The Alpha Omega DI/Preamp is the result of a cooperative effort between Jon and Darkglass. Tracking down a photo in my photo library can also be tricky.The talented, all-around musician Jon Stockman (bassist for Karnivool and Floating Me) creates some incredibly hard-hitting metal bass sounds. Even if I know what pedals I used on an Amy’ gig, I still might not remember the exact settings on my Vick Audio ’73 Rams Head. During this hiatus, I’m likely to change pedals and do different gigs. I tour with Amy a lot, but sometimes we have a few weeks off. 4 is a page from my journal for Amy Helm. If you haven’t been gigging regularly with a particular artist or band, don’t expect you’ll remember preset six for the fourth song in the set in eight months ago.įig. I will also include notes on what presets I used for which song. I can either scratch my head for an hour or take one minute and look at my notes. Each of these gigs has very specific tone collection and I don’t use the same gear for every gig. I play with a lot of artists and do a wide variety of sessions. I don’t know about you, but I can’t remember what I used two gigs ago, let alone four or five. We’re always trying new pedals and messing with settings, but sometimes we need to turn back the clock. Taking pictures of pedalboards, amp settings, and guitars can really help you get back up to speed on a gig you haven’t played in a bit. On the subject of sounds, I also journal about guitar rigs for the various gigs I do. I can write notes in different colors and highlight them. I can create a transcription and cut and paste it in my journal. It allows me to have a collection of journals, just as I would with a notebook. It includes templates for sheet music, tabs, and ruled paper. There is a wonderful app for the iPad called GoodNotes. To reduce what I needed to carry around, I moved to an iPad. I’d sit in my hotel room and research music and make a mess. I needed to have a book bag with several notebooks, scissors, tape, and blank music paper. Each entry wasn’t a brief moment, but rather a process to be experienced.Īnd although I liked it, it was a little difficult to do consistently on tour. I’d think about the music more before moving onto something else. It forced me to take time to write it, cut it out, and tape it. I’d notate a musical idea on the sheet music, cut it out, tape it into the notebook, and then write my notes around it. I had blank sheets of music paper and a wire-bound notebook. I used to pursue journaling like an arts-and-crafts project.
For instance, you can use a traditional notebook. There are several ways you can approach journaling.
#Darkglass alpha omega mod
*Recorded direct using Focusrite Scarlett 2i4 interface into GarageBand.Ĭlip 1 - blend 2 o’clock, mod full alpha, level 1 o’clock, drive 3 o’clock, growl engaged.Ĭlip 2 - blend 2 o’clock, mod full omega, level 1 o’clock, drive 3 o’clock, growl engaged.Ĭlip 3 - blend 2 o’clock, mod 50.50 blend (noon), level 1 o’clock, drive 3 o’clock, growl engaged, bite engaged.
Test gear: Orange O Bass, Fender Precision, Gallien-Krueger 800RB, Orange OBC212, Focusrite Scarlett 2i4 Mix as you see fit, and you have a distortion party at your feet with tone attendees of all creeds and colors. It has punch, quite a bit more sophistication, and a fuzzy depth that was accentuated nicely by engaging the growl push button to fatten it up even more.
Meanwhile, I was drawn more to the warmer nature of the alpha circuit. The aggressive nature of the omega circuit serves up a howling buzz saw when the saturation is pushed, but doesn’t sound like an angry slopfest of noise for noise’s sake, and man can it grind. The controls made easy work of dialing in top-to-bottom distortion sounds, and I didn’t come across anything unpleasant (in a bad way). Push buttons for growl and bite add some EQ control by providing a bass boost and high-mid boost. And the mod dial is central control for sweeping between the alpha distortion’s darker and defined sound and the omega distortion for gnawing and raw tones, or blending the two circuits to taste. The layout is simple, with the usual suspects of drive, level, and wet/dry blend dials. The 3-band EQ and additional outputs found on its big brother aren’t part of the package, but this rugged yet sleek and sexy enclosure can cover a ton of territory on the bass-dirt landscape. It’s essentially the same engine, with its two separate distortion circuits, but the new pedal offers a smaller footprint and $100 off the original’s price tag.
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