Other Guitar Accessories

Do you have a favorite guitar and wished it had a tremolo bridge? Do you have a guitar with such a bridge, but you find you are always tuning it after some whammy escapades? How about an instrument that does not have such a device, including a bass or acoustic guitar, or perhaps another stringed instrument, like a cello or harp? Well, what seems like 4-5 years ago, I saw an ad or brief write-up about a new device… a tremolo/whammy arm called Virtual Jeff (after Jeff Beck), which connects to any guitar (perhaps not most headless varieties due to lack of positioning) or stringed instrument. It also would work for synths and the like that do not have mod wheels. The Virtual Jeff finally released about a year ago and I’m late to the party. Without hesitation I reached out to Peter Walker, its creator and inventor. In short, this is a trem arm attached to a small bridge-like body, that you affix to just behind the bridge or where it is suited best. One well-known YouTuber avoids his tremolo due to tuning issues – and so, he blocked it off and added the Virtual Jeff Pro. In another instance, a bassist connected it to the lower arm/horn of a bass. A few things before discussing ease-of-use and sound, and bear in mind that the Virtual Jeff website has many videos and instructions on these topics. First, it is easy to mount, using special non-damaging tape (and easy to remove if necessary); and since you can purchase additional mounting brackets (the kit comes with two), you can place this on as many guitars as you want; simply slide the trem arm on or off a chosen guitar (the mounting bracket remains on the guitar). Second, you can run an included cable direct from the trem arm to the floor controller/pedal or use the included wireless transmitter. If using the included cable, it would be best to tie it to your regular guitar cable to avoid two cables wrapping around your feet. If using the wireless 2.4GHz transmitter, it comes with a strap/belt clip, or place it in a pocket or mount it on a guitar (if using the clip or mounting methods, you will require one of the mounting brackets, which means only one bracket left in the kit to mount the Virtual Jeff – order more mounting brackets!). Essentially, it is that straight forward and I had Virtual Jeff up and running within 20-minutes. Now, what can Virtual Jeff do, and keep in mind it functions like any other whammy or tremolo arm, albeit with special features and incredible sound. Obviously, it can be used as a tremolo, its primary function. You have access to two presets, which you set according to your needs. For instance, you may want one preset subtle, with two semi-tones down and four semi-tones up… or whatever the measure… whereas the other preset could be for deep bombs and squealing highs. The Controller allows for up to one octave up in pitch, or any interval up to that point, and up to two sub-octaves down for times you want to growl. You can select as many intervals down to one sub-octave, and then the next interval jumps to two octaves. This is very nice when you want a very typical tremolo effect for one song, but want to switch to a big and broad sweep for other songs. Next, Virtual Jeff has a HOLD function, so that when you bend up or down to a particular and desired tone, you can lock it in and continue playing at that pitch-shifted position. The HOLD function is activated by a standard two-button momentary switch (e.g., Hotone’s Ampero Switch for about $20 USD), as well as the BLEND function, which I will address later. The switcher connects to either side of the Virtual Jeff Controller, making it convenient for placing cabling were preferred. A most obvious example for this function, although there are many, would be to set the V-CAPO (addressed later) an octave down, then when you switch you have a bass guitar. And so, I will discuss the V-CAPO feature next, which is a virtual capo that you lock into for a different pitch. Likely pitch-shifters are used most often by those who want drop-tuning for dark, brooding, and heavy music. This not only makes it convenient and quick to achieve semi-tones below normal, without having to retune your guitar, but it is one of the best sounding pitch-shifters I have heard. You literally get 100% of the new tone (unless you want to ‘blend’) without any artifacts from the original tone seeping in. You can use the V-CAPO on its own, or combine it with the BLEND feature, which also is triggered by the external footswitch. BLEND allows you to add the V-CAPO tone to your original tone as low as 12.5% (87.5% dry) and as high as 87.5% (12.5% dry). As stated previously, the up/down buttons on the Controller, as well as the LEDS that show ‘how much’ something has altered (your settings), is where things are adjusted. Initially, I thought the BLEND was too much on the lowest settings, but sometimes what you hear while playing and what you hear on a recorded playback are different. The low BLEND is quite sufficient to add some depth or thickness, and in a mix, blending is apparent, but far from overbearing. Higher blends do result in flipping which tone is dominant, and that is when the Virtual Jeff works even more magic. When you add a blended V-CAPO note, and then bend the whammy arm, it is the V-CAPO note that pitch-shifts and NOT the original note, thereby producing some beautiful and interesting harmonies. If the BLEND is too low, you barely hear the pitch-shifting, although you still hear the V-CAPO tone. As you increase blending, the V-CAPO tone and its pitch-shifting increase in predominance accordingly. This may not work well for high-gain playing, as I find blending works best with Metal music that has a low mix of the altered tone, but you do not get that big whammy or bending sound (barely audible with hi-gain). Conversely, you may find more blending brings out the whammy tone to the forefront, but the V-CAPO tone is too noticeable. Regardless, this will depend on your ears and what sound you want to produce. Overall, this is one piece of gear that not only is a long time coming, but you will spend hours having fun and discovering new sounds and applications – particularly those instruments that have been lying dormant with a fixed bridge. At $499 USD, this is hardly expensive when you consider many quality overdrive pedals are around the $250 mark or above, and many ‘boutique’ pedals that offer reverb, delay or other effects, match that price or greater. I have seen preamp pedals that cost nearly double that. The V-CAPO abilities are superior to others I have tried, including the DigiTech Whammy and the V-Capo functions on the Eventide H90 and Fractal FM3. Nor do I don’t feel or hear any latency (a more accomplished guitarist may, whereas I’m a hobbyist). And the fact that the Virtual Jeff can be mounted on as many guitars as you please (simply slip off the whammy arm and slide it onto another instrument), increases its value beyond modding a single guitar. Check out the Virtual Jeff website for plethora of demos, instructional videos, and everyday people showing how they use the Virtual Jeff.

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SOUND: With GUITAR-JO and some EQ tweaking you can make your electric guitar sound like a banjo. The YouTube video below is something I put together relatively quickly to show how easy it is: What you’re hearing is a dry signal… nothing more than my Schecter B-24 plugged into my DAW. I did add a touch of delay and reverb, but not so much as to color the tone or make it sound like we’re in the Grand Canyon (just enough to add some dimension). I then altered the DAW’s EQ and fiddled (NOTE: no violin in the video) with my pickup selection and tone control. I’ll explain how that works in the section on ‘Ease of Use.’ OVERALL IMPRESSION: This could be considered an ‘effect,’ although no pedal is used. Rather, it’s a mechanical device that alters your guitar’s timbre so that it sounds like a banjo. Anyone who plays guitar and banjo in a band knows that it can be inconvenient to set down a guitar, pick up a banjo, then set the banjo down to play the guitar again, etc. There may be a song or composition that necessitates nothing but guitar or banjo, which makes switching instruments less cumbersome or an issue. However, for those who want to add some banjo lines or who need to play the banjo only on occasion, the GUITAR-JO offers an excellent and cost-effective alternative… and is as easy to integrate by merely flipping dampeners over the strings. Now, for those who do not play banjo, who refuse to invest in another instrument (a good banjo will cost at least $400) or simply want to experiment and have fun composing with a banjo sound, then a meager investment of only $45 can put the GUITAR-JO in your hands (and on your guitar). I was in that situation… looking for a used banjo just for some minor tinkering. Nothing says Americana like the banjo, and so if you’re into Country, Bluegrass or some simple Folk music and want to add a flavor to your playing and song writing the GUITAR-JO makes it easy and pain-free to get started. EASE OF USE: This is not a plug and play device, but it’s not that hard to get going either. The GUITAR-JO’s base attaches by way of microsuctions… tiny little suction cups that enable you to stick it on, remove it, re-stick it, etc., and if the guitar or the GUITAR-JO’s base gets a bit dirty it can be cleaned with a damp cloth (allow to dry to once again reuse the microsuction cups). You then attach to top part and screw down the GUITAR-JO’s dampeners (six of them) onto the strings. As you rotate each dampener and it lightly touches a string you eventually get a different timbre… or sound quality that mimics a banjo. Listening to just the guitar unplugged you will say “that sounds just like a banjo,” but you’re only part-way there. There’s a good instructional video that demonstrates the details of affixing the GUITAR-JO at this link: Now, once you plug in and use the guitar’s electronics there will be some adjustments… which pickup to use and where your tone control should be relative to the chosen pickup. Essentially, to get that banjo sound an EQ would have the midrange up very high, bass down relatively low and treble a little less than half-way. The user information in the manual provides even more detail on using a multiband EQ, which is part of nearly everyone’s pedal board and certainly in every DAW, to achieve an authentic tone. The video I created resulted in about 5-minutes of tweaking. RELIABILITY & DURABILITY: The GUITAR-JO is a great addition to a guitar player’s gear and it’s well constructed. The framework is made of a quality plastic, whereas the adjustment screws (with dampeners on the ends) are made of metal. I did drop it without any mishap, and so the materials are tough enough. The mounting base’s microsuctional material seems to work rather well when removing it and replacing it – without any loss of stick (‘stiction’). If your guitar remains in a flat position (in a case), you can leave the GUITAR-JO on permanently if you wish, but I found that when hung up the weight of the device eventually caused it to fall off. Now, I don’t suspect it would fall off during play, and it did not for me; and the reason being is the placement of the GUITAR-JO’s base. When playing and the guitar is horizontal that means the base of the GUITAR-JO is vertical and the force (weight) of the unit has greater traction along the guitar. When the guitar hangs vertically, on the other hand, the weight of the GUITAR-JO pulls horizontally and eventually can pry the device off the guitar. Consequently, it is meant to be removed when not in use and affixed to the protective cover to keep the microsuction surface clean and dry.

For which specific applications or uses do you currently use this product? I use them (I bought 6 :bravo:) both at home and on stage, for guitars and basses. -How long have you used it? One month, more or less. -Have you tested other comparable or competing products before purchasing this one? It has no real competitor: using an adhesive, a pick holder or putting the pick under the pickguard all have in common not to allow (or with real difficulties) to put the pick down and take it again during the same song. As for the tool-which-name-I-forgot to be placed on a mic stand... well, it's not on the guitar itself! -What are the pros and cons of this product? I like how simple it is: you just had to think of it, but now I can switch in a breeze between picking, chicken picking, fingerpicking or finger playing. Regarding its cons, well, the price (of course you pay the concept too, but technically it's just a mere sucker and 9 bucks is a bit expensive for that), and the sucker itself is not always reliable. Both these elements take one star away, otherwise it really is perfect!

I started using scrunchies when I first attempted to mute the strings of my guitars to get rid of some unwanted noises during the recording sessions. I eventually bumped into what appears to be a pretty popular company offering some muters they call fretwrap but ended up having to replace them every couple weeks, they just start to fall apart. My further searches brought me to the MAB and Batten string muters but both devices have to be mounted mechanically onto the instrument which is not practical. I then heard through social medial about an artisan who builds guitars and picks, he is based in switzerland, I visited his website and found out about his own string muter design which are completely handmade, I must admit this was the trigger because I am all for supporting something which is handmade and the design was pretty much everything I was looking for so I ordered 2 dampeners which I've included in the pictures (pictures from Hufschmid Guitars BTW). 2 weeks later I received a gorgeous packet which was wax sealed :8O: and the two gorgeous string dampeners. I could not believe the quality of the craftsmanship, this is the first thing you will notice when you handle them, you will spend 10mn at just watching all the details! I've been using them since April on several guitars, one of my friends is now using one on his 5 string bass guitar, those are built incredibly well and do not come apart unlike the other cheap ones I've ordered, if you are looking for quality, then wait no longer!

Ok, so everyone knows what a string muter is. Patrick just did the coolest thing ever, the bacon wrap ! Basically a string muter that looks like a nice and tasty slice of bacon, it had to be done and he did it ! Aesthetics aside this is a really good product, handmade in switzerland, you can clearly see that it's not mass produced and that the attention to detail is a priority. The muter itself does it's job really well, the velcro is really sturdy and won't give up on you. The nice thing is that it's one size fits all, be it 6,7 or even 8 string guitars, it will also go on basses 4,5 and 6 strings. Really happy, top notch quality great and fun design, all good, you can't go wrong with one of these !

String muters are starting to get popular and quite a few companies have started producing them. Among all the different ones you can buy you'll stumble accross good ones and bad ones of course... Why should you be using a muter ? I mainly use mine for 2 things, killing overtones on rythms tracks (just place the muter behind the nut), really comes in handy for muted and heavy riffs, or for cleaning up leads (just place the muter in front of the nut) because it cuts out the strings that you're not playing. What I really like doing is using a muter when learning a song, it really helps me find and hear the parts where I'm not playing clean enough and focus on them. Right so now what's so great about Hufschmid muters ? Well it's quite simple, Patricks muters fit ALL guitars and basses, just buy one muter for ALL your gear, the other brands all have different sizes and they don't necessarily fit on different guitars/basses. Other thing is that they're tough the velcro is sturdy and won't give up on you after a couple of weeks, the muter will always stay in place and do it's job really nicely. Oh yeah did i mention the design is really nice and you can also choose the width (3 or 4 cm) ? All in all Patricks muters are a bit more expensive than some of the others that you can find on the net but because they're so much more durable and they can actually fit all of your guitars you just need one instead of half a dozen. Like all the rest of what Patrick does his muters are all hand made in Switzerland by an artisan, the quality will always be top notch. Give them a try I'm sure you'll enjoy them as much as I do.

The MOTU ZBox is a simple device designed to maintain the signal from your guitar to your audio interface. It is for use in situations where you would not be using any amplifier. The unit is very simple in make up, with the 1/4" outputs for lo-Z and hi-Z as well as a 1/4" male cable to plug into your guitar. This isn't rack mountable in any form as it is a box. Setting up the MOTU ZBox is incredibly simple and should present no problems at all to anyone. Honestly, everything about this should be self explanatory from just looking at it as there isn't anything strange or out of the ordinary here that you would need to know about before hand. Once you've set it up, you're good to go and don't need to do anything further. A manual isn't necessary unless you're having a technical issue. I don't find myself in too many situations where I would need something like the MOTU ZBox, as I tend to always use a guitar amplifier to get my guitar tones, so this isn't a product that I own or that I'm looking to own. However, I have used it in the studio for use with amp modeling software, mostly just out of curiosity to see what types of sounds that I could get at a friends small home set up. The ZBox or something like it is definitely something you need to have if you're going to be plugging in direct and don't have any mic preamps. The ZBox will get the job done, but no better than any interface would do, so I would imagine however that most studio owners wouldn't have a need for this. I can only see the MOTU ZBox coming in handy for the guitar player who wants to integrate his or her playing into the digital world but doesn't have an interface or any sort of studio set up. For these users, the ZBox will get the job done at a reasonable price, but I would really encourage you to check out full blown audio interfaces, as they are quite inexpensive and offer up a whole lot more versatility and possible than this would...

That it should work with any traditional wah pedal is not true. I have an RMC wah with the 9 volt input on the other side. In addition, the 9 volt plug on the device itself is very weak and broken after only one time in the flight case. I then replaced the plug and made it longer so that it would fit with the connection on the other side, but the device simply does not work properly. I complained about this to G-lab who indicates that the weight of the WAH is very important, but no further response. I also complained to Thomann but they couldn't help me because something had already changed in the product. In addition, the device is not true-bypass and does affect the guitar signal. All in all, I am dissatisfied with the device and the service provided.

SOUND: The DVI-1M, or the Dual Vitalized Routing Interface, is a buffering system that makes a difference in tone quality and clarity even with a very basic set-up. For example, I use the Line 6 Relay G10S wireless system, which I find produces a clearer tone than even some high quality cables I have at my home studio. This goes into the DVI-1M that goes out to the AMP1 Iridium and BluBox (a speaker IR) – both units by BluGuitar. Now, something to consider about the AMP1 Iridium and BluBox is that they not only are of high quality in tone production, but the AMP1’s solid state power amp is very clear and cuts through the mix without issue. Nonetheless, the result was a tighter and more defined grain in overdriven tones when adding the DVI-1M. Improved clarity and character also was obvious when adding a wah, external overdrive and some modulation effects in the DVI-1M’s FX Loop (Send/Return); but what stood out even more how pronounced the effects were. For instance, the modulation effects sounded as though a filter was turned up to improve their ‘vocal’ range. All these are demonstrated in the accompanying video that comes through decently with YouTube’s compression, but is more apparent live in the room. GENERAL USE: The DVI-1M (Dual Vitalized Routing Interface) is a dual-circuit buffering system (a Vitalizer circuit in the In/Out and at the Send/Return of the unit). It is super-easy to use since the only required operation, after an initial hook-up is the Mute switch. When the unit is powered up (via battery or standard 9VDC or 18VDC adapter) its LED is blue; and when Muted the LED flashes red. Hooking up the DVI-1M ranges from simple to complex, depending on what gear you’re using. A simple hook-up could be nothing more than an amplifier with a few effects, whereas an advanced hook-up could involve a programmable effects controller, a MIDI controller or a two-amp + PA connection. The demo below includes an overview of the DVI-1M, my sample pedalboard layout with sound samples, but also various possible hook-up scenarios (images extracted from the user manual). The Mute function comes in handy when tuning (the DVI-1M has a separate Tuner out that can be switched over to a third parallel out), when switching guitars during a set or even as a kill-switch for special ‘stuttering’ effects. OVERALL IMPRESSION: The DVI-1M is extremely flexible and brings to life your pedals and amps. Its popless Mute control is great for tuning, changing guitars, etc., but which doubles as a kill-switch… for that rapid stutter effect. Priced at $180 USD, it comes at a cost of a typical guitar pedal, but serves to optimize tone incredibly well, even with short cables and a handful of pedals. Think of it as improving the amps and pedals you already own and love. With more complex hookups the benefit of having the DVI-1M becomes more obvious. The two custom Japanese buffer circuits (Vitalizers) in the DVI-1M works to eliminate signal loss and noise by converting high impedance signals that degrade your sound and tone. Degradation occurs from many signal contacts (such as jacks, plugs and switches) to using long cables (most obvious once cables exceed 10-feet); the DVI-1M eliminates degrading noise and accounts or loss of high frequencies. In essence, those Vitalizer circuits are ‘active impedance converters,’ preserving your gear’s true tone while reducing ‘active sound’ or noise that come from your gear and all its connections, cables, etc. Because the DMI-1M is a separate and specialized buffering system, it is more effective and advanced than buffering circuits found in pedals. I have wah pedals with built-in buffers and the DVI-1M still produced an improvement in tone and growl. Measuring 110mm(W) × 60mm (D) × 30mm (H) or 3.54 (W) x 4.72 (D) x 1.97 (H) inches this is a solid built device. With a white/cream aluminum chassis and black screen graphics, the convex LED remains blue and lit when on, although flashing when on and Muted. There are no footswitches or knobs, whereas the Mute function is controlled by a third-party latch/footswitch. The underside of the DVI-1M includes rubber feet (glued on and not screwed). All the input and output connectors are of excellent quality and tight. The DVI-1M operates on a standard 9VDC battery (included) or a 9VDC or 18VDC standard power supply (negative tip).

First of all, get it out of your head that this is a multi-effect device. It is not. It is a pedal that can morph into other pedals, but not on the fly. This pedal shows its diversity by being able to be changed when pedalboard changes are necessary, but not mid-song or while playing a gig. What it Does Well The iStomp does modulation, delay, reverb, compression, pitch, and filter effects well. These are the areas where digital is king above analog, and the iStomp is no exception. Several of the effects have mechanisms to allow for tap tempo, which can be useful in the right situation. The Red Coral Detuner and Rotator effects are my personal favorites, and they sound fantastic. It does a very good clone of the Memory Man, and several other famous delays. When you buy the iStomp you have the ability to change the pedal to any one of the forty plus options that are available. You no longer use the flanger, but need a compressor- no problem. Need an EQ pedal for your acoustic gig, but not the chorus that is loaded. Again, no problem. It takes roughly a minute to switch it from one e-pedal to another, then however long to dial in the settings. It is nice to try out pedals with your own rig, and not whatever amp and guitar are lying around at the local music store. Download an e-pedal, tweak the knobs, and know if it works with what you have. What They Did Wrong I was intrigued by the iStomp when I first heard about it, but the original price kept me at bay. I bought my first iStomp when it went on sale, and after having it for only a couple a of days quickly bought four more. I realize the inherent long term limitations of the pedal. Someday iPhones are not going to be available for changing the e-pedal on my iStomps, then they will become like any other pedal- limited to one sound. The tap tempo is a bit clunky, and not very gig friendly. The distortion patches are good, but not great. I like the way an analog distortion pedal reacts with other dirt pedals, and the iStomp does not have the same effect. I will mention that I love the Half-Pipe Overdrive, and if they ever made the analog equivalent of it I’d buy it in a heartbeat. Limiting it to the iPhone only was a mistake. A USB connection to any device would’ve been a better solution. Maybe this is not practical in the realm of software programming, but the iPhone changed to the lightning connector while the iStomp was still in production which caused issues. The inherent problems with this pedal is what sank it. I also believe that it was misunderstood, if you were looking for a multi-effects device in the traditional sense this is not it. I do like what it does, and as I mentioned own several that are on my pedalboard. I also am aware that their time is limited, but at a cheap price that doesn’t bother me. If you can pick up an iStomp cheaply, and you have an iPhone that can interface with it then I say do it. If nothing else it is a fun piece of gear to mess around with, and might help you decide on what other effects pedals you want to buy.

The Meguiar's micro fiber cloth had been my go to cloth for a while. Originally packaged with my fender guitars in the early 2000's I found that they did a decent job while being a fairly safe cloth for use on my instruments. While the cloth does its intended job fine I did find over time that there were several things I did not like about the cloth. The first problem I had with the cloth was its size. They seem a touch on the small size for a cleaning cloth and I often found myself requiring two cloths to get the job done that I can with one from another brand. I also found that they did not hold up well when cleaned and held onto stains that should have come out with a simple hand washing. The design of the edges is also questionable in my opinion. I do not know why they are so thickly stitched and I was always worried about pushing that part of the cloth into the finish. They did however provide a good medium to clean with so I used them. The main issue with this cloth however has to do with the design of the weave. My current micro fiber cloths feel almost like a fur made of tiny fibers. Similar to a piece of furniture but even more refined. The Meguiar's cloths however had a loop stitching to the way they were designed. Small particles were able to get caught in these loops and the cloths actually required a visual inspection before each use to ensure that nothing was trapped in these loops that could scratch the finish. Years back my eyes could see those but now I need help seeing thing that small in the fibers, stupid ageing process. The point is we buy high quality products to keep our things safe and this cloth was a problem waiting to happen. I have removed them from use years ago and would not buy any cloth like this again.

Keeping your guitar clean is a self rewarding piece of maintenance that will not only keep your finish in shape longer but also put a smile on your face after you see your baby restored to its glory. First off this product is designed for use on polyurethane finishes and should never be used on any other types of finish or bare wood. I have been using this product for many years and have always loved the quality of the shine it leaves behind. Using this product is very straight forward and simple. You will want to dust and remove any larger particles before any wiping to reduce the risk of marking your finish first. This product is designed to be sprayed directly to the finish being cleaned and polished. Then you simply wipe it away using a high quality cloth on one side to first remove the product then flip the cloth over to buff the finish to a shine. I find that I get the best result from this product by cleaning twice then buffing the finish. I find that this product does require a bit more time cleaning to get all the dirt off than other products I use. I however also believe this is more of a polish than a cleaner. The finished result ends in a very high quality shine. One that is very reflective and glossy. The only down side is that it seems to get dirty rather quickly when compared to some other products I have used. I consider this to be more of a showroom polish than a practical one. This used to be my go to polish for many years but for practical reasons it has been replaced by another product. I still buy this product but I only use it in limited situation when I want an instrument to stand out and literally shine. I do not resell much gear but if I was to sell a piece I would defiantly use this product to bring out the best of the finish.