Six progressions for looping and rolling over — three jazzy, three greasy — all designed to make the Broadcast and the wet/dry split earn their rent. Rootless voicings, pedal-tone vamps, chromatic slides, chicken grease, and the kind of chords that make you play for an hour when you sat down for ten minutes.
Broadcast setting: low gain mode, gain trim at 9 o'clock, level at unity. The germanium warmth under these voicings is the whole point — they should sound like they're coming through a valve desk in a studio at 2am. Wet side: BigSky on a medium hall or bloom, TimeLine on dotted-8th or off entirely. Let the chords breathe.
A minor ii–V–I in Dm that never fully resolves — the Dmaj7 at the end has a 9th that keeps it floating rather than landing. Two bars per chord, medium swing, Grant Green / Wes Montgomery comping feel. The loop never stops wanting to go around again.
| Over | Play | Money Move |
|---|---|---|
| Em7♭5 | D Dorian or D melodic minor | Lean on the B♭ — it's the ♭5 of Em, and the tension the ear wants resolved |
| A7♯9 | A altered / D melodic minor from the 7th degree | The C (♯9) rubbing against the C♯ (3rd) — same rub as the Delta G/G♯ from Session 02, different postcode |
| Dm9 | D Dorian | Float. Space. Let the BigSky do the talking. |
Play the melody with the thumb only — no pick — over the Dm9 bars. The Broadcast's germanium warmth under thumb attack is rounder, darker, and more vocal than a pick. This is the Wes sound, and the Broadcast is the closest you'll get to a tube preamp doing what Wes's amp did naturally.
(thumb only, let ring, over Dm9)
e|--------------------------------------------------|
B|--6-----5-----3-----5-----6-----5-----------------|
G|--------------------------------------------------|
D|--------------------------------------------------|
F E D E F E ...breathe
TARGET · thumb melody over the full 8 bars, no pick, every note even
A major 7th to dominant 9th slide — two chords, one fret apart, looped forever. Gmaj9 down to F♯13. This is Steely Dan / Larry Carlton territory: the chords are lush, the voicings are mid-register, and the movement is a single fret of chromatic slide. The Broadcast makes the slide between them glow.
| Over | Play | Money Move |
|---|---|---|
| Gmaj9 | G Lydian: G A B C♯ D E F♯ | The C♯ (♯4) — Lydian's identity note. It floats. |
| F♯13 | F♯ Mixolydian: F♯ G♯ A♯ B C♯ D♯ E | Land the D♯ (13th) and the E (♭7) — those are the chord tones that make it a 13 and not just a 7 |
Comp the Gmaj9 shape, then slide the whole voicing down one fret to F♯13 without lifting off. The Broadcast's transformer saturation makes the slide between the two chords bloom — you hear the germanium harmonics shift as the pitch moves. Through the BigSky's shimmer this is pure late-70s LA studio.
(medium swing, comp rhythm, slide without lifting) e|--2---------1---------| B|--0---------0---------| G|--4---slide--3---------| D|--4---slide--3---------| A|--x---------x---------| E|--3---slide--2---------| Gmaj9 F♯13TARGET · the slide is one smooth motion, no re-gripping, Broadcast bloom audible in the glide
A funk-jazz four-chord vamp in Am — staccato 16th-note comping, clipped and percussive, George Benson / Stevie Wonder harmonic language. The chords move by thirds and the top voice walks chromatically. Straight 16ths, no swing — the groove is in the ghost strums.
| Over | Play | Money Move |
|---|---|---|
| Am9 / Fmaj7♯11 / Dm9 | A Dorian throughout: A B C D E F♯ G | One scale, three chords — the F♯ is the Dorian colour note that makes it work across all three |
| E7♯9 | E altered / A melodic minor from the 5th | The G (♯9) is the Hendrix note — same chord from Session 01's trapdoor, same scale, different context |
All downstrokes, muted between stabs, ghost strums on the muted strings between the voiced hits. The Broadcast at low gain adds a percussive crack to the attack that clean doesn't have — the germanium clips the transient just enough to give it snap. The dry Badger carries the attack; the wet Mesa carries the tail. Two different instruments from one strum.
(straight 16ths · x = ghost strum · chords staccato) e|--x-Am9-x-x-|-x-Fmaj7-x-x-|-x-Dm9-x-x-|-x-E7♯9-x-x-| hit on 2 hit on 2 hit on 2 hit on 2 (the ghost strums ARE the groove — they're as important as the chords)TARGET · full loop with ghosts even and chords clipped — record wet and dry separately and compare
Broadcast setting: low gain mode, gain trim at noon — audible grit, cleans up with the volume knob. Low-cut at 1 o'clock to tighten the bass for picking clarity. Wet side: TimeLine on a short slapback (80–120ms, one repeat, low mix), BigSky off or on a tiny room. The twang wants echo, not reverb.
A country-jazz turnaround in A — I–VI–II–V, one bar each, the same turnaround from the C blues (Session 06) but played with jazzy-country voicings and a chicken-pickin' attack. Hybrid picking: pick on the bass strings, middle and ring fingers snapping the treble strings. The Broadcast's germanium gives the snap a bark that clean doesn't have.
| Over | Play | Money Move |
|---|---|---|
| Whole loop | A major pentatonic + chromatic passing tones | Country lead is major pent with chromatic approaches — slide into every target note from a half-step below |
| E13 | E Mixolydian: E F♯ G♯ A B C♯ D | The D (♭7) resolving down to C♯ on the A6 — that's the turnaround's gravity |
Pick the bass note, then snap a double-stop on the B and E strings with middle and ring fingers — the snap is the whole sound. The Broadcast adds a compressed crack to the snap that a clean amp doesn't. Through the slapback on the wet side, the snap echoes once and dies — rockabilly physics applied to jazz harmony.
(hybrid picking · p = pick · s = finger snap)
A6 F♯9 Bm7 E13
e|---p5--s5---5---|---p2--s2---2---|---p2--s3---3---|---p0--s2---2---|
B|---p5--s5---5---|---p2--s2---2---|---p3--s3---3---|---p2--s2---2---|
G|---------------|---------------|---------------|---------------|
D|--2------------|--4------------|--4------------|--1------------|
A|--0------------|--4------------|--2------------|--2------------|
E|---------------|--2------------|---------------|--0------------|
TARGET · the snap is louder than the bass note — the dynamic inversion is the style
A pedal-tone vamp on E — the low E rings throughout while the chords move above it. Same principle as the Hill Country drone from Session 02 but with jazz voicings overhead: E9, Emaj7, E6, E7♯9. One chord per bar, the bass never moves, the top voices walk chromatically. The Broadcast's transformer makes the droning E bloom and the chords above it shimmer. This is Roy Buchanan meets Wes Montgomery and neither of them is uncomfortable.
| Over | Play | Money Move |
|---|---|---|
| E9 / Emaj7 / E6 | E major pentatonic: E F♯ G♯ B C♯ | The G♯ singing over the open E bass — pure twang |
| E7♯9 | E minor pentatonic / E blues | Same trapdoor as Session 01 — major to minor in one chord. The G♯ becomes G♮ and the whole sky changes. |
Pinch harmonics on the G♯ (fret 1, G string or fret 4, low E) while the open E rings underneath. The Broadcast's gain trim at noon gives the pinch enough saturation to squeal without needing the Thornicus. The slapback echo on the wet side doubles the squeal and the dry side keeps the drone honest. Two sounds, two amps, one hand.
(open E ringing throughout · PH = pinch harmonic) e|----------------------------------------------| B|----------------------------------------------| G|--PH1~~~~~~~---------PH1~~~~~~~-------------| D|----------------------------------------------| A|----------------------------------------------| E|--0~~~~~~~~~~-------0~~~~~~~~~~----------------| G♯ squeal over E again... let it dieTARGET · clean squeals at will, three out of four attempts · the drone never stops
A country I–IV–V in G with jazzy extensions — G6/9, Cmaj9, D13. Standard country changes dressed in voicings that would work at the Bluebird Café or the Baked Potato. The extensions (6ths, 9ths, 13ths) give the lead player more chord tones to target without changing the fundamental movement. Moderate shuffle.
| Over | Play | Money Move |
|---|---|---|
| G6/9 | G major pentatonic: G A B D E | Country lead lives here — B→C bend on the G string is the signature move |
| Cmaj9 | G major / C Lydian overlap | The B is the maj7 of C and the 3rd of G — it works over both without moving |
| D13 | D Mixolydian: D E F♯ G A B C | The C→B resolution over the D13 back to G6/9 — same move as the Session 02 turnaround but in G |
Pre-bend the B (G string fret 4) up to C before you pick, then release slowly back to B while the open B and high E ring. The pre-bend release under the ringing strings is the Nashville sound — and the Broadcast adds a singing sustain to the bend that clean loses. This is where the behind-the-nut work from Session 03 pays off: the vocabulary is the same, the context changed.
(let B and E strings ring throughout)
e|--0~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~|
B|--0~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~|
G|--(4)pre-bend to C → release to B~~~~|
D|------------------------------------|
A|------------------------------------|
E|------------------------------------|
open E + open B ringing while G string bends underneath
TARGET · pre-bend in tune BEFORE picking — if the C is audible on the attack, it's late
Think of the dry Badger as the close mic and the wet Mesa as the room mic. The Broadcast's germanium warmth sits in the dry channel; the BigSky's bloom and the TimeLine's space sit in the wet channel. In TotalMix, blend the wet underneath the dry — maybe 60/40 dry-heavy. The jazz voicings need the attack and definition from the dry side, with the wet adding depth and dimension behind them. If you can't hear the Broadcast's texture, the wet is too loud.
Flip the relationship. The dry Badger carries the Broadcast's grit and the picking attack — the snap, the squeal, the bend. The wet Mesa carries the slapback only — short, one repeat, mixed low. Blend closer to 70/30 dry-heavy. The twang stuff is about transients and dynamics; the wet side just adds the rockabilly room. If the echo is louder than the pick attack, it's too much. The chicken snap should crack in the dry side and whisper once in the wet side.
With the EQD One to Four, both amps see identical buffered copies of your signal. This means the phase relationship between wet and dry is consistent regardless of which pedals are on or off. Before the splitter, switching the Broadcast in or out might have shifted the impedance seen by one amp but not the other. Now it doesn't. The Broadcast colours both channels equally, and the blend in TotalMix stays stable across every combination on the board. That's the architectural difference between "two amps" and "one instrument with two voices."