assemble yourself? Do you think of it as an ultimate form of flattery or just some mfers stealing bread off your table?

Typically would take one of the early 'Classic' 's all day long over the equivalent 'Standard' of the day. Always comes down the the individual guitar for me. You know 'the one' when you play it. Just can't do the models with the p!$$-coloured inlays, lol... can't get past how hideous they are.

Is that a natural burst I love that look no finish I’m also looking to buy another one I’m thinking classic already own a standard what’s the difference anyway 🤷‍♂️

pretty sure all the og classics have the 9 hole thing

I’ve got a 2005 classic that I absolutely love. Got it used cheap and it’s exactly what I want a LP to be; plain top, orangeish honey/amber burst, open coil humbuckers and no pickguard. Plus those snot green inlays. I work in a guitar store and have played my fair share of custom shop LPs and I honestly think I would rather have this one

Funny that your buddy is named Dorian lol his parents must've also played guitar

🤙☆"LES PAUL'S"☆🤙

Sell those Tailors and get yourself a nice old martin that's seen some shit. That's why you don't play them 🤣

What is your ideal setting with this boost? Of course I mean to make the Distortion tighter when playing metal!

Love Big Wreck, most underrated rock band of all time I think!

I love my Gibson LPs, but I really dislike the way they run their company. They have nobody to blame but themselves for all the hate they get.

I only play Les Paul’s. I got my main 50’s gold top that can’t be beat as far as sonically. It’s a 12 pound boat anchor and at 53 I can’t put it down.

Nice set up of Amps / Keep Rocking

Cool man, sounds great

I saw those novaks from a mile away!

Who are u

"I have very few acoustics." "I have 4 acoustics." Those two sentences say a lot about guitarists (myself included), don't they? We all have many more (electric) guitars than is necessary... when we think 4 acoustic guitars are "few"? Just an observation... not a criticism. ✌️

No gaurd > guard. Birds > dots.

I’ve owned a few 1990 and 1991 customs and my gosh were they heavy but did sound good. Just way too heavy. I also have played some early 2000s studios that ring like a piano.

HARDY is my fav artist right now, and I had no idea Justin was rocking REVV and VERITAS!!🤘🏼

Loving the rig! I have a POG on my board too

I never used to understand the band tone vs bedroom tone concept. After our first gig with a professional sound guy though, it all made sense. This guy, knowing my band was inexperienced, took the time to explain it and even show us by having the bassist and guitarists take turns to come out by his mix station while he went up and played the instruments before and after he EQ'd our instruments. The closer we got our tones to what he would do with the eq of the mixer, the easier his job was and the better we would sound. He also taught us about how the stage sound impacted the FOH if it was too loud. His solution was to have us put our amps at the side of the stage and facing across the stage instead of toward the audience. This way, we all could hear ourselves with minimal instruments in the monitors and the amps didn't compete so much with the FOH sound.