Dan Sindel Proudly Plays Peterson Tuners

27 04 2007

(Apr 23, 2007)  An exciting day as Dan Sindel becomes part of the Peterson Tuners family of artists.

After yet another ground breaking introduction at the 07′ Winter NAMM show Dan was instantly inspired by the high quality, innovative use of technology and history of the company !

Dan states: “I am absolutely thrilled to be part of Peterson Tuners “family of artists”… They have an amazing legacy in the music industry and there is not one major act I can think of who throughout the years have not had a Peterson Tuners by their side! The craftsmanship and engineering that goes into their tuners is stunning. My recordings involve lots of different guitars and many different layered tracks and I need the “ultimate system” to keep everything in tune… this is what dreams are made of!”

Who’s In Tune?  Peterson_StroboFlip
Alison Krauss
Allman Brothers
April Wine
Back Street Boys
Bare Naked Ladies
Beach Boys
Beautiful South
Bee Gees
Billy Squier
Black Crowes
Black Sabbath
Blessid Union of Souls
Blues Traveller
Bo Kaspers
Bob Seger
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Bonnie Raitt
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Brian Setzer
Brother Cain
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Bryan Adams
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Chris Cornell
Clint Black
Counting Crows
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Cyndi Lauper
Dan Landrum
Dan Sindel  <<<
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Dan Sindel on the “Visual Sound – Workhorse Pony Amp”

22 04 2007

“This is one of the greatest amps I have ever owned..!
I just love this amp… It makes practicing fun all over again (LOL)!
30 watts of power, all tube/hand wired, beautiful tone, great articulation and very, very loud!!! I am using the Pony extensively on my upcoming CD ‘Marching In – A tribute to John Philip Sousa’ and the tones I get coupled with Visual Sound’s foot pedals are just outstanding and completely inspiring.”

Dan Sindel



With names like: Paul Jackson Jr., Steven Curtis Chapman, Earth Wind & Fire, Eric Johnson, Relient K, U2, Metallica, Phil Keaggy, Johnny Hiland, and a host of other amazing session players and musicians in Nashville, Los Angeles, New York, and around the world, Bob Weil and Visual Sound are synonymous with helping create the great sounds flooding the airwaves of today’s most innovative music.
Listen to mp3 samples of top players using Visual Sound 

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Product Information:
A great sounding combo with unique features.
Musician’s Friend)

The first question everyone asks about the Workhorse Pony amp is, “What’s up with that Hubcap speaker grill?”
Well it’s not there just to look different, cool, bling, etc It’s actually a carefully designed, patent pending, sound dispersion speaker grill. Guitar speakers tend to be highly directional. Stand directly in front of any amp, with your ears at speaker level, and you’ll get blasted by treble. Walk two steps to the right or left and it sounds like a blanket just got thrown over your amp. Not so with the Hubcap on Workhorse amps. The Hubcap blocks those nasty ice-pick highs from the center of guitar speakers, and takes all the good full range sound and spreads it out almost 180 degrees. Once you’ve tried it, you’ll wonder how you ever lived without it. If the brushed chrome look is a bit much for your more traditional tastes, take it off, spray paint it black (or any other color) and put it back on you can customize it any way you like.When you put new tubes in most amps, you have to bring it to an amp tech to have him bias the power tubes for you normally about a $75 job. With the Workhorse Pony amp, you can say goodbye to your amp tech.Once the amp is fully warmed up, you take the ceramic screwdriver provided with the amp (or any other Phillips screwdriver), put it through one of the lower holes on the back panel of the amp and turn the pot inside until the LED above it turns green. If it turns red, the tube is biased a bit too hot. If the LED is off, the tube is biased a bit too cold.That’s all there is to it. You can bias your power tubes in about 10 seconds with no knowledge of electronics required.The Workhorse Pony comes with 6L6 power tubes stock. However, if you prefer EL34 power tubes, no problem. Under the chassis is a tube selector switch that you can set for 6L6, 6L6 Hot, EL34, or EL34 Hot. Just install your tubes, set the selector switch, and bias the tubes yourself with the easy user-biasing system.

Bob Weil and R.G. Keen put a huge amount of thought into the construction of the Workhorse Pony amp. They even visited amp techs and asked them, “What do you hate about the amps you work on?” With the boatload of information gained from asking that question, they made sure to design amps that didn’t have any of the shortcomings of most amps made these days.

All the jacks and pots are hand-wired to the circuit board. Speaking of circuit boards, those in the Workhorse amp are military-spec; double-thickness boards with triple-thickness copper. No big power resistors to step down voltage like you see in other amps. Those can heat up so much that the solder melts and the resistor can fall right out of the amp. Visual sound uses precision voltage regulators with heat-sinks instead you’ll never have to worry about them falling out.

Horizontal metal ribs on the circuit board keep the circuit board absolutely stiff and un-flexible. One of the common causes of failure in many modern amps is circuit board flexing that causes solder pads and traces to break. That won’t happen with the Workhorse. If anything ever does go wrong with a Workhorse, the back of the metal chassis opens up like the hood of a car for easy and fast servicing. That means less tech hours and less money to repair. There are fuses on all the transformer outputs, so if something goes really wrong in the amp you’ll only need to replace a 5 cent fuse not a $250 transformer!

The Workhorse Pony is simple to use. There are only 5 knobs: Volume, Treble, Mid, Bass, and Reverb for controlling the on-board spring reverb. You don’t need to read the manual to figure out how to get good tone. Most guitar players use an array of pedals to get different tones, from overdrive and distortion to chorus and delay.

The Workhorse Pony was created to make effects pedals sound the way they were designed to sound. As many players have done for years, you just run all the pedals into the front of the amp no effects loop required.

To prove the point, Visual Sound even includes a Jekyll & Hyde Overdrive/Distortion pedal to provide a “second and third channel” for the amp. While the Jekyll & Hyde is a great pedal to use with many amps, it really shines with the Workhorse. Whether you play blues or metal or anything in between, the Jekyll & Hyde will inspire you. Just think of it as a channel switcher with knobs!

All Workhorse amps have a Line Out jack on the control panel. Unlike the line out or direct out jacks found on many amps, the Line Out jack on Workhorse amps has a very good speaker simulator circuit behind it. So, if your sound engineer doesn’t want to mic the amp, you can simply run a cable from the Line Out jack to a direct box connected to the mixer. A couple of tweaks at the mixer, and your Workhorse will sound just as good through the PA as it does on stage. You’ll still be able to hear it through the speaker in the amp, which will simply add to the sound heard through the PA.

The Workhorse Pony combo amp has a 9VDC output jack with a 12 foot (4 meter) cable included with the amp for powering the Jekyll & Hyde pedal. Hook up a daisy-chain cable to the end of the 9V cable and you can power your pedalboard right from the amp. The 9VDC output can handle up to 200mA of current, so you can’t plug in Line 6 modeling pedals like the DL4 or other high-current pedals, but the average pedalboard with a handful of pedals can be powered just fine.

Since the Workhorse Pony is the ideal amp for small gigs, there is a CD Input jack on the control panel. So, if you’re playing along with tracks at a small gig (or even at home), just plug your CD or mp3 player into the CD Input jack. You can even plug in a POD or other modeling pre-amp into the CD Input jack if you want to bypass the Workhorse pre-amp, but take advantage of the all-tube power amp.

Some amps come with a cover, many do not. But a cover like the Workhorse amp cover is one of a kind. It’s nicely padded and even has large pockets on both sides to hold the power cable, 9VDC cable, ceramic tube-biasing screwdriver, manual even the Jekyll & Hyde pedal will fit!

The Celestion Seventy 80 speaker has excellent, tight low-end response, nice glassy highs, and just the right amount of mid-range for a great clean tone and it complements effects pedals perfectly. It can stand up to the huge low-end put out by the Jekyll & Hyde, while still sounding pristine and warm with a chorus pedal like the H20.

Visual Sound Workhorse Pony Tube Guitar Combo Amp Features:

  • Celestion Speaker
  • 9VDC output & cable for powering effects pedals
  • Hubcap sound dispersion speaker grill (Pat. Pending)
  • Makes the amp sound great anywhere on the stage
  • Protection circuitry throughout the amplifier to prevent failure of all critical components
  • Revolutionary easy user-biasing Change Tubes without paying an amp tech!
  • Hand wired controls and jacks
  • Toroidal power transformer
  • All wood cabinet
  • Volume, Bass, Mid, Treble, & Reverb controls
  • 5 knobs simple!

Visual Sound Workhorse Pony Tube Guitar Combo Amp Specifications:

  • 42lbs. (19.1K)
  • 18.25″ x 17″ x 12″base/11″ top (46cm x 43cm x 30 cm base/28 cm top)

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“Excerpts From Handel’s Messiah” added to “www.baroquemusic.org”

20 04 2007

April 18, 2007
We are very pleased to announce that Dan Sindel’s ”Symphonic Guitar” interpretation of  “Excerpts From Handel’s Messiah” has been added to www.baroquemusic.org along side many well respected classical artists honoring the immortalized works of George Frideric Handel (1685 – 1759)


Excerpts From Handel’s Messiah” by Dan Sindel:
* Apple’s iTunes Enhanced Podcast or Mp3 Podcast
* Click here to Download Mp3
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**This is truly an “Excerpt” of “Excerpts From Handel’s Messiah”!
Download mp3 of Dan Sindel’s version of Handel’s ”HALLELUJAH CHORUS”


About George Friederich Händel:
George Friederich Händel was born in 1685, a vintage year indeed for baroque composers, in Halle on the Saale river in Thuringia, Germany on February 23rd.

From Germany to England – via Italy.

Though his father had intended him for the law, Handel’s own musical inclinations seem always to have been clear to him. At the age of 18, in 1703, he traveled to Hamburg, where he took a job as a violinist at the Hamburg Opera and gave private lessons to support himself. He became acquainted with Johann Mattheson (who later chronicled the known events of Handel’s life during his stay there) and together they visited Buxtehude in Lübeck in that first year. In the new year Handel’s first two operas were produced, Almira and Nero.

Whilst in Hamburg, Handel made the acquaintance of Prince Ferdinando de’ Medici, son and heir of the Grand Duke of Tuscany, who invited Handel to visit Italy where he spent more than three years, in Florence, Rome, Naples and Venice. By 1706 he had reached Rome, where Marquis (later Prince) Francesco Ruspoli employed him as a household musician and where most of Handel’s major Italian works were composed. This visit was significant; baroque music, like that of any period, has its musical clichés, and much that is typical of baroque music can be traced back to Italy and particularly to Corelli, with whom Handel had studied. The influence of Italy was to show itself in Handel’s lifetime preoccupation with opera – as well as Italian operatic “stars”. His Concerti Grossi too, bear witness to the influence of Italy and Corelli.

Italy was a great center of musical activity particularly during the first 20 years of the 1700s, and Handel was to meet and exchange ideas with many of the leading composers, musicians and nobility of the time – and not only Italians, for it was obligatory for every cultural and music-loving person of any rank or nobility to do the Grand European Tour which naturally included the main Italian cultural centers. Thus on his travels around Italy Handel also made a number of useful contacts including the Duke of Manchester, the English Ambassador, and most significantly Prince Ernst August of Hanover, brother of the Elector (later King George I of England) who pressed him to visit Hanover. The Prince may also have intimated the possibility of a post at the Hanoverian court, for when Handel left Italy early in 1710 it was for Hanover, where he was in fact appointed Capellmeister to the Elector, George Louis, who immediately packed him off on a twelve months’ leave of absence to visit England. The Royal Houses of Britain and Germany had always been closely inter-related, and the Act of Settlement of 1701 which secured the Protestant succession to the Crown of England, had made Handel’s Hanoverian employer George Louis’ mother heiress-presumptive to the throne of Great Britain. Thus the Elector George Louis would have been anxious to have Handel spy out the land and report back to him on the London musical, social and political scene.

During this first London visit, lasting eight months, Handel was favorably received at Queen Anne’s court, though his eyes were largely set on Vanburgh’s new opera house, the Queen’s Theatre in the Haymarket. Rinaldo, the first Italian opera specially composed for London, was performed there in 1711 and was a sensational success. Returning only briefly to Hanover in 1711, Handel was back in London by 1712 when he was invited to produce an English Court Ode for Queen Anne’s birthday. The Queen normally took little interest in her composers, being (according to the Duke of Manchester) ”too busy or too careless to listen to her own band, and had no thought of hearing and paying new players however great their genius or vast their skill”. It is surprising, therefore, that she granted Handel a pension of £200 a year for life.

But the Queen’s health deteriorated, and by September 1714 Britain had a new monarch. Thus it was that George Louis, Elector of Hanover and already naturalized by Act of Parliament in 1705, became King George I of England, initiating the Royal House of Hanover. One of the first engagements for the new George I was to attend morning service at the Chapel Royal where ”a Te Deum was sung, composed by Mr Handel” – and Handel’s position with the new ruler appears to have been secured. In addition to his royal duties for King and Court – his ‘Caroline’ Te Deum was performed by the Chapel Royal musicians at the king’s first royal engagement – Handel became music master to the princesses, for whom he may well have composed the keyboard suites subsequently published in 1720. In the summer of 1717 the king requested a concert on the River Thames and Handel was commissioned to write ‘Water Music’, for wind and strings. With members of the court and musicians accommodated in barges, the evening’s entertainment went on until the early hours of the morning.

About www.baroquemusic.org:
What is the essence of baroque music? Baroque music expresses order, the fundamental order of the universe. Yet it is always lively and tuneful. Music reflects the mood of the times, then as now as always. Follow the development of music through this brief outline, from the earliest times to the present day, with baroque music in historical context.

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Dan Sindel releases “Aeolian” remix

16 04 2007

Dan Sindel - press shot

Listen to Aeolian 

This original composistion has a latin/smooth jazz/world music flavor to it and I sure hope you enjoy it..!

A “Special Thank You” goes out to Khaliq Glover (Grammy Award Winning Engineer) for lending a helping hand on this mix and for teaching me how to record/mix better and a very special “Thank You” to leflaw our fearless “DMusic” leader, Frank “BlueNevus” Tucker and all the DMusic judges who voted ‘Aeolian’ on the upcoming “Indie For America” compilation CD

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Aeolian – pronounced [ee-oh-lee-uhn]
In music, the aeolian mode comprises a musical mode or diatonic scale.
An aeolian mode formed part of the music theory of ancient Greece, based around the relative natural scale in A!

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About “The Aeolian mode” ::
The aeolian mode comprises a musical mode or diatonic scale.
An aeolian mode formed part of the music theory of ancient Greece, based around the relative natural scale in A (that is, the same as playing all the ‘white notes’ of a piano from A to A). Greek theory called this simple scale the hypodorian mode, and the aeolian and locrian modes must have formed different (perhaps chromatic) variations of this.

The term aeolian mode fell into disuse in mediaeval Europe, as church music based itself around eight musical modes: the relative natural scales in D, E, F and G, each with their authentic and plagal counterparts.

In 1547 Heinrich Glarean published his Dodecachordon. His premise had as its central idea the existence of twelve diatonic modes rather than eight. It seems that popular folk music used the additional modes, but they did not form part of the official church repertoire. Glarean added aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting note or tenor. The tenth mode, the plagal version of the aeolian mode, Glarean called hypaeolian (“under aeolian”), based on the same relative scale, but with the minor third as its tenor, and having a melodic range from a perfect fourth below the tonic to a perfect fifth above it.

As polyphonic music replaced mediaeval monophonic church music, the folk modes added by Glarean became the basis of the minor/major division of classical European music: the aeolian mode forming the natural minor mode.

The aeolian mode consists of the same components as the major mode with the minor’s sixth scale degree as its tonic. Examples include:

C Aeolian mode – the E major scale starting on C; the key signature has three flats.
G Aeolian mode – the B major scale starting on G; the key signature has two flats.
D Aeolian mode – the F major scale starting on D; the key signature has one flat.
A Aeolian mode – the C major scale starting on A; the key signature has no sharps or flats.
E Aeolian mode – the G major scale starting on E; the key signature has one sharp.
B Aeolian mode – the D major scale starting on B; the key signature has two sharps.
F# Aeolian mode – the A major scale starting on F#; the key signature has three sharps.
C# Aeolian mode – the E major scale starting on C#; the key signature has four sharps.

The Aeolian mode’s intervallic formula when compared to the major scale consists of flatting the 3rd, 6th, and 7th scale degrees.
As the Aeolian mode forms the natural Minor scale (also known as the descending melodic minor scale), it is among the most frequently used diatonic modes in western music. However, tunes entirely in the Aeolian mode (ie those that do not also use the ascending melodic minor scale) are rare – the A section of the Doctor Who theme tune is one such example.

source: http://en.wikipedia.org/wiki/Aeolian_mode

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About the project::
This recording project was pretty straight forward, after contemplating some of the finer points addressed in one of my guitar lessons from the Legendary “Chord Chemist” Ted Greene I started to think differently toward the modes or what Ted adamantly suggested as “Tonalities” or “Shades of Color”.

Listen to Aeolian 

The chord structure is built on:

  • A minor (6th degree)
  • B diminished (7th degree)
  • C major (1st degree)
  • D minor (2nd degree)
  • E minor (3rd degree)
  • F major (4th degree)
  • G major (5th degree)
  • A minor (6th degree)

**of course in this example we are looking at the chord analysis from the standpoint of the established key being C major and A minor being it’s relative

To try and acheive a nice, full sound while recording the acoustic guitars I had chosen to arm 3 seperate mono tracks (2 mics and running direct) to get a thick orchestrated sound.

The main guitar used on this track was a Washburn WD32SCE Acoustic which I do not think they make anymore but plays exceptional..!
The drum track was done using Propellerhead’s Reason and the mics used were a Shure KSM32 and a MXL1000. I also used a Fender Standard Jazz Bass and had recorded direct using a BBE DI-100x Dirct Box w/the Sonic Maximizer

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Dan Sindel Proudly Plays GHS/Rocktron!

6 04 2007

Dan Sindel Proudly Plays GHS/Rocktron!Dan Sindel Proudly Plays GHS/Rocktron

(Apr 04, 2007) Yet again an exciting day as Dan Sindel becomes part of the GHS Strings/Rocktron Technology family of artists.

After another ground breaking introduction at the 07′ Winter NAMM show Dan was instantly impressed by the professionalism of the company!

Dan states: “This is what dreams are made of..! I have been playing GHS Boomers forever and refuse to accept any substitutions… Becoming part of the GHS Family is a dream come true and I am completely honored that they believe in me as an artist and I truly look forward to a very exciting working relationship with GHS”


About GHS:
Since 1964 GHS has manufactured the highest quality guitar strings available. GHS strings are used by professional musicians and amateur hobbyists who want the best sound from their strings possible. Whatever your tastes, from bright crunching rock to a mellow, bluesy sound, we have the right strings for you. Our famous “Brightness Bar” found on select packages of strings, will show you what strings produce which kinds of tone.

GHSstrings.com is more than a place to just surf around, it’s a place to get expert information about strings, calculate string tensions,read technical documentation about strings, find a local dealer, read product information, check out artists who play GHS Strings, and more!

GHS produces a full line of strings for fretted instruments – electric, acoustic and classical guitar; electric bass; banjo; mandolin; pedal and steel guitar and much more. All GHS products are manufactured with one objective – to provide players around the world with products that continually exceed their expectations.

The founders of GHS had a wealth of string making experience when they started the small family-owned business in 1964. Now – after thirty-five years, GHS has grown to one of the leading manufacturers in this music specialty. GHS is staffed with dedicated personnel trained and experienced in string technology. By combining its years of experience and its reputation for quality GHS will continue to provide strings for players everywhere for many years to come. When looking for performance from your strings – look to GHS – the Strings Specialists.

About Rocktron:

The concept behind Rocktron has always been to deliver quality sound to the guitar player through exciting and often very innovating products. Many of the Rocktron products seek to marry a vintage style to modern technology and bear the mark of actual longtime musicians who understand and appreciate the needs of guitar players and then design and develop products accordingly

Rocktron launched in 1983 when founder, Bob Waller, along with co-hort Jim Chowning and others stepped back from a long musical career that included stints on the Hollywood club circuit and the Detroit to Toronto circuit. Using their background from years of club and concert appearances with their rock bands (The Blame, and originally Wildwood), the boys decided to launch a company aimed at producing top quality signal processing, amplification and effects.

Rocktron’s first hit product was the HUSH® noise reduction lineup. The HUSH technology was the first single-ended noise reduction designed specifically for guitar. Over twenty years later, HUSH stands as the industry standard and has been used by an amazing plethora of guitar greats spanning 80s rockers to today’s extreme metal. To list the famous users of this outstanding noise reduction technology would require pages and pages of names.

In fact, over the years Rocktron products of all types have been used by professional guitarists. A small sampling of those include Dave Mustaine, Brian May, Diamond Darrell, George Lynch, Prince, Neil Schon, Slash, Steve Stevens, Eddie Van Halen, John Petrucci, Viv Campbell, Steve Vai, Gary Moore, Gary Hoey. The list of bands that have used Rocktron products include Disturbed, Lamb of God, Judas Priest, Iron Maiden, Papa Roach, Black Sabbath, Queen, Taproot, Pearl Jam, U2, Bon Jovi, Red Hot Chili Peppers, Alice in Chains, Nine Inch Nails, and the Deftones. Again, this is just a small sampling of the long list of professionals who have taken Rocktron products on the road and into the studio.

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