Michael Loveland & Will Muir of Guestroom Records

We all love Guestroom Records, and all of the amazing people that work there. So we decided to do a showcase on two of our favorite employees, Will and Michael. Watch and take a little virtual tour of the shop while be serenaded by Michael and Will. We also have a demo board + some custom pedals for sale at the Guestroom Records Oklahoma City location, so be sure to stop in and check that out if you find yourself in the big city.

Michael plays a Fender Jaguar through the Old Blood Noise Endeavors Dweller out of a Fender Champ.

Will plays a Fender Jaguar through the Old Blood Noise Endeavors Reflector Chorus V3 out of a Fender Champ

This Is Why I Like You - Reflector V3 ft. Dan Pechacek

When Seth, Brady, and Kilyn asked if I could do a This Is Why I Like You exploring some of my favorite nooks and crannies of  Reflector V3, I found myself unsure where to start. It’s a strange chorus pedal - it does chorus very well. It’s lush and tweakable. But it also does so many other things that live in extremes or very precise spots in a knob’s turn. To find those sounds, craft a piece, perform the piece… how much can one do in an afternoon. So I thought, maybe let’s explore this together. I’ll find a sound in the top mode. Roll cameras please. We’ll start a loop and go from there. I started with a harmony - a perfect fifth below my signal, with no chorus to speak of. Suddenly it felt like someone was playing a baritone while I played guitar. Lovely and deep. From there, I moved to the middle mode and found a slow pitch vibrato. I turned on the Greer Amps Lightspeed for light grit that gave the entire signal the sense of a grainy record. I thought of Graham Coxon’s singular contribution to Blur’s “Think Tank,” the simultaneous grandiosity and uncertainty of a gritty guitar waving in and out of pitch. While there I introduced reverb with the Modulate control, and because my Mix control was already all the way up it created a swelling effect. More dirt from the Fender Pelt fuzz and we were off to the races. I switched to the bottom mode and brought the rate all the way down so I could find a fixed resonant filter that would goose the fuzz, setting the frequency with Modulate. I figured I’d rip a solo until I remembered I cannot rip a solo. So I touched the Depth knob - here’s a fun thing. You don’t hear the very minor delay introduced by the Depth until you start to move it - counterclockwise to pitch up, clockwise to pitch down. With a sustained note it resettles very quickly. From there I imagined it was time to let the rate start moving again, so I pushed that control out and got a little noisy. When making the tweaks that would become V3, I wanted subtlety, nuance, restraint. Everything must be pretty, I thought. And it has to play well with dirt. Before and after. But I’d forgotten: this pedal is fun. It’s really fun. It’s music, and music is fun. We were maybe 15 minutes deep and it had been a nice meditation on the Reflector V3. I turned my loop and pedals off and we resumed the afternoon. I hope you enjoy these minutes.

Thanks to our friends for lending their wares for this video:

Island Instruments Anzol Guitar

Greer Amps Light Speed Overdrive

Fender Pelt Fuzz

What is Series Vs Parallel?

Perhaps you've wondered the same thing. Perhaps no one with a demeanor as calming as Dan's has explained it to you. Here it is, a clear definition of how In-Series and Parallel routing work. Take this knowledge with you and apply it your musical export. 

Atiya Jones of Twelve Twenty Studios and The Art of the Excess

 

For every Old Blood Noise Endeavors pedal release I contract a different artist to create the artwork—It's one of my most favorite parts of the job. For the Excess I was looking for something that visually summons tumult and unpredictable undulation, much like the excess does sonically. I was explaining my loose concept/ idea to a  close friend and she pointed me in the direction of Atiya's work. I immediately reached out to Atiya because her style and vibe were perfect for the project.  Below are some words from Atiya on her process and approach, be sure to check out her website atiyajones.com and follow her on social media @_twelvetwenty. We're honored to and grateful to Atiya for lending her skill and craft to the Old Blood line. -Seth McCarroll

 

All photos used with permission via Atiya Jones. Color photo of Atiya by Jenna Houston.

"My work conjures apophenia, which is the psychological concept of finding patterns where they do not exist. People have a propensity to fight for definition and sense where it does not exist. I find it to be both a really beautiful and detrimental trait in our strange species. 

I use my art and creative workshops, above all else, to connect with people. Making contributions towards building a sense of community is my purpose, and these Wildlines allow me to just that. As a non-musician, this project places my work within a community to which I am normally just a voyeur. I’m very proud of this project and grateful for the opportunity to share it with your team and clients."

Giveaway with Strymon

It's been a while since we've done a giveaway. This one is about sharing too, which is nice. Tag a friend for the chance for you to both win  a Strymon Sunset Overdrive, Ojai power supply, and Old Blood Noise Endeavors Excess Distortion Chorus/ Delay. Sharing is caring. Sharon is Karen. Have fun I hope you win. Full contest terms can be found below the giveaway image.

Giveaway1_sm.jpg
Strymon Rulez

The Fault Overdrive / Distortion. Why is it?

So, the cat is out of the proverbial bag.  We released our first drive-ish pedal.  Announced it on Cinco de Mayo, 2017.  Started shipping back on Wednesday May 17th.  But the Fault origins started awhile back and sort of centers around my personal preference for overdriven and distorted guitar sounds.  See, I tend to prefer an amp that has some drive to it and is already dynamic before ever putting a pedal in front of it.  So that's where we went.

I've been somewhat surprised by the response to an Old Blood overdrive.  A couple of common questions have included "What made Old Blood want to make an overdrive?" often said with a scrunched face and upward inflection.  Well, honestly, over time we had a hodge podge overdrive circuit with EQ and Gain functionality that we personally enjoyed.  And the MO of Old Blood from day one has been to put out pedals that we enjoy and find musical, even though others may not. "Will it fit in with your lineup since it isn't that weird?"  It is true.  The Fault isn't that weird.  And I'm not sure how functional a "weird" overdrive would be.  Just don't have the vision for that I guess.  What it lacks in weirdness, I suppose, was made up for by the ability to cover a lot of sonic territory.  The Fault can be used in a wide range of setups, clean and dirty amps alike, with a lot of EQ tweakability to make unique and musical sounds.  

Also, I'd like to extend thanks to the musical and engineering brains who offered up some feedback on the Fault.  We sent out around 10 "Proto" units to be verbally and physically abused in order to refine the circuit as best we could.  And this Fault.  This pedal.  This is where we landed.  For us, it does the trick.  So we'll probably get back to the niche and the weird.

 Johnny Dang from o'Brother with Proto #2.

Johnny Dang from o'Brother with Proto #2.

 August Graybosch of Otis Amps with Proto #8.

August Graybosch of Otis Amps with Proto #8.

 Amp builder Çaleb Barton of Bridge City Sound with Proto #6.

Amp builder Çaleb Barton of Bridge City Sound with Proto #6.

 Cathy from Datachoir with Proto #10.

Cathy from Datachoir with Proto #10.

 Freaking Pete Jonas with Proto #9.

Freaking Pete Jonas with Proto #9.

 Phillippe from Caroline Guitar Co. with Proto #7 and a Sovtek to kill for.

Phillippe from Caroline Guitar Co. with Proto #7 and a Sovtek to kill for.

 Joe Cannetti threw Proto #5 into the studio with Crime in Stereo.

Joe Cannetti threw Proto #5 into the studio with Crime in Stereo.

 Proto #5 on the road with Movielife.

Proto #5 on the road with Movielife.

This Is Why I Like You - Brent and Black Fountain

Brent Hodge is a full time builder and visual generalist at Old Blood Noise Endeavors, as well as a very active percussionist. Here you The musical piece he constructed and  also video element to complement the piece. Make it loud. 

"To me, the black fountain is a portal to a vast and ethereal paradise.  
A place of warmth, light, bliss, and tranquility.

Instrument and recording setup: Casio CTK-471 and Rickenbacker guitar ran into the black fountain all directly recorded into an mbox-2 interface using protools 8."


March - The Month We Start Living Again

It is Sunday in mid March.  SXSW stuff is next week.  Some of the guys are going down to man a board at the Pedalboard Expo thing.  We went to some shows lately.  That was cool.  And we're quietly stirring the pot on something here and something there, eventually to see the light.  

We also did a limited run of inverted color schemes of the Utility Line.  OBNE Headphone Amp, OBNE 3 Band EQ / Buffer and AB/Y Switcher.  We made 20 of each.  Already going until they're gone.