Craig T. Fall
Stevie Wonder, the Spinners, Dorsey and Billy Burnette, Roger Miller, Glen Campbell, the Beach Boys, Martha Reeves & the Vandellas—that’s only a partial “who’s who” list of artists that Craig has performed with as a guitarist, keyboard player and musical director. In addition to playing and touring, Craig is a skilled producer with his own commercial recording studio in California, where he helps a diverse range of musicians develop their sound. Craig’s non-musical talents include graphic design, animation, digital photography, and an array of multimedia projects.
Unless noted, the clips below use an Ibanez 12-string “Artist” guitar going directly into the board with no EQ, a small amount of reverb, and no added compression other than a JangleBox. Performance notes are by Craig Fall.
Single guitar, no overdubs. Some delay. Shows the power of the JangleBox direct into the board.
This is what I think McGuinn & Crosby are playing on the original track. A small amount of reverb on the foldback.
Three 12 strings, direct, no effects. I like the aggressive sound the JangleBox gives here.
Two 12’s direct again, bass, one synth.
This demonstrates how the guitar tone changes when the JangleBox is switched on.
Starts out in normal tone, then the JangleBox is turned on. Also used stacked 12’s with different pickup configurations.
This is an amazing Richard X Heyman tune. I love this song. I used the JangleBox from the second verse to the end to give it a lift. The solos were done with the box maxxed out. It really chimes very sweetly here.
(Switch off, switch on)
Bridge pickup. This is an example of how the JB2 can drastically improve the tone of an instrument. I open this old classic using my guitar without the JB2 switched on; you can hear that my tone is pretty unremarkable. I hit the "on" switch at about 9 seconds into the tune, and it opens up like Chime Heaven. I added one more guitar (neck pickup) on the last refrain.
Open tuning here. I think the key to a good JangleTune is to find as many open strings as possible, as the JB2 loves to multiply all those harmonics! I threw in a few random Pete Townsend style crunches at the end, and was shocked how percussive and responsive it was.
I use a combination of a Dunlop pick with two fingers for the picking technique on most of these tunes. This was more or less a picking exercise improv. If you have the luxury of three finger/thumbpicks, the brightness increases exponentially.
47 seconds of as many open strings that I could get my fingers on. Bridge pickup, JangleBoost on, as usual (It REALLY makes the difference!)
Closed my eyes on this one. The tone reminded me of the sound of the Bells at Winchester Cathedral. I have never found this sound remotely in any other part of my musical career, including a 1967 Rickenbacker through a Pultec EQ and an old Teletronix LA-2A, sitting in Terry Melcher's own studio. I mean, if HE couldn't find this tone ...
Inspired from a friend who came back strong after a motorcycle accident. One, then two guitars, with harmonics added. I was thinking of the sound of Irish Church bells here this time, the roots of my Celtic soul. The JB2, to my ears, brings out some of the complex harmonics that one hears in the pealing of bells.
Note the difference in Strat tone between the neck & bridge pickups with the JangleBox. This song has two distinct tones: the first part of the song is a fingerpick style using the neck pickup; the end part with the bridge pickup. I was amazed how the JangleBox treated the tone of the neck pickup with a delicate yet crystalline sound. The end part was pretty much the original Clapton arrangement. I used the JangleBox through a chorus to imitate Clapton's playing through a Leslie cabinet. The lead was a small amount of Jangle through a guitar pre on the bridge pickup with a lot of low EQ to get that older classic tone.
JB2 Byrds/JB3 Clips
Always loved this song, and it seemed a natural Jangle example.
A great Jonathan Edwards tune, and I think this shows how the JB can fill so much sonic space, in a solo environment. The ringing of the strings give it.
Enough said, 9 seconds of the most famous opening chord in Popular music. The Janglebox gives it a special edge.
An on/off comparison, it shows the dramatic change from an average tone to one that sings.
An old Folk classic, again in a true Byrd's style.
One of my favorite Crosby tunes, with some Jangle added.
NO effects here. I dig the way the JB makes a guitar stand out for aggressive rhythm parts.
This is a recreation of one of the most famous of Roger's McGuinn's solos, and he is a true master of this style. I attempted to find the amazing interaction of fingerpicking between the notes of the solo and the rhythm behind it.
More Mystical McGuinn-ness. (Should have sung this, as the lyrics are one of the best examples of the Psychedelic era of music.)
This was one of the best arrangement of this song ever, I think. The Byrd's gave it a mystical Celtic quality.
This is a quick improv I did in the key of B. The JB allows such great “breath” on the sustain, that I find myself lost in the moment every time I play through this, which allows a great deal of creativity for me.
How many harmonics can you fit into one song? Three guitars, chiming madly, you will not get this sound anywhere else but with a JB.
I used a 90’s American Telecaster on this, stock pickups. This has a Rosewood neck, so the tone is darker than a lot of Teles I have heard. Bridge pickup, low output. The song is an improv, and the sustain & shimmer that the JangleBox gave it inspired me to give it a lyrical waltz feel.
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