3/10/2023 0 Comments Repeating gitbox guitar![]() ![]() I guess the best way to describe how I use it is as channel #2 for my amps' blosseming clean sounds. Since I'm using it with several different amps, I use it as an additional channel I suppose. ![]() It just happens to be a magnificent, obtainable pedal instead of a channel switcher I like your style!! (I actually do like the smaller footprint that's on its way to you, but I like my vintage size box just perfectly). I probably haven't described its tone too well, but look what you've done: given me a case of the "GAS" for my own pedal. Man, I'm now thinking of getting a second one (maybe the smaller box). That can be said about A LOT of pedals, but this particular tool to me sounds great - it's a hoot to kick in. If this is what the original sounded like, then I'd have had one long, long ago. Guitarist Michael Gregory Jackson Talks Electric Git Box - Premier Guitar. I have never owned or used an original Marshall BluesBreaker od, so I really can't compare the Snouse with the early original. As luck would have it, this lick fits well on the guitar, so its a good. ![]() It's married to my tele, but swings in such a lovely way with my Les Pauls and Suhr (single strat-style gitbox) and different sounding amps. To my ears, Nick, the Snouse knows no stranger. The BlackBox also plays super well with my Edwards Hot Mama (a vox clone) through a 1x12 Stone Age cab with a Scumback M75-LD strapped between its legs. So, as a baseline context, this particular amp I'm playing produces really great blackface tones. I play this through a 50W Glassworks Zingaro which is a G12-65 loaded 1x12 combo. Threw me off, but the pedal's foundational sounds blend perfectly with my amps. That might actually throw you off when you first fire her up. Interestingly, it's not a loud pedal in the sense of adding massive decibels. The BlackBox is pure loveliness and a great tool with the right amp. The bottom line up front is that the quality build (you've gotta take a peek inside) and the sound of the Snouse is so great for the drive I'm wanting to hear. Graham Reid, March 2021 ( Nick! I set aside or sold a few BB pedal clones, including my trusted KOT if you consider that in the spirit of a BB-like pedal. Further evidence of how linear time comes full circle with Curveball. Yet, out of that exotic and evocative melange of styles and influences, what emerges is - and has always been - distinctively Gitbox.įinally, the cover art is by Graeme Gash (also a guitarist, formerly of Waves) whose distinctive work graced the group's previous albums. The listener's mind can be taken towards contemporary classical music allusions to Spanish, Middle Eastern or North African styles the freedom of jazz, entrancement of minimalism or the economy of pop. Gitbox occuies a singular place in New Zealand music in that it draws from diverse sources. The perfect encore for their rebellious, pesky digits. And they close with Ennio Morricone's dramatic theme to The Good, the Bad and the Ugly. The bonus is hearing the ensemble in concert on the second disc where they essay some Curveball material but also other pieces, among them a variation on Threnody for Francisco Mendez from their debut album, a nod to the completion of that circle of time here. And a reminder of how sophisticated and seasoned these players are.įour of the group's original members – Nigel Gavin, Kim Halliday, Bodie Hermans and Russell Hughes – are still here, advancing this distinctive project into its fourth decade. As always, Gitbox subvert expectations but also deliver their beautifully realised, sometimes algebraic, melodies with a lively vigour or an elegant stateliness.įrom the pristine opening chimes of the ethereal Sanctuary where the glistening notes hang in still air and the urgently repeated figure which opens Absent Friend through the sub-tropical balm of the charming Dhoggs (My Dog Doesn’t Respect Me) to the concert chamber concentration and aural dynamics of the title track and beyond, the first disc of studio recordings is a constant revelation. And it has recorded artists as unique as the percussion group From Scratch and now, again, Gitbox.Ĭurveball – an appropriate title for a Gitbox and Rattle album – is the group's third for the label following Pesky Digits and Touch Wood in '94. Under the assured stewardship of helmsman Steve Garden, Rattle has since taken listeners on journeys through classical, jazz, sonic experimentalism, improvised music, the evocative sounds of taonga puoro. Thirty years ago, the Rattle label launched itself with the album Pesky Digits by the Auckland guitar ensemble, Gitbox Rebellion. But sometimes we can feel it as circular. Time, as we live through it, seems linear.
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