NE Guitars - Oct

DOGAL CARBON STRINGS

Lee Ethrington Checks Out The Acoustic Range

+

The Sugar B’s

North East Legends in Focus

NEGUITARS

Oct/Nov 2025

Issue No:11

£4.99

Dr Feelgood Frontman

On His First Solo Album

In Association With

Spomsored By & Associated With

www.neguitarsmagazine.co.uk

NE GUITARS

Editorial

Paul George - Editor

Jane Shields - Assistant Editor &

Social Media Manager

Mark Taylor - Marketing Manager

Guest Author - Michelle Taylor

Guest Author - Lee Ethrington

Guest Author - Murdock Brodie-

Thomas

Guest Author - Jimmy McKenna

Review Specialist - Danny Mayes

Email.

editor@neguitarsmagazine.co.uk

Conquest Music

Alan Bambrough

alan@conquestmusic.co.uk

Cliff Evans

cliff@conquestmusic.co.uk

www.conquestmusic.co.uk

NE Guitars and Conquest Music

would like to thank all contributors,

authors, photographers, advertisers

and all of our readers and

subscribers. Without you this

publication would not be possible.

All intellectual property rights,

including copyrights, trademarks

rights and database rights with

respect to the information, texts,

images, logos, photographs and

illustrations NE Guitars and with

respect to the layout and design

of the website are protected by

intellectual property rights and

belong to NE Guitars or entitled

third parties. The reproduction

or making available in any way or

form of the contents of the website

without prior written consent from

NE Guitars is not allowed.

WELCOME...

Issue No:11

Hello loyal readers and welcome to our

first Autumn edition of NE Guitars

Magazine.

We have had one busy time just recently with

all sorts of planning and scheming for the big

magazine change planned for early next year but

I don’t want to bore you all with the nitty gritty’s,

suffice to say we are aiming to take the next

step up in our journey to enhance your reading

experience. But that’s for another day once we have confirmed and finalised things.

So, on to this issue. The first thing on the agenda is our Michelle is back! She

continues her pedal board journey much to the delight of our readers. Honestly,

I thought we were going to have to don the riot gear last issue! Seriousy, it’s really

good to see her articles are so popular.

On the cover, we have Dr Feelgood’s front man Robert Kane chatting to Ken and I

recently, also promoting his stunning new album ‘Blues is Blues. If you are a fan of

the Blues, you will definitely want to get a copy of this one.

Kit wise, we have quite a few articles on pedals. Of course, Michelle is chatting

about her board, Murdock is also talking about a range of pedals that he uses and

I dive in to the world of budget mini pedals with mixed results. Lee is back and

talking about Dogal’s acoustic strings and Andy Power is back with part 2 of his

Tech Talk where he gets deeper into the Click Track debate,

Kenny’s Blues Room is concentrating on Robert Kane’s ‘Blues is Blues’, also we look

at the recent release of Zen Orchestra’s new album and our final main article is a

look into the history of the Hartlepool based Blues band ‘The Sugar B’s celebrating

almost a quarter of a century entertaining the masses.

We have two full pages of classifieds with some tasty bargains to be had. Make

sure you check them out. Of course we also have news from around the guitar and

music world as well as our North East gig review with the best of what’s on in your

local area during the next couple of months.

On a final note, I would like to send congratulations and the very best of wishes on

behalf of the whole team to Danny (our Guitar Tech) and Stephanie on the birth of

their beautiful son recently. (Hence why Danny has gone quiet this month). Danny

will be back with us once life calms down a little, (and I mean that in the happiest of

ways) as he owes us a pedal review or two!

And on that happy note, we will let you get stuck in to this issue.

Take care all and chat soon.

Paul & the NE Guitars Magazine Team

Oct - Nov

www.neguitarsmagazine.co.uk 03

Contents Oct

- Nov Issue No:11

P12

DOGAL STRINGS:

Acoustic Range

Lee Etherington dives in to Dogal’s

Acoustic strings and puts them to the test

P28

ANDY POWER:

Tech Talk

Andy brings us Part 2 of the Click Track

debate with some great tip to enhancing

your performance

P52

The Sugar B’s:

North East Blues Band

A look back at the historic Hartlepool

Blues Band after a quarter of a century

on the circuit

04 www.neguitarsmagazine.co.uk

In Focus

On The Cover Robert Kane

Dr Feelgood frontman in chat talk about his career

and new album.

37 Zen Orchestra

Looking at the release of their new album

52 The Sugar B’s

Hartlepool Blues band looking back on their

history and band changes over the years.

Reviews

12 Dogal Strings

Lee Etherington checks out the acoustic range of

strings from Dogal

48 The Bargain Basement

The editor tries out budget pedals to dicover

whether they are worth a shout

Features

06 NE Guitars News

All the latest international, national and local

guitar news.

10 The Blues Room

Kenny Reviews ‘Blues is Blues’ by Robert Kane

14 Michelle Taylor

She’s back and getting back to her pedals

28 Andy Power

Part 2 of the Click Tack Debate in Tech Talk

40 Murdock on... Godzilla & Pedals

Murdock talks on pedals he use for this issue’s

lesson, Brian Setzer’s Go Go Godzilla

58 Classified Ads

Our brand new classified section.

60 North East Gigs Board

The best of gigs around the North East

On The Cover

Robert Kane

Cover Image:

Courtesy of

Conquest Music

ADVERTISE WITH US

With our uniquely huge coverage around the

North East, it is very easy to see why advertising

your business in our pages is so worthwhile. It

also doesn’t have to cost the earth. Check out

our low rates at our website here:

www.neguitarsmagazine.co.uk/advertise

Or why not give us a call or email us and talk to

us about our deals and your specific needs.

Tel: 07546 656143 Email: editor@neguitarsmagazine.co.uk


NE GUITARS NEWS

STOP PRESS The Latest Guitar News From Around The World STOP PRESS

Black Sabbath’s

Tony Iommi and

Gibson Unveil

Signature

Humbucker

Pickup

Black Sabbath legend Tony Iommi

and Gibson have teamed up for a

signature humbucker guitar pickup.

The Tony Iommi Signature

Humbucker is available for $229,

and reintroduces the Iommi

signature pickup to the market.

Gibson initially teamed with the

Sabbath axeman for a signature

humbucker — the company’s firstever

signature pickup — in the

late 1990s, though originals have

become hard to find.

The new signature humbucker

features an exclusive configuration

of powerful ceramic and Alnico

2 magnets, along with unique

windings, that give it the tone and

sustain that defines Iommi’s iconic

Black Sabbath guitar sound. The

pickup is fully wax-potted and

epoxied for protection against

unwanted feedback, resulting in

crystal-clear clarity even at full

distortion, and the 4-conductor

wiring allows for series, parallel,

and split coil operation.

You can purchase the Iommi

signature pickup via Gibson’s

website and Reverb.

Sonny Curtis, Buddy Holly Friend &

Crickets Member, dies at 88

South Plains native

Sonny Curtis, a prolific

singer-songwritter who

was inducted into the

Rock and Roll Hall of

Fame as a member of

the Crickets, is being

remembered for his

lasting impact on the

music industry.

Curtis, a Meadow native

who for decades has

been recognized for his

contributions through

hall of fame inductions

and honors, died Friday

19th September in

Nashville, according to

an obituary in The New

York Times. He was 88.

Just a teenager,

Curtis played with

The musician, 69, is

best known for being

part of the 80s pop

group behind the hit

songs Our House, It

Must Be Love, and

House Of Fun.

The band headlined

the final night of the

inaugural Colchester

Castle Summer Series

last Saturday.

Buddy Holly in

his early career,

including openening

for Elvis in Lubbock.

He later took over

as lead vocalist and

guitar player in The

Crickets following

Holly’s death in 1959

where he wrote the

hit’s ‘I Fought The

Law’ and ‘When You

Mr Foreman

announced to fans

today that he has

been diagnosed with

myeloma, a form

of cancer that he

is currently being

treated for.

It has been described

by the NHS as “a type

of cancer that affects

the blood and bone

Ask About Love’

which was covered

by the rockabilly

group Matchbox.

Madness guitarist Chris Foreman

reveals cancer diagnosis

Curtis ws inducted

into the Nashville

Songwriters Hall of

Fame and The Rock

and Roll Hall of

Fame as a member of

the Crickets.

marrow.”

In a post shared on

the band’s social

media channels,

Mr Foreman said:

“Earlier this year I

had severe pain in

my upper back and

shoulders. On June

28 we played a show

in France and it had

become unbearable.


Joe Bonamassa announces all-star

album celebrating life of BB King

Conquest Music

Looking For

Original Artists

From North East

NEWS

Joe Bonamassa has announced an

all-star album celebrating the life

and legacy of the King of the Blues to

celebrate what would have been his

100th birthday.

Produced by Bonamassa with Josh

Smith, BB King’s Blues Summit 100

will be released via KTBA Records on

February 6, 2026, but Bonamassa will

be sharing new tracks each month in

advance of its release.

All in there will be 32 of King’s

most-famous tracks, featuring

guest appearances from the likes of

Christone “Kingfish” Ingram, Slash,

Shemekia Copeland, Marcus King…

Kirk Fletcher, Larkin Poe, the list

goes on. Bonamassa really worked the

contacts book for this one.

The project has the blessing of the

King estate, with its chairman, Vassal

Gradington Benford III, noting that

the late bluesman’s legacy was not just

in the music itself, but in the message

behind it, his “spirit of love” and gift

for bringing people together.

“This collection carries his legacy

forward – so that new audiences may

continue to feel the heart, soul, and

humanity of the King of the Blues,” he

says.

“BB’s only wish was, ‘Do what you

can to keep the blues alive,’” says

Bonamassa. “Well, hopefully this

album gives a B12 shot to his legacy

– and to the legacy of the blues.” King

would surely have approved.

The first five tracks from BB King’s

Blues Summit 100 are available to

stream now. The album is available

to preorder on all formats via Joe

Bonamassa.

https://ffm.to/rab3vpx

Do you have a story to tell or have seen

something in the news or online we

should know about?

Then get in touch with us here at

editor@neguitarsmagazine.co.uk

Stay in the Loop with NE Guitars News

North East Record Label and

NE Guitars Magazine Sponsors

are on the hunt for original

artists from around our region.

Conquest Music, who have

handled artists such as

Whitesnake guitarist Bernie

Marsden, former Iron Maiden

front man, Paul Dianno, Luke

Morley, Willie Dowling and

Hillbilly Vegas, are looking

to invite local talent from

the North East around the

genre’s of Country, Folk,

Blues, traditional and Singer’

Songwriter for future inclusion

in Conquest projects.

Artist who are interested in

forwarding their recordings on

to Conquest should follow the

instructions on the ad on page

51 of this issue. All recordings

must be original and by the

submitting artist.

Conquest Music are

committed to supporting

local talent around the UK

and with a North East office,

opportunities to advance one’s

music couldn’t be better.


NATIONAL

CENTRE FOR

BIRDS

OF

PREY

National Centre of Birds of Prey

• largest collection of birds of prey in the UK

• over 50 spacious aviaries

• daily flying demonstrations

• free coach parking

• on site cafe

• open every day from mid February until end of October

• full disabled access

10am until 5.30pm (or dusk if earlier)

Duncombe Park

Helmsley

YO62 5EB

North Yorkshire

www.ncbp.co.uk

charlie@ncbp.co.uk

Tel 01439 772080


SUBSCRIBE

SUBSCRIBE

TO

NOW!

AND GET YOUR

FREE COPY

DELIVERED TO

YOUR INBOX

EVERY MONTH

HEAD TO OUR

WEBSITE AND

CLICK ON THE

SUBSCIBE LINK

www.neguitarsmagazine.co.uk


Kenny’s

Blues Is Blues - The Album Review

Article by Kenny Relton Images courtesy of Conquest Music

Kenny Relton

Blues Room

Columnist

‘Blues is Blues’, the new solo album

from local blues stalwart Robert Kane

— best known as the powerhouse

vocalist of Dr. Feelgood.

Robert Kane, a Sunderland-based R&B

singer, began his career fronting a 1950s

cover band called The Show Biz Kids.

He later joined a self-financed project

named Well Well Well; however, due to

a clash with another band of a similar

name, the group dissolved.

Kane then became the frontman for

The Animals, performing initially

as part of a five-piece before original

member Hilton Valentine joined,

expanding the line-up to six.


The Blues Subscribe! Room

During his five years with The Animals,

Kane earned a reputation for his

commanding stage presence and raw

blues delivery.

In 1998, Kane joined Dr. Feelgood and

has remained their lead vocalist ever

since. Over more than 3,000 gigs, he

has recorded three studio albums and

one live album with the band, their

sound deeply rooted in the classic

Chess Records style. Kane often

recalls colourful stories from his early

days with Dr. Feelgood, including his

harmonica prowess and his baptism

of fire — performing for 20,000 bikers

just five weeks after joining. Looking

ahead, he says Dr. Feelgood have a

busy schedule planned through to

2026, including tours in Spain and

Switzerland.

Now, Kane steps into the spotlight

with his own blues album. Blues Is

Blues showcases his earthy voice and

wailing harmonica, supported by

guitar and keyboard arrangements

that keep the focus squarely on the

songs. Recorded in the Sunderland

area with local musicians, the album is

exactly as Kane envisioned: strippedback,

unpretentious, and free from the

overblown guitar theatrics that can

swamp modern blues releases.

The record kicks off with “Halfway to

Memphis”, a raucous opener powered

by rolling slide guitar, gritty harmonica,

and Kane’s road-worn vocals — it’s

pure Route 66 atmosphere. From there

the album shifts between styles: the

modern, rock-edged “Heart Attack

Baby” contrasts with “Baby Please

Come Home,” a Chicago-style number

in the tradition of Muddy Waters.

Other highlights include “How Many

More Times,” a stomping 12-bar blues

brimming with sweet harmonica lines,

and “Man Who Got the Blues,” where

soulful keyboard runs and harmonica

solos weave seamlessly around heartfelt

vocals. On “Rock Steady Rocker” the

guitar evokes a 1960s R&B classic, the

band rolling behind in good oldfashioned

style.

One standout is Kane’s take on “The

Ballad of Staggerlee,” a traditional song

dating back to the 1800s and recorded

by countless blues artists over the

decades. Kane delivers it with respect

for its roots but his own spin on tempo

and delivery.

“Stayin’ Home” shifts to a laid-back

acoustic country-blues feel, with deft

fingerpicking and sweet harmonica;

Kane accompanies himself here, as he

also does on “Pour It On Me.” “Still

Blue” drifts into minor-key territory

reminiscent of early Yardbirds, its

tasteful guitar solo repeating just

enough to linger. The album closes with

“JawBone,” an a cappella piece whose

raw, unaccompanied vocal conjures

images of a lone worker singing by the

railroad under a heavy sun.

With Blues Is Blues, Robert Kane has

created a record that is both authentic

and personal — a snapshot of a

veteran bluesman still pushing himself

creatively. For fans of classic blues and

harmonica-driven R&B, this is an

album well worth adding to your

collection.


REVIEW

Musictrack Ltd, Dogal Strings UK Distribution

2 The Granary Buildings, Millow, Nr Dunton, Bedfordshire, SG18 8RH

T: 01767 313447

DD: 0333 050 5750

Article By

Lee Ethrington

Image Courtesy of

Dogal


Dogal Carbon Steel Subscribe! Strings

Well folks, in this issue

we have a look at some

acoustic strings from

Dogal. I tend to go through strings

at a far pace due to my heavy handed

style of play so a free set to test was a

bonus.

Initially the strings felt quite light on

fitting compared to my usual choice

and I was concerned they might

break pretty quickly. As it turned

out I had nothing to worry about

as they held up admirably through

a month of gigs and home playing

without noticeably becoming dull or

losing

tone.

In feel, they are light for the stated

gauge but this allowed me to do a

little more with less effort so a happy

boy was I.

So let’s take a look at the overall

experience.

Sound Quality

Good, solid sound after the bedding

in period. The high-end sparkle is

clear without being too piercing, and

the bass notes have a natural warmth

that adds depth to your playing.

Whether you’re using a dreadnought

or a smaller-bodied guitar, the

strings create a well-rounded tonal

spectrum, from articulate highs

to rich, resonant lows. The overall

balance makes them great for both

solo playing and accompaniment,

and they shine in genres like folk and

country.

The strings have a natural clarity that

really emphasizes fingerpicking and

subtle dynamics, so if you’re into

acoustic solo’s or intricate fingerstyle,

you’ll appreciate how they let every

note sing.

Feel and Playability

When it comes to feel, the strings

are smooth and responsive. They

don’t feel too stiff under the fingers,

but they also provide enough

tension for clean, precise bends

and a good amount of resistance

when you’re strumming. They have

a nice, polished finish that reduces

friction, making fast playing more

comfortable. Although the perceived

lightness compared to other makes

takes a little getting used to.

The strings have a nice balance of

smoothness and grip—enough

that it feels like you’re getting the

control you need for more aggressive

strumming, yet gentle enough

for delicate, quiet plucking. They

also retain their smoothness after

extended playing, which is great if

you hate the rough, abrasive feel that

some strings develop after just a few

sessions.

Durability

One of the standout features of

Dogal Acoustic strings is their

longevity. They resist rust and

corrosion even in more humid

climates, making them ideal for

players in areas where moisture can

be an issue. Players report that the

strings maintain their tone over a

longer period compared to some

other budget options, keeping

their brightness and warmth for

several weeks without noticeable

degradation.

The lifespan is also helped by the

smooth finish of the strings, which

reduces wear and tear from regular

playing. I found them pretty hard

wearing. However, once they start to

degrade, it goes quickly.

Value for Money

Dogal Acoustic strings offer excellent

value. They perform well across the

board, providing a high-quality tone

and solid durability. If you’re looking

for affordable strings that still sound

good and last for a good amount of

time, Dogal delivers.

Pros:

• Bright, balanced tone with clear

highs and warm lows.

• Smooth feel and responsive

playability, great for both

strumming and fingerstyle.

• Good durability with resistance

to rust and wear.

• Affordable price point for the

quality offered.

Cons:

• The break-in period can take a

few days to really settle in.

• Limited options for specialized

acoustic string sets (e.g., coated

or hybrid types)

Overall Verdict:

Dogal Acoustic Guitar Strings offer

a fantastic combination of tone, feel,

and durability at an excellent price

point. While they may not have all

the specialized features of higherend

strings, they perform admirably

in most situations.

Whether you’re a beginner just

starting out on your acoustic journey

or an intermediate player looking for

an affordable upgrade, these strings

will serve you well. They provide a

great balance between playability,

sound quality, and longevity—

making them a smart choice for

most acoustic guitarists. I for one

would happily use them but would

likely up the gauge to get that tighter

feel I prefer.

On the whole Nodgal have done a

great job and are definitely worth a

go if you fancy looking around for

something new.

www.neguitarsmagazine.co.uk 13 11


Michelle Taylor


Guitar Talk

Michelle is back with NE Guitars Magazine but this time as a guest writer

talking about her guitars and her rig. But not only that, she is here to explain

how our sound is influenced by what kit we use. Join Michelle in her regular

column and learn her music secrets

Hi Everyone,

I hope you’ve all had some great gigs or fun practice

sessions since my last article.

Whether you were on stage or just jamming at home, the

most important thing is that you had fun.

For me, music is all about emotion and

enjoyment. Being able to relax and get

lost in the moment while playing

comes not just from practice and

experience, but also from having a

sound you really connect with,

and for many of us that great

guitar tone may come from not

only your guitar and amp, but

also from your pedals.

In my previous article, I

mentioned we’d be diving into

pedals and pedalboards and how

to put together a practical setup

that works for you.

The good news (or bad news depending

on how you look at it ) is that there’s no

“right” way to build a pedalboard as it’s all about

your own personal taste and the style of music you play. If

you haven’t read that article yet, I recommend checking it

out first, as this is a continuation of that conversation.

In that article I mentioned my love for the Mad Professor

Royal Blue Transparent Overdrive which is on several of my

boards, but it’s certainly not the only overdrive I use. I’ve

tried gear from a wid range of brands over the years, not

because I’m endorsed by them, but simply because I like

how they sound.

Like many of you, I’ve gone down the rabbit hole of chasing

new pedals. The temptation of a shiny new box with cool

graphics is real, but that method (although extremely fun

and helps keep the pedal industry going) will

end up costing you a fortune and in many

cases people often revert back to things

they bought years ago, and so the

adventure may just be costly.

Overdrives & Distortions:

Subtle Differences, Big

Decisions

When it comes to drive

pedals, you’ll find that many

of them sound similar but

with different gain levels and

EQ voicings. Some focus on

high mids, others on presence

or low-end punch. The type

of clipping diodes used will also

influence the overall character and feel

of the drive.

Eventually, you will stumble on a pedal that just works

with your amp and playing style, and that’s all that matters.

Don’t assume that spending more on a pedal always equals

better tone. Higher-end pedals may be hand-built, use

top-tier components, or offer extra features, but that doesn’t

guarantee that they’ll sound better to you. Try everything,

regardless of price.


Guitar Talk with Michelle Taylor

Personally, I’ve never cared about brand names. If something

sounds good and feels right, I’ll use it. And if it lets me

down, I’ll stop. It’s that simple, and every piece of gear I use

is chosen based on that principle.

For example, I once owned several Gibson Les Pauls

and Fender Telecasters, but I consistently preferred my

customized Epiphone Les Paul and Tokai Telecasters. They

just felt and sounded better to me. I’d often have the more

“premium” guitars onstage as backups, but they rarely got

played. After shows, people would ask, “Why didn’t you

use the Gibson or Fender?”—and I’d tell them the truth:

I preferred the tone and feel of the others. A logo on a

headstock doesn’t always make it a better instrument.

The same can be said of my pedalboards. I have probably 12

boards at the moment. Some big, some small, Some are in

my studio, some are in rehearsal rooms or other studios and

sometimes friends loan them, and although I do use a lot of

pedals from premium brands, I do use pedals by inexpensive

brands too…because they sound good to me.

Let’s Talk Pedals: My Main Drive Setup

So, what other drive pedals do I have on my main

pedalboard, and why ? Well let me first say that my main

board changes fairly often and my personal favourite pedals

come and go all the time. For example my mini Wampler

Tumunus is a firm favourite but it’s not on my main board

right now as I write this article. But here are the rest of the

pedals on my main board at the moment.

Analogman King of Tone (KOT)

become a bit of a legend and consequently they can often go

for ridiculous prices second hand.

The King of Tone is a dual channel overdrive meaning you

essentially get two overdrives in one box. Inside of the pedal

you can configure each side independently—as two identical

drives, one overdrive and one distortion, or one as a clean

boost. It’s incredibly versatile and suits genres like blues,

country, and rock—but it can work in almost any genre

although it is definitely not a high gain pedal.

But is it worth the hype and expense? and does it sound so

much better than other overdrive pedals ? It’s a great pedal,

no doubt, But no not in my humble opinion.

Yes it is a very nice pedal and I like it a lot, but there are

many other great designs from other brands that are based

on this pedal which sound just as good, are more affordable,

and don’t have a long waiting list to buy one.

For example:

I have two King of Tone style pedals built by Swedish pedal

brand “Hardy’s pedals” which I like just as much as the

original KOT.

Wampler pedals have their “Pantheon” which is based on

a KOT but as always Brian Wampler likes to put his own

personal touch on the pedals he designs. The Pantheon has

its switches on the outside too making it easier to change

settings. Personally I find that the Eq is a little different on

the Pantheon which may appeal more to some.

Well, I do have a fairly expensive pedal by Analogman called

“King of Tone”. (KOT)

This is a handmade pedal from the USA, and the last I heard

there was a waiting list of 5 years or more to get one as it has

Tone City is another brand that make their own version

named the “King of Blues”, and there is even a “King Of

Clone” by 68 Pedals which is quite inexpensive. I find

that the 68 Pedals version is very similar in both tone and

appearance to the original KOT.


Analogman have even collaborated with MXR pedals and

have released the “Duke of Tone” which is a more mass

produced readily available version which is one side of the

original KOT. The Duke of Tone is in a mini pedal format,

and if you got two of them it would be like having a King of

Tone.

Mad Professor Amber Overdrive (not exactly a Rat, but in

the ballpark).

Modulation: Making Space for Variety

Those pedals all fall into the “transparent” overdrive

category—meaning they don’t drastically alter your core

guitar/amp tone, they just enhance it.

On my board, I run the original KOT alongside one of the

Hardy’s KOT-style pedals, giving me four unique drive

channels. I can set them up with different gain stages, or

match them to different pickups—neck and bridge. Super

versatile.

The Rat: Aggressive, Bold, Classic

I always like to have a modulation pedal of some kind on

my board, I like to use this type of effect in slower songs to

add a little tonal variation, the problem however is that I

can’t always decide if I want a Tremolo, a Chorus, a Rotary,

or a Vibe, etc…and so If I was going to have one of each my

pedalboard it would make it huge and it would look like

Another staple for me is a Pro Co Rat-style pedal. Unlike

the smoother KOT, the Rat is a distortion pedal—gritty,

aggressive, and full of attitude.

Over the years, there have been many versions: Turbo Rat,

You Dirty Rat, Fat Rat, etc. I’ve always preferred the Turbo

Rat—it uses LED clipping instead of silicon diodes, which

gives it more output, less compression, clearer tone, and

added low end.

I used an original Turbo Rat for years until it started being

moody and misbehaving with volume fluctuations. I

eventually replaced it with the TC Electronic Magus, which

is still on my main board.

The Magus is a great pedal and often overlooked, but it’s

a 3-in-1 Rat-style pedal with a mini switch that toggles

between Standard, Turbo, and Fat Rat modes. I usually leave

mine in Turbo mode, and it delivers a bold, full distortion

that sounds very different from the other more transparent

drives. Its small size also makes it pedalboard-friendly.

Other Rat-style pedals I’ve used and still use on occasion

are the Tone City Mickey (also with a 3-way switch) and the


Guitar Talk with Michelle Taylor

something built by NASA!

I would only use such an effect on one or two songs during

the whole show anyway and so it always seemed crazy to

have a dedicated pedal for each of those effects ( although I

do have them ).

Recently I tried a Line 6 HX ONE. I’ve never really been

a fan of Line 6, their units rarely impress me due to them

having far too many buttons, menus, sub menus and options

which just gives me option paralysis.

I know that many of you love that kind of thing and that

such a system is indeed very versatile, but for me it’s just not

“user friendly” enough. I’m more old school, and so I prefer

to look down and see exactly what my settings are and be

able to change things in a second by bending down mid gig

and quickly turn one of the few controls that my pedals have.

The HX ONE has almost every pedal imaginable within

its fairly small enclosure and so it doesn’t take up much

space on my board. I can simply make a few favourites and

have them ready to scroll between should I need a tremolo

or chorus etc. It has a cool flux feature too which lets you

switch between two parameter settings on the same sound

via a separate switch so you could for example make a slow

tremolo setting which then speeds up to whatever tempo you

wish at the press of the flux switch. You could have a mild

overdrive setting ( yes the HX ONE has a load of overdrives

in it too ) and when you press the flux foot switch it will

ramp up the gain for your blazing solo!

MXR Six String EQ

At the moment on the end of my board I have an EQ pedal

by MXR. This pedal can be used as either a clean boost to lift

the volume of other pedals or as an extra EQ section to shape

the tone of my amp to match my board depending on which

amp Im using at the time.

Together with the pedals mentioned in my previous article,

those are all the pedals I have on my main pedal board at the

moment.

Oh ! Actually there is one very important pedal that I forgot

to mention…possibly one of the most important ones too,

and that’s my tuner!

I use the StroboStomp HD by Peterson. I find this tuner to

be incredibly useful as it has a huge display which is fully

customizable. You can change everything from

the screen brightness to the color of the screen and it even

has a great “sweetener” tuning feature too which corrects for

any slight intonation differences when playing chords.

Wrapping Up

So that’s the current state of my main pedalboard. Next time,

I’ll dig out another board or explore some more pedals I

enjoy using.

Until then—keep playing, keep experimenting, and most

importantly, have fun with your tone journey.



On The Cover: Robert Kane

ON THE

COVER

DR FEELGOOD Frontman Chats To

NE Guitars Magazine About His

Career And Brand New Album

‘Blues Is Blues’


ON THE

COVER

Article & Interview By

Paul George,

Ken Relton & Robert Kane

Images courtesy of Robert Kane

& Conquest Music

It was back in 1979 when a young 13

year old lad was jumping in to the

world of music and exploring the

different sounds and styles gracing the

charts and, let’s face it, back then there

were more genre’s and styles than you

could poke a stick at. One such track that

grabbed my attention and to be honest,

still does today, was ‘Milk and Alcohol’

by Dr Feelgood. Crunchy guitars, a good

rocking beat and earthy vocals was the

way forward.

Fast forward forty six years and times have

moved on. I’m a lot more seasoned with

my music tastes and our legendary bands

evolve as the years pass. Just part of life I

suppose. Thankfully Dr Feelgood are still

going strong, yes there have been changes

but they are still as good as ever.

Back in 1989, the lead vocalist duties fell

to Sunderland’s Robert Kane. An already

seasoned musician who had spent his

music professional apprenticeship with

The Alligators, Well Well Well and The

Animals 2.

These days he still tours with Dr Feelgood

some 26 years later and still packs out the

arenas. But Robert’s love for the blues

has drawn him to write his first solo

album ‘Blues is Blues’. Now I won’t spend

too much time chatting about it here as

Kenny has a review posted on page 10

in his Blues Room column and we also

get in to the finer detail with Robert later

in this article. Suffice to say, when Alan

from Conquest Music passed it over to us

we jumped at the chance to give it the ‘ol

NEG mag once over’.

Once we both listened and discussed the

album we took a drive up to Sunderland

to meet Robert and learn more about the

album and about his own musical history..

So with a couple of mugs of lovely coffee,

some gorgeous scones (seriously nice,

by the way!) and cookies cooked and

supplied by his wife, we began our chat.

We actually didn’t need to ask too many

questions as Robert was open, honest and

so enthusiastic to tell us about his career.

NEG: Where did it all start for you?

RK: Well, you know, was it in Sunderland

with a local band? The first band I was

in, I was one of those bands that, you

know, did all the rehearsals and gigs. You

know, but I think we did a handful of

gigs and then that kind of fell apart. And


Robert Kane - Blues is Blues

basically I knew a couple of people who

were coming out of a band and wanted

to form another band. And we formed

a group which we called Showbiz Kids.

We originally started as just a covers

band, but we started introducing original

material. And what we used to do would,

we would play for three weeks in the

clubs around here to earn enough money

to be able to go down to London and do a

week of gigs down there.

What happened then was there was a few

kind of half-hearted interim lineups, and

then it finally came together in a band

that’s called Well, Well, Well. And that

was probably one of the most unlucky

bands in the history of the business, you

know. We got signed up to a major deal,

you know, to Arista Records. And the

label reckoned that we had two songs that

were guaranteed hits. And, you know,

the idea was we’ll release the first one,

have a hit, establish the name, and then

the second single will come out at the

same time as the album to sell the album.

They had it all planned out. We got an

American producer and for some reason,

when they sent him the demos, the two

songs that we were supposed to be, you

know, have a hit singles with, weren’t on

the demos. So when we got to the studio

and we mentioned these songs, he said,

I don’t know these songs. Well, no, we’re

not doing those. These are the songs that

are supposed to launch us. And he said,

no, no, keep it for the next album. And

I’m sitting there thinking, well, it might

be the next album. And it wasn’t. So, you

know, so that was one bit of bad luck.

The second was while we were recording

the album, remember we were called

Well, Well, Well, very similar to another

popular band at the time. And we

thought, do we change the name? Do

we stick with it? Won’t they be one hit

wonders? You know, so we stuck with

the name. Second mistake, you know,

because they had hit after hit after hit.

And then I got pneumonia. I was out

of action for six months. Wow. So, you

know, kind of the momentum got lost

within the record label. And when I came

back, they said, right, well, because the

first single had come out and just, yeah,

died. Because, you know, I wasn’t around

to help promotion. And then they said,

right, for the second single, we’ll do a

really good video. And we’re looking for

locations. Somebody, some bright spark

came up with the idea of doing the video

on an oil rig. Right. And so £30,000 was

spent. This is, this is the 80s, you know,

£30,000 was spent on doing this video

on an oil rig on the 3rd or 4th. And the

single came out. Same week, Piper Alpha

blew up. And there wasn’t a producer in

Europe touched that video. So that’s the

kind of luck we had.

And when that fell apart, by that time I

was in my 30s. And that was my shot at

the big time, as far as I was concerned.

You know, I’d just been signed to a major

record label. And a drummer that I’d

known for a few years, he knocked on my

door one day and said, you should fancy

getting a band together. Just to play, you

know, just to play around the doors, you

know, a few pubs and that. I said, yeah,

something to do. And that was a group

called The Alligators, which was an R&B

band. Again, from just something that

was put together to have a bit of fun. It

just grew and grew, became very popular


ON THE

COVER

Dr Feelgood ‘2025’

all around the North East. When we

got together, we were a five piece. Bass,

drums, guitar, harmonica and vocal. I

didn’t play harp. And the drummer, he

said, you know, I know Hilton Valentine

from The Animals. He said, do you

fancy getting in the band? I said, well, it

wouldn’t hurt to have an ex-animal in the

band. So we did that, you know. And so

it became a six piece with two guitarists.

And. It was the end of that period,

which was about five years. So when he

approached Hilton and said, do you fancy

getting a lineup of The Animals together?

So. He did. And we got John Steel, the

original Animals drummer. And we

had Chas Chandler’s blessing. He wasn’t

aggressive in playing, but we toured

around the world with that for five years.

And then in 1999, I was looking for a

way out of that. I won’t go into why, but.

But at the same time, Dr. Feelgood was

looking for a new singer. And we crossed

paths, you know, on the road. And I was

approached. And that was it. I’ve been

with them ever since. 26 years. 26 years.

NEG: How many albums have you done

with Dr. Feelgood?

RK: Three in a live album. So four

together. Yeah. Only one of those is all

original material, though. The first one

I did, which they had in the pipeline

when I joined. The idea was to do Dr.

Feelgood versions of songs from the

Chess catalogue. You know, Chess

Records. Yeah. That was called Chess

Masters. And then a lot of people said,

we’d like to hear an album of you doing

the Dr. Feelgood songs. It’s a bit pointless,

you know, because they’re already out

there. So we did an album where we

kind of reimagined some of them, did

different versions of them. And then

after Covid, we got a new guitar player.

And we immediately started writing and

put out an album called Downright in

2022, I think it was. I called the album

Downright. Downright. And then, I

think it was last year or the year before,

we put out a live album. And that’s it.

NEG: Just looking back in the Dr.

Feelgood, any outstanding memories that

you can recall?

RK: Outstanding memories? Well, it’s

just, it’s all one outstanding memory,

really. You know, we work constantly.

Yeah. I mean, I’ve done nearly 3,000

gigs with the band. The camaraderie on

the road is great, And we’ve had some

outstanding gigs over the years.

NEG: Any standout?

RK: Well, I’ll tell you what was very, very

memorable, was my first ever gig with

the band. Because when I went down to

do the audition, just in a rehearsal studio

in Essex, I wrote the songs, I was well

prepared. And after we’d run through, I

don’t know, four or five, somebody said,

did you bring a harmonica then? I said,

no, no, no, but I know I’m going to have

to learn. And I could see them looking

at each other. And they said, we thought

you played. I said, no. They said, well, can

you sort that out by next week then? And

I thought, my first thought was, what

does that mean, I’ve got the job? If the

one is back next week, you know. I still

haven’t had that confirmed, actually. But

when I got home, I had a harmonica in

a drawer, with a busted reed, you know.

I’m a guitarist, I’m not a player of guitars.

It’d been sitting in the drawer for years,

I’d never played it. So I was just, frankly,

for the next few days, just sitting, sucking

and blowing, trying to get something out

of it that sounded musical, you know.



And I think it was on the third day, I got

a kind of bluesy bend. And I thought, I’ve

cracked it. It’s in the right key. As long as

you pick up the right one, you’re in the

right key. So you can bluff it, you know.

Which is basically what I did for months.

But anyway, so this is, you know, I’ve

never played before. And I think it was

five weeks after the audition, doing my

first gig. And they said, oh, we’ll do it in

France, out of the way, so there’s no fuss

about it. I was expecting some little club

in France. No, it was that year’s European

Harley Davidson Rally. 20,000 bikers.

Massive bill. So I’m on stage. 20,000

people. And we came up with the first

one with the harmonica. And I thought,

yeah, just do it. Just blow. And that was

great. It was one of those moments where

I got the end of my excuse for a solo. And

I just thought, right, go through it. I can

do it. But when I came off, Joe Strummel

was there. And he shook my hand. He

said, great stagecraft, man. I thought,

yes, that’ll do. That’ll do. Thanks, Joe. So

that was a big day. Over the years, we’ve

had some fantastic gigs. But when you’ve

done over 3,000, it all gets blurry.

NEG: What’ has been your biggest

audience?

RK: I think the biggest audience I’ve ever

played in was when I was in the Animals.

It was known as Animals 2. Just to say it’s

not the original Animals, but there’s two

original Animals members there. And it

was in Poland, in Poznan. And I think

there’s about 60,000 there. There was a

guy who was born in Poland. Escaped

there as a... Well, his family escaped when

he was a baby. He told me a tale. And it

was a hell of a story. Trying to get out of

there during the war. Anyway, he booked

two of us over there for three weeks.

Two of us all over Poland. And we went

back the next year and did a month. I’ve

probably seen more of Poland than most

Poles have. That was about 1996, 1997,

something like that.

So NE Guitars magazine works very

closely with Conquest music and recently

during a meeting, hespoke about your

new album ‘Blues is Blues’ which we are

promoting in this issue. Can you tell us

a little bit about how you came to write a

Blues album?

I’ve done this in isolation. When you

put out these, you don’t know how it’s

going to be received. I looked at Quirky’s

collection of songs. Because there’s a real

mix of stuff on there. I knew exactly

when I started to do this, what I wanted.

You’ll notice there’s no producer credit

on the album. Or you might not have

noticed. There’s no producer credit. It was

recorded in a little studio just outside of

Durham. It’s on Lord Lamplin’s estate,

actually. There’s a guy called Frankie

Gibbon who was in a band called Beckett

in the early 70s. A Sunderland band, or

North East band. Pretty big. They got

signed up as well. Didn’t work out.

Anyway, he’s a brilliant bass player. He

has a cottage on the estate. Just one room

has been turned into a studio. So it’s very

low-key, very busy. He plays bass on the

album. He would make suggestions or

whatever. The final decision was always

mine. No, I don’t want that. Can you do

this, can you do that? It was mixed by a

guy called Steve Dawson, who was the

second guitar player in the line-up of

The Animals. He’s in South Shields. He

does guitar repairs and all kinds of stuff,

amp repairs. He’s got a little set-up there.


He did the mix and the mastering. But

again, I was there at all times. He might

suggest this and I’d say yes or no. So it

was my decision at all times. So what I’ve

done on The Animals I’ve put, recorded

by Frankie Gibbon, mixed and mastered

by Steve Dawson. The last word, Robert

King. Rather than put producer, because

it didn’t feel like it was being produced by

anybody. The final decision was always

mine. I said, it’s my movie, my songs, my

name on the cover. So it comes down to

me. It’s got to be what I want. Anyway, so

that was that. When I went in, I wanted

it to be as basic as possible. Funnily

enough, I did a questionnaire yesterday,

which Alan sent. This is one of the

questions I had to answer. Anyway, in the

early 60s, when The Beatles started, they

used to do, if you went in EMI, Abbey

Road or whatever, it was a three hour

session. That’s what they used to do in

those days. I remember an interview with

McCarthy saying, it forced your mind.

When you went in, you had three hours.

You’ve got to get in, get this done, get out.

I like the idea of that. So mostly it was

done on just an afternoon session. From

about one until about four. It’s enough.

Also, I love the idea of Bob Dylan’s old

way of working, which was to go in play

the song. You got that? Yeah, right. Let’s

have a run through. Okay, everybody

comfortable? Right, let’s do a take.

Capture it quickly. So that’s how it’s done.

So all the basic tracks on there are first

or second take. Obviously, there’s a few

guitar solos overdubbed and things like

that in harmony or whatever. But there’s a

couple of nice tracks, like Country Style,

which sounds like an acoustic guitar.

That’s me, yeah. That’s me playing.

NEG: So did you write all of the songs?

RK: Yes, all of them. Two of them with

George, the guitar player, which actually

go back to the Alligators pieces, which

is the first two tracks on the album. And

I did my own version of Stagger Lee.

Stagger Lee, it’s great. I always wanted to

do the song, but when I, a few years ago,

played it, I thought, you know, the story

doesn’t resolve. You know, there’s nobody

being actually stated as the owner of that

song. I know, that’s why I put it as Trad

Arranged Kane. Yeah. Because when I

listen to it, you know, Stagger Lee shoots

Billy. Yeah. And the song ends. Yeah.

And I think, well, what happens next? So

what I did was I wrote another couple of

verses. The sheriff came for Stagger Lee.

And they strung that boy up so high.

So, you know, I have contributed to the

song. Plus, it’s a different, it’s a different

arrangement, you know. That kind of

rolling piano arrangement. That’s Frankie

Gibbon playing piano as well. There’s

been so many different versions of that.

They’ve got different titles and so many

different arrangements and different

lyrics. And I thought, well, I’ll just, you

know, I’ll contribute a bit. I quite like it.

So it’s Trad Arranged King. Yeah, yeah.

And there’s one other on there. Baby

Please Come Home. Yeah. Which is Baby

Please Don’t Go. Yeah, yeah. Rewritten,

basically. Baby Please Don’t Go. I just

wrote new words, you know. But again,

that’s another one that’s lost in the mists

of time. The rest, I mean, the one you’re

talking about, the kind of country-ish

picking one, Staying Home. I wrote that

when the financial crash happened. Was

it 2008? Yeah. 2009, something like that?

Yeah. And it was one that, you know, I

read the paper every morning, get the

times, and keep abreast of the news. And

it just seemed to be, I mean, like now,

so depressing. You know, there was the

financial crash, there was bombs going

off, terrorism, this, that, and that. And I

thought, you know, sometimes I just feel

like, come on home, lock the door, close

the blinds. I don’t want to know anymore.

Yeah. And I was picking on the guitar

and just started singing. Those thoughts

were coming out and that’s where the

song came from. You know, go home,

close the door, lock the blinds. Staying

home’s good enough for me. That’s where

that one came from. And I always wanted

to do just guitar and voice. Yeah. You

know, because I think it works that way.

There’s another one with guitar and voice

as well. Pour It On Me. I think a lot of

the album, the simplicity is the magic.

Well, that’s it. I wanted it basic. Yeah. I

didn’t want any harmonies. Didn’t want

any back and forths. I didn’t want any

showy playing. No. I didn’t want anybody

showing off so I wanted to keep it as basic

as possible. We got there. I mean, one of

the solos on the album, I think it’s on Still

Blue, I worked that out myself, but I’m

not a guitar player. I can play guitar, but

I’m not a guitar player. I can’t play lead

guitar. No. So I worked out what I wanted

so that George did something as close to

that as possible. When I gave him this

copy of the album a couple of weeks ago,

he was sitting here listening to it and he

said, if that had been me, he said I would

have played more notes. I said, I don’t

know. I put on a bit of space. Hmm. Yeah.

I didn’t want to fill the notes. I knew what

I wanted. So I always knew in my head

what I wanted the album to sound like. I

give a lot of credit to Steve Dawson who

mixed it. He did a great job.

NEG: Robert, thank you so much for

chatting to us and good luck with the

future of Dr Feelgood and, of course,

Blues is Blues.

Find out more about ‘Blues is Blues’ on

the Conquest Music label here:

https://conquestmusic.tmstor.es/product/

blues-is-blues-cd




Tech Talk

Andy Power’s Tech Talk

The Click Track Debate - Pt 2

Building Your Click + MIDI Live Rig — From

Seamless Song Transitions to Lighting Control

Intro: Michelle Taylor

Article & Images By:

Andy Power

To build a flexible and reliable rig for live performance — especially one involving click

tracks, cue parts, MIDI triggers, or backing tracks your playback device is the beating

heart of the system. This is where your session lives, whether you’re working with a

simple stereo click and cue setup or a fully programmed show with multiple outputs

and synchronized effects.

There are several approaches to playback, each suited to different performance styles

and technical needs. The three main categories include laptops, iPads, and dedicated

playback hardware, and each brings its own set of advantages depending on your goals.

The most powerful and flexible option is a laptop, typically a MacBook, running

industry-standard software like Ableton Live, Reaper, or Logic Pro. This route is ideal

for bands that want maximum control — whether it’s automating guitar and keyboard

preset changes, triggering lighting scenes via MIDI, or running dynamic click/cue/

backing arrangements in one seamless session. It’s also the most scalable solution if you

plan to expand your show’s complexity over time. However, not everyone is comfortable

using a computer live on stage.

For those looking for a more streamlined, portable solution, an iPad can be a


Andy Powers - Tech Talk Pt2

surprisingly capable playback tool. Apps like Prime by Loop Community, Stage Traxx 3, or Multitracker offer intuitive interfaces

and enough functionality to handle simple click and track playback. These setups are great for smaller acts or performers who need

something light, fast, and easy to use with minimal setup, and many now include MIDI.

Finally, for maximum reliability and road-readiness, many performers turn to dedicated playback systems. Hardware like the

M-Live B.Beat, M-Live Pro16, or Roland SPD-SX Pro is built specifically for live use, often providing direct multitrack outputs

and hands-free operation. Though now discontinued, units like the Cymatic uTrack24 and LP-16 are still sought after on the used

market for their solid performance and simple workflow. These devices are particularly appealing to bands who want the stability of

hardware without relying on computers or tablets on stage.

No matter which playback method you choose, it’s crucial that it fits your musical context, technical comfort level, and long-term

goals. From bedroom rehearsals to professional tours, the right playback device lays the groundwork for a show that runs like

clockwork even if the audience never sees the gears turning.

Lets quickly look at Pros and Cons:

Options

Laptop (MacBook)

iPad

Dedicated Devices

Pro’s

• Maximum flexibility and customization

• Multitrack & scalable

• Redundancy support

• Ultra-portable

• Simple & fast setup

• Budget-friendly

• Rugged & reliable

• Standalone use

• Multitrack playback

• Redundancy support

Con’s

• Complex setup & costly

• Fragile

• Risk of crashes

• Limited MIDI & outputs

• Less scalable

• App restrictions

• Slower editing

• Minimal interface/control

As you’ve probably noticed, I’ve listed fewer cons for the dedicated hardware route and that’s not bias, it’s battle-earned wisdom

from countless gigs of lugging, loading, and plugging this stuff in week after week. In my experience, dedicated hardware such as

just works. It doesn’t throw tantrums, freeze mid-set, or suddenly demand a Wi-Fi password before letting you press play.

Now, if you do decide to go down the computer path and many do, especially for more advanced setups. I would strongly

recommend a Mac over a PC. Why? Because Microsoft Windows has a habit of picking the absolute worst moments to spring a

surprise: “Hey, now’s a great time to install 18 updates and restart, right?” Spoiler alert: it’s never the right time. Especially not five

minutes before stage time.

So, yes, use what suits your needs and budget, but if you go the laptop route, just be sure it’s optimized, stripped of distractions, and

treated like the diva it sometimes is.

Now that we’ve got our shiny new playback gear sorted, it’s time to get things rolling. I’m going to assume you’ve already got your

tracks prepped and ready to roll, if not, and you’d like a walkthrough on how to prep stems, cues, and clicks, just give the team at

NE Guitars a shout and I’ll gladly put together a section on that.

So, with your audio side covered, let’s dive into the MIDI magic. All the hardware options we’ve talked about - whether it’s your

laptop rig, iPad setup, or dedicated playback unit are perfectly capable of sending MIDI data. Most include a MIDI out port (or at

least support it via USB or interface), which means you can start sending information to all sorts of other devices in your setup:

guitar effects units, vocal processors, lighting rigs, and beyond. Think of it like your playback device becoming the show’s puppet

master - quietly pulling strings behind the scenes while you and your band stay locked in and focused on performing.

Now, here’s a little MIDI myth-busting for you. Unless you’re using a laptop setup (where you can run as many MIDI tracks as your

DAW can handle), most dedicated playbackdevices or iPad-based systems will only allow you to send a single MIDI track. But

don’t let that scare you off - one MIDI track is more than enough. Seriously.

Why? Because a single MIDI track can control up to 16 separate channels, think of it as 16 lanes of traffic all cruising down the

same road, each heading to a different destination. Even in a large band setup, it’s rare you’ll need to max that out. Let’s break it

down: you’ve got a few guitar effect units, a bass processor, maybe a couple of keyboards, a vocal FX unit, and a lighting controller

(which often only uses one or two channels max). That’s, what - seven, maybe eight channels?


So, you’ve still got headroom to spare. Plenty, in fact. Enough to control a fog machine, your drummer’s coffee maker, and maybe

even the bassist’s ego (okay, maybe not that last one). But the point is: don’t be put off by the “single MIDI track” limitation - it’s

surprisingly powerful when used correctly.

Who Really Needs to Hear the Click?

In most setups, the drummer is the primary person who needs to hear the click track, since they’re usually the backbone of timing

for the entire band. In many cases, if the drummer is locked in, everyone else can comfortably follow their lead especially if the

band is tight and well-rehearsed.

That said, it’s becoming increasingly common (and beneficial) for multiple band members to have access to the click and/or cue

tracks in their in-ear monitors. Vocalists, keyboardists, or guitarists who trigger cues or rely on timed effects might benefit from

hearing the click to stay in sync with backing tracks, lighting cues, or patch changes.

But what if you’re running a simple rig — say, a single stereo output from an iPad? Here’s an easy and cost-effective method to get

things rolling.

The Split Output Method: Click One Side, Audio the Other

With only one stereo output, you can split the signal so that the click track goes to one side (usually the left channel), and the

backing audio goes to the other (the right channel). It’s basic, but surprisingly effective.

In this next diagram, we’ve integrated a computer or dedicated hardware alongside a mixing desk, creating a setup that offers the

flexibility of multiple audio outputs, whether in mono or stereo. This approach allows you to route individual elements — such as

backing vocals onone track, keys or ambient effects on another — giving you far more control over your mix. These signals can be

balanced either directly at the playback source or adjusted live on the mixing desk before being sent to Front of House.

Keep in mind that whether you’re using a computer, dedicated hardware, or even an iPad, most setups will also offer MIDI

capabilities - though this depends on the specific software and hardware you’re using. With MIDI in the mix, you can take things a

step further by automating guitar pedal changes, vocal effects, and even lighting cues - provided those devices support MIDI input.

It’s a powerful way to bring your entire show under precise, hands-free control.



Now let’s step things up a notch and bring in the digital mixing desk - because what’s a bit of tech wizardry without a few more

flashing lights and menus to scroll through mid-soundcheck, right? For this example, I’ve gone with the tried-and-true Behringer

X32, available in both desk and rack formats. It’s one of the most popular and budget-friendly options out there for local bands and

sound engineers, and it packs enough features to make you feel like you’re mixing monitors for a stadium - even if you’re actually in

the back room of a pub.

To make things even more sophisticated (and potentially more confusing for the bass player), we’re introducing the Midas HUB4 -

a dedicated monitor system hub that’s tailor-made for in-ear monitoring (IEM) setups. Think of it as the air traffic control tower for

your monitor world. It handles audio distribution to multiple personal mixers and manages the upstream audio flow between stage

boxes and your main console, all without breaking a sweat.

As you’ll see in the diagram, mobile phones or tablets can be used by each band member to adjust their own monitor mixes using

the official control app - no more shouting across the stage for “more vocals in my ears!” Just tap, swipe, and smile. Of course, if

touchscreen mixing isn’t your thing (or if you’ve got sausage fingers), you can go old-school with a dedicated personal mixer like

the Behringer P16 or Midas DP48, both of which speak fluent AES50 digital protocol - the native tongue of Behringer/Midas

ecosystems.Now, while this setup is Behringer/Midas-centric (mainly because it’s solid and affordable), most digital

console manufacturers have their own take on this. Allen & Heath, Yamaha, Sound craft, PreSonus - they all offer excellent digital

desks and personal monitoring systems that can slide into a similar setup with ease. So no matter what gear you’re loyal to, there’s

likely a solution out there to keep your band tight, your ears happy, and your soundcheck arguments to a minimum.

A note on the DP48. The Midas DP48 is a powerful and flexible personal monitor mixer, designed to give musicians individual

control over their in-ear mixes - and when paired with the Midas HUB4 and a Behringer X32, or the new Behringer Wing, it really

comes into its own.

Here’s how the connection chain works:

The DP48 units connect directly to theHUB4 using Power over Ethernet (PoE) via standard CAT5e or CAT6network cables. This

not only provides the audio data but also powers the DP48 units - meaning you don’t need extra power supplies on stage (one less

thing for someone to trip over). Each HUB4 can support up to four DP48 mixers, making it ideal for small to medium-sized bands

who want independent, high-quality monitor control without clutter. Want more? Just add another Hub4 etc etcetc.

The HUB4 then connects back to the Behringer X32 (or Midas M32) using AES50, a high-bandwidth digital audio protocol that

runs over the same Ethernet-style cabling. AES50 allows for extremely low-latency audio transfer and supports up to 48 individual

audio channels from the console to your monitoring system - which means you can send a full multitrack monitor mix, not just a

handful of subgroups or auxiliaries.

Now, if your budget doesn’t quite stretch to the Midas DP48 dream team, fear not — there’s a wallet-friendly sibling in the wings:


the Behringer P16.

The P16 system may not have all the bells, whistles, and futuristic touchscreen flair of the DP48, but it’s solid, reliable, and way

more affordable - kind of like the Ford Fiesta of personal monitoring. And honestly, for many bands, it does the job brilliantly.

Each P16-M personal mixer connects via CAT5 cable to the P16-D distribution hub, which in turn pulls its audio from the

Behringer X32 using the Ultranet port (a simplified, proprietary system based on AES50). It supports up to 16 channels of audio,

which might sound limited until you realise your bassist is only going to ask for “just kick and click” in their mix anyway.

Musicians get individual volume control over each channel and can save presets, making it perfect for consistent in-ear mixes night

after night - or at least until someone forgets which button saves and which one erases everything.

Sure, it’s not quite as shiny as the DP48, and it won’t display sheet music, lyrics, or the lead singer’s ego in real-time, but if you’re

after a cost-effective and gig-ready monitor solution, the P16 punches well above its price tag.

Because at the end of the day, if everyone on stage can hear themselves properly - and no one’s shouting “I can’t hear the keys!”

between every song - you’re winning. And the audience might even think you rehearsed.

OK, just so I don’t sound like I’ve got a side hustle as a Behringer rep in disguise, let’s talk about some alternative options - because

yes, believe it or not, other brands do exist, and they’re equally capable of keeping your band from descending

Allen & Heath ME System

The ME-1 personal mixer is built like a tank and integrates seamlessly with Allen & Heath’sdLive, SQ, and Avantisconsoles. You get

up to 40 input channels per unit, with custom names and groups, a bright display, and plenty of control — perfect for musicians

who like to see what they’re mixing, not just guess and pray.

Roland M-48

A slightly pricier option, but super flexible. Each unit allows custom groups, built-in ambient mics, and even an EQ and reverb per

channel, which is a luxury not often seen in personal monitoring systems. It works beautifully with Roland’s REAC-enabled digital

consoles, but requires a few extra bits of gear to integrate with other brands.

Waves MyMon + eMotion LV1

If you’re living in the world of Waves’ eMotion LV1 virtual mixing console, then MyMon is a neat solution. It’s app-based, sleek,

and allows each band member to use their mobile device as a personal mixer. It’s ultra-portable and integrates tightly into the LV1

ecosystem — though it’s not really a standalone solution outside that universe.

Soundcraft Ui Series

If you’re already using a Soundcraft Ui12, Ui16, or Ui24R, you’re in luck. Each musician can log into the web-based interface from

their own device and mix their monitors wirelessly, no extra hardware needed. It’s simple, browser-based, and works on just about

anything with Wi-Fi and a screen, including that old iPad you swore you’d throw away.

PresonusEarMix 16M

Designed to work with PresonusStudioLive Series III mixers, the EarMix 16M offers up to 16 mono or stereo mixes, a decent

screen, per-channel EQ, and networked audio via AVB (yep, that’s a thing). Clean, modern, and a bit of a hidden gem - if you’re

already in the Presonus ecosystem, this one’s a no-brainer.

So, whether you’re after premium control, budget-friendly simplicity, or a solution that works with the console you already own,

there’s no shortage of personal monitoring options out there. Just remember: the best system is the one that lets everyone hear

themselves without starting a mid-gig group therapy session.

into monitor mix chaos.Personal Choices (a.k.a. “What I Use So I Don’t Cry on Stage”)

Before I wrap things up, I want to share a few of my own personal gear picks, not because I’ve got sponsorship deals (I don’t), or

because this is the only kit worth using (it isn’t), but simply because these are the bits of equipment that haven’t let me down midgig…

yet.

Now, a little disclaimer: this is just my personal experience from the trenches of live performance. Your mileage may vary. These

aren’t the only tools out there in the wild world of live sound not by a long shot. Earlier in this article, I name-dropped a few other

reputable brands, and I’d strongly encourage you to do your own research, weigh up the pros and cons, maybe even have a little

chat with your wallet, and ultimately pick the gear that suits your band’s setup, your technical confidence, and your drummer’s

ability to not knock it all over.

So, take my suggestions with a grain of salt and a shot of espresso - it’s not gospel, it’s just gig-tested and roadie-approved (by me).

Cymatic Audio uTrack 24 - The Endangered Workhorse



Ah, the Cymatic Audio uTrack 24 — a seriously underrated piece of gear that’s quietly done its job without fuss orfanfare. Sadly,

Cymatic as a company has now left the building, Elvis-style. But their legacy lives on in the uTrack 24, which is still floating around

the used gear market like vintage wine — increasingly rare, and increasingly expensive.

This box is ridiculously reliable and refreshingly simple to use. It can play back up to 24 tracks of audio and record 24 tracks

simultaneously all without looking at you funny or needing a firmware update mid-gig. It also doubles as a computer interface,

includes MIDI OUT, but sadly no MIDI IN — so it talks, but doesn’t listen (kind of like that one bandmate).The remote control

app is another win: clear, easy to navigate, and a lifesaver when you’re squinting at a screen during a dimly-lit soundcheck while the

bassist asks if there’s still time to change the setlist. Tracks are loaded from a USB stick, and you can prep them ahead of time using

the desktop software — no need to have the unit physically connected, which is great when it’s racked up somewhere between a

mess of cables and yesterday’s empty Red Bull cans.

Even though it’s no longer in production, the uTrack 24 still holds its own and should have a good few years of service left in it.

If you spot one in the wild, especially at a reasonable price, snap it up before someone else does or before it becomes as rare as a

drummer who shows up early.

M-Live B.Beat Pro16 Plus – The Ambitious New Kid

Meet the M-Live B.Beat Pro16 Plus — the flashy new kid on the block and also, I’ll admit, my latest gear-related impulse buy.

Though in my defence, it’s an impulse buy that can run your entire show, play your backing tracks, trigger your lights, and possibly

make you a decent espresso. It’s Italian, after all.

This compact beast can play up to 24 audio tracks simultaneously across 16 outputs, which is more than enough for even the most

multi-layered live productions (or for the keyboard player who insists every song needs eight pads). On top of that, it can record up

to 12 tracks at once, making it not just a playback system but a pretty capable little recorder as well.

It also works as a computer audio interface, which is handy for studio prep or if you want to run playback directly from your DAW.

It even offers MIDI OUT and MIDI IN — although let’s manage those expectations. MIDI IN (via USB) is there to respond to basic

start/stop commands.

But MIDI OUT? Now we’re talking. You can use it to automate your lighting rig, trigger guitar and vocal effects, and change

patches with clockwork precision. Basically, it’s like having a tech assistant who shows up on time and doesn’t ask for beer tokens.

The Pro16’s footswitch control for Play/Stop seems useful - until you realise that hitting Stop, then Play, just resumes the track

instead of restarting it. Unless your band can flawlessly re-enter mid-song like time-travelling prog wizards, that’s... not ideal. In

a live setting, a clean restart is a must — not a continuation of whatever just went wrong. Definitely something that could use a

rethink.

But wait, there’s more! The B.Beat Pro16 Plus also plays video files — yes, full HD media — thanks to its HDMI outputs. If you’re

gigging somewhere fancy with a big LED wall, or just commandeered the pub’s sports TV for your set, you can sync video visuals

to your backing tracks. Just remember to bring the remote or risk the crowd watching The One Show while you’re tearing into your

opening number.


But what if it crashes? (Spoiler: It probably won’t)

One of the standout features of the Pro16 Plus is its redundancy options. You can add a

second B.Beat unit and link them together, creating a failover system that automatically

switches to the backup if the main unit decides to have a meltdown. It’s like a musical

insurance policy — minus the fine print and “acts of God” clause.

This makes the B.Beat gig-worthy at any level, from local bars to big-stage productions,

with peace of mind that your backing track won’t freeze right before the big chorus.

Setlist tweaks? No problem.

Unlike some older playback units (cough uTrack24 cough), the B.Beat lets you edit your setlist on the fly, even minutes before

showtime thanks to its internal HD which holds all your Audio/MIDI/Video. You can trim intros and outros, reorder songs, and

even set seamless segues between tracks, ideal for those nights when the crowd energy demands you skip the slow one and go

straight to the banger.

The B.Beat Manager software is nicely laid out and refreshingly easy to use — especially

for those of us who’ve spent too many nights fighting with clunky interfaces and poorly

labelled buttons. One particularly handy feature is the ability to adjust the “gap” between

songs in your scene (or setlist). Sure, the uTrack software offers a similar function, but in my

experience, B.Beat Manager just makes the process quicker, smoother, and more intuitive —

like it actually wants to help you, rather than test your patience before soundcheck.

It’s the kind of user-friendly design that makes you think, “Ah, someone who’s actually

done a gig must’ve helped design this.” Whether you’re crafting tight segues or building in a

moment for that dramatic stage pause, it’s a small feature that adds a lot of polish to your live set.

The App: Prompter

Now, let’s talk about the Prompter remote app. The good news? It’s packed with clever features - one of the more ambitious and

genuinely impressive features of the Prompter app is its ability to sync sheet music and lyrics to your backing tracks - and not just a

general “here’s the words” dump on a shared screen. No, this thing goes deeper.

With Prompter, you can assign individual lyrics, charts, or musical scores to each band member, all perfectly timed to the track. So

the drummer can see cues and hits, the guitarist can see chord changes, the vocalist gets lyrics (and hopefully remembers them this

time), and the keyboardist can finally stop asking “Is this the verse or chorus?” mid-song.

You simply upload your PDF or image files into the track’s data and use markers within the B.Beat timeline to tell Prompter when

to show each page or section. As the track plays, the app automatically flips to the correct part of the score or lyric sheet, keeping

everyone on the same page - literally.

The bad news? The remote side of the Prompter app could really use a makeover. The graphics are, let’s say, charmingly basic, the

interface feels like it was designed on a calculator, trying to navigate it mid-set is a bit like defusing a bomb while wearing ski gloves

— under stage lights — during a guitar solo.

I reached out to M-Live about this, and their reply was that most users just “press play and let it run.”

Which is lovely in theory - but if you’ve ever played a live show, you know that real life involves setlist

changes, surprise requests, and on-the-fly chaos. Having a more usable and readable live interface would

elevate this unit from great to essential for many bands. As M-Live put it, “we never stop working on

updates and enhancements for our products” - which is reassuring and hopefully means the next update

for the App will be more stage-friendly display and a little less... retro-chic.

The B.Beat Pro16 Plusis a seriously impressive unit, one that I think will keep turning heads, Well worth a

look… just maybe bring a pair of reading glasses if you intend to use the app.

Conclusion:

So there you have it - whether you’re rocking a rugged hardware box, swiping your way through a sleek iPad app, or treating your

MacBook like a delicate Victorian heirloom, the truth is: there’s no single “best” rig, only the one that doesn’t betray you midchorus.

Live playback is all about planning, testing, and occasionally muttering dark curses at USB cables. Just remember: your

playback system is the silent hero of your show. Or at least, it should be silent. If it starts making weird noises, something’s gone

very, very wrong.

Now go forth, build your rig, sync your lights, and may your click track never be heard by the audience - unless it’s a remix.



About the Author

With a career spanning professional

performance, touring, session work, and

international media composition, Andy Power

has worked across the music industry for many

years with many prolific artists. Alongside

touring and studio credits, Andy has taught

music performance, music theory and music

technology at both college and universities.

Worked as part of the programming and

development team for Yamaha/Zero-G on the

music software Vocaloid (Lola, Mirium and

Leon). Winner of most innovative software at

Next Fest San Francisco.

Holding a master’s degree in creative

composition, his work has been featured on

TV and radio in the UK, USA, Japan, and

Dubai. Andy’s hands-on experience with both

live performance and production makes him a

trusted voice on the integration of technology

into modern musicianship.

CHECK

OUT OUR

REVIEW IN

THE NEXT

ISSUE



Zen Orchestra

ZEN ORCHESTRA

Album. A love letter to the dramatic and long form music that they grew up with…

It’s a love letter to the music they

grew up with and explores the

dramatic and long form nature

of that music. The influences are

wide-ranging and eclectic resulting

in album which is both musically

compelling and accessible.

The album had a long gestation

period - the project coming together

over some 10 years - overcoming

many personal, medical and technical

hurdles.

The sad and very sudden death of

their friend of many years and bass

player Stewart Milner in March 2023

was a real low time for the band.

Stewart died just before ‘Circles’ was

initially released. Alberto Rigoni

from Italy stepped in to pick up bass

duties, which enabled the album to

be completed.

Steve Smith and Mark Barrett were

founder members of Walking on Ice,

a progressive rock band that toured

extensively during the early 90s. Zen

Orchestra were originally founded

in the mid-90s and garnered some

serious interest from labels, but no

suitable deal was forthcoming, so

Steve and Mark passed on the offers.

Steve and Mark decided to resurrect

Zen Orchestra around 2012, based

on some fantastic instrumental demos

from Steve - which Mark then developed

further - resulting in some

exciting song-based material suitable

for an album. ‘Circles (Radio edit)’

was the first release in March 2023

and ‘Minds (Radio Edit)’ was the

follow up release in October 2023.

‘Time (radio edit)’ was released

April 20th, 2024

All band releases can be purchased

directly from our website and all

digital stores. All customers and

subscribers to Sound Stuff or Zen

Orchestra sites will get EARLY

access to released tracks and other

exclusive content as it becomes available.

https://www.zenorchestra.com/shop


AMPLIFIERS

IN STOCK NOW

PEDALS

IN STOCK NOW

Find us at

Unit 6 Front Street

Industrial Estate

Shotton Colliery

County Durham

DH6 2ND

Tel 07546 656143

A GREAT RANGE

OF GUITAR

STRINGS

IN STOCK NOW

www.eastdurhamguitars.com

sales@eastdurhamguitars.com

40 www.neguitarsmagazine.co.uk 34 www.neguitarsmagazine.co.uk

43

Northern Guitar Shows

The Guitarist’s Choice

At Southside Harbour Guitar

Straps, we pride ourselves

in quality, style and comfort

at affordable prices. All

of our guitar straps are

handmade using top quality

components

Find us on

e. southsideharbourguitarstraps@gmail.com

w. www.southsideharbourguitarstraps.com

w. t. (+44) 07703663261


Murdock On...

Godzilla & Pedals

This issue, Murdock Brodie-Thomas jumps in to the pedal board theme

and goes through what he is using for the new lesson, Brian Setzer’s

‘Go Go Godzilla’.

Article: Murdock Brodie - Thomas - Images: Licenced free to use

Tone chasing has always been a

rabbit hole that guitarists can spend

years refining, building those “dream

pedalboards” and hunting for the

saucy tone secrets of their 6-string

wielding idols - only to find the

answers usually range from boutique

rarities to racks that need their own

roadies.

Mine is a lot simpler: six core pedals

that cover almost everything I

want to do - CryBaby Wah, fuzz,

RAT distortion, chorus, flange, and

analogue delay.

At the center of it all is fuzz. I’m using

a Caught by the Fuzz (volume around

11 o’clock, fuzz at 2 o’clock)—thick

enough to roar, but not so overblown

that it loses definition. That’s always

on, giving me a foundation of grit.

When it’s time for a solo, I kick in the

ProCo RAT (distortion just below

noon, filter at about 2 o’clock). That

setting gives me extra beef while

keeping the low end intact, so leads

punch through without thinning out.

The CryBaby Wah sits at the front of

the chain, and I use it dynamically

rather than leaving it cocked - it’s

there to make lines snarl and scream

34 40 www.neguitarsmagazine.co.uk

Murdock Northern On... Godzilla Guitar & Pedals Shows

swinging, but with fuzz always on,

and the Princeton tuned dark and

heavy, my version stomps around

more like the kaiju namesake in the

title - bigger, heavier, and a little

unhinged.

when the moment calls for it.

Modulation is split between chorus

and flange: chorus is dialled for a

faux-Leslie/Wurlitzer shimmer that’s

great for comping behind other

soloists, while the flange is set super

low - just enough to add motion and

width without going full jet-plane.

Finally, the analogue delay is my

wild card: long, spacey repeats that I

stomp in for big “epic” moments or

to channel some Roy Buchanan-style

ambience. Paired with the flange, it

veers into that EVH/Nuno territory

where the guitar feels larger than life.

For the guitars, I’ve been switching

between an ESP Les Paul-style and

a Harley Benton Pro Series Fusion

T HH (an absolute steal at £360 for

a flame roasted maple neck!)- both

with coil taps, which makes them

versatile enough to flip between

snarling humbuckers and more

chimey, single-coil tones depending

on the section.

Everything runs into a Fender

Princeton Reverb, with the treble

rolled way back (around 9 o’clock)

and the bass up at about 2 o’clock.

Those settings shift slightly from

room to room, but that scooped

balance helps tame the fizz of

the fuzz and makes space for the

modulation.

This rig gave me the perfect excuse

to reinterpret Brian Setzer’s Go-Go

Godzilla. His original leans surfy and

You can follow along with the tabs

and backing track included here, and

if you want to hear how these pedals

shaped the sound, check out the

video demo. If you’re curious about

the gear, I’ve included links so you

can explore the same pedals yourself.

Honestly - this stuff doesn’t matter

too much as long as you’re getting the

sound YOU want. It’s always a subtle

mix of “oooo shiny!” and “fit for

purpose”, with just a sprinkle of gear

envy when someone is in possession

of a shiney you had previously

believed unobtainable?! Why would

the guitar shop clerk lie to me? Is he

hoarding the good stuff for himself?

(Of course he is…)

Thanks again guys,

See you next time!

Murdock

Guitars

- ESP Les Paul-style (coil taps)

- Harley Benton Pro Series Fusion T

HH (coil taps)

Amp

- Fender Princeton Reverb

- Treble: ~9 o’clock

- Bass: ~2 o’clock

Pedalboard Chain

1. Dunlop CryBaby Wah – used

dynamically for snarls/screams -

https://amzn.eu/d/6SyKBtH

2. Funny Little Boxes “Caught By

The Fuzz” – Vol ~11 o’clock, Fuzz

~2 o’clock (always on) - https://

funnylittleboxes.co.uk/products/

caught-by-the-fuzz-pre-order

3. ProCo RAT – Distortion ~11

o’clock, Filter ~2 o’clock (for solos,

extra beef without losing

lows) - https://amzn.eu/d/bXlLlgg

4. Mooer Chorus – dialled for faux-

Leslie shimmer (great for comping) -

https://amzn.eu/d/570dh7J

5. Mooer Ninety Orange Flanger

– always on, super low sweep (just

movement, not

jet-plane) - https://amzn.eu/

d/0gF4nIC

6. Mooer Analogue Delay – long

space-echo repeats, stomped for epic

moments/Roy

Buchanan homage, pairs with flange

for EVH/Nuno textures -

https://amzn.eu/d/aD1obSp


Go Go Godzilla

Brian Setzer

Demo Track Without Guitar

https://neguitarsmagazine.co.uk/wp-content/uploads/2025/10/Go-Go-Godzilla-Without-Gtr.wav

Demo Track With Guitar

https://neguitarsmagazine.co.uk/wp-content/uploads/2025/10/Go-Go-Godzilla-With-Gtr.wav

Demo Video

https://www.youtube.com/watch?v=NhFvPEDDqcE


Murdock On... Go Go Godzilla





And now for the Harmonies...




The

Budget

Basement

Cheap Rubbish Or A Cheaper Alternative?

Article by Paul George

Wow! I can almost hear the

revolt from the masses of

actually soiling my hands

with stuff that respectful twangers

and pickers wouldn’t be seen dead

with on their pedal board but fear not

Pro’s, this is not for you!

It’s no news that financially, we are all

feeling it at the moment. Some more

than others and with no relief on the

horizon, we are all trying to find a

way to tighten the ol’ belts. Well, my

friends, our music choices are also

included in that conundrum.

For many, gone are the days of

spending £2-300 on a top Chorus

pedal or Analog Delay. Although,

and I can’t emphasise this enough

before getting into this debate, the

better the pedal, the longer it’s going

to last and yes, investing in good gear

is always something to consider.

I am a big supporter of quality gear

and do have a few beauties on my

own board which I wouldn’t change

for the world BUT... I recognise this

is not a possibility for everyone.

So what’s the alternative? Second

hand? Yes, maybe but you do have to

consider that your precious second

hand distortion pedal may have had

a fifteen stone (talking about myself

here) jack hammer wearing biker

boots stamping on it umpteen times a

night. Used means it’s been well used

and expect it to go wrong at some

point. But again, it may not be that

bad and you could get lucky.

How about these cheap things that

certain Chinese companies are

advertising - naming no names.

Well this is where I wanted to know

whether I could say to people in good

conscience, don’t waste your money

or maybe they’re OK.


Budget Pedals - Are They Worth It!

These things are definitely not for

the professional guitarist regularly

playing big clubs upwards and I

know their pedal boards are tried

and tested over many years honing

their individual sound to a fine point

with tools they know are not going to

let them down mid performance but

rather for those in a practice room,

starting out for the first time or those

just gigging around the local pubs.

So I ordered a handful of the mini

pedals to satisy my curiosity and

decided to test them out for a couple

of months and then report back to

you all with the results, good or bad.

So the pedals I bought were a Tuner,

Vintage Overdrive, Reverb, Chorus,

Distortion, Tremolo, Analog Delay,

Acoustic Emulator and a Looper. All

9 pedals cost less than fifteen quid

each.

To start with two of these pedals

went in to the scrap bin immediately.

The Tremolo was truely awful.

Considering that I’m a bit of a Surf

guitarist and Rockabilly twanger,

Tremolo is a pretty important pedal.

Across the board it was just terrible,

the sound was more like a duck

being strangled in a dustbin than the

smooth surfy tones I’m used to so

that’s that one off the list. Don’t touch

it.

The second one to go in the bin was

the acoustic emulator. Not really sure

what they were trying to achieve with

this one, it did nothing to my sound.

If fact on my Gretsch, just rolling

back the volume knob a little gave

better results, so don’t bother with

that one either.

So let’s talk about a few that did

impress. Firstly, the tuner. Simple,

straight forward, functional and easy

to read. This one works really well

and, believe it or not now stays on

my board. Yes it’s cheap but for very

little money you get a mini pedal in

a sturdy metal case that’s easy to use

and read for about a fifth of the price

of one that is very similar in size,

function and design from a company

that, again, I wont mention the name.

This is one I will definitely

recommend. Great value for money.

Next we move on to my favourite

and one which surprised the hell

out of me. The Vintage Overdrive.

For some time, I’ve been looking for

something to dirty up my sound a

little without going too mad. I have

a Boss Super Overdrive which is a

great pedal but yet again not quite

what I was after, I also have a Blues

driver which is a little closer but all

I’ve really been after is just a little

dirtyness to my Rockabilly tones.

Anyway, this Vintage Overdrive

turned up, I stuck it on to my board

and started to play about with it.

Bingo!

I rolled the Drive back, Tone to about

10 O’clock and Level at Midnight and

I had my sound. Again, this one was

just fifteen quid, it came in a sturdy

metal case with three simple controls

and the on/off switch. For somebody

trying to find a sound and not

wanting to waste too much money

doing so, this is a pretty good pedal to

play with.

Next on the list was the Reverb.

Yeah, I’m in two minds about this

one. It comes with three settings -

Hall, Spring and Shimmer and three

control knobs - Mix, Tone and Decay

and of course the on/off footswitch.

Again, it comes in a sturdy metal

case with a nice design on the top.

So plugged in, I went through the

three settings. Hall was OK, a bit

dustbiny but rolled back wasn’t too

bad. Bit disappointing really as only

one position really works with Hall.

Switching to Spring was more like

it. Much better sound and pretty

versatile across the range. It handled

what I threw at it through my amp so

a thumbs up for the Spring setting.

Then I moved to shimmer. Who

the hell had the hairbrained idea to

add this setting? It’s truly horrible.

Seriously?

In conclusion, it’s not a bad Spring

Reverb unit but that’s all I would use

it for. It cost a tenner so yeah, I can

live with that. Although I liked the

Spring I would probably look for a

better unit.


Budget Pedals - Are They Worth It!

On to the distortion pedal. The one

that I’m probably the least qualified to

report on as I don’t use it much. Not

a bad pedal though, as with the last

few, nice sturdy metal case and three

basic controls - Gain, Volume and

Tone. For those like me who are not

distortion users, this is a pretty good

introduction to the effect. The sound

is pretty steady and stable across the

range as far as I could gather and

I had fun playing with it. I think I

would like to give this to Danny, our

Guitar Tech, to play with, although

knowing his board he would probably

throw it back at me. But his expertise

would be more acurate. But as I said,

I like it.

The Chorus pedal is up next. Now, I

have a Chorus pedal on my board by

Paul Flattley and it is awesome. So

this little boy is in for a tough ride!

Well, it’s OK. Very basic with just

two control knobs - Width and Rate.

But that’s it. It is very very basic. It

is Metal cased and pretty tidy as with

all our pedals and is well constructed.

Plugged in, now this is where I

struggled to be objective, it’s OK.

It has a basic Chorus sound with a

small range compared to the Flattley

model. But at this price, I know I

can’t compare the two which is really

showing me the difference between

hi-quality and bargain basement

models. That aside, for those who

can’t afford a good alternative, this

will do the job for a while at least.

It only stayed on my board for the

duration of testing and then was

replaced by my trusty ‘Valkyrie’ once

more.

The last effect I tested out was the

Analog Delay Pedal. Yet again, I

stand by Paul Flattley’s ‘Nirvana’ on

this one. I reviewed that one last year

much to my delight so again our little

cheap delay pedal needs me to roll

back the brain a little.

Do you know what, I like this pedal.

The set up is simple and easy, just

Time, Mix & Repeat and the on/

off switch. Nothing flash, nothing

complicated, it just does what it says

on the tin. Plugged in, it performs

pretty good for a cheap pedal with

a fair range. I’ve used it a few times

at gigs and I can’t complain about it.

I’m trying, but just can’t.

Of course it doesn’t hold up to the

‘Nirvana’ in anyway whatsoever but

for twelve quid, what do yu expect.

Overall, I have to give this the

thumbs up. For what it is,it’s a nice

little pedal.

So I’ve just one more to talk about

and that’s the looper. I’ve had more

fun and annoying steamy heads with

this little baby than all the rest put

together.

I’ve always wanted a looper but have

never got around to it. You know

the old story. But when I saw one

with the cheapies, I thought why

not. Again, quality is good materials

wise and just the foot switch for all

controls. The one thing is, it is really

dinky. easily fits in the pocket. Now

here’s the problem! It’s nothing to do

with the pedal, it was the idiot using

it i.e. Me! Bearing in mind there is

just one switch control it took me

over an hour to get my head around

how to use it but once mastered,

it was great fun. The looper has

10 minutes of clear looping with

unlimited overdubbing. Undo / Redo/

Delete function. Super precisely, true

bypass. 48Khz 24 bit uncompressed

high quality audio. Your not going to

write a symphony with it but this is a

great little looper for jamming for the

measly price of just eight pounds.

So there we have it, Some of these are

really worth the money while others

are pure rubbish but for the price of

a few pints they are worth taking a

chance on. But that’s just me!




The Sugar B’s

Locally...

The Sugar B’s

Living Proof That Rock ‘n’ Roll Never Dies

Intro by Paul George Article By Mick Purves Images courtesy of The Sugar B’s

In our short residency in Hartlepool,

we have been amazed at the amount

of musical talent in the area and we

have been privilledged to have been

accepted in to the fold.

Many artist and band names have

crossed our paths as we came to learn

the roots, the music, the legends and

the wonderful stories that have built

the success of the wonderful music

scene that we enjoy today.

Right at the top of the list is the

immortal Sugar B’s. An incredible

blues band that has certainly weathered

the storms of life to remain at the top in

the North East.

I caught up with Drummer, Mick

Purves at the famous Bluesburn

recently and after a chat about the band

I asked for him to tell the story of the

band and reveal the secrets of their

longevity.

So here is the tale of one of the best

bands to come out of the North East.

The Sugar B’s: Born to Rattle

the North East

Back in the cold December of 2000,

three Hartlepool lads—Tony Kramer

(guitar), Mick Purves (drums), and

Dave Kirkwood (bass)—plugged in,

turned up, and lit the fuse on what

was meant to be a three-month R&B

experiment. But once the amps roared

and the rhythm hit, there was no

turning back.

Early Sparks:

Tony and Mick had already cut their

teeth in the club scene of the late ‘80s

and early ‘90s. They brought in John

Hand on harmonica and vocals, and


Local Heroes

the first incarnation of The Sugar B’s

was born—raw, bluesy, and soaked

in British ‘60s R&B swagger. Their

debut gig at The Queens in Hartlepool

in March 2001 kicked off a wild ride

through the North East pub circuit.

Finding the Voice:

With Tony itching to shred more

and sing less, the band brought in

powerhouse frontman John Robson in

late 2001. The lineup was locked in, and

the band laid down The Misunderstood

Album in 2002—live covers, loud and

loose, straight from the pubs. Alex

O’Grady joined the chaos later that

year, adding brass and bite with her

incredible Sax skills.

Studio Heat & Lineup Shifts:

2003 saw the release of Out of the

Hive, their first studio album. Dave

Kirkwood hung up his bass to chase

the sun in Spain and retired. Ken

McCadden stepped in. Alex split for

university in 2004, but the band kept

rolling, sharing stages with legends like

the Nimmo Brothers and Eddie & the

Hot Rods.

The Evolution:

- 2011: Ken bowed out due to ill health;

Terry Park took up the bass.

- 2012: John Robson exited, due to

work and family commitments. Jonny

Wright joined and brought fresh fire to

the mic.

- 2013–2014: The Sugar B’s tore up the

Colne R&B Festival. Paul Rose joined

for one gig at the Cleveland Bay to help

out Tony, who was recovering from an

operation.

- 2014: Jonny Wright left to pursue a

career in education, working around

the Country. Howard Scarbrough

joined on vocals.

- 2016: Howard left to pursue a solo

career. John Hand left and retired from

work. Enter Claire Vassallo—vocals

with venom and velvet.

- 2017: Tony Kramer stepped down due

to ill health. Damian Wilkinson took

over the six-string duties. The band

returned to Colne with a vengeance.

The Sugar B’s: Blues, Battles &

Big Stages (2012–2014)

When Jonny Wright grabbed the mic

in 2012, The Sugar B’s kicked into high

gear. First stop? A thunderous debut

on the Gary Grainger Blues Show

on Bishop FM—airwaves lit, hearts

hooked.

The Rise:

- 2013: Invited to throw down at

The Brunswick Battle of the Blues in

Redcar. We came second, but we played


The Sugar B’s

like we’d already won.

- That same year, we stormed the Colne

R&B Festival with two debut gigs that

left the crowd buzzing. The Sugar

B’s weren’t just playing—they were

preaching the gospel of groove.

Colne 2014:

- Five gigs. Two days. Three in one day.

We were everywhere—sweat, soul, and

sound pouring out of every amp.

- One punter said we looked too

corporate in our jackets and ties. We

took that as a compliment—tight,

fierce, and firing on all cylinders.

Festival Frenzy:

- Darlington Blues Festival (2013–14):

We brought the heat.

- Hebden Bridge Blues Festival (2014):

With blues titan Aynsley Lister also

guesting on guitar for a number, we

tore the roof off.

Sharing the Stage with

Legends:

- Supported Dr. Feelgood, Eddie and

the Hot Rods, Nine Below Zero, The

Nimmo Brothers, and The Selectors.

- Every gig was a battle cry. Every

crowd, a new army of fans.

Reunion & Revival:

In 2019, every lineup from every era

came together for one epic night at the

Park Hotel in Hartlepool—a reunion

gig to raise the roof and support the

Great North East Air Ambulance. It

was loud, proud, and pure Sugar B’s.

2025 Lineup:

- Damian Wilkinson – Guitar

- Mick Purves – Drums

- Terry Park – Bass

- Claire Vassallo – Vocals

Still stomping stages, still dripping soul,

The Sugar B’s are living proof that rock

and roll never dies.

Catch up with the Sugar B’s and find

out where they are playing by checking

them out on facebook. https://www.

facebook.com/thesugarbs


ALAURA

Local Heroes


Award winning Flattley Boutique

Effects Pedals are hand built in the UK .

For more information, demo videos & stockists visit

www.neguitarsmagazine.co.uk www.flattleyguitarpedals.com 49

NORTH EAST GIGS BOARD

HOEDOWN

HARTLEPOOL

The Town’s First Country Themed Bar

LIVE MUSIC EVERY WEEKEND

BOTTOMLESS BRUNCH

& AMAZING COCKTAILS

CHECK US OUT ON FACEBOOK

32 Navigation Point, Hartlepool, United Kingdom

www.neguitars.co.uk

Tel: 0191 5910221

Guitars bought & sold • Amps

• Guitar Parts • Repairs

In House Luthier for full repair and parts service by:

CH Guitars

86a Fowler Street South Shields NE33 1PD

• Fender • Gibson • Ibanez • Epiphone • Aria • Vintage • Yamaha • Cort • Martin • Sigma • Tanglewood

• Custom shop • Washburn • Eko • ESP • Gretsch • Vox • Warwick • Squire • Marshall • Roland • Peavey

NE Guitars - Oct - Nov

Transform your PDFs into Flipbooks and boost your revenue!

NE Guitars - Oct - Nov

Transform your PDFs into Flipbooks and boost your revenue!

Delete template?

Save as template ?