QUARANTINE EFFECTS The Six Quarantine Effects

The Blues took a backseat as Punk-Rock and New-Wave emerged in the late 1970’s and early 80’s… But with the emergence of a young guitar hero hailing from Austin, Texas in the early 1980’s, the Blues Renaissance began in earnest. “The Six” meticulously recreates the sounds of that era, particularly focusing on the clean tones of SRV himself, as well as those of contemporaries like Albert Collins, and players who forged the way in the subsequent Blues explosion of the late 1990’s.. If only this pedal had existed when I was a teenager!… We think you’ll really like this one. Designed and hand wired by Guitarist/Engineer Reeve Carney, right here in the USA.

“The Six”

1983 – When I stumbled upon the transistor that became the heart of this circuit, it took me straight to “Texas Flood,” and the early tones of the man from Austin whose virtuosity and passion has been a guiding light to those who have fallen in love with the instrument ever since. This circuit  possesses more “gain” than anything “earlier” in the series chronologically speaking, but as with all other circuits in the series, it also possesses a high degree of headroom. This circuit recreates the sound of a guitar straight into a 300 Watt Dumbleland, like the one Stevie borrowed from Jackson Browne for the “Texas Flood” recording sessions. For the cleaner side of Stevie (ala “Lenny,” etc…), just roll back the volume on your instrument to 5 or 6… And bring your instrument’s volume back to 9 or 10 for those searing Albert King style riffs, rich with upper harmonics off of the record’s title track… As with all other circuits in the series, The high pass filter allows you to further accentuate specific harmonics in the equalization spectrum of the circuit itself.

1986 – The Iceman Cometh! This circuit is my homage to the Iceman himself, the late great Mr. Albert Collins! The reduced sustain of the 1986 setting lends itself to copping the distinctive tones of the wry and mischievously playful Austinite. Collins of course tuned his guitar up to an open F Minor chord, and generally played with his capo at the 5th fret or above… So in addition to targeting the specific breakup and equalization characteristics heard on Collin’s records, great care was taken to impart into the circuit a degree of the “choked” note sound Collins was able to achieve via his unique tuning and playing style… Not to mention the sound of his Fender Super Reverb with all of the controls set to 10! 

1997 – For me, this is a particularly nostalgic setting, as it was my goal to recreate the sounds coming from the smokey stages while I was cutting my teeth as a 14 year old guitar slinger alongside the great Blues Masters at Smokin’ Johnnies, Cozy’s, B.B. King’s, and other blues clubs in Los Angeles in the late 1990’s. During this time period, I had the incredible honor of sharing the stage with the likes of Coco Montoya, Billy Preston, Jonny Lang, Nick Sharpe and The Lucky Stiffs, Stevie Gurr, Richie Hayward, “Guitar Jack” Wargo, John Marx, Louisiana “Guitar” Red, Joe Houston, “Screamin”James Norton… To name a few. This setting is my tribute to them.