Electronic Music – Page 4

26/3/14 What a great way to start a new page! Ross Harris played me this yesterday – the amazing vocals of Jill Scott, and the clever syncopated beats that Ross likes so much in his own music, of the Robert Glasper Experiment: —————————————————————————–
This is an Logic version of one of the BR80 tracks I’ve been working on. A “self indulgent soloing backing track fusion effort” for lots of different instruments, hopefully. It’s a combo of both the BR80 MTR with guitars, bass and drums recorded on the BR80, then bounced to Logic and some Apple keys and a keys solo added by JB as part of deciding on the overall structure for both a BR80 recorded only version and an enhanced Logic9 version just to compare and log the difference in progression and final quality. Also a record for the Project. Trying to get some sax and flute on the MTR version soon.


Oh, OK – so you don’t need the SC player code anymore it seems?! They give ya a big pic box link with just the track web address… MMmmm! This linked off my Flute Remix track – lovely…


Probably won’t get to finish this idea, but for those still looking for more BR80 examples – this came out of the jam library and an exercise:

Kinda Vai-ish – but crappish too…



Its always interesting to do amp comparisons where things are kept more or less the same for recording them, as in the amp tests done for Ebay Sales info, but I ended up with a library of nearly all I have left before they sell here: http://stevepedwards.com/wp/?page_id=5486 I am looking into making the BW tranny amp into a pedal pre-amp with tremolo, as a boost unit…

Got a new fixer-upper on the way – another 1970s Carlsbro TC 60 combo, single speaker model – the most underrated valve amps on the planet IMHO…be great to compare the two – depending what is wrong with it first…








Until I get back organised with what I’m doing musically after that needed break – I lost interest in everything there for a bit – happens sometimes – clearing out some gear was a help in clearing my head too – I’ll stick stuff up I’m doing to get back in the swing and explain what I’m doing technically if I can. I’m back to a more simple arrangement using the BR80 and FLS – I wont be using Apple Logic anymore as I wont be at DBS in future, except for a few weeks more to use the studios for a blast and some last amp vids/testing at volume. I decided to continue with the MetalRiff, so just recording into the BR80 listening via the Carlsbro while playing along to the loop exported into FLS, out the HiFi. It’s quite a quick way to do things, as you can “get into it” at any volume you like, without recording into FLS with the hassle of audio inputs, latency, headphones etc. that goes with that.

I can then master each guitar track as a .wav  in the BR80, export via USB and drag it into FLS, then cut loopable sections from non-error sections. I did the main riff, a harmony and a bass line this way, so now have a 16 bar loop to build the track from.  You get the idea…

Heavy Metal Groove

I really like being able to play bass lines on my own tracks now with the BR80, it adds a much more live and dynamic feel than progged synth lines. More like a real band – especially for this sort of heavy stuff anyway. It so much quicker and more fun!
I have started a Post on the coming TC60 single repair, a theory study of the schematic, which got me looking at Marshall and Fender tone differences. I then had to check to Tremolux against the TC60 Twin to clarify how good the Carslbro really is, and I’m really pleased. I played the same ref piece as for the Ebay test page comparisons before, but with new strings, and am really pleased. The TC60 sounds lovely.
Check them both again now I know which is which for sure:

TC60 Bass Channel

Tremolux Normal Channel

TC60 Treble Channel

Tremolux Bright Channel

These are so equally well matched amps tonally and for power with 2 x EL34s each, I’ll have to check the volumes and OD tones at DBS next week after half term…
I think the slight clarity difference between them is just due to the Tremolux having older components in it, giving it slightly less definition, a little muddier. Older caps etc?
You can still hear that characteristic Fender EQ jangle though, that is their trademark – that particular thin band of frequencies that stands out defines them.

1970s all valve Carlsbro’s – the most under rated, Marshall/Fender equivalent amps ever? – Chambonino may be right there – I agree. For clean tone, and component/build quality anyway. For a 1/3 the price – at least – of F/Ms too – great!

Now, about that endorsement…
Boy did I jump in too quick there – going senile again..not an old TC60, but a new chip infested Chinese one – DOH!
I dread to think what’s wrong with this, as someone else has been in it and probably couldn’t be bothered to fix it.
I may only have 6 tubes and a Celestion speaker for my trouble…
Let’s start with testing the valves I guess…

Fixed the TC60! Er.. not completely – Post on it, sounds like:
Carlsbro TC60 2008

Having just found the main problem with the 2008 model TC60, it still amazes me that the vintage amp market is so deflated, I assume from general world recession issues understandably – up to a point – yet there is also a shortage of vintage stuff (analogue only components) for sale. In any other market, rarity is a price inflator – why not vintage valve amps?

This repair brings it home that newer PCB type valve amps can be such a short term investment for the money. I find it strange that classic valve amps like the 1970’s Laney Klipp just sold here:
reach only £360 when it is equal in many respects to any Marshall 100W head of the same era, for example – complete with Partridge transformers. It’s only tonal differences that separate them, so I just don’t get why people get so sold on a name – the corporate brainwashing factor again. Are you REALLY paying all that money for the tone alone with a Marshall or Fender compared to others…?
People will pay thousands for a particular year Marshall, but only low hundreds for a Carlsbro or Laney.

It’s the same with the Carlsbro and Fender tonal examples I have shown on this website.
Technically, the Carslbro has quality key components also – the inductors (and capacitors) – much more heavy duty than the smaller Hammond spec. ones in the Tremolux – even if originals, and an equal or better build quality on the point to point wiring side. Yes – Fender has a particular tone stack that gives them their flavour – but that can be reproduced closely enough in most cases with the tone controls.
If looked after, these amps will probably still be functional in another 50 years – but I can guarantee your chip infested new stuff will not. You will be lucky if you get 5 years from it.

This is why I stopped the sale on my Klipp and Carlsbro – I’m not giving them away, and would rather keep them as an investment or until I was in financial dire straits or some other reason before selling at present. While I still play a little or am involved with repairs as a hobby, I’m happy to keep them. I’m not giving them away for less than I bought them for – after I have repaired them with all the time and expense that has gone with that – as with the Champ 12, Marshall 2060 and Ashdown cases.

What is odd is that there is a shortage of vintage valve amps for sale on Ebay at present, yet the prices they sell for when they do come up are relatively very low. How does that work?

When I look at the prices of new gear, I’m staggered – people must be buying this short lifespan, made in Asia crap – why? If they go wrong you have a problem – the repair cost will be more than the amp price once out of a 1 year warranty. It’s in the bin.

They are all marketed along the lines of “authentic valve tone” or “re-issues of the 1970’s classic blah” – yet you can buy the real thing for the same or less on Ebay and no-one wants them?

I understand the home use, low power stuff – and the modelling amps – they are great if you want all those emulated tones and convenience, at low volume, that’s why I have a BR80 too – but for gigging power grunt for live musicians – I just don’t get it.

The two together – even better – best of both worlds – at the same time! Especially with old two channel amps as you can put the stereo modelled FX stuff through and still play in the bedroom at low volumes AND have your tonal choice.

Anyway – other stuff – this site may get boring for a while as I’m personally note padding stuff at the mo, so it’s accessible to JB to possibly collaborate on at DBS, and as I’m finding my way with this new method of working at home with just the BR80 and FLS, so its all playing to backing tracks live, recording it onto the BR80 then mastering out the wav files, then cutting them as sections into FLS as above.

This gives me two main options for writing tracks – just as a loose jam to practice playing and develop guitar phrasing and tonal ideas to BR80 loops, and the other recording pre-worked out bass or guitar sections/ideas that come out of those jams, to cut into the rigid track structure.

The latter adds to a track in stages when an idea pops up from jamming, like the next 10/4 section I have added to the Metal Groove thing above, and I’m rough mixing it as I go, to get back into FLS too, so trying different Maximus presets on the bounce out, like Clearmaster RMS here – which boosts some things a bit too much – into distortion:

The other method is to just play solos – warts an all – so that a track could be created as a future “1 take without mistakes” – yeah – in my dreams…or at least have some nice sections that could be cut into a track in future, and maybe have other players from DBS contribute – like this one, where a piano solo from JB and flute from Ross could be added – a track toward a “chill out” collection maybe..can’t put all of it up – it was a 13 minute jam! You get the idea…

BR80 Pop – Smooth Piano

I love that BR80 patch though!
Tremolux has sold, but I can film it again on Thursday as a volume and OD tone test compared to the Carlsbro.
Had a good guitar session at DBS yesterday – the TC60 cab is LOUD as is the Tremolux through it.
The Tremo cranked distortion sounds fantastic. It all ODs the phone mic unfortunately so you cant tell much from the video.
I enjoyed the session from a playing angle too – that break did me some good – just played some slightly different runs for a change – timing still sucks but…hey, its about enjoying making a noise eh, and the BR80 still sounds great through both those amps. the Classic Studio setting with delay off, still allows the individual pickup tones to be heard nicely. I haven’t needed to use or find any other patch than this really.

I finished and re-housed the 2008 TC60 also, sounds great, so that can be tested next week too. Post here:
Post on the Bodged Up Biyang – good valve OD pedals for the money I think…

Also today, I added phonos to an old vintage spring reverb that came from an old Laney. I tested it against the TC60 stock Accutronics reverb in that – it sounds AMAZING – I love old and large spring reverbs from the first time I heard the Gibbs in the Carlsbro CS60PA head I had a while back. I’ve done some BR80 mic tracks of it – one here for now – full reverb in the TC60:


Added 2 sound files of the Biyang returned to non modded state and with a 3.6k cathode load:

Ok – corrections for values. It was a 5.6k in parallel with the 10k micro cathode resistor at triode 1 giving 3.6k total.
Seems to have a bit more bite but mains noisy but yours may not be with the original PSU and transformer…personally I don’t think the tonal changes are worth the trouble and potential damage to anything. Companies don’t employ circuit designers for nothing…

I’m going to setting up a Jam Tracks page,


with full documentation on the theory behind the track, and what is minimum required knowledge to be able to play it and/or jam over it.
I will also do a Post on how it was created, mixed and Mastered in FLS for the technically interested.
All this will be available for the princely sum of 1 Pound Sterling!
Now how’s that for a bargain?
I have written the first track which just needs some minor fixes before being ready to download after the Paypal system, encryption and receipt side is researched and implemented.

As a taster, here’s the video of how the bass line was played:

I’ve run the Jam Track by some people for opinions on the mix, length (5 mins) and structure and the feedback is great so far.
I’ve played to it myself the last 2 days to try and get suitable video clips for the theory side of the and it certainly gives me a workout on the Harmonic minor scale. It’s been educational for sure.
I’ll put a bit of video on me struggling with that once edited later!

Still deciding on what documentation will be included in the package before it goes on sale, as I need to get the format for future tracks decided at this stage.
Got the TASTER of JT1 up on the Jam Track page – check it out:


Still looking at coding, improv ideas and doc info for the download – hopefully available in the next week or so…?

Here’s a quick sample of the flavour of this track from the sound checks…let’s you know what kind of tonal ear bending is involved at least. The tempo is 100 BPM – nice and relaxed.

Initial PA Soundchecks:

Jam Track 1 is available for download here:

This is still in a bit of a test phase if you could bear with me I would be grateful, so if you have any problems, please email me asap at:
with any screenshots of error messages etc. and worst case I will refund your payment immediately if I can’t get the file to your email directly due to attachment size limits etc.

I have tested it with the Paypal Sandbox function and it sent me the receipt and download link which all worked, so hopefully it will all work for a real transaction, and I can get on with some more support material (video) for it and start another track asap – probably a Melodic Minor scale study as it’s reared its head from the BR80 jams recently…

Checked for real via a mates Paypal – all works fine.

Some seriously funky, amazing quality, brilliantly written jam tracks on the Govan Late Sessions 3 at:

Here’s how not to do an intro!

Quick and straight forward explanation of outside playing:

Great teacher…clear and to the point – latin jazz

For total keys beginners, there is another good lesson set using a Hammond, here:
BOSS ME 80 Info!! Important! Don’t send it back just yet…!
I may do a quick review of the Boss ME80 at some point but thought I should point out the initial poor sound I got and that you need to try different amps and gear before you send it back disappointed as some folks on this forum have been:

I was also REALLY disappointed also when I first got it, as I used it through the DBS college mixer/PA system which I use for the BR80 which sounds great.
It turned out that the 2nd Mixer stereo inputs with jacks, NOT phonos, sounded crap (so are probably knackered by student use), but even when I used another mixer strip it still sounded crap compared to the BR80, with no top end – as the forum guy says – the life sucked out of the tone – so why?
I can only assume it does not impedance match well with some gear because when I put it through the 2008 Carslbro TC60 it sounded fine. So, before you send it back to the seller check it via different gear before you make that rash decision.
It has some great features and with the Tone Studio software you can DL lots of pre-made patches etc, and edit them visually, all of which works really well as the USB2 works flawlessly – when you click a patch on screen it is immediately playable on the unit.

Like a valve amp – you may have to tweak it a lot to find out what it can really do.
Remember – manufacture’s don’t necessarily load good sounding presets with the unit and this can affect your initial judgment when you first play it with high expectations and find it sounds crap! Check it with other gear. My initial thoughts were that there was something wrong with it it was so bad! I thought the output stage was damaged or something. Watch out for the control pedal not being in the off position too for EQ type patches that will have the high end cut off if the pedal is not up full – that caught me out also…
Tone Studio.jpg
To get into this ME80 – get it connected to your PC – start with the driver and Tone Studio download from Boss and get some of the other set list patches from Alex Hutchings etc. to see what they do for you, then give the Rotary Crunch a go along to Guthrie Govans Magic Hammond backing track – you may wanna keep it for a while then!

I’ll do chord study video on this to get you going if this style of playing is a bit alien to you – not that I’m an expert, but I can show some basics and ideas to expand here:

Without the 9ths, inversions and any altered chords its all Dom7s on G, A, C, D, and E.

To dispel this ME80 poor tone issue, I have created my first personal patch really quickly to resemble the tone I use with the BR80 and what I go for generally – an OD with a tap tempo delay option to play to many tunes different timings – quite simple really, and here’s what it sounds like:

Nothing wrong with that!

if you want to try it out – I found how to export live sets in librarian mode:
1: create new live set (001)
2: edit/rename set to whatever
3: drag a patch into the set
4: export live set (name.tsl)

Here’s the set – SteveTone1 – containing just my patch tone above:
A big congrats to JB

and the Lionhat Collective – a fantastic support gig for Misty In Roots at the Princess Pavilion in Falmouth last night! Great job guys!

Another vid to follow shortly…

Thanks to Julian Bradbury’s jazz keys lessons, it made work and practice tracks for me which I’ll put up soon, and this all led to Emily Remler’s vid here if you want to work on your chords and harmony as a guitarist:

I’m working on a Jam Track educational package that combines a lot of elements from what I’ve picked up from Julian Bradbury’s keys lessons and transferred them to guitar for a rhythm, chordal and soloing workout that will make your wrist ache!
By incorporating the fixed finger picked bass line ideas that Emily Remler is so hot on – right on the 1 and 3 of the beat, you get an intro to finger style too. There are some interesting chords in this typical jazz structure sequence for a bit of variation also, as well as a common motif to both tracks which I’m sure will ring a bell somewhere…I just don’t know what song it’s from but I’m sure you have heard it somewhere.
It serves as a melodic departure point for soloing.
All in all, a lot of info in what most people think of as “boring elevator music…”

Here’s the first track as a basic intro to latin syncopated rhythm, that is developed in track 2 to become tricky to solo over due to some ear bending semi-tone movement…but that will have to wait for now. This is about learning alternating 1-5 bass line fingerstyle before introducing the full chordal syncopation. These voicings may sound a bit funny because they are the actual guitar chord notes – not the voicings most keys players would use, as this educational and aimed at guitar players to make a start on this musical style and possibly finger style in general if you haven’t done any before.

You need to play and NAIL the alternating bass FIRST before you try to pluck the upper strings chord structure on the off beats (AND1…AND 2…), then develop that. It’s not easy to play the bass on bang on beat AND play the upper chord notes off beat on guitar, but a good exercise and a way to develop your own style so you can try to make the upper notes sound more like they may be played in Latin style – more the the piano is in the next stage track, and introduces the motif:

A big thanks to Julian and the tragically late Emily Remler for the inspiration to continue with this unusual (for me) study, and to Emily for about the most profound musical statement ever:

“There is no such thing as the wrong note – just the wrong resolution”


I try to keep that in my head when I’m soloing now to help me try pre-hear a resolving note from wherever I am, and not just rely on aimless patterns, blind luck, and finger memory to finish a statement.

I’ll get round to finishing the documentation and re-packaging for the first 2 Jam Tracks after this is all done to satisfaction and ready for download

Note to self:
ways to remember altered and lydian dom 7 scales:
altered: first 4 notes = diminished scale, 2nd 4 notes = whole tone scale.
lydian flat 7: opposite of above

This is why they work over a dom7 chord, because both whole tone and diminished scales do, and these are made up of both!

Altered scale

Lydian Dom (flat 7) scale



Expect you all realise I wont be doing any more music stuff here anymore – I’ve lost interest now – and with no thanks at all or even a track download for all my effort – why should I bother anymore? The valve amp market is dead and another money pit.

Thankless bunch you all are…!

Anyway – I have something new to occupy me now – bikes mechanics:








Now, go and research your own instrument/software/amp/music track instead of expecting me to do it all for ya….



My Ibanez RG560 M I Japan is on Gumtree here:




DSC_0002.jpg DSC_0003 DSC_0004 DSC_0005 DSC_0006



The Carlsbro TC60 is on Ebay also now:


Text/email me direct on the RG560 ad number above if interested…


Here’s both together for the last time – the guitar is just about gone out the door:


And that’s the end of that 2nd era……



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