Boss Blues Driver
Boss Blues Driver
 |
 Boss BD 2 Blues Driver Effect Pedal NEW  US $70.00
|
 BOSS Blues Driver 2 Guitar Pedal US $41.00
|
 Used Boss BD 2 Overdrive Guitar Effect Pedal US $50.00
|
 Boss Blues Driver BD2 US $29.00
|
 Boss BD 2 Overdrive Guitar Effect Pedal US $64.99
|
 Boss BD 2 Blues Driver Guitar Pedal in Box with Manual US $40.00
|
 BOSS METAL ZONE MT 2 Guitar Distortion Pedal US $.01
|
 Boss BD 2 blues driver overdrive US $61.00
|
 Boss Blues Driver BD 2 pedal true bypass tone mods BB chip mid boost switch US $119.99
|
 NEW KEELEY PHAT MOD BOSS BD 2 BLUES DRIVER PEDAL w FREE CABLE 0$ US SHIPPING US $199.00
|
 Keeley Phat Mod Kit for Boss BD 2 Blues Driver US $19.95
|
 KEELEY BOSS BD 2 BLUES DRIVER PEDAL US $48.00
|
 MINT Boss BD 2 Blues Driver Overdrive Guitar Effect Pedal • Distortion Pedal US $21.50
|
 Boss BD 2 Blues Driver Pedal US $85.00
|
 BOSS BD 2 BLUES DRIVER GUITAR EFFECTS PEDAL US $99.00
|
 Keeley Blues Driver BD 2 US $175.00
|
 Boss BD 2 Blues Driver US $1.04
|
 Keeley Mod Boss Blues Driver BD 2 US $66.00
|
 NEW Boss Blues Driver BD 2 US $75.00
|
 Boss BD 2 BD2 Blues Driver Supreme Mod Kit by Fromel US $19.95
|
 BOSS BD 2 BLUES DRIVER TWEED AMP CLONE OD PEDAL MOD KIT US $20.00
|
 Boss BD2 BD 2 Blues Driver Overdrive Guitar DistortionPedal US $99.00
|
 Boss BD 2 Blues Driver Overdrive and Distortion Guitar Pedal BD2 PROAUDIOSTAR US $99.00
|
 BOSS FX PEDAL 3 KNOB SET US $7.95
|
 Boss BD 2 Blues Driver Overdrive Brand New Free Shipping Two Free Cables 0 US $99.00
|
 BOSS BD 2 Blues Driver Effects Pedal BD2 US $99.00
|
 NEW BOSS BBD2 BLUES DRIVER EFFECTS PEDAL US $99.00
|
 NEW KEELEY PHAT MOD BOSS BD 2 BLUES DRIVER OVERDRIVE EFFECTS PEDAL FREE US SHIP US $199.00
|
 NEW BOSS BD 2 Blues Driver Free Shipping w Gift US $94.05
|
 2 Boss FX Pedal Knobs Taiwan Japan US $3.95
|
 NEW Keeley Electronics BD 2 Blues Driver Mod Free Shipping w Gift US $189.05
|
 Boss BD 2 Blues Driver US $93.06
|
 BOSS Boss BD 2 Blues Driver US $93.06
|
 Keeley Java Boost Pedal Mint in box US $219.00
|
 Boss BD 2 Blues Driver Overdrive Pedal NEW Auth Dealer w FREE CABLE US $99.00
|
 Boss BD2 BD 2 Blues Driver Overdrive Guitar PEDAL PAK US $119.99
|
 Keeley Java Boost Brand New In Box US $229.00
|
 NEW Keeley Electronics Modded Boss BD 2 Phat Mod Pedal US $199.00
|
 BOSS Blues Driver Overdrive Pedal FREE USA SHIPPING US $89.00
|
Blues Guitar Legends: B. B. King
He moves slowly now, his 82-year-old body starting to betray him, joints aching from time and the endless miles he's traveled over a lifetime. He steps onto the stage, throws the strap of the Gibson ES-335 over his shoulder and squints slightly into the cheering crowd. His face breaks into a wide, humbled, almost embarrassed smile as a rumbling "Good Evening" floats out to his audience. As his left hand moves to the neck of the guitar and the right hand reaches down and strikes the strings, the years melt away and suddenly you find yourself watching a master craftsman ply his trade. The house fills with those unmistakable midnight blue tones that raise the hairs on the back of your neck. B. B. King half closes his eyes, screws up his face, and…he's off into his own place, taking you with him.
Born Riley B. King on September 16th, 1925 on a plantation in Mississippi, his early life was as a farm worker. A guitar-playing pastor at the Sanctified Church awed him with his playing when B. B. was five years old, but he did not buy his first guitar until he was 12. Working has a house-boy for $15 a month, he saved as much as he could (still needing a loan from his boss) and bought a red Stella Acoustic from a man down the road. Like so many blues guitar players of his time, he gave himself guitar lessons with the assistance of a couple of books and the popular recordings of the day. At fifteen he played on the streets for change in his native Indianolo, but later got the itch to move on in search of a music career, hitchhiking to Memphis in 1946.
After busking and playing in gospel groups in Memphis for a year, King was given an opportunity to play on a popular radio local radio show hosted by harmonica legend Sonny Boy Williamson. From there, he moved to regular gigs in Beale Streets clubs. Soon after, B.B. secured a stint on WDIA hosting a radio spot, singing blues and playing records under the self-appointed air-name Beales Street Blues Boy, shortening it to B. B. King. His first recordings were done in 1949, for Sam Phillips’ Sun Records, but his first hit came in December 1951 with his remake of Lowell Fulson's "Three O'Clock Blues”. He scored four number one R&B hits between 1951 and 1954, including his now signature "You Upset Me Baby”.
By 1955, King had quit his radio show on WDIA, bought a bus, and embarked on a cross-country tour. In 1958, the bus hit a gas truck on a bridge in Texas. Although King nor none of his band members were on the bus at the time, the truck driver was killed. It took King several years to pay the debts incurred as a result of the accident.
Although King remained very popular with black audiences, he had yet to break free from the chitlin' circuit. This changed dramatically for King with the recording of "Live at the Regal", a live recording of a show done at a South Side Chicago blues club in 1964. This recording is often referred to as being one of the best lives records ever made.
It was his performance at the 1967 Montreaux Jazz Festival that exposed B. B. to a wider audience. During this time when so many British guitarists were paying homage to American blues artists, King struck well in the U.K. landing an tour opening for The Rolling Stones on their sixth U.S. tour.
In 1970, King recorded his most famous song "The Thrill Is Gone”. Immediately recognized from the electric shrill of the opening notes to his booming, friendly voice, it is not only a staple of his shows but also a song that any self-respecting blues guitarist is obligated to learn.
His most famous band mate has always been “Lucille”, the guitars named from an incident in Twist, Arkansas. During the show, two men started fighting, a kerosene heater was kicked over, and in moments the wood framed club was on fire. King escaped but ran back inside to rescue his cherished guitar, barely making it out with his life. When King learned that the fight was over a woman named Lucille, King named all of his guitars Lucille to serve as a reminder never to do something that reckless again. Gibson has issued a special commemorative B. B. King signature edition of the famed ES-335 named, of course, Lucille.
King said early on that he wanted to become a blues ambassador to the world, just as Louis Armstrong had done with jazz- and he did just that. In among his distinctive blues guitar licks are elements of rock, jazz and gospel that result in a style uniquely his own. King does not play chords nor does he sing while he plays. King sings out in a warm, friendly manner that deftly combines elements of pain and humor, and when he halts his voice Lucille picks up the song where King leaves off, carrying on in a round robin of singer and guitarist, call and response in the rich Delta tradition.
B. B. has always been a tireless performer. In his early days as a struggling musician, he would often play as many as four towns a night, making it back to WDIA in time for his on-air shift. His touring schedule is legendary; it is estimated that now, in his early eighties, King has played in the neighborhood of twenty thousand shows in his career and is still managing over two hundred shows a year. It's easy to see time wearing him down-he seems to talk more in his shows than he plays these days-but when it comes to King, the thrill is still there.
It's impossible to know how much longer we'll have him around. He has won Grammy's, been inducted into the Blues Hall of Fame and Rock and Roll Hall of Fame, and been awarded several honorary degrees, but he still ties directly to the rich, verdant Delta soil and the heavy tradition that it brought. Don't miss your chance to see blues royalty while you can- go see The King of the Blues.
About the Author
Nick Koch is an amateur blues guitar player, blues historian/enthusiast, and freelance writer. He writes for www.guitartricks.com, which offers high quality online guitar lessons.
What kind of effect pedals should I get?
I have a gibson Les Paul and a fender deville 212 and I just wanted to get a few effect pedals but I've only used the Keeley modded Boss Blues Driver. I'd like to be able to play an assortment of music. Is there anything I should know before buying pedals? I know that the order of your chain can affect the sound drastically.
I am pretty sure that I will be getting a Vox Wah in the next month or two.
Thanks for your help.
That's funny. I just bought a Danelectro Fab Metal last night (less than 20$) and I like it better than my Boss Metalcore. A lot of the time sure, a brand can be a good recommendation, but not always be what you want.
My favorite pedals? Boss CE-1 (is that the chorus? think so), MXR Phase 90 Phaser, Liquid H2O (chorus + echo, just gorgeous), Boss GT-3 (a complicated multifx pedal, lots of options, they have newer versions out), Dunlop 535Q wah (my friend prefers the Morley Bad Horsie, since it's activated only when you step on it), and my DIY-modded Metal Zone (still a work in progress.... basically a slight variation on the Diezel mod).
Ummm... I like multifx for clean sounds. Can get the older models pretty cheap, too. For live work the tone difference isn't all that noticeable in the mix.
The "normal" way to hook up pedals is
guitar -> compressor/tuner/buffer -> distortion -> modulation (chorus, flanger, phaser, etc) -> time-based (delay) -> EQ/filter/wah -> amp
Keep in mind that everything but distortion can also go in the effects loop..... you get a cleaner sound out of 'em that way.
I prefer buffered bypass pedals... I think the whole "true bypass" thing is misguided, as it can suck more tone out of your pickups (ie by making longer cable distance between your pickups and the next high input-impedance source (the amp). Buffered bypass = high input impedance = no signal loss (see what I say a few paragraphs down).
Two of the biggest things that you can do, in my opinion, are learning how to use your EQ (especially after distortion and in the effects loop), and having onboard electronics. I don't necessarily mean active pickups, I mean an onboard preamp of some kind. I have buffer preamps in my guitars... no amplification/gain, they just present a low output impedance.
Umm... if you have no idea what I'm talking about, basically the concept is that impedance is a type of resistance, and that for voltage, the best thing is to have low output impedance and high input impedance. Your guitar has output impedance, the amp has input impedance. The lower your output impedance, the more voltage makes it to the amp, and the less signal gets rolled off.
The end result is that you don't have to worry about long lengths of even the crappiest cables. Can you say no tone suckage? Heck yeah!
Sorry, that's the tech in my talking. I hate buying expensive cables, its retarded to spend 50 bucks on a 6-foot cable, that's all I'm saying...
The link below is an invaluable resource for customer reviews. Go there and read up before you buy!
Saul
Boss Blues Driver shootout Monte Allums , Machine Head Pedals , and Stock version BD-2 Mod Modded