References to Family Guy’s
Glenn Quagmire notwithstanding, Giggity
($149 street) is a decidedly highbrow affair
that’s designed to juice up your tone via
a savvy combination of voicing, EQ, and
gain circuitry. Billed as an “analog mastering
preamp for guitar,” Giggity features a
Plexiglas panel with five controls. Uppermost
is a 4-position preamp selector knob,
which has “sun” and “moon” settings at
the opposite ends of its range. Clicking
between these brighter and darker positions
adjusts the gain and voicing of the
circuit to optimize Giggity for cleaner or
more overdriven sounds. From there, the
Body control cuts or boosts the low-mid
and upper-bass frequencies, while the Air
knob does the same for the highs (either
control yields a flat response when set
to “noon”). Giggity also has a Loudness
knob for adjusting preamp input gain and
a Master for controlling the final output.
Giggity can be placed first in line to
refine the sound of your guitar and/or hit
with a hotter signal to push it more easily
into overdrive (there’s plenty of output
to do this). The device is great for giving
single-coil pickups humbucker-like heft,
so if your idea of Stratocaster nirvana is
buttery distortion à la Eric Johnson, Giggity
will definitely help you get there.
Giggity can also be put after a string of
effects, where you might use it to remove
top-end fizziness from a high-gain pedal
or perhaps create some amp-like distortion
ahead of a clean amp. In this mode,
Giggity can instantly make your whole rig
sound girthier, which is particularly helpful
in lower-volume situations.
For testing, I put Giggity downstream
from a couple of distortion effects (a Dunlop
Jimi Hendrix Fuzz Face and a Hermida Nu-
Valve), a Rocktron VII Deadly Sins autowah,
a Whirlwind Orange Box phaser, and
an Analog Man ARDX20 analog delay.
The output from Giggity went straight to
a Fender Deluxe Reverb.
With the Deluxe running clean, I started
off by setting the 4-position switch two
clicks away from the “moon” position
and dialed the Body and Air controls to
around 11:00 and 1:00 respectively. The
Loudness control was turned up enough
to create some fat breakup with the guitar
volume cranked, and the Master was set
for a slight volume boost. I wasn’t surprised
by the suddenly beefier tone from
the rear pickup of a PRS Modern Eagle
II, but the Fuzz Face was also smoother
and creamier sounding through Giggity.
In fact, all the pedals sounded cooler
when slammed into Giggity at moderate
to higher gain (Loudness) settings—sort
of like you’d expect when running them
into a cranked tube amp.
Putting the 4-position switch on the
“sun” position, lowering the Body and
Loudness settings, and turning up the
Air control slimmed the tone, put more
sparkle in the highs, and made the delay
repeats sound clearer—all very nice for a
crystalline rhythm sound. Noteworthy too
is that Giggity does what it does without
changing the core sound of your guitar
and effects, and it’s extremely quiet too.
Color me impressed. Pedals come and go
pretty routinely on my board, but Giggity
now has a permanent place at the table!
Kudos A super tone shaper for guitar.
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