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Busy New York guitarist Teddy Kumpel has a lot of tone tricks up his sleeves. He shares a few favorites from his M13 Stompbox Modeler.


By Teddy Kumpel


M13 Stompbox Modeler is a device that can be used so many different ways I can't imagine a player who it wouldn't suit.

I use it as a freak-out sound design box when I play with my trio. I do a lot of live looping and M13 gives me the variety of sounds I need to create myriad textures quickly.


I have one scene programmed for effects I use individually. Effects like Reverse Delay with an expression pedal controlling the mix. It's not only great for that super-trippy backwards lead guitar sound, it also works great just for a little moment in a rhythm part where you want to hear something backwards. Just set the delay time to whole-notes and enjoy...


Really hard and intense Opto Trem with the pedal controlling speed is a fun trick. I'll play a chord with the speed as fast as it will go and slowly use the pedal to slow it down, like skimming a stone across water.


Tape Echo with the pedal controlling delay time and feedback level is awesome for dub delays. Just turn them on while you're skanking for a second at the end of a phrase, move the pedal around and you're in Jamaica in 1970. The synth sounds are raw, freaky, retro, and really exactly what I would want in a guitar synth, without the hassle of having a whole cumbersome guitar synth setup.


To be continued…


Read about Teddy recording with POD® X3 Live.

0 Comments Permalink Tags: teddy, kumpel, teddy_kumpel, guitar, m13_stompbox_modeler, tips, tone, pedal, pedalboard, live, pod_x3_live, recording, effects, reverse, delay, reverse_delay, expression, expression_pedal, backwards, tape, echo, opto, trem, looping, looper, m13

By Teddy Kumpel

 

 

Time is money for busy New York guitarist Teddy Kumpel. And when he’s in the recording studio, his time needs to be spent recording guitar tracks, not fiddling amp knobs. Teddy relies on Line 6 gear to record great tone and meet his deadlines.

 

 

I played guitar on a record for Saul Zonana called Blue Monkey and we used the POD® X3 Live to track guitars (we didn't want guitars bleeding into the drum mics). We thought we'd replace everything with real amps later. Guess what: the sounds were killing and we kept most of what was done through the POD X3 Live. (In fact the only reason we replaced anything was for performance, not sound.) All the overdubs were done with the POD X3 Live as well. So much for lugging amps to the studio.

 

I do a lot of soundtrack guitar playing with a film composer named Alex Wurman (Anchorman, March of the Penguins, Taladega Nights). I use the Variax® acoustic and POD X3 Live together to create a myriad of textures and odd instrumental doublings. I often find myself saying things like, "A little metal dobro with your slide banjo? No problem. You want me to play that on an old archtop with a mic on the neck and a mandola down the octave? Not a problem.”

 

With Variax® Workbench™ software you can get some amazing sounds out of the Variax, and throwing it through a POD X3 Live afterwards yields excellent professional-sounding results.

 

Right now, in my home studio, I'm mixing a record with Tony Scherr (Willie Nelson, Bill Frisell) by a great band called Ursa Minor. It was recorded in a project studio that produced pretty thin bass results. We fired up the POD X3 Live and auditioned a bunch of bass amps and are so amazed at the results we just want to put all the bass through it. POD X3 Live is an amazing piece of kit.

3 Comments Permalink Tags: pod, pod_x3_live, recording, x3, x3_live, variax, acoustic, workbench, bass, guitar, teddy_kumpel

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