"Hi everyone! This is Cori Elliott from The Vim Dicta. A lot of people ask us how we get such a big sound with so much bottom end from just the two 6-string electric guitars you can see us playing in the “Stallion” video Guitar Player is helping us launch this week
. Part of the answer is what you can’t see in the video: Each of us uses two amps -- a small guitar combo and a small bass amp. On our pedalboards, we each have an A/B switch that allows us to choose which amp we want to have on, or how we want both amps to sound. We also both have octave pedals that help generate part of the low-end sounds. The difference between lead guitarist Matt Tunney and me is that he primarily uses his low/hi rig to switch back and forth between rhythm and lead textures, while I use mine to switch between playing rhythm guitar and playing bass. We struggled with this for quite a while, because we really wanted to stay a trio. It seemed unlikely that we would be able to get an adequate amount of low end to properly frame the kind of music we play. However, every time we tried out a bass player -- which we did a lot of -- the addition was unsatisfactory as it just got in the way of the dynamic between Matt and me.
“We had seen people using a two-amp setup, so we went to Guitar Center to try out different configurations, and, finally, we hit on the solution. Matt uses a Les Paul with P90s running through a Vox AC15 and an Ampeg Micro CL head powering a single Epiphone 12-inch heavy duty speaker. For extra low end, he has an Electro-Harmonix POG 2 octave generator, a VOX multi-effects unit, a Katana boost pedal, and a Yellow Drive 2 channel distortion pedal. I play an Epiphone Casino with stock P90s running through a Fender Tweed Blues Deluxe and an Ampeg Micro CL powering two heavy-duty Vox speakers. I also have a POG octave generator, a T.Rex reverb pedal, a Swollen Pickle fuzz pedal, and a TC Electronic Gravy pedal for chorus and vibrato effects.
“I have to admit, it's always fun watching at least one person per show trying to figure out how we are producing the bass tones during our set. It's really amazing what you can do nowadays with technology and the possibilities are endless (which I admit can be overwhelming). We have incorporated that to some degree, but, at the same time, we always want to attain a recognizable amount of musicianship. I've also felt, in a way, having no actual bass keeps us on our game, and, in some ways, more creative. The decision to only have three people in the band has given us our limitations, and, in a way, allowed us to be more creative with what we have, totally helping to shape our psychogroove sound."