COOL GEAR ALERT: Boss FB-2 Feedbacker/Booster

Oh cool! Here’s a new take on an idea that Boss explored with their old DF-2 Feedbacker & Distortion (which Fuzz Box Girl reviewed a while ago). This seems like a really great idea and I can’t wait to check it out.
Unique, Expressive Guitar Pedal Offers Variable Booster Types,
Natural Feedback Function

Los Angeles, CA, December 21, 2011 — The powerful new BOSSFB-2 Feedbacker/Booster, the latest addition to its famous lineup of compact pedals, is now shipping. Combining an adjustable tone/gain boost with the ability to kick in a natural cranked-amp feedback sound at will, the FB-2 is a unique stompbox that gives guitarists a world of new expressive possibilities.

Booster pedals have become extremely popular with guitar players in recent years. Many different types are available, ranging from straight-up gain boosters to tone enhancers that boost treble or midrange frequencies. Using the latest BOSS technology, the FB-2 incorporates the most sought-after booster types—as well as their unique sound characteristics and sensitivity to playing dynamics—all in one convenient and affordable pedal.

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Hellecasters reunite for NAMM!


Legendary guitar trio Hellecasters reform to play first show in 11 years at NAMM 2012

Following an 11-year hiatus, legendary guitar trio Hellecasters – featuring the outrageous talents of Jerry Donahue, John Jorgenson and Will Ray – has reformed, and will play its comeback show as headliners of the celebrated Deke’s Guitar Geek Festival at the Anaheim Plaza Hotel Ballroom in California on Saturday January 21st 2012.

The group, known for their intricate melodies and dazzling fretboard skills, are returning to the fray after overwhelming public demand, and will round off the celebrated festival with a bang.

Jerry Donahue will be using his own Fret-King Black Label JD guitar to play the show. The JD guitar is the first of the Fret-King Black Label range, which sees its worldwide unveiling at NAMM 2012.

Be sure to drop by at Hall E 1212 to see and meet Jerry and Fret-King designer Trev Wilkinson, and check out the whole Fret-King Black Label range while you’re there.

For further information and for ticket sales for ‘The Return of The Hellecasters’, see the attached poster.

Fret-King guitars are distributed worldwide by John Hornby Skewes & Co. Ltd.

INTERVIEW: Korn’s James ‘Munky’ Shaffer

Korn are one of the few bands of the Nu Metal era to have endured. Not only does their original breakthrough material still hold up despite the decade and a half of imitators, they also manage to maintain a sense of vitality in their newer material. Just look at last year’s Korn III: Remember Who You Are. It was a dirty, raw, powerful, vital album at a time when bands often become complacent. But complacency isn’t in Korn’s vocabulary. Their latest, The Path Of Totality, finds them pairing up with various dubstep and electronica producers to put a heavily neo-industrial spin on their established bottom-heavy rhythmic drive. But The Path Of Totality isn’t the only new release that Korn guitarist James ‘Munky’ Shaffer is involved in. He recently – finally – released the debut self-titled album by his long-planned solo project, Fear and the Nervous System, a band which features Faith No More bass player Billy Gould, drummer Brooks Wackerman, and Repeater vocalist Steve Krolikowski.

How did the collaborations on The Path Of Totality happen? Did you work together in the studio? Did you send off recorded parts?

It was kind of mixed up. We started out with Skrillex and we worked in the studio with him on the first track, which was ‘Get Up.'” So we were actually working with him in person. And also with Downlink and Excision. Noisia, those guys are from the Netherlands so we just send tracks through the air. They sent them back and Jonathan (Davis, vocals) was in communication with them. So it was kinda different with each artist and producer.

It must have been a cool challenge to figure out exactly where the guitar would fit amongst all the other stuff going on.

I mean, on a lot of the tracks it seemed really like ‘Where am I gonna put the guitar? Where is it gonna fit?’ And it was challenging for me. Rhythmically it was really kinda busy and I was trying to find the right space and the right notes. It’s like a boxing match – you bob and weave to sort of get your punch in there.

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