Tag Archives: carl martin

The Plexitone. The Three Channel Pedal That Provides All The Basic Crunch and lead Tones You Guitarists Need

Over the years I have met and provided advice to many guitar players. It is true to say that while many were accomplished players some of the tones that they were using were, to be totally honest……bloody awful!!

Each to their own I hear you cry? Who am I to be telling you that your guitar sound is cobblers?

“I can’t help it!” is the answer to that question. I love the guitar and all the tonal possibilities that it and the surrounding paraphernalia can achieve. Creating a great tone in this modern world shouldn’t be that difficult should it? Depending on your budget you have access to a plethora of amplifier companies, more pedals than I ever thought could possibly exist and just how many single and double cut pieces of mahogany and alder are there!?

You can spend a fortune on tone chasing, new guitar, new amp, new pedal, new tattoo………….well okay, not the new tattoo but you get the idea.

Getting your basic tone right is a key piece of the puzzle. This may sound obvious, but it’s surprising how many fancy delay pedals and multi effects you see guitarists using, that when they are switched off their basic clean and crunch tones are bland and lifeless.

Here is where I bring in the Carl Martin Plexitone.

 If ever there was a pedal that gave you such a perfect range of crunch and lead tones this is it. I personally love this pedal and have used it and recommended it for many years.

The drive tones available are very much as the name would suggest, plexi through and through. Old school plexi tones are here on the crunch setting covering Hendrix to AC/DC . The crunch side of the pedal has extra gain on tap and takes you into hard rock territory with ease but maintains fantastic clarity thanks to the extra headroom of the circuit running at 12 Volts. Modded plexi tones just ooze from the high gain setting. Huge sounding chords and  modded lead tones to die for pour from this setting (think natural compression and “sag” ) and provided the perfect lead channel you could be missing.

And then there is the independent clean boost that sits under the switch on the left hand side. This is just the perfect addition and takes this already fantastic drive pedal into the perfect tool for creating that great basic tone.

The clean boost works independently within the pedal. With the crunch or high gain engaged, the boost gives you up to 20db of a kick, more than enough to let your solo be heard. (make sure you practice as you really will be heard!)

But here is another use for that clean boost. I always like to kick the clean channel of any of my amps just to push them a little and give them more presence and bite. With the boost being independent I leave it on all the time so that my clean has that extra sparkle and punch, then I just switch on the gain side of the pedal when required. If your clean channel is a little flat or lacking power then trust me that this clean boost will bring it to life.

Don’t forget also that if you are running a twin channel amp with a clean and dirty channel, the boost into your dirty channel will add that extra punch here as well, hey presto, four high quality tones to start building on all for well under £200.

So I love it and recommend it, Pete Thorn who knows more about tone than the rest of us put together loves it.

Remind me why your tone is lacking again?…………………………….





Multi Effects or Dedicated Pedal Board?

Multi Effects or Dedicated Pedal Board?

It’s an age old question, in these days of super modelling, Ultra High DSP and Super compact sizes, why would anyone ever bother with a Big Lunky Pedalboard?

Well, the first thing to say I guess is Horses for Courses….

If you’re playing at home or just jamming with friends, or even in a local ‘covers’ band down the local pub every Saturday, the quality of sound from the new generation of Multi FX boxes like the Zoom or Korg or Boss really is very accurate, and indeed if you’re looking to emulate the exact delay of a U2 track or the chorusy swirl of a Stone Roses cover, you’ll probably find that someone has done the hard work for you, and the sounds are VERY close indeed, but for those seeking the Holy Grail of real guitar tone from a real amplifier with real dedicated Stompboxes, the Pedalboard will always be the way forward.

There’s just something about the ‘physicality’ of the guitar, where you have to physically ‘make’ the notes using both hands, (as opposed to say a Piano player who just pushes a key and the sound is there) that sits so well with a dedicated pedal.

Let’s try and explain…

For me the one thing that will always be missing from the Multi Effects brigade is the movement of air by the speaker cone, and the way that sound evolves over the course of a show, as the room warms up and the tubes in the amp warm up and how a pedal fit’s right in to that mix, as another thing to be controlled.

Indeed, I usually recommend to anyone playing a Multi effects box live, to run it straight into the PA and let the sound guy give you your sound back through the Monitor. Especially if the unit has the ability to model or emulate a speaker cab. (What’s the point of a great speaker cab emulation which then gets run through your existing amp and consequently takes on the character therein, hence doing away with the Cab sim completely…)

In these circumstances as I said before, especially in a small Pub or club, these units can sound absolutely accurate for classic tracks, and the sound man will love you forever as you entrust your levels to him, but for the true guitar Tone Meister, only the real thing will do.

One of the problems of the Old Fashioned Pedal board, was the perpetual ‘Tap Dancing’ to be seen on stage, as the hapless guitarist tried to switch pedals in and out for different parts of a song, but nowadays, there are some pretty sophisticated switching systems that lie on your board alongside the pedals , and are capable not only of switching between various pedals, but also switching patches within the pedal or Patches via MIDI.

Also, in the same way that a real amp moves air in a different way depending on the venue, a real pedal can be reached down to and tweaked on the night, mid song, as the room eq becomes more apparent, in a way that a multi-effects unit can’t ( most of them being editable via a series of LCD or LED windows ).

However, it must also be said that in the studio, where you have the time to tweak the unit and add extra e.q.’s and tone shaping, there are some Multi-effects boxes that work a treat, and in truth, you’d be hard pushed to know the difference between them and the real thing in the depths of a mix.

Also, there’s portability…. My current board is not dissimilar to carrying a Mini Clubman under your arm, and the resulting benefits in tone, are completely offset by the lack of ability to play properly after carrying it in from the car… So… what’s the answer.

The answer is obviously, you have to have both.

In my studio at home I have all manner of Guitar FX units, each capable of creating sounds that fit wonderfully inside a mix, ( I have a Korg A1 unit from 1991 that does one sound I cannot re-create anywhere else…), and I’m seriously tempted by the latest little Zoom units,

but ultimately, for me to play live, I still rely on my board,

after all,

he who has the most toys wins, right? J