If you only have one pedal in your arsenal, chances are it’s some sort of overdrive. Fuzz, boost, overdrive and distortion pedals are the most popular stomp boxes out there, and for good reason. If you don’t have the luxury of being able to crank up a great tube amp to excessive volume to get the world’s sweetest lead tones — and few of us do — you need one of these machines to dirty up your sound and help generate the singing, saturated, sustaining sound that so many styles of electric guitar playing require.

Despite their popularity, however, the distinctions between the different pedals in the “OD” category can get blurred. While each of these pedals helps you get cranked-up tone at the stomp of a switch, each type works its magic in a different way, and many from within the same type can function very differently.

Let’s break down the overdrive category to define, dissect and demystify each effect in the group.

Boosters

Among the simplest and oldest of overdrive-inducing pedals is the booster, which, at its heart, is just a straightforward preamp that’s placed in front of an amp’s input. These are used to increase the guitar’s signal — either to create a loud, but relatively clean volume lift for solos, or to kick the amp into overdrive.

Many types of boosters first became popular in the mid ’60s, as elements within their design — flaws, you could argue — produced far less than the clean boost that was intended, and instead induced tonal enhancements that players came to love. Early examples such as the Dallas Rangemaster Treble Booster and Vox Treble Booster and Bass/Treble Booster owed their creamy, thick sound to a single germanium transistor, an archaic component that is still used as the magic ingredient in many current boosters (and fuzz pedals, as we shall see).

Note that these didn’t merely boost treble as the name might imply. They did help highs push through, but they boosted other frequencies as well, and the “treble booster” tag was partly a sales point in an age when “more treble” was often the call of players muted by high-load guitar cords and murky live mixes.

In addition to boosting the signal, the germanium transistor added a little midrange girth and high-end sweetening, elements that became crucial to the early lead tones of Eric Clapton, Jimmy Page, Brian May and many others. These players used their germanium boosters to hit the front ends of a Marshall or Vox amp with a little extra oomph in order to kick it into a singing and more harmonically saturated tube overdrive.

As such, pedal and amp work together as one instrument, and few boosters are used purely for their own inherent tone, but rather for the way they perform in conjunction with a particular amplifier. Plenty of mass manufacturers and boutique makers offer contemporary versions of such vintage-styled boosters, but a different breed, the “linear” (or “clean”) booster, is also popular. These purport to retain the full frequency range of the guitar signal, and simply make it louder. In the process, they can also help overdrive a tube amp in the same way as many vintage units.

Fuzz

The real godfather of the dirt boxes — the fuzz pedal — arrived even before the booster, and it was initially intended as an effect that would let a guitar player mimic the raspy, reedy tone of a saxophone. One of the most famous fuzz-guitar parts of all time — the signature riff to the Rolling Stones’ “(I Can’t Get No) Satisfaction” — was originally recorded by Keith Richards as a “holding track” for a horn section that would eventually replace it. The “Satisfaction” riff was recorded through an early Maestro Fuzz-Tone, and it is archetypal of the fuzz sound, as are many of Jimi Hendrix’s legendary solos, often recorded through a Dallas-Arbiter Fuzz Face.

Each of these pedals, and others like them — both old and new — owe their tone to a pair of the hallowed germanium transistors previously mentioned. These two components — along with a simple network to govern their functions and connect them to a pair of potentiometers for Volume and Fuzz (or some form of level and drive controls) — combine to unleash seven deadly sins’ worth of ungodly sonic mayhem on your tone, but it’s mayhem with a smooth, warm, and furry heart.

The very best fuzz pedals are beloved for their “playability,” meaning the extent to which their response and dynamics can be controlled by your pick attack and your guitar’s volume control.

Silicon transistor-based fuzzes followed germanium units, and these are known for their slightly harder and more crisply defined tones. This is not to say that silicon-based fuzzes are inferior, only different, and many notable players count themselves fans of each breed.

Unlike linear boosters, fuzzes slather a wealth of their own stink all over your signal (and that’s precisely the idea), but they can also be used to drive a tube amp into clipping. Ultimately, most great guitarists with definitive fuzz tones are using their pedals in both of these ways simultaneously to create a larger, more interactive instrument out of the individual components in their rig.

Overdrive

Just like it says on the box, an overdrive pedal seeks to replicate the sound of an overdriven tube amp. In the course of doing so, it often facilitates the real thing a little more quickly by pushing your amp into clipping a little earlier, just as a booster and fuzz will frequently do.

While fuzz pedals of the ’60s and early ’70s inherently sound very little like an overdriven amplifier — other than perhaps an amplifier in bad need of attention — it occurred to many players and pedal designers in the late ’70s that it would be useful to have a box that sounded like the warm, tubey crunch of a mildly pushed amp.

The granddaddy of overdrives is the Ibanez Tube Screamer TS808 (and its Maxon equivalent), manufactured for Ibanez by the Nisshin company from 1979 to 1981 (both small- and large-box versions). The TS808 and the TS-9 and TS-10 that evolved from it were adored by players who wanted less than the extreme hair of the fuzz pedal, but more than the pristine clarity of a clean amp.

Several name players — Stevie Ray Vaughan and Eric Johnson among them — also used Tube Screamers for their amp-boosting functions, and the low-gain/high-volume control settings that facilitate this have become popular with many guitarists.

DOD, MXR, Boss and others issued formative overdrives, and the genre continues apace today as probably the most popular single breed of pedal. Maker after solder-dazed maker has chased the ultimate in transparent, tube-like, dynamic overdrives. It’s interesting to note that the majority of these pedals achieve their overdrive tones quite differently.

Some makers praise and utilize the “vintage” JRC4558D dual op amp (as used in the most lauded of Tube Screamers), while others declare any op amps to be the death of transparency and dynamics, and go the discrete-circuit route instead. Whichever way you go, a good overdrive is one of the cornerstones of any comprehensive pedalboard, and an extremely useful tone twister.

Distortion

Like going from a ball-peen hammer to a 10-pound sledge, a distortion pedal seeks to reproduce the full-stack tube-distortion rage that the kinder, gentler overdrive pedal barely hints at. In doing so, most distortion pedals also emulate the high-production-value version of this sound, rather than merely enhance the amp tone it starts with, complete with a scooped-EQ curve and liberal helpings of compression.

There are many flavors of distortion available, of course, but by its very nature this pedal aims to achieve its “sound in a box,” rather than partner up with a good tube amp to sound its best.

An iconic example of distortion can be heard on Nirvana’s “Smells Like Teen Spirit,’ where Kurt Cobain used a Boss Distortion DS-1. Although the DS-1 preceded it by a year or so, the ProCo Rat, released in 1979, is usually considered the seminal heavy distortion pedal. (The MXR Distortion+, released in 1973, is really more of an overdrive pedal.)

Every major pedal maker on the market today offers their own renditions of this sonic fury. Most distortion pedals employ a combination of op amps and silicon diodes to do their dirty work, some using the latter in asymmetrical circuits to produce a more jagged and edgy form of clipping.

Whatever gets you to your own flavor of filth, you will most likely want to use your booster, fuzz, overdrive or distortion early in the pedal chain. If you are using more than one pedal, a quick rule of thumb says to put the milder, or cleaner, OD earlier in the chain. On the other hand, there are always notable exceptions. Wah-wah pedals usually like to go before fuzzboxes to work their magic, and messing around with the “accepted order” of other ODs might produce results that give your tone the extra zing you’ve been looking for.

Jake E. Lee has given fans a peek behind his tonal curtain in a new rig rundown video, but one pedal has caught the eye above the rest. It’s a fuzz pedal with mysterious origins and a famous previous owner.

After making his name in Ratt, Lee would succeed the late Randy Rhoads as Ozzy Osbourne’s second full-time guitarist, getting the job over George Lynch in brutal fashion. He played on two records – Bark At The Moon (1983) and The Ultimate Sin (1986) – before his relationship with the Prince of Darkness began to erode.

He’s recently stated that his attempts to broaden the singer’s sound were quashed with Ozzy saying, “That’s not Ozzy, that’s jazz. Go back and write me something else!”

Now touring with his band, Red Dragon Cartel, Lee has two fuzzes on his pedalboard, with the first, Prescription Electronics Experience pedal, in place for wild, Hendrix-like fuzz tones. Paired with his infamous "Whitey" Charvel Super Strat, it sounds like Velcro on gravel. That pedal boasts a colorful, hippie-coded orange-and-blue aesthetic that nods to its ‘60s origins, with a modified Fuzz Face circuit.

Its stablemate, in that respect, couldn't be more different. It's free of any swish design elements, with a rough metal casing and stick-on labels for its Volume, Blend, and Drive dials. There also looks to be what's left of an old sticker or label beneath its sole footswitch.

“I don't know a lot about that one,” he tells Premier Guitar. “I don't know who made it. I remember I was in Cowtown Guitars in Las Vegas, I saw it, and I said, ‘What the hell is that?’ and they said, ‘Paul Gilbert traded that in for something else.’”

Then, with a nonchalant shrug, he says, “It's a fuzz... it does a lot of weird stuff.”

Buying it was an impulse purchase, that much he admits. Yet it's found a home on his pedalboard, between the Experience fuzz and a Boss tuner.

“I like that it's a mystery,” he returns. “Sometimes it'll do something I don't expect, and I like that. [If you want more information] Paul Gilbert's gonna have to tell you, and I bet even he doesn't remember. But both fuzz pedals are germanium transistor-based, which is why I place them before my tuner, which acts as a buffer [to boost the signal].

“When you buffer germanium fuzzes, they sound like crap; they don't react the same to your volume.”

So what pedal is it? A user in the comments section for the video says they made the pedal and that it’s actually called the P.G. Spectron Fuzz.

The commenter is Shinichi Suzuki (not to be confused with the violinist of the same name), a Japanese engineer and CEO of Shin's Music. By the looks of it, he gives all his pedals the same sticky label treatment. Although the pedal isn't listed on his website, its name likely refers to Gilbert himself, suggesting it might have been a custom order.

In related news, Lee has opened up on his appearance at Back to the Beginning, a show which saw him bury the hatchet with Ozzy after nearly 40 years apart. Ozzy, though, was quick to send his love when news of Lee being shot in Las Vegas in 2024 broke, and Lee had jumped through hoops to recover in time for the gig.

It’s nearly time for my first gig of the year, which has given me the kick I need to get my pedalboard gig-ready. It needs some TLC, so aside from adding some new pedal purchases, I also need to redo my cabling to ensure everything is neat and tidy for when that first show arrives. It’s an essential step to ensure that my ‘board has everything it needs to survive the adversity of playing live.

Thankfully for me, the Amazon Big Spring Sale was just announced, which means an excellent opportunity for me to save money on low-cost essentials. Many of these items are often found outside of the musical instruments section of Amazon’s Narnia of domestic goods, but they’re perfect for supercharging your ‘board to a professional level, with none of the items costing more than $22 each.

I’ve spent a good amount of time searching through the entirety of the Amazon spring sale, and I’ve come up with 9 pedalboard essentials that will be perfect for ensuring your ‘board stays organized when playing live.

Shop more sales

• Save up to 35% on live sound at Sweetwater
• Over 25,000 deals at Musician’s Friend
• Save 15% on Spark Neo at Positive Grid

You'd normally expect to find just cheap guitar pedals in an Amazon sale, but this year, with the launch of the Spring Deal Days event, there's up to 26% off pedalboard staple Boss stompboxes.

One of my favorite delay pedals has got a nice discount with the Boss DD-8, as well as some big money off Boss' flagship compact multi-effects pedal in the Boss GT-1000CORE. One of my top-rated loopers, the RC-600, has seen a nice chunk of change knocked off it, and you can even bag a hefty saving on the excellent Boss Waza-Air guitar amp headphones in the sale.

I've had a look through the sale in its entirety, and picked out 7 of the biggest and best savings on Boss gear you can pick up right now:

Strymon has put the equivalent of a vintage 1960s amp in a stomp box with its new Fairfax Class A Output Stage Drive. Inspired by a little-known tube unit from the ‘60s, Fairfax is the first in Strymon’s new line of fully analog pedals dubbed Series A and is available today for $199.

Fairfax is unique in the world of drive and boost pedals in that it’s a full tube amp circuit that’s been miniaturized using only analog components. The inspiration comes from the Herzog tube drive, created in the 1970s by Garnet Amplifiers for Randy Bachman, who was then performing with Bachman-Turner Overdrive. The Canadian group was Bachman’s followup to the Guess Who and recorded popular hits like “Let It Ride,” “You Ain’t Seen Nothing Yet” and “Takin’ Care of Business.”

The Fairfax pedal encompasses every element of an amp’s topology, including a tube preamp, a Class A power amp and a proprietary circuit that emulates the saturation characteristics of the output transformer, an integral part of a tube amp’s sound.

At the heart of the pedal is an internal power supply that boosts the incoming nine-volt DC power to 40 voltes to deliver a massive amount of headroom that creates the Fairfax’s amp-like sound and feel. Electric guitar tone moves from clean at low Drive settings to full transformer-like saturation as the gain is increased.

Fairfax also boasts a Bright circuit that modifies the treble response, as well as a variable Sag control that produces dynamic artifacts at low values, and full sputtering and gated sounds you get from a fuzz pedal at extreme settings.

“Man, this thing is such a chameleon,” says Sean Halley, Strymon’s Head of Marketing and a long-time session and live player. “It can be a creamy and gooey boost that works great with any style of amp, and it can also breathe saturated fire.

“Because it’s really an amp circuit, it doesn’t change your core tone, and it stacks brilliantly with other drive pedals.”

The Fairfax is the first in Strymon’s new new line of fully analog pedals dubbed Series A.

Gregg Stock, Strymon’s CEO and senior analog engineer notes that while Strymon is better known for digital signal processing, “our analog engineers are always coming up with interesting ideas for fully analog designs, so we created Series A to give them an outlet.

“There will be a number of pedals in the line by the end of next year, so we’re really excited to see some of these products come to market. It’s been a blast to work on this stuff.”

Fairfax is available now directly from Strymon and from dealers worldwide for $199 U.S.

Klon Centaur-style overdrive pedals are a constant obsession with us guitar players for a reason – they're incredibly versatile. An always-on sweetener, boost, drive, and great gain stacker with other pedals. And now I've found my favourite with the Wampler Tumnus, I couldn't be without it. I'd happily pay double, but now it's hitting a new low in price at Sweetwater for the next few days for $127.49, it's an absolute Cyber Week bargain.

The Wampler Tumnus is rated 5/5 by Guitar Player, and was good enough to win an Andertons blind test against an actual Klon, as well as a host of worthy klone competition. But that's not the only reason I depend on it as a guitarist.

It's much smaller than some of finest klone's around – positively tiny compared to its closest competition from the RYRA, Centavo and Centura. That means I get all the advantages, but have more space on my pedalboard for more pedals.

I use the Tumnus to stack with my Funny Little Boxes 1991 pedal for heavy drive, but the Tumnus always on with the gain dialed down for the mid-boost klones are known for – I'll then clean up as needed with my guitar volume pot. Brian Wampler has dialled in a wide sweep for the three controls here for maximum versatility, and I find the treble control can really help my stacked drive tones cut though with humbuckers in a band. And because it's a USA-made Wampler pedal, I know the components won't let me down.

And if you fancy spending a little more for added controls and a bigger footprint, the Tumnus Deluxe is discounted too – coming in with $30 off for a very tempting $169.97 .

• Amazon: Huge holiday savings
• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

SansAmp was way ahead of the game with the amp pedal concept, and the likes of Nuno Bettencourt have gigged its ready-made pedalboards under the Tech 21 banner. The Mop Top Liverpool is its take on British Invasion amp tones of the Beatles and beyond, but how it's hit the low, low price of $99 down from $249 over at Sweetwater for Black Friday is beyond me.

That's 60% off the price of a lot of analog pedal, and the Sweetwater listing states that there are no restocks coming for this bargain – when it's gone, that's it.

Though it's not quite the Sweetwater bargain price, European players can take advantage over at Thomann for £133 (plus delivery) and the UK's Gear For Music even has a couple left at £139. Still a very significant saving.

The inspiration is unquestionably the Vox AC 30 for this two-channel amp pedal. It also has built-in speaker emulation to go straight to a PA or FRFR cab, – alternatively, you can just bypass it to go straight into a power or guitar. The Mop Top Liverpool is perfect for a light to fit in your gigbag rig or backup option.

The onboard switchable treble boost is your gateway to Brian May-style gain glory here. A three-band EQ with mid shift and high control makes it a user-friendly way to dial in your sound. With the two channels at your feet this could handle a whole gig, not bad for just $99!

The Mop Top Liverpool might just be the dark horse bargain of Black Friday.

• Amazon: Huge holiday savings
• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

When it comes to delay and reverb pedal bargains in this year's Black Friday deals, I honestly can't see it getting any better than this. The Walrus Audio Mako Series D1 Delay and R1 Reverb are the most fully-featured compact pedals of their kind that I've tried and are now $200 off at Sweetwater, making them just $149.99 each. They're bona fide pedal bargains!

You're going to read this a lot over the weekend, but I really mean it with this deal – I can't see Sweetwater's stock not selling out of these. While Mk II versions of both pedals are out now, these Mk 1 pedals are both still highly impressive and offer more sounds than you will probably ever need.

Some of the Mako MKII series is reduced by up to $90 too – including the ACS1 MK II amp pedal and MKII M1 Modulation Machine. You could build a monster pedalboard out of this lot!

Check out more Sweetwater Black Friday deals.

• Amazon: Black Friday instrument deals
• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

I’ve been covering the Black Friday guitar deals for many years now, and I’ve yet to see any Neural DSP hardware get a discount. Sadly it’s the same story this year, but if you really want a Neural modeler and want more bang for your buck, then this deal is for you. Simply purchase a Neural DSP Nano Cortex from any qualifying retailer and you can help yourself to a plugin of your choice.

You can grab a Nano Cortex at the following qualifying retailers, and those who buy from Sweetwater in the US will bag a free Eminence Impulse Response Sampler pack too:

• US - Sweetwater
• UK - Thomann

This offer is only live in the Black Friday period from December 21 to November 3, and you’ll need to provide proof of your purchase in the form of a receipt in .jpg, .png, or .pdf format. Once you’ve submitted your receipt, you’ll receive your free plugin within 21 days, and you can choose absolutely any one you like. You’ll need to bear in mind that you can’t run plugins on the Nano Cortex itself, but you can use it as an audio interface to run the plugin on your laptop or computer.

If you need more information on how to claim your plugin, just head over to the Neural DSP website for a step-by-step guide.

I’ve tested the Nano Cortex personally and it’s one of the most powerful pieces of guitar hardware around right now. It’s also incredibly popular, which means there’s not much reason for Neural to discount them right now so I don’t expect one to crop up over Black Friday. If you want one though, the free plugin is a great way to get some extra value from your purchase, and you get some extra sounds for your tone locker.

I’ve met a fair few players who’ve permanently swapped over to Neural modeling hardware, and we gave it a full five stars out of five in our Neural DSP Nano Cortex review, which tells you a lot. It’s great for players who don’t want to ditch their pedalboard, but want the convenience a modeler gets you when playing live shows.

There’s no screen like the bigger Quad Cortex has, which is admittedly a slight hurdle when you’re first getting used to it. It doesn’t take long to find your way around the pedal’s controls though, and you can use the companion app in lieu of a screen for fine-tuning settings. You can also pretty aptly control it using the knobs and buttons once you learn what everything does.

It’s also super compact, which makes it a great option for a travel or practice rig. It’s lightweight weight so you can easily chuck it into a backpack, and as well as being powered by a traditional pedalboard power supply, you can also run it off a 5V USB-C. Simply put, it’s an incredibly versatile piece of equipment.

Shop more Black Friday deals

• Amazon: Black Friday instrument deals
• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

Along with their many more complex, labyrinthine and occasionally dark and twisted effects pedals, EarthQuaker Devices not long ago unveiled a line of Utility Pedals that deliver simple routing, mixing and buffering functions at pocket-friendly prices. The latest addition, the Easy Listening pedal, retains the simplicity of the range while offering what I’d call a greater depth of purpose.

Despite having just a single (and unlabeled) volume knob and one input and output on its miniature 3.65 by 1.5 by 1.25–inch enclosure, the Easy Listening is an all-in-one analog amp simulator, designed to replicate the familiar tone of a 1965 Fender Deluxe combo, speaker and all.

EQD bills this little box as both the ideal late-night practice solution for electric guitar players and a dead-simple recording tool. You plug a guitar and any desired effects pedals in on one side, connect a set of headphones, or run D.I. to a recording interface into your DAW from the other, and Bob’s your uncle: You get rich, round, clear tone reminiscent of the most popular 1x12 combo of all time.

In discussing the impetus for the design, EQD founder, president and head designer Jamie Stillman told me, “My main goal was just to make a small and affordable analog headphone amp for our demo boards, but I’m personally not a huge fan of the do-it-all multi-effects and modeling amplifiers that some people have gravitated towards. Even the best modelers cannot replace the immediacy of an amplifier. There is always some element of space they try to impart on the signal.

“I’ve always felt that layering guitar parts with a modeling amplifier starts to sound hollow when the tracks stack up, like they are missing samples and the added ‘space’ is never quite aligned right. I’m not saying that Easy Listening is superior to these super computers, but I am saying that it has more of an immediate sound.

“It’s more-in-your-face, without the elements of an imagined space cluttering everything up. I’m also not a menu diver. Nothing drives me crazier than having to sit and dial up a bunch of parameters when all I’d rather be doing is playing guitar with what little free time I have.”

Keen-eyed readers will have already noted that the Easy Listening provides no means to EQ, gain stage or perform other sonic tweaking — and that’s the idea. It’s intended to replicate the sound of a black-panel Deluxe combo speaker and all, before the point of clipping, at its most universally appealing tone settings, with a single knob to govern the output volume.

That’s it. Connect headphones with a 1/4-inch stereo plug to the output and it sums both sides to the mono signal; or, connect a standard guitar cord to a single channel of your interface or a TRS cable with splitter at the other end to two multiple-mono channels for tracking to your DAW.

Obviously, capturing the tone of one of the world’s most desirable vintage combos in a pocket-sized box must have had its challenges. So did Stillman employ any complex analog-modeling algorithms or mystical tone-emulating techniques?

“Nope. I didn’t even use the schematic of the amp,” he tells GP with a laugh. “I just know that sound. I’ve been using that amp during development for years and I like the response it gives. I also use a Kemper with a model of the ’65 on my bench for headphone listening, so over the years I feel like I’ve learned what I do and don’t like about the models, too.

“I just tried to get as close as I could to the sound I am used to hearing while using as few parts as humanly possible so I could fit it in a small package and not take up a bunch of pedalboard real estate.”

I tested the Easy Listening with a Fender Telecaster and a Gibson Les Paul, using a selection of pedals between them, and found plenty of utility indeed in this simple headphone-jam and home-recording tool. The unit reacted well to a Wampler Tumnus Deluxe, an Ibanez TS10 Tube Screamer and an EQD Hoof fuzz, as well as a selection of reverb, delay and modulation pedals used in front of it, proving much the pedal equivalent of the “pedal platform” amp that has become popular in recent years.

It makes sense to have the gain preset to the shy side of clipping, since you’ll get that from anything you stack in front of it. While the overall EQ of the pedal is also very well-judged, however, I’d find something like a simple two- or three-way voicing switch handy, but add a little more high-end sparkle or low-end thump now and then. But that’s just a personal thing, and not so much a fault with the design, which is intentionally minimalist.

All in all, the Easy Listening easily justifies its name and is likely one of the most broadly appealing all-round “amp” tones I’d expect to encounter at this price. It’s also an extremely handy member of the toolbox by any measure. One might argue that it doesn’t sound exactly like a vintage ’65 Deluxe, but we might also reply “which ’65 Deluxe?” I’d say it’s close enough for rock and roll, and if the real thing, better reissues, and more complex digital modeling solutions arguably come closer, well, they all cost a lot more than $99.

SPECIFICATIONS

CONTACT Earthquakerdevices.com

PRICE $99 street

CONTROLS Volume

FEATURES Input, headphone/DI output, center-negative 9V input (no space for internal battery)

SIZE 3.65"x1.5"x1.25"

ASSEMBLED USA

PRO An affordable, compact, and well-designed take on one of the most popular guitar-amp sounds of all time.

CON None as intended, although some simple form of basic voicing might be handy.

Guitar pedals, the cause of and solution to all of a guitarist's problems. These fabulous oblong boxes enable your guitar tone to soar to great new heights, but many players fly too close to the sun and end up in financial ruin, with nothing to show for it except a pile of Tube Screamer clones and an expensive Klon they're scared to stomp on.

Fortunately, companies such as Joyo, Donner, and Mooer exist, producing affordable pedals that allow you to experiment with effects without breaking the bank. Many models have been cheaper than ever for this year's Prime Day 2 event, with the cheapest option starting at just $27.99. However, Prime Day ends at midnight tonight, and so do those delicious prices.

• Shop cheap pedal deals at Amazon
• Big Guitar Center pedal price drops
• All pedals deals at Sweetwater

Now, don't get us wrong, we love a premium pedal here at Guitar Player. Still, with technology coming on leaps and bounds in recent years, it's becoming easier to pick up a great-sounding pedal at an affordable price, as these epic Prime Day guitar deals prove.

Below, I've listed a few affordable favorites, but I also encourage you to take a look for yourself, as there are plenty of deals worth snapping up.

"It was a pivotal moment for my sound," Jimmy Page has said of when he met electronics wizard Roger Mayer at Surbiton, a suburb in South West London not far from his home in Epsom and Jeff Beck’s in Wallington. It was the early 1960s, and Mayer, who had worked for the Admiralty, had begun turning his attention to electric guitar effects.

“He asked me if I needed anything for my guitar,” Page continued. “He came over to my house one day and I played him a song with electric distortion and said, ‘I want to find a way to sustain it.’ He went away and came back with this box with an on/off switch — that meant you could control the distortion.”

As Mayer told Guitar Player in 2023, Page and Beck were among his earliest customers.

"I met Jeff Beck and Jimmy Page at the same time when I first started going to local music venues where they played around here — what we called the ‘Surrey Delta’ — in ’62, ’63, when I was a teenager. Jeff Beck and Jimmy Page started out playing what you might call youth clubs, where kids used to get together.”

Both were interested in fuzz, which they’d heard on that record Page had spun for Mayer: the Ventures’ tune “The 2000 Pound Bee.”

“We sat there listening to it and Jimmy said, ‘Can we do this?’ I think they went up to a music shop in Shaftsbury Avenue to have a look at a Maestro [FZ-1 Fuzz-Tone], but it didn’t have enough sustain. I said, ‘I can improve it,’ so Jimmy said, ‘Okay, Rog. See what you can do.’”

Mayer tweaked the circuit, he said, “from square one, really. As a scientist, I could come up with an alternative solution — one that’s better.”

As Page told Uncut, Mayer’s invention revolutionized the guitarist’s sound. "It was phenomenal," he says. "When I started taking it to sessions, the other guitarists were blown away. The blood drained from their faces. But the guys doing the arrangements loved it."

Page was less interested in what he called Mayer’s "other box,” an octave-doubler with fuzz. "It was difficult to control in the studio from the guitar, so I said it wasn’t for me," he recalled.

Another guitarist would put Mayer’s octave-doubler to use: Jimi Hendrix. The American guitarist was making waves in England by the time Mayer met him at a club in 1967. According to the inventor, two weeks later he was in the studio as Hendrix was overdubbing the solo to “Purple Haze,” using his “other box,” the Octavia.

Mayer — who would famously help another guitarist, Bob Marley, completely revamp his tone — subsequently worked with Hendrix on his next album, Axis: Bold as Love, and then accompanied him and his group on their 1968 tour of America.

As Mayer told Guitar Player in our May 2012 issue, in the days before the effects box explosion, inventors like himself often worked directly with guitarists and studio engineers to create effects to their specification, a truly bespoke approach that was essential to the development of both new sounds and the pedal market that would emerge in the 1970s. He gave us insights into his method of working with Hendrix, the guitarist who was perhaps most interested in new sounds at the time.

What were some of the sonic goals you and Hendrix discussed when you started working together?

We talked about creating new soundscapes. Jimi was most interested in making new sounds for the records, because if you were going to be successful back then, you had to have a hit record. He felt he needed to be on the cutting edge with new sounds, so we were following a sort of Formula One racing approach, where you had constant development to keep moving on.

After Hendrix’s success with the Octavia, did you think the effect should be available to other guitar players?

No. This was a time when most recording studios manufactured their own consoles and other gear, and the electronics side of it was highly proprietary and quite secretive, really. When I was making effects for Jimmy Page, Jeff Beck, and Jimi, I was one of their best-kept secrets.

Did Hendrix express interest in having a definitive sound?

Jimi wasn’t as interested in having a definitive sound as he was in having the right sound for the soul. His sounds had to be crafted for each particular song, and Jimi knew that if he got the right tone, it could be almost magical. He and I talked about what hadn’t been done, and one of the main things was panning the signal so as to move the sound around in the mix while manipulating the echo to create different spatial awareness.

To our way of thinking, echo was a way of adding more information and color to the sound in order to create ambience and a sense of mood alteration. Like if we panned the echo left to right while changing its EQ, suddenly the guitar could sound like a spaceship coming toward you. So using a combination of tape delay and EMT echo plates, and by manipulating the delay, the panning, and the EQ, we were able to make the music move and sound more three-dimensional.

Jimi was the happiest when he was getting sounds that were spinning in his head onto records. If he had a new idea for something, it wasn’t a matter of how much it was going to cost. It was always, “When can we do it?”

Does it surprise you that the sounds Hendrix got using fuzz, wah, and feedback are still considered the holy grail by guitarists?

Well, after Jimi did “Voodoo Chile” and some other records, there really wasn’t much else you could do with a wah. Jimi was so prolific in the way he used things like feedback and distortion, so it’s pretty hard to come up with something else that sounds as fresh — especially when it has to be incorporated into the framework of a great song.

What was the most important thing you learned from Hendrix?

Dream the impossible and have the spirit to play to the edge. That’s what Jimi showed me.

As far as pedals go, the Boss DS-1 is arguably the most famous. This humble orange box has lain at the feet of countless players since its inception in 1978 – coincidentally, the exact same year that the formidable ProCo RAT made its debut – and has been the secret weapon of many six-string icons. Thankfully, you still have time to score the Waza variant at a discounted price this Prime Day, as it is currently 14% off at Amazon - but only until the end of the day.

Famed for its hard-clipping, distinctive tone, and bomb-proof build, there’s a reason this pedal has remained so popular for so long. For as basic as the humble DS-1 is, with its iconic three-knob layout, it's been used by some of the most famous players around. It helped Kurt Cobain speak to the disenfranchised youth of the '90s, it was there when Steve Vai redefined instrumental guitar music, and was even around when The Cure took goth to the masses - not too bad for a pedal that costs so little.

Now, the list of players who have relied on the DS-1 is as long as your arm, but here are just four that are closely tied to this famous stomp.

1. John Frusciante 

The Red Hot Chili Peppers axeman has had a long history with the Boss DS-1 and its sibling, the DS-2. A quick glance at his absolutely massive live pedalboard reveals that the RHCP funk-master has a deep love for all Boss pedals, not just this tangerine dirt box.

2. Kurt Cobain 

The grunge legend has been associated with many distortion pedals over the years, from the DS-2 Turbo Distortion to the ProCo Rat, but it would be the humble DS-1 that he would rely on for Nirvana’s debut album, Bleach. Paired with a ‘67 Fender Twin amp, this spikey and fierce sound would go on to define Kurt’s tone and catapult the band to mega-stardom.

3. Steve Vai 

Guitar virtuoso Steve Vai has had a long-running relationship with Boss and was rarely seen without this orange stomp by his feet in the early days of his musical career. Okay, he would move away from the pedal as his musical style evolved over time, but initially, it was his go-to distortion pedal.

4. George Lynch 

No matter how many pedals George Lynch collects, he always comes back to his beloved DS-1. Using the pedal consistently since the ’80s, the DS-1 has become the guitar icon’s default distortion.

Why we love the Boss DS-1W

Unlike other distortion pedals, the DS-1 was not based on an op-amp. Instead, the original used the Toshiba TA7136AP preamplifier for a gritty and warm overdriven tone. When the Toshiba chip became harder to source, the circuit was redesigned in 1994, resulting in a few less-than-favorable side effects.

The revamp pedals weren’t as loud as before; they had noticeable noise issues at higher gain settings and a characteristic fizzy top-end that some players felt was unpleasant. Thankfully, Boss has a solution.

Enter the Boss DS-1W. With this Waza version, Boss seeks to give the DS-1 the boutique treatment with the new custom mode that eradicates the issues found on the post-1994 version of the pedals, with better filtering, no fizz, and a more stable high-gain distortion tone.

For more amazing offers, check out our Prime Day guitar deals hub, where you can find a variety of top bargains from Amazon and other retailers.

We've reached the final day of Amazon's massive Prime Day sales event. Over the last four days, I've brought you the very best offers from across the sales, and I'm not done yet.

To help make your pedalboard arrangement a lot cheaper, I’ve spotted an amazing Prime Day guitar deal on the Fender Blockchain patch cable kits, where you can get a seriously huge $104.99 off a 15-pack of Fender-branded cables.

In my opinion, a well-organized pedalboard is a thing of beauty. Ordering your pedals correctly, getting them as close together as possible, and managing your cables so that everything stays neat and tidy is one of the most satisfying parts of owning a pedalboard and it will pay dividends in the long-run when it comes to gigging or recording.

Buying patch cables for a pedalboard can take some experimentation, as you’ll likely need a variety of lengths depending on your setup, such as the size and number of pedals.

• Shop all the latest Prime Day deals at Amazon

There's a decent saving to be had on the medium pack, too, with a slightly smaller discount, giving you 12 patch cables for just $39. Buying in bulk is such a great way to save money, and both packs offer significant savings on the RRP, working out around $3 per patch cable.

What's more, Fender is currently offering free shipping on orders over $50, so add another item that's at least $5 (like this striking $7.50 Seat Belt guitar strap or a 12 pack of picks, $8.49) and they'll ship it to your door for nothing. Now that's the smart way to shop.

I have a few Fender patch cables on my own pedalboard at the moment, and I’ve found them to work as well as any of the others I’ve used over the years. They’ve got a nice compact connector that ensures I can get my pedals as close as possible, and I’ve not had any issues at all with the nickel-plated ends.

Fender’s patch cables use a 24 AWG wire with 90% OFC spiral shielding, which in plain English means excellent signal delivery with minimal noise. The cable itself is actually square, which is different from a lot of other cables I’ve come across.

They’re very flexible, though, which allows you to run them underneath the chassis of your pedalboard with a minimum of fuss. They also feel super durable, so I wouldn’t have any qualms about using them on a touring ‘board.

The matte black design of both the connector housing and cable jacket ensures a slick look, whilst saving as much space as possible. The variety of lengths means they’ll fit into a wide variety of setups, and the extra-long cable is great for reaching across pedalboards with multiple tiers.

More of today's best accessory deals

• Fender Original Series cable: $27.99, now $16.99 @Fender
• Amazon Basics guitar stand: $16.99, now $14.99 @Amazon
• Fender Premium picks (24-pack): $19.99, now $15.97 @Amazon
• Fender FCT-2 tuner: $21.99, now $17.99 @Amazon
• Regular Slinky strings (4-pack): $26.99, now $19.99 @Amazon

Everyone’s looking for ways to save these days, and that goes for us guitarists, too. With money not going as far as it used to, it’s a great time to start looking at buying used gear if you’ve not already taken the plunge.

At Reverb, arguably the biggest used gear website right now, to celebrate them becoming independently owned again, you can get some massive discounts of up to 66% off brand new, B-stock, and used gear. With the oncoming onslaught of Prime Day guitar deals we're about to witness next week, it's the perfect place to pick up an early deal.

• Get massive discounts of up to 66% off gear at Reverb
• Shop all early Amazon Prime Day deals

I’ve been buying used gear for years now, particularly when it comes to guitar pedals, which I like to switch out regularly. I’ve bought and sold plenty of pedals on Reverb, and so far I’ve never had any issues with getting less-than-stellar gear, often with the original boxes they came in.

It’s not just used gear deals available on Reverb though, you can get your hands on some big savings on brand new gear, too. This Electro-Harmonix Lizard Queen is available for just $39.60, down from its original price of $99.

That’s a $59.40 saving on a brand new pedal, which is great value in anyone’s book. With the choice of high or low octaves to add to a vintage fuzz tone, it’s a great pedal to have on your pedalboard for relatively little money.

B-stock is another option on Reverb, and comes with less perceived risk than buying used. Many manufacturers sell their B-stock direct on Reverb, and often this gear comes with a full warranty as if you were buying new. Typically, they’ll have had the box opened, or been used as demo or display gear, so they might have some small cosmetic blemishes.

The Warm Audio Jet Phaser is a great example of this, available for just $87.20 at the Warm Audio Official B-Stock Shop on Reverb. Featuring the same 1-year warranty as any new piece of gear from Warm Audio, this large-form-factor phaser pedal is a great deal.

Based on the legendary Roland AP-7, which defined the phaser sound of the '70s, it’s got six modes to play with, offering plenty of flexibility for fuzzed-out phase sounds from subtle swooshes to properly out there sci-fi sounds.

Of course, if you really want to save some cash, then buying used is the best way to do so. This Boss MD-500 is available for just $391.59, which is nearly $50 less than the new price. Packed with all manner of modulation sounds, stereo operation, and the ability to use two patches at the same time, it’s the perfect pedal to add to your effects loop and add some serious texture to your tone.

The story behind the fuzz pedal’s creation is well known to most guitarists, but it goes a little something like this. The effect was born on July 12, 1960, while country superstar Marty Robbins was cutting the song “Don’t Worry” at Bradley Film & Recording Studios in Nashville, better known as the Quonset Hut. Hired for the session was guitarist Grady Martin, who brought along his Danelectro UB-2 six-string bass guitar.

Studio house engineer Glenn Snoddy was running the board, a newly installed custom-built recording console featuring Langevin 116 tube amplifiers. Martin’s guitar, used for the song’s solo, was being sent directly into the console, rather than through an amp.

To everyone’s surprise, when Snoddy played back the take, Martin’s six-string bass sounded like a swarm of bees.

In a 2014 interview with the National Association of Music Merchants (NAMM)’s Oral History Program, Snoddy put the problem down to one of the board’s 35 output transformers.

“Prior to making the transformers, they misjudged the windings somehow or other, and there were 250 volts going through the winding instead of the transformers,” he said. “And one malfunctioned at the exact time that Grady was playing his guitar solo through it and it caused this sound, which we called later a fuzz tone sound.”

According to Snoddy, it was Martin who suggested they keep it.

“Grady said, ‘Why don’t we just use that on this record?’” the engineer recalled in the 2010 book How Does It Sound Now? Legendary Engineers and Vintage Gear.

Martin’s advice was well taken. Released in February 1961, some six months after it was recorded, “Don’t Worry” became Robbins’ seventh number one on the country chart, and crossed over to the pop chart, where it peaked at number three.

But before that happened, Snoddy’s fuzz circuit had died, taking with it that magic sound. By then, artists were calling the Quonset Hut to ask if they could get the fuzz tone on their recordings. Snoddy decided to replicate the circuit in a pedal format with an old friend, engineer Revis Hobbs. Together the pair set to work on a circuit design using transistors, and re-created the fuzz sound by clipping the signal’s sine wave to a square wave.

“I got some transistors, and we rigged up a thing, and we eventually sold it to Gibson,” he recalled

Gibson introduced the Maestro FZ-1 Fuzz-Tone the following year, in 1962. Although the pedal initially met with a muted public response, it finally took off in 1965 after Keith Richards used an FZ-1 to record his lead riff on the Rolling Stones hit “(I Can’t Get No) Satisfaction.” Ever since, fuzz has been an essential part of the electric guitar tone arsenal.

But between Snoddy’s circuit failing and the birth of the FZ-1 are at least three recording artists who helped maintain interest in the effect, all of which helped launch it to its rightful place as an essential pedal in guitarists’ rigs.

The first is the man behind the six-string bass guitar on that transformational session: Grady Martin. As an established Nashville player, Martin knew a thing about making hit records. By 1961, he’d already enjoyed a long career as one of country music’s most in-demand guitarists and become a member of the Nashville A-Team, who, like their counterparts in L.A., the Wrecking Crew, would define the sound of numerous records, including Marty Robbins’ 1959 hit “El Paso.”

Martin liked the sound of Snoddy’s failing circuit so much that he made at least two other fuzz-guitar songs with it. “Tippin’ In” and “The Fuzz,” both instrumentals, were recorded on January 12, 1961 and issued together as a single that same month — before the February release of “Don’t Worry.” Neither was a hit for Martin, but “The Fuzz” likely sealed the deal when it came to the effect’s name.

Martin’s adoption of the fuzz effect didn’t go unnoticed by Snoddy, who appreciated the guitarist’s keen ear for sound. Unfortunately, the circuit was dead by the time those sides were out and “Don’t Worry” was climbing the charts.

What pushed Snoddy to re-create the effect in a pedal? He said the final straw was when Bradley had to turn away Nancy Sinatra when she came looking to use the sound on her next record.

"We had an artist, Nancy Sinatra, that called and wanted to come in and make a record,” the engineer explained. “When she got there, we had to tell her that the console that was causing that sound, the amplifier, had quit, and we couldn't do it anymore.

“They didn't like that at all,” he said with a laugh. “I told [Quonset Hut owner and producer] Harold Bradley that I'd have to see if I could make one and get it going."

So is Nancy Sinatra the mother of the fuzz pedal? It’s a little hard to imagine the young singer was interested in Snoddy’s fuzz sound. Consider that, in 1961, Sinatra was just launching her career as a teenybopper singer of saccharine love songs that often featured orchestrations, not fuzzed-out guitars. Her confidently sassy breakthrough success “These Boots Are Made for Walkin’” was still four years away.

What's more, Sinatra was recording for her father’s new label, Reprise, located in Los Angeles. Frank Sinatra had recorded his own early Reprise sides in L.A., at United Recorders. Why would Nancy look to record in Nashville? And would a raunchy guitar sound really be in keeping with the sweet-girl image she was cultivating in 1961?

Whatever the case, let's take Snoddy at his word; Sinatra, after all, would have had license to record wherever she damn well pleased. But note that she didn’t cut a song with fuzz guitar until her 1967 hit, “You Only Live Twice,” the theme from the James Bond film of the same name.

But another dusky-voiced young singer getting a start on her career did use the fuzz effect on a single in 1961. What’s more, she did it in Nashville, just a few months after “Don’t Worry” ‘came out.

Ann-Margret was just 20 years old and on her way to a successful career as a vocalist and movie actress when she released her first single for RCA Victor, the heartfelt “Lost Love,” early that year. Soon after, she followed it up with the very fuzzy — and more adult — “I Just Don’t Understand.”

Recorded at RCA Victor Studio B, Nashville on May 9, 1961, and produced by Chet Atkins, “I Just Don’t Understand” features Billy Strange on electric fuzz guitar. Strange, who would go on to record for the Beach Boys as part of the Wrecking Crew, reportedly had his guitar tone altered by overdriving the input preamp on a channel of the recording console. (He would even go on to record his own version of the Stones’ “Satisfaction.”)

“I Just Don't Understand" was a hit for Ann-Margret, reaching 17 on the Billboard Hot 100 chart in 1961 and furthering fuzz guitar’s insinuation into the American psyche.

To be clear, there’s little chance Snoddy misremembered Ann-Margret as Nancy Sinatra. As an RCA Victor artist, she was unlikely to record in a rival studio like the Quonset Hut, which catered largely to artists on Decca, MGM and Columbia, the latter of which bought the studio from Bradley in 1962.

But Ann-Margret’s chart success says something about the popularity of fuzz in 1961, before the development of the Fuzz-Tone. Had Snoddy not put the sound in a box, chances are someone else would have.

As for Grady Martin, he continued to use the fuzz effect well after Snoddy’s circuit kicked the bucket, creating a quartet of sides that slot neatly into the garage-rock genre.

In February 1962, Martin used fuzz on both sides of his single “Twist and Turn”/“Good Good Good,” released in April 1962. He employed it as well on two other songs cut at this session: “Ramblin’ Rose” and “Big Bad Guitar,” both included on the 1963 album That Good Grady, cut with the Slewfoot Five.

Two years later, those same two recordings would be reissued with vocal overdubs and credited to Beauregard and the Tuffs. No doubt it was this raucous cut of “Ramblin’ Rose” that inspired the MC5’s version from their 1969 album, Kick Out the Jams, which in turned launched a new wave of garage rock that gave birth to punk.

Given that Snoddy’s circuit was long gone by the time Grady cut those sides, it’s anybody’s guess how he achieved his fuzz effect. But it wouldn’t be a surprise if he used the FZ-1.

Klon is suing Behringer’s parent company over what it calls “blatant counterfeit” of its Centaur overdrive pedal.

The suit, brought by Klon LLC against Music Tribe, accuses the company of “willful trademark counterfeiting, trademark and trade dress infringement, false designation of origin, passing off, and unfair competition.” The suit seeks damages and injunctive relief — essentially a court-ordered cease-and-desist.

While numerous pedal makers have copied the storied Centaur overdrive over theh years, Klon says Behringer’s clone crossed a legal and ethical line with its virtual replica of the original unit. The Behringer pedal has the same metal casing with gold finish and centaur logo with prominent use of the word “Centaur” in an identical font and color. Furthermore, Behringer refrains from using its own branding on the faceplate.

The lawsuit further alleges the company is deliberately misleading buyers by using the name and likeness of Klon founder Bill Finnegan in its promotional materials without consent. The suit notes that Finnegan has devoted more than 30 years of his life “to developing, promoting, servicing, and defending his rights in his unquestionably famous Centaur overdrive pedal.

“Defendants, by contrast, have taken the shortest of shortcuts by copying the branding and appearance” of the iconic pedal.

“And it has all been done for a quick and easy buck, the very opposite of what Plaintiffs and their famous Centaur pedal are all about.”

In particular, Klon points to a Behringer video for its pedal in which, the complaint says, the company “extensively discusses” the original Centaur pedal while showing Behringer’s copy, misleading buyers into assuming a connection between the two pedals.

According to the lawsuit, “immediately after the launch of Defendants’ YouTube video, consumers expressed extensive actual confusion (that went deliberately unabated by Defendants), with many rushing to purchase Defendants’ counterfeit pedal believing Defendants are delivering on a mass scale a discounted product licensed or endorsed by Plaintiffs.”

Finnegan issued his own statement through Klon LLC’s Instagram confirming the lawsuit. In it, he states, “I have never been consulted in any way about this pedal, it has never been authorised by me, and I have never had any involvement whatsoever in its design, production, or marketing.”

Neither Behringer nor Music Tribe have responded to the suit publicly as of this time.

First issued in 1984 after several years in development, the Klon Centaur was the result of Finnegan’s quest to add a little grit between his Telecaster and Fender Twin Reverb when he decided the Ibanez Tube Screamer’s midrange hump and spongy response didn't suit his style. The result of his efforts was a clear, transparent drive that adds thickening and characterful boost without affecting the guitar's original tone.

Through the pedal’s 15-year production run, Finnegan personally hand-built some 8,000 units before production ceased in 2009. Original units today can sell for up to $5,000.

The Klon has become a favorite of many guitarists, including Joe Bonamassa, who gave away his own unit for free and soon regretted it. Last year he teamed up with Way Huge to create what he calls "the ultimate clone" of the Centaur.

Others include Peter Frampton, blues guitarist Eric Johanson, who lost his original Klon in Hurricane Katrina., and Joe Perry, who says he unintentionally gave his early unit away to his pal Jeff Beck.

The DigiTech Whammy family has a new member, and it’s a prodigious bundle of possibility. Like its predecessors that helped reinvent the sound of rock in the ‘90s via Jack White, Tom Morello and many other electric guitar visionaries, the HammerOn is capable of creating unprecedented tones, only available via electronic assistance. The HammerOn even has a dedicated Impossible Mode designed to facilitate fantastical intervallic feats that are simply unplayable physically.

The fundamental concept of the HammerOn stompbox is clearly indicated in the title. It facilitates precise pitch jumps as if you were hammering-on the fretboard with an extra hand, only using feet instead of fingers. But in fact, it’s a deep pedal that does much more.

The HammerOn’s primary controls are a pair of foot switches that raise or lower the pitch from a played note by chosen intervals. Unlike the original Whammy, which shifted a note with a keyboard-like portamento, these shifts happen precisely and instantaneously on the HammerOn, as the note leaps directly to the intervals assigned to the Pitch 1 and Pitch 2 foot switches.

The default shifts are up a 5th for Pitch 1 and up an octave for Pitch 2. Hit either while playing a note on a single string and it sounds as if you’d reached over with your plucking hand to hammer on either a 5th or an octave above. The Pitch 1 foot switch is dedicated to the hammer-on effect and it’s momentary, so the pitch shift holds until you let go, allowing you to toggle back and forth manually between the played note and the shifted one.

Do so with a chord, and it sounds as if a capo was placed above it by the given interval, like hammering on and off with as many as six fingers simultaneously. There are two global modes: Classic and Chords. Factory default is set to Chords, which doesn’t track single notes as well as Classic, but it’s much better for multiple notes.

The craziest element to the HammerOn pedal may be its practicality. DigiTech claims it offers seven pedals in one, and its Drop setting alone makes it worth keeping on your board in case you want to, say, drop the whole tuning a step or two without having to change axes, or raise the pitch of an entire chord structure without a capo. Add the insane amount of note shifting and sequencing available at your feet to incorporate on the fly, and it’s a potential game changer.

Engage the Trill button and the HammerOn will toggle back and forth automatically, like hitting the switch repeatedly at a selectable rate. Use the dry+ function to hear the played note coupled with the intervallic shift, like a double-stop. Add the Trill back and it toggles the sound of both notes back and forth.

It’s easy to select different intervals of pitch shifting. Hit and hold either pitch switch and turn the control knob to select from the intervallic options conveniently laid out in an upper and lower row. Let go to assign that interval to the selected switch, and you’ve got a new landscape of harmonic options at your feet.

You can always tell which interval is assigned to which pitch switch because one of the 16 intervallic LEDs will light each time you hit the switch. Including the root tone there are 27 options, as you can raise it chromatically up or down an octave, plus two bonus shifts that take the root pitch a whopping two octaves in either direction.

Pitch 2 foot switch functionality works in close conjunction with the Mode button, and there are three options. It starts out in Hammer-On Mode where it behaves just like Switch 1 as indicated by a purple light. Hit the button again and it turns red to indicate Impossible Mode. It’s a variant of Hammer-On mode that alternates between two pitches.

Now you can use multiple hits of the Pitch 2 switch to alternate between, say, up a perfect fourth and down a perfect 5th. Remember, Pitch 1 is still available to be set on, say, two octaves up. So things start getting rather “impossible” really quick as you’ve got three disparate notes to toggle between with your feet while your fingers are still available to play whatever comes to mind. Is it blown yet?

We’ve only scratched the surface of this fathoms deep pedal. Sequence Mode is the third option for the Pitch 2 foot switch, and there are three sequence varieties. A blue light indicates that you’re in Sequence Mode with the default setting of two notes per sequence, meaning you can assign two different pitches that will sound with each press of the switch before returning to the root tone on the third press.

Hit the Mode button again and a teal light indicates a three-note sequence. One more press and a green light indicates a five-note sequence. Yes, you can engage the Trill effect in Sequence mode to automate the process to sound as if you’ve hit the Pitch 2 foot switch multiple times in succession.

You can go absolutely nuts with this pedal! If you’re looking for a new way to create insane sounds, look no further than the DigiTech HammerOn. But this device can be used for way more than ear candy.

I got mine just as I was about to sub in on a funk gig for a jazzy cat that’s far more harmonically advanced than me. The HammerOn was perfect for providing a shortcut to some further “out” stuff than I would normally play, without ever having to venture into fretboard territory beyond my ability to navigate.

And then there’s the creativity factor, which is absolutely off the charts. During this review process as I walked through the functionality of the pedal, numerous ideas for riffs, licks and chord progressions popped up seemingly out of nowhere. There were chord progressions I’d never otherwise consider, riffs and licks that ventured off into extended ranges I wouldn’t have accessed, and then the truly impossible stuff, such as hammering on below a fretted note and then instantaneously shooting the moon two octaves above.

Sonically, the HammerOn sounds a lot like other members of the Whammy family with which we’ve become familiar. Is it always completely realistic? No, but that’s also part of the charm. You can enter the global Classic mode to get superior individual note tracking, but I understand why Chord mode is the default, because anything more than two or three tones shifted together sounds quite jumbled in Classic mode, whereas Chord mode can accommodate shifting a full barre chord.

Upward shifts tend to sound a bit better than lowered ones. The higher the range, the more Chipmunk-like the tone. Very high tones can sound almost like whistles, but I didn’t mind much for single notes because that’s part of the established Whammy-tone lexicon at this point, and the harp-like character of the “capoed” chords sounds charming in its own unique way as well.

The closer to the fretted note or especially the played chord, the more realistic the effected tone sounds. So if you simply want to drop a half step to play along with, say, Stevie Ray or EVH without having to retune, then yes, it’s remarkably authentic. It works on an acoustic-electric guitar as well, but the weird thing then is that you hear the unfettered acoustic sound from the guitar while you hear the dropped or raised tuning from the amp.

I haven’t had this much fun with a pedal since I can’t remember when. I dig the electronic nature of the far-out tones, and it was a gas to watch heads spin at the Boom Boom Room when I’d hit the HammerOn to leap into octave-up licks that seemed to pop in from another sonic dimension.

It also solved a few very practical problems such as facilitating dropped tunings without need of a second instrument on the gig, and making me sound like a more creative lead player than I truly am! One person said, “How did you make your guitar sing like that? It was like Peter Frampton or something!”

I’d enthusiastically recommend the DigiTech HammerOn to absolutely anyone out for sonic adventure. Kudos to DigiTech for further expanding the horizon of possibility.

SPECIFICATIONS

CONTACT digitech.com

PRICE $279

CONTROLS Selector knob (pitch shift interval; trill speed), Dry+ button, Trill button, Mode button

FOOT SWITCHES Pitch 1, Pitch 2

I/O Standard ¼ " input and output, 9VDC jack (adapter included)

LEDs Dry/true bypass, interval indicators (1 row up and 1 row down): 2nd, 3rd, 4th, 5th, 6th, 7th, Oct, 2 Oct; Dry+, Trill, Mode: Hammer On, Impossible, Sequence 2, 3, 5

EXTRAS True Bypass

POWER 9V 300mA

DIMENSIONS 5.12" x 3.57" x 1.84" (LxWxH)

WEIGHT 1.12 lbs

PRO Capable of awesome fantastical tones as well as many practical applications

CON None

Proto-punk legend Wayne Kramer has been honored with a feral new signature overdrive pedal that re-creates the guitarist's raw and relentless tone while it celebrates his pioneering attitude.

The new, limited-edition MXR Jail Guitar Doors Drive pedal from Dunlop/MXR is the result of a collaboration between the late guitarist, his friend Jimi Dunlop (CEO of Dunlop) and Daredevil Pedals owner Johnny Wator. Kramer's fingerprints are all over this pedal. In fact, its tone fuels the title track of the MC5's final album, 2024's Heavy Lifting.

As for its name, Jail Guitar Doors was Kramer's charity, which provides musical instruments and art workshops to help rehabilitate incarcerated individuals. Kramer himself spent four years in federal prison in the late ‘70s.

The Jail Guitar Doors Drive pedal features two uniquely voiced gain circuits controlled by a single dial. This solitary knob simultaneously adjusts the output levels of both circuits as well as the saturation of the resulting distortion.

There are no flashing lights, fighter jet–style interfaces or glitzy LED screens. The pedal is as simple as they come. It feels resolutely punk rock, and it delivers a mighty bark.

Compounding that sentiment is the pedal’s artwork. Created by Obey Clothing founder Shepard Fairey, a man best known for his iconic Barack Obama "Hope" poster, it depicts Kramer and his trusted star-spangled Strat in gorgeous, symmetrical two-tone fashion.

The MXR Jail Guitar Doors Drive is available exclusively on Reverb for $199 via The Official MXR Jail Guitar Doors Drive Reverb Shop.

For the pedal's release, Reverb partnered with Kramer's friend and musical cohort Tom Morello to create the demo video.

“What they've tried to bake into the MXR Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and the MC5,” Morello explains.

“The rawest moment in the history of rock and roll is that live recording of ‘Kick Out the Jams’ that starts with ‘kick out the jams motherfucker!’” he continues. The track is the title cut from the group's live 1969 debut album, recorded in Detroit's Grande Ballroom. “It unleashes itself like the four horses of the apocalypse running wild in a Beverly Hills crystal shop, bringing his Detroit power. It's just beyond.”

It's a sentiment that echoes Kramer's own feelings about the MC5.

“I think the band represented a sense of unlimited possibilities," Kramer said, "that there could be a new kind of music and a new kind of politics, that there could be a new kind of lifestyle

“Like any generation, we saw a seismic shift in the way we approached life. I think that spirit that anything is possible held up pretty well.”

In related news, Morello is busy spearheading the organization of Black Sabbath's mammoth final show in Birmingham next month.

“The idea,” the politically-charged guitarist tells Guitar Player “is to curate the greatest day in the history of heavy metal for the greatest band in the history of heavy metal.” All evidence suggests it will be.

He has also been morphing his son into the perfect shredder... but only after he pulled him away from his video games.

JHS has announced it is discontinuing its new build-it-yourself Notadümblë pedal after founder Josh Scott discovered he had copied the wrong Dumble pedal for its clean channel.

The two-channel amp-in-a-box pedal is the second of the firm’s IKEA-like flatpack stompboxes. It arrived earlier this month following rave reviews of its budget Klon copy, the Notaklön.

Notadümblë was billed as a two-faced design, offering Dumble’s esteemed “violin lead tones” on the red channel — as adored by Joe Bonamassa, Eric Clapton and a litany of other prestigious guitarists — and John Mayer’s obscure A Box Later pedal for its cleans.

The idea for the pedal came about in 2019 when Scott went to a John Mayer rehearsal with the intention of turning two of his Dumbles into JHS pedals.

“In 2019, I left a John Mayer rehearsal in Los Angeles with two extremely rare Dumble units in my backpack to reverse engineer,” he says in a new YouTube video announcing “the biggest mistake I’ve ever made.”

“The first of these is the Dumble BBC1, which I turned into the [as yet unreleased] Basic Boost. The second is the A Box Later ... and I turned that into the Box It Later."

A Box Later was a one-of-a-kind creation from the mind of Dumble founder Howard Alexander Dumble; a simple two-dial external effects loop that also acted as a clean boost. JHS' take on the design made its way onto Mayer's pedalboard in time for his 2021 shows with Dead & Company.

Scott says his Box It Later circuit was intended to become the clean channel of the Notadümblë.

“But,” he continues, “two weeks after the release, I realized I made a huge mistake: I accidentally used the more rare Dumble BBC1 instead of the Box It Later."

Scott says he learned of his error on May 11 as he prepared to create a demonstration on how to give the Notadümblë a few mods requested by customers, including a second foot switch in place of the channel switcher.

“I also wanted to put a TRS effects loop, just like the A Box Later has, so that if people wanted to experience the effects loop they could,” he explains.

Consequently, he emailed JHS’s head engineer asking for the schematics used for the Notadümblë.

However, he says, "upon reading the end of that reply, I immediately froze knowing something was horribly wrong.”

“The A Box Later has a very clear send/return,” he says, which was absent from the pedal’s schematics. “So I realized in that exact moment [the engineer] was looking at a very different circuit.

"I began to go, ‘Oh no, what have we put in the Dumble?’”

Apparently, the two designs Scott walked away with in 2019 were incorrectly labelled. Under the circumstance, he says his only option was to pull the pedal from his website.

“I do not take lightly your choice to buy our products," he says, "and honesty and transparency are absolutely more important than how many of these pedals sell or don’t sell.”

Both Dumbles are rare, and many players may be more excited to hear this version of the pedal actually draws from the BBC1 rather than the A Box Later, but Scott stands by his decision as a matter of integrity.

The pedal was intended for a run of 15,000 units, but that has now been halved, with 2,500 units made available on its website as of Friday, May 23. A further 5,000 pedals are available as pre-orders with the expectation that JHS will produce around 1,000 units each month.

The pedal with the BBC1 circuit is likely to fetch some lofty prices on the second-hand market in the future, given its uniqueness.

Scott confirms plans are afoot to offer the pedal as it was originally intended. However, he is unable to confirm when that will be released.

Customers who bought the Notadümblë and would like a refund can do so by emailing support@jhspedals.com by the end of June.

In related news, former Alice Cooper guitarist Orianthi has revealed how playing some of Alexander Dumble's amps inspired the sounds of her signature Orange combo.

Mark Tremonti also pulled from the infamous Dumble tone book while crafting his signature PRS head, while Bonamassa has explained why he sold all his Dumbles only to buy more than he's ever had just a few short years later.

Universal Audio's take on a Dumble amp-in-a-box, the Enigmatic '82 Overdrive Special has received rave reviews with Mayer also a fan of its ever-growing pedal line.

Roland has faithfully recreated a score of Boss pedals for the modern DAW age with the Boss Effects Plugin.

Freshly added to the Roland Cloud, the subscription-only collection of virtual instruments brings Boss’s colorful range of effects pedals to modern music productions. It makes for a brand-new chapter for the brand's pedals, which have collectively sold 19 million units since their initial launch in 1977.

The first wave of release includes emulations of eight pedals: the OD-1 OverDrive, PH-1 Phaser, SP-1 Spectrum, SG-1 Slow Gear, CS-1 Compression Sustainer, TW-1 T Wah, SD-1 Super OverDrive, and DS-1 Distortion.

Boss says the library of effects will expand over time.

“Each delivers the genuine sound and response of the pedal it’s based on, faithfully recreated by the same company that developed the original designs,” Boss says. The pedal’s simplistic interfaces and looks have also been copied across.

Extended features give players autonomy over input and output controls for dialing in levels and tempo sync for time-based effects. Note, though, that only one pedal can be loaded at a time in each instance of the plug-in. This means pedals can’t be paired without duplicating the plug-in in a DAW to build a virtual Boss pedalboard.

Boss has certainly chosen an interesting lineup to launch with. We hope future releases will include favorites like the CH-1 Super Chorus, used by the likes of Joe Satriani, Zakk Wylde and Jerry Cantrell, and the ever-popular Boss DD-7 Digital Delay, which Steve Vai told Guitar Player is a pedal he can't live without.

For now, Boss made a smart move by including pedals that offer effects outside the traditional realms of overdrives, delays and reverbs. For example, the SP-1 boosts signal frequency bands to help instruments pop in a mix, while the SG-1 reshape a note's attack for more violin-like swells.

New users can take advantage of a generous 30-day free trial of Roland Cloud, which includes access to its full suite of sound design tools. Elsewhere in the Roland Cloud, there’s a plugin version of the JC-120 Jazz Chorus amplifier, RE-201 Space Echo tape delay, and its one-stop Zenology synthesizer.

As more and more firms look to digitize their offerings for the plug-in age, it might seem a little surprising that it’s taken Boss this long to muscle in on the action, but it's something that will likely excite many players.

By comparison, Satriani’s Eddie Van Halen-inspired 3rd Power Dragon amp was turned into a plug-in during its creation, while the amp itself was used onstage with Sammy Hagar’s Best of All Worlds band. Meanwhile, Two Notes is looking to rival key players like Neural DSP and STL Tone Hub with its Genome suite of amp sims and virtual stompboxes.

Roland Cloud subscriptions start at $29.99 per year, with the Ultimate package, which includes every piece of software, rising to $199 per year — billed as $2.99 and $19.99 per month respectively.

Head to Roland Cloud for more information.

To borrow from Monty Python’s Life of Brian, “What has solid-state ever done for us?” it gave the Beatles one of the most recognizable overdrive and distortion tones recorded in the late ’60s. Its source was the preamp in the transistor-driven Vox Conqueror amplifier of 1967 – ’69, which was used widely on Magical Mystery Tour and the White Album, thereby making all our lives a little richer.

It all comes to life in Aclam's new Go Rocky Go pedal, the company's latest Beatles gear–inspired pedal. In addition to being a respected Spanish guitar, pedal and accessory maker, Aclam numbers several Beatles obsessives among its personnel, hence the company's roster of effects pedals that include Dr. Robert, a replica of the iconic Vox UL730 amp used by the Beatles on Revolver and Sgt. Pepper's, and the Mocker, an expanded rendition of the UL730 series fuzz circuit.

The premise and execution of the Go Rocky Go pedal reads like something that could only emanate from a true passion project. The foundation of the circuit was designed as a faithful reproduction of the Brilliant Channel of Vox Conqueror serial number 2004, an amp from the same era as that used by the Beatles, which was acquired and faithfully restored by Aclam’s engineers.

In addition to its origins as Vox’s transistorized reproduction of the company’s world-striding signature sounds, the Conqueror preamp also included built-in distortion and M.R.B. (Mid Range Boost) effects, which have been included and even refined in the Go Rocky Go circuit to deliver a little more of everything. In total, the pedal offers four modes of boost/OD/distortion: Standard, Crunch, M.R.B. and Distortion.

Controls tasked with governing all of this include volume, attack-sustain (distortion content and character), distortion volume, the three-way M.R.B. switch that selects the frequency range, treble and bass. There are two foot switches, which between them can access all four modes or bypass the pedal, according to a short or long press (1.5 seconds) applied, or a stomp of both together to switch M.R.B. on or off, and all with totally silent switching. In addition, Crunch mode has its own internal trim pot to fine tune the gain to your preference.

Alongside their taste for esoteric pedal designs, the folks at Aclam are known for the quality of the boxes they put them in. While the case for the first limited release is designed to work with the company's unique Smart Track pedalboard anchoring system system, future editions feature a standard enclosure, as shown in the photos here, except for those shown in the main top image.

Regardless, the sound, specs and colorful finish remain the same. This pedal is housed in a rugged die-cast construction and decorated outside with a powder-coated homage to the distinctive paint job on George Harrison’s famous Rocky Fender Stratocaster, which he applied over the guitar’s original Sonic Blue finish. The unit runs on a standard center-negative power supply (not included) that delivers anything from nine to 18 volts, achieving higher headroom and greater output volume with the latter.

Tested with a Gibson ES-355 and a Fender Telecaster into a tweed Deluxe-style 1x12 combo and a Vox-ish 65amps London head and 2x12 cab, the Go Rocky Go quickly revealed a multifaceted sonic template as unique as its looks, and delivered a fast track to several classic tones of the late ’60s.

Guitarists are entirely familiar with the utility of solid-state effects pedals these days, yet most solid-state guitar amps — those in the traditional sense, rather than digital modelers — still get relatively little respect compared to their tube-driven contemporaries. It’s interesting, then, that this example of the former is designed to replicate some of the more compelling examples of the latter, and does it so well even when used into a contemporary tube amp, as most will likely be.

From gentle boost to mid-crunch to hairy fuzz-adjacent distortion — all EQ’d to taste — there’s a lot available in this box, and it’s understandable that it takes some playing-around to fully come to grips with it. But for a pedal that packs so much and costs a pretty penny to bring it to you, that seems fair enough, and it’s worth spending time getting to know it.

The veracity and broad range of the White Album and Magical Mystery Tour tones that revealed themselves at each twist of a knob or stomp of a switch (or two) blew me away. In the process, the pedal also revealed a plethora of inspiring gain-staging options that are well outside the familiar — which is to say, the sounds here have very little in common with the boost, overdrive, distortion and fuzz circuits that are so often replicated from one pedal to the next, ad infinitum.

The tones here run the gamut from blocky, hard-edged and bordering-on-harsh-bright to smooth and creamy, such as with distortion engaged and the attack-sustain knob well clockwise. In that respect, Go Rocky Go reminds us that the sounds that stand out in a mix aren’t always the familiar and comforting but often can be the new (or once new, in this case), different and attention grabbing.

As such, it’s also worth noting that the Go Rocky Go might not be one for the guitarist merely seeking a new shade of tube-like overdrive or the mere boosting of their own amp into clipping, as so many traditional ODs aim to do. Instead, it’s very much its own thing with a specific and focused agenda, and it achieves that very, very well. And — as a bonus — each pedal comes with a sticker depicting Harrison circa late 1967 and a pair of buttons.

In so doing, it takes us back to a time when a little English rock band decided that virtuous guitar tones didn’t all have to come from cranked Marshalls or searing Vox AC30s, and understood that an oddball of a solid-state interloper — a Vox amp marketed as the cutting edge of guitar tone and the next big thing — could generate sounds that would stand out perfectly in some of their more complex and ambitious mixes. It was cool stuff for the Beatles nearly 60 years ago, and might just be the creative nudge you need today.

CONTACT aclamguitars.com

PRICE $349 street

CONTROLS Volume, distortion volume, attack-sustain, 1-2-3 (Mid Range Boost), treble and bass. Internal trim pot for Crunch mode gain

EXTRAS Input and output, silent switching, LED indicator for each function, center-negative 9V-18V DC adaptor input

SIZE 5.4" x 3.4" x 2.2" (L x D x H)

ORIGIN Assembled in Spain

There are some big surprises tucked inside Strymon’s compact new pedal, the EC-1 Single Head dTape Echo. For one thing, there’s the sound, which is a gorgeous emulation of a Cesar Díaz–modified Echoplex EP-2 tube tape delay.

For another, there are its features, which go well beyond what’s evident on the control panel. While the EC-1 appears to be a effect pedal with some standard ways to shape the sound, it features many useful under-the-hood options, including a second preamp emulation, a preamp boost, bypass and spillover modes, and much more. And best of all, you don’t need your smart phone to access them.

Before I continue, a disclaimer: I’m crazy for vintage delay, and tape delay in particular. There’s nothing like the spongy, organic sound of saturated tape delay, where the repeats become fuzzier and less distinct as the frequencies roll off with each repeat. On a good tube unit you can even push the preamp into distortion to add new tonal flavors, depending on the pickups on your electric guitar of choice.

Fortunately for us all, modern delay pedals have gotten extremely good at emulating tape and drum echo machines of long ago. I’ve had the good luck to own a few of those mechanical marvels, and the gap between the originals and their modern digital models has, for all intents and purposes, disappeared.

Some of my favorites modern emulation pedals include Boss’s digital re-creations of its vintage RE-201 tape delay/spring reverb unit and, more recently, the Dawner Prince Boonar Tube Deluxe, an uncanny emulation of the Binson Echorec 2 T7E electromechanical four-head magnetic-drum delay unit popularized by players like David Gilmour in Pink Floyd. I was likewise thoroughly impressed by Strymon’s Volante Magnetic Tape Delay (see Guitar Player May 2019), a beautifully streamlined pedal that puts tape delay, drum delay, spring reverb and a looper in one excellent-sounding and well-spec’ed pedal.

BACKGROUND

So it’s perhaps needless to say, but I was very curious to try out the EC-1. The EP-2 model on which it’s based was the second Echoplex design and the last to feature a tube preamp. It’s also the one favored by Andy Summers, who made it a major part of his tonal signature in the Police, which is reason enough to be intrigued.

As it turns out, the EC-1 has an interesting background of its own. It began to take shape when Strymon decided to create a single-head tape echo pedal based on the award-winning dTape algorithm at the heart of the company’s El Capistan dTape Echo stomp box.

To get things started, Strymon’s designers explored the preamp from a pristine vintage Echoplex EP-2. The machine not only looked great but sounded especially good, with a more balanced frequency response than the original. They soon found it had an unusual history, having been heavily modified by Cesar Dîaz, the late guitar tech behind the tone of players like Stevie Ray Vaughan, Eric Clapton and Keith Richards. Given their luck at nabbing such a marvelous example, the designers shifted the project’s focus to re-creating the sound of the magical Dîaz-modified EP-2.

Says Strymon CEO, Gregg Stock, “His mods created a single unit with the best attributes of both tube and solid-state Echoplexes, so we spent a bunch of time figuring out how to re-create its behavior.”

Pete Celi, Strymon co-founder and DSP maven, remarked that the sound was so clean and the performance so stable, “other nuances stood out more prominently — chief among them being some capstan-induced variations that help to widen the spectrum of the repeats.”

While I can’t vouch for the source unit, I can say the EC-1 sounds uncannily true to the character and vibe of a tube Echoplex. And to back up Pete Celi, it certainly has more finesse and detail than I’ve heard from examples I’ve owned.

CONTROLS

As you might expect from Strymon, the EC-1 comes with plenty of hands-on controls. There are the familiar dials for time (from 50ms to 1 second), repeats and mix, as well as two controls for tape age and mechanics. Tape age mimics the loss of fidelity that occurs over time as the tape ages, rolling off high frequencies as the knob is turned clockwise. Mechanics introduces sonic effects caused by physical wear and tear on the tape, including wrinkles, creases, splices and contamination from dirt and dust.

There’s also a three-position mini toggle for record level, and it’s here that some of that Echoplex magic begins. With settings for low, medium and high, the switch determines the gain and bias of the signal being recorded and the resulting sound of the repeats. Low allows the greatest headroom and results in the cleanest-sounding delays, while medium and high boost the signal and increase bias for more saturated-sounding repeats. It’s an excellent feature that really opens up the EC-1’s sonic range.

The foot switch does double duty as a bypass switch and as a means of entering Tap Tempo mode: Hold the switch down until the LED status light turns blue, then tap the switch to set the tempo. In Tap Tempo mode, the time knob determines the tap division: eighth-note triplets, eighth notes, dotted eighth notes and quarter notes.

INS AND OUTS

Around the pedal’s back end, you’ll find the individual single 1/4-inch input and output jacks. Both can be switched between mono and stereo operation by means of a switch above the jacks, although you’ll need TRS adaptors or cables for stereo.

Next up is a 1/4-inch expression/MIDI input jack. In addition to handling MIDI signals, the jack can be assigned to work in conjunction with an expression pedal, with a tap tempo switch, as a tap to call up one favorite preset you can store in the EC-1, or as a infinite hold, depending on how you set it up under the hood (more on this below).

There’s also a UCB-C jack for computer MIDI and firmware updates, and the nine-volt DC center-negative power input. The EC-1 doesn’t ship with a power adaptor, but I had no problem powering it from a DC pedal power supply with isolated outputs.

UNDER THE HOOD

As for those hidden features, you can access them with a press of the foot switch and a turn of a knob (or a power up), depending on what you’ve set out to do. The manual comes in handy here, although you’ll need to download it from strymon.net, as the box contains only a quick-start guide to the physical controls and I/Os.

Live Edit mode offers an optional preamp model that mimics the sonic character of the EP-2’s original tube preamp, and a preamp boost that works with either preamp setting. You can also defeat the preamp model altogether if you prefer. Power Up mode lets you choose the bypass mode for mono operation. By default, this is set to True Bypass when the rear I/O switch is set to mono, but it can be switched to Buffered Bypass to preserve high-frequency response through long signal chains.

Here too you can activate a Spillover Mode to allow the delays to spill into bypass or a new preset, as well as set how the mix knob works with the dry signal. In addition you can configure LED brightness as well as set the EXP/MIDI jack function and configure the EC-1 for external controls.

THE SOUND

There’s no mistaking the EC-1’s characteristic tape delay emulation, from its warmth and slightly blurry echoes to the reduced bandwidth of each successive repeat. I spent hours trying it with a Gibson ES-345 and a Fender Jazzmaster through a Fender ’65 Princeton Reverb with an Eminence Legend 1028K speaker, and achieved heavenly results for everything from clean slapback to vintage ‘70s rock and washed-out ambient shoegaze.

There’s an uncanny verisimilitude at work, not only in the sound but in the way some of the controls affect the sound. Moving the speed knob while playing results in the kind of tape-speed mayhem you get from the real deal, and it was easy to set the repeats to a barely controllable edge-of-feedback drone, one of my favorite things to do with a tape delay or tape emulation pedal. The EC-1 never spilled over into a feedback assault, unless I wanted it to.

The tape age and mechanics controls work brilliantly and are thoughtfully nuanced. There’s quite a bit of range on tap for both controls, making it possible to add everything from subtle warmth and grit to the glitched-out sounds of a tape loop in need of replacement.

But what really makes the EC-1 a winner for me is the three-position record level toggle. While I enjoyed the low setting for clean echoes, the medium and high settings are where the EC-1 shines, adding grit and harmonic bliss to the mix, and I spent most of my time with the switch in either of those two positions.

If a vintage tube Echoplex tape delay is your dream, or if you just want a great additional flavor of delay, the EC-1 is a pedal you’ll want to check out. It sounds like the real thing — only better. And you’ll appreciate that it gives you so much more than the original. The only things missing are the hassles of maintenance and repairs and the noise from the tape loop.

SPECIFICATIONS

CONTACT strymon.net

PRICE $279

CONTROLS Time, mix, tape age, repeats and mechanics controls. Three-position record level mini toggle

I/O Input and output (both switchable between mono and stereo), expression/MIDI, USB-C, 9V power input

EXTRAS Two selectable tube-modeled preamp voices, tap tempo, multifunctional expression input, MIDI control, true-/buffered bypass modes, spillover modes, high-impedance, ultra-low noise discrete Class A JFET stereo input

POWER 9VDC, center negative, 250mA minimum (adaptor not included)

DIMENSIONS 4.5” x 2.7” x 2.2” (LxWxH)

WEIGHT 9.8 oz

BUILT U.S.A.

Strymon’s BigSky Multi-Reverb pedal has been a staple in my setup since it debuted in late 2013, and for two very good reasons. First, it offers 12 studio-class reverb algorithms that run the gamut from classic to futuristic. Second, those reverbs still sound vibrant, realistic and fresh more than 10 years after BigSky became the gold standard for reverb pedals.

I recently reconsidered that second point for one reason: Strymon’s newly released BigSky MX pedal, which delivers new reverb machines, dual-reverb capability, full IR functionality and much more. Strymon didn’t just revise BigSky’s features for this new incarnation; they used the same kind of neural-tweaking techniques behind A.I. to create lifelike virtual spaces that respond to your playing.

That power comes via an 800MHz Tri-Core Arm processor (versus the BigSky’s 366MHz SIMD SHARC), with 32-bit floating-point processing that makes these reverbs drip and shimmer with uncanny depth and realism. If you’re looking for more natural-sounding and highly detailed ambience effects, as well as more extreme sonic adventures, BigSky MX has them.

WELCOME TO THE MACHINES

Like its predecessor, BigSky MX has 12 reverb engines. They include 10 found on the original pedal — Room, Hall, Plate, Spring, Bloom, Cloud, Chorale, Shimmer, Magneto and Nonlinear — plus two new offerings: Chamber and Impulse, the latter of which employs Impulse Responses (IRs).

In addition, Strymon created new algorithms for Spring, Plate, Hall, Room and Shimmer alongside the voices of the original pedal. Although the Swell and Reflections machines were deleted, the Swell feature can now be found in the Hall machine, while the psycho-acoustically accurate small-space Reflections machine seems unnecessary given the verisimilitude built into the MX.

The Impulse machine comes loaded with 22 impulse responses ranging from vintage and modern gear to acoustic spaces. You can add your own IRs of up to 10 seconds in length and edit them right in the pedal. As for the Chamber machine, it nicely fills a niche between Room and Hall settings. Chamber reverbs are larger than room reverbs and smaller than halls, making them perfect for those times when you want ambience that gets noticed but doesn’t overwhelm.

The Chamber engine in BigSky MX captures the right mix of warmth, focus and density to produce very useable and sophisticated-sounding settings. These have quickly become my go-to reverbs for playing and for mixes where I want to impart ambience that conveys intimacy or adds a splash of depth to my guitar or another instrument. The results sound professional and never crowd the mix.

DEEP DIG

Editing the MX presets is a breeze, thanks to the row of seven controls for decay, pre-delay, tone and modulation, the two user-assignable parameters per preset and the dry/wet mix knob. Going deeper into each preset is equally easy: Just press the Value button at the upper right to open the menu and dig into a host of parameters for every engine. Best of all, you can swap out engines for each preset with a spin of the Type dial to quickly audition other reverb machines.

And while we’re discussing parameters, the new stereo panning control is a useful addition that brings greater dimensions to the effects. Use it to place a reverb off-center or to situate two different reverbs wherever you’d like in the stereo field, whether for creative effect or to open more space in the mix.

Lest we forget among this wealth of new treats, the ability to use two reverbs in series or parallel is a powerful feature that opens up a host of sound design opportunities. For example, place Shimmer in series with a pre-delayed Chorale for a reverb that sings like a heavenly chorus. Or use Plate in parallel with the physics-defying Nonlinear reverb and pan them to opposite sides for a dramatically unusual panorama of sound. The stereo pan control really shines in these dual settings, opening the door to some wildly creative sound designs.

But perhaps the coolest thing of all is that all this power is available through the handful of controls on the pedals. No parameter is ever more than a couple of button presses away, with no smartphone apps or buggy Bluetooth connection to slow you down.

For greater convenience, Strymon offers the free Nixie 2 software librarian that lets you upload and download patches, load IRs and gain real-time control of parameters from your desktop. The process was intuitive to follow, and once my IRs were imported, they showed up in their own folder in the Impulse engine, where I was able to load and edit them. It couldn’t be easier.

Other noteworthy additions to the BigSky MX include an easy-to-read high-resolution OLED display, discrete Class A JFET preamps for clean tone and less sensitivity to long cable runs, DIN and TRS MIDI jacks (BigSky offers just DIN), USB-C, expression control, and a dedicated Infinite foot switch in place of the third preset foot switch included on the original BigSky.

MX FX

As for its sound, the 3-D realism is remarkable. Comparing my original BigSky to the BigSky MX… well, there is no comparison. The improved detail, sonic nuance and sense of being within an actual physical space is apparent, and the new presets do a good job of demonstrating what this box can do.

Some of my favorites include the Impulse engine’s 250 Long, Gate Reactor and Slinky presets, the Magneto machine’s Moody Bounce and SmartWhales settings, and the Chamber’s Sweet Neck, Pretty Chamber and Warm Chamber offerings.

Among the more extreme selections, I really like the Bloom machine’s Little Burst and Fellowtron (a cool Mellotron emulation), the Chorale engine’s Subtle Choir preset, and — for fun rhythmic playing — the Stutter Butr and ChoppedSprng presets in the Nonlinear offerings. In addition to the 100 factory presets, you can store 200 user presets, and all 300 presets can be overwritten.

The question for players who already own the BigSky will be “Do I need these improvements and new features?” You may not get the full benefit of them if you play onstage and not in the studio. But if you record or simply enjoy playing with the best gear you can afford, then it makes sense to consider upgrading.

For guitarists who are unsatisfied with their current reverb pedal. — or who find the reverb on their multieffects pedal too vanilla — the MX is a must-try contender that will satisfy your ambience requirements regardless of your musical style.

Granted, BigSky MX is not cheap, and players familiar with the original BigSky might miss that third preset foot switch and have no use for the Infinite switch that’s replaced it. Undoubtedly some players may find the original algorithms more to their liking or prefer their less-detailed sound.

But that’s how it goes with gear, and it’s why many guitarists today still use pedals of previous eras. For that matter I own plenty of reverb pedals and have no plans to part with them. They all do something very well or exclusively their own.

But with that said, BigSky MX will be replacing the BigSky as my go-to reverb pedal. I’ve heard nothing that covers all the bases with as much sonic diversity, flexible programming or pristine and detailed audio quality.

SPECIFICATIONS

CONTACT strymon.net

PRICE $679

REVERB MACHINES Room, Hall, Plate, Spring, Bloom, Cloud, Chorale, Shimmer, Magneto, Nonlinear, Chamber and Impulse

CONTROLS Type, Value, decay, pre-delay, tone, mod, param 1, param 2, mix

FOOT SWITCHES Bank A, Bank B (press
A and B for Bank Down) and Infinite (press Bank B and Infinite for Bank Up)

I/O Left in, right in, left out, right out, USB-C, expression/MIDI in and out, power input

EXTRAS Free Nixie 2 librarian (Mac, PC)
to organize presets and load IRs

POWER 9 VDC (adapter not included)

DIMENSIONS 5” x 7” x 1.87” (DxWxH)

BUILT USA

PRO Remarkable 3-D reverbs, new algorithms with greater realism and depth, Impulse machine with ability to load user IRs

CON None, but the price may deter some users

“The most elusive amp ever made?” Well, yeah. It’s not hyperbole for Universal Audio to refer to the Dumble Overdrive Special as such, and even though they don’t ever use the D word for obvious legal reasons, there’s no question about the reference. The amp is practically unobtainable. And now that it's promised as an amp-emulation pedal you can buy for a few hundred bucks — what player wouldn’t be interested?

Of course, no pedal can ever truly be an amp, but on the other hand, no vintage tube amp can offer the convenience, programmability and affordability of a well-done modeler. For that matter, no company is crushing the modeler market quite like Universal Audio’s effects processing division, UAFX. Having significant experience with the unbelievable Dream ’65 Reverb Amp Fender Deluxe modeler and the ferocious Lion ’68 Super Lead Amp Marshall Plexi modeler, I’m finally drinking the digital Kool-Aid. If those amps can be cloned to such an intimate degree, perhaps anything is possible.

So, when UA and GP got together over breakfast at the NAMM Show in 2024 and UA captain Bill Putnam Jr. asked, “What amp would you like to see us to model next?” my immediate answer was, “Dumble.”

After all, those amps hold Holy Grail status, and very few guitarists will ever get a chance to play one, let alone buy one. In the wake of Alexander “Howard” Dumble’s passing in 2022, the already sky-high prices for his boutique beauties went right past the roof and on to the heavens. I remember Ben Harper telling me in 2008 that I would be wise to sell everything I own and pay the $25,000 for a Dumble that was for sale online at that time. I laughed it off as impossible, but as it turns out that would have been quite the investment. In 2022, Jason Isbell reportedly paid a whopping $175,000 for a 1995 Overdrive Special from producer Dennis Herring via Reverb.com!

When I mentioned Dumble at that NAMM conversation, my colleague at Guitar World, Paul Riario, laughed. “What would that sound like?" he asked. "Everybody knows what a Marshall sounds like, but every Dumble is different.” Speaking to UAFX sound designer James Santiago at this year’s NAMM Show, he echoed that sentiment, saying that some he’d played were magic, and some were duds for his playing style. When I spoke with Jackson Browne, he recalled commissioning Dumble to build another amp exactly like the one his lead players were always fighting over. But even Dumble himself couldn’t replicate it.

So there you go: The Overdrive Special is an enigma. But what if you weren’t trying to replicate one but rather a bevy of Dumble-esque tones ranging from ultra-crisp and clean to gritty bluesy breakup, and on through to the brink of sonic boom?

Enter the Enigmatic ’82 Overdrive Special Amp, potentially the Holy Grail of amp-emulation modelers.

Does it deliver? Hell yeah!

But what does it deliver?

Well, as the title suggests, it’s enigmatic, meaning mysterious or somewhat difficult to put your finger on. But when one does put fingers on the malleable and programmable Enigmatic, it quickly becomes apparent that this pedal can create a vast range of sounds from ultra-cool and clean to explosive.

Everything is at your fingertips via six knobs, a trio of three-position mini toggle switches and a pair of foot switches. The controls are so dynamic that you can completely change tonal characters in a variety of ways.

And once you get the gist of how to use the controls, many of which have alternative functions, there’s another ocean of possibilities accessible via the UAFX Control Mobile app (iOS and Android). The user can activate and manage factory and user presets, download artist sounds, edit amp tones or change foot switch functionality. Like the real deal, there’s a deep rabbit hole to go down. Also like the real deal, customization is inherent to the Enigmatic Overdrive Special Amp.

To my ears, the Enigmatic excels at at the most elusive tones that fall somewhere in the sweet spot between a glassy Fender and a dirty Marshall. You know how when you’ve got your perfect Fender tone dialed in that’s super clean when you play soft and then breaks up when you push it? Go a step or two beyond that to where single-note runs sound and feel as if there’s a steel girder supporting them, rather than the way they seem to fall away on the Fender. But not so much as to sound boxy, like the more square-wave kind of tone inherent to a Marshal plexi.

Part of the mythical nature of the hallowed D tone has to do with volume. I once asked Carlos Santana to describe the essence of Dumble magic, and I’ll never forget his reply. I’m paraphrasing, but he essentially said, “You know how when you turn a good tube amp way up loud, the notes start to sound like balloons filled all the way up, compared to the weak, half-empty sound when it’s turned down? Well, Dumble’s got full balloons at any volume.”

That’s a big part of the appeal here as well. Line-in to your favorite DAW in the office or bedroom on a home computer, and even at whisper volume to the outside world, you can dial in copious overdrive to get a searing sound like David Lindley’s lead on his most famous solo tune, “Mercury Blues.” It’s same kind of tone Ben Harper and Sonny Landreth adopted for their sizzling slide tones, sparkling with rich harmonic overtones.

How about live?

Yes, you can line-in to pretty much any decent sound system and get great tones at low volume onstage as well. But without a great monitor, it’s going to fall flat compared to the three-dimensionality of a real tube amp.

So, which FRFR (Full Range Flat Response) speaker cabinet does that well? I found that the Fender Tone Master F-12 does a great job of making any modeling amp pedal sound more like a real tube amp onstage. But you do have to turn it up past noon to start getting true dimensionality. Once you get to about three quarters of the way full, it truly starts to fill up those sonic balloons. There’s a bit of noise, especially at higher gain settings, but shoot, isn’t that a part of the true tube amp experience? When I asked UA’s James Santiago which FRFR he felt did the best job making his modeling amp pedals sound and feel like the real deal onstage, he agreed on the Fender Tone Master F-12.

When I asked Santiago if he was able to get his hands on any actual Dumbles for this sonic adventure, he confirmed that yes, indeed UAFX did get its hands on a few. Interestingly, some were models created during Dumble's early amp-making days in Santa Cruz, California, which is very near Universal Audio headquarters. Clearly UAFX extrapolated from there, listening intently to a range of famous Overdrive Special tones from SRV’s pristine clean to Robben Ford’s bold, breaking-bad blues, to the flamethrower tones of Lindley, Harper and Landreth.

Despite the pedal's depths of programmability, there is the issue of switching presets quickly and seamlessly onstage. The presets are on my phone, my hands are busy with the guitar, and besides, I use the phone for recording . Fortunately, you can easily toggle between current control settings in Live mode and a favorite preset via the left and right foot switches, respectively. Beyond that, I’m more of a set-it-and-forget-it type of player anyway, the type that would rather click on another pedal or three to flesh out a tonal range rather than trying to get absolutely everything out of a single unit.

I’m still finding and saving favorites on the Enigmatic, but I’ve discovered that while it’s tempting to go for pure fire, pulling back on the overdrive allows the unit to be pushed by other pedals that can work wonders as well, like a real tube amp. I got incredible results using another Dumble-style pedal, the Vertex SSS Double Preamp, as well as the UAFX 1176 Studio Compressor to send the Enigmatic from a more serene state into grittier, downright explosive stages. I placed the Enigmatic on my pedalboard between UAFX’s Dream ’65 Reverb and the Lion ’68 Super Lead. With the Dream set super clean, the Enigmatic searing, and the Lion roaring, it’s all I need with more delicious sonic flavors than I’d ever imagine right under my feet.

Ultimately, the UAFX Enigmatic ’82 Overdrive Special Amp is one of the most remarkable pedals I’ve ever encountered. It’s completely unique among amp emulations. Ben Harper agrees and says, “The pedal is scary good, and I haven’t met a guitar player yet who disagrees. Though Dumble adjacent, it also has sonic characteristics all its own.” Kudos to Universal Audio for doing the impossible—again.

SPECIFICATIONS

Enigmatic ’82 Overdrive Special Amp

CONTACT uaudio.com

PRICE $399 street

CONTROLS Volume (doubles as room reverb), overdrive (doubles as ratio), output, bass (doubles as deep/mid), middle (doubles as presence), treble (doubles as bright). Switches: Cab (GB25, D65, EV12); Alt (amp, store); Tone (rock, jazz, custom)

FOOT SWITCHES On/off, preset

I/O Stereo inputs and outputs, USB-C, Bluetooth pairing, 9VDC jack (adapter not included)

EXTRAS UAFX mobile app, 4-cable mode (Use with any amplifier that has an effects loop for switching between the amp’s preamp section and sounds in the pedal, with 4-Cable mode being one of the foot-switching options)

DIMENSIONS 5.55" x 3.62" x 2.56" (LxWxH)

WEIGHT 1.24 lbs

PRO Fabulous tube tones, real feel, deep versatility and functionality

CON High gain settings can get a bit noisy. Isolated 9V/400mA power adapter not included requires slightly more minimum voltage than common 9V/100-300mA

There's a little bit of Cesar Diaz's magic in Strymon's new EC-1 Single Head dTape Echo. The late guitar tech was behind the tone of electric guitar players like Stevie Ray Vaughan, Eric Clapton and Keith Richards. Now his handiwork has played into the latest model to join Strymon's legendary line of effects pedals.

Creation of the EC-1 began when Strymon set out to devise a single-head tape echo pedal based on the award-winning dTape algorithm at the heart of their El Capistan stompbox.

Things took a turn, however, when Gregg Stock, Strymon CEO and analog circuit guru, attempted to kick off the project by studying the preamp of a vintage tube EP-2 Echoplex.

“We decided to start the project by investigating the preamps from tube echo units,” Stock says, “so I bought an original Echoplex EP-2 to begin the process. It showed up in pristine condition and sounded amazing.”

Stock soon learned the unit had been heavily modified by Diaz.

“His mods created a single unit with the best attributes of both tube and solid-state Echoplexes,” Stock explains, “so we spent a bunch of time figuring out how to re-create its behavior.”

Pete Celi, Strymon co-founder and DSP maven, says of the EP-2, “it was so clean and mechanically stable that other nuances stood out more prominently — chief among them being some capstan-induced variations that help to widen the spectrum of the repeats.”

Strymon has packed their new know-how into the EC-1 Single Head dTape Echo pedal. In addition to offering two models of the EP-2’s tube preamp, with variable gain, the EC-1 has a three-position Record Level switch that allows for additional gain control. A glitchless tap tempo allows the user to set tempos without introducing tape artifacts, while Tape Age and Mechanics controls modify several under-the-hood parameters to produce authentic tape behavior at all settings.

Says Celi, “With the Mechanics control at around 1 p.m., you get a hyper-authentic representation of that golden EP-2 unit, with a high-speed flutter that adds dimension to the echoes.”

And because the EC-1 is a true stereo pedal, it has TRS stereo inputs and outputs and processes the left and right inputs independently, allowing the pedal to be placed anywhere in the signal chain.

Other features include full MIDI implementation, TRS MIDI, a rear-panel audio routing switch, USB-C and 300 presets.

The EC-1 is available now directly from Strymon and from dealers worldwide for $279 U.S.

For more information and sound samples, visit Strymon and the company’s YouTube channel.

The EC-1 joins a huge range of pedals created by Strymon, including the NightSky reverb, Iridium Amp and IR Cab pedal, and the Compadre Dual-Voice Compressor and Boost.

While most effects manufacturers are busy making new or different flavors of familiar effects, Dawner Prince Electronics has carved out its own unique niche. In addition to building a selection of excellent-sounding stompboxes for a range of guitar-friendly effects, the Croatia-based company has created pedals that emulate rare electromechanical effects from a bygone age. Dawner’s Pulse pedal, for example, is an electronic re-creation of Gibson’s early 1970s Maestro Rover RO-1, a compact rotary speaker in a drum-shaped metal container. It’s a left-field choice — the Maestro Rover isn’t exactly well known — but that’s what makes it such a tantalizing choice. And take it from someone who own a Maestro Rover, the Pulse is an amazingly accurate emulation.

Given all that, I was especially keen to try out Dawner’s latest attempt at sonic resurrection, the Boonar Tube Deluxe. It’s a re-creation of the Binson Echorec 2 T7E, an electromechanical four-head delay unit from the 1960s and ‘70s that used a magnetic drum recorder rather than a tape loop. The Echorec 2 is perhaps best known among guitarists as the delay preferred by David Gilmour for much of his career with Pink Floyd.

Dawner Prince have tread in this territory before with their Boonar Multi-Head Drum Delay, a pedal that delivers a highly accurate emulation of the Binson. But the Boonar Tube Deluxe takes the concept much further in its design and control set. Among the changes are a revamped DSP engine for the magnetic drum emulation, a broader and well-chosen control set, a larger and easier to use control panel and — most significantly — the addition of a real subminiature military spec dual-triode vacuum tube in the preamp that feeds the delay circuit.

Before we dig into the features, it should be said that this is an impressive-looking pedal. It’s large — 7.28 by 4.72 by 2.12 inches — and weighs in at a hefty two pounds and six ounces. The glassy black control panel looks sleek and smart, and the sturdy metal chassis is painted in a vintage-looking metallic gold finish that recalls the Binson Echorec 2’s distinctive case. Vents on the front and side panels attest to the presence of a vacuum tube within, and the unit gets quite toasty after it’s been running for a while. Dawner Prince suggests letting the pedal warm up for at least half a minute to get the best results from the tube.

Add in the fact that the pedal is handmade in Croatia using NOS parts, and you have a boutique-quality effect pedal that delivers pro-level audio quality in a package designed for both stage and studio. Let’s take a look at what’s here.

MODES

The first thing to know is that the Boonar Tube Deluxe offers two modes: Repeats and Swell. Think of Repeat as your standard delay mode, with up to four playback heads available. Whereas the Benson Echorec 2 created echoes and multi-tap delays via a 12-position switch that selected playback heads singly or in combination, the Boonar gives you four buttons, each of which can be used to engage or disengage one of the pedal’s four virtual playback heads, for a total of 16 different combinations. These buttons are located on left of the control panel under the legend Playback Heads, and each lights up amber when engaged.

As for Swell, it lets you open a feedback loop from any of the four playback heads, creating a lush bed of shimming repeats that sound like a beautifully suffused cathedral reverb. This effect was present in the Echorec 2 T7E as well, but Dawner has gone a step further by adding a selectable feedback loop for each individual playback head, a feature offered on the later Binson Echorec P.E.603-T. The Swell effects’ four buttons are located under the Playback Heads buttons and likewise light up amber when engaged.

CONTROLS

The top of the unit contains the most relevant performance controls. Starting from the left, the input control governs how much of the vacuum tube preamp’s signal is fed to the record head. At low levels, it produces warm and wooly tones, but crank it higher and you’ll be treated to glorious saturated overdrive from the tube preamp. It’s here that the Boonar’s sonic signature takes shape, and the input control offers plenty of latitude to dial in the exact amount of warmth or crunch you desire.

Next up, the bass/treble control provides control over the delay signal’s tone. It’s subtle, similar to the Binson’s tone control. This is followed by the echo volume knob, which controls the level of the delay signal sent to the pedal’s output.

From here we have a pair of rather unique controls: Length of Swell and Drum Age. The Length of Swell control sets the number of repeats (or length of regeneration) for the heads that have feedback engaged. Similar to analog delays of all variety, turning this control clockwise produces warm, dense feedback as you reach its upper regions and can be driven into self-oscillation. As for Drum Age, it mimics the tone and response characteristics of the Echorec’s mechanical drum as it ages, from “new” (full counterclockwise) to “old” (full clockwise) and everything in between. Lower settings produce brighter and clearer repeats, while turning the dial clockwise rolls of high frequencies, creates blurrier repeats and induces subtle modulation as would be found in the original mechanical units as they age, due to wear on the mechanical parts.

It’s worth noting that the Length of Swell and Drum Age controls are interactive. At “newer” age settings, the Length of Swell control reaches self-oscillation earlier in its rotation because more high frequency content is present in the Drum Age control. Turning Drum Age clockwise rolls off the high end, allowing you to turn Length of Swell further clockwise without inducing feedback.

Finally, there’s a Drum Speed rotary encoder that increases delay from 950ms (on the fourth playback head) to 12ms (on the first) as you turn it clockwise. The knob is stepped, and each notch represents a change of 10ms. You can also press the knob while turning it for finer increments of 1ms.

LEVEL INDICATOR

Like the original Echorec 2 — and many tape recorders of its time — the Boonar uses an EM81 “Magic Eye” vacuum tube to show the level of the input signal. The tube’s “iris” expands and glows brighter as the input level increases, adding a vintage vibe that’s in keeping with its look.

OLED SCREEN

The OLED screen offers plenty of useful information, including delay speed in milliseconds, tap division (1/4, 1/8th, 1/8th-note triplet and 1/16th), preset number and preamp mode (more on this below).

It’s also here that you can dig into what’s packed under the hood. A trio of buttons to the right of the OLED screen let you access, change and save various parameters, including global settings such as True Bypass/Tube Buffer Bypass modes and MIDI channel; presets (you can save up to 16); tap-tempo subdivision and much more. Perhaps the most significant option in here has to do with the preamp mode, where you have a choice of Original and Modern. Original emulates the Binson’s lower output and darker tone, while Modern sounds brighter and more dynamic while being slightly louder.

FOOT SWITCHES

The Boonar Tube Deluxe has two foot switches. The left selects between Swell and Repeat modes, and an accompanying LED glows amber in the former. Additionally, this switch is can be used to load any presets you have saved.

The right foot switch turns the pedal on and off and can be used to call up your favorite preset. You can set the pedal for True Bypass or Tube Buffer Bypass in the global menu. Tube Buffer mode keeps the tube preamp engaged even when the pedal is turned off to retain that warm and dynamic Echorec tube tone. (See “Front Panel” below for additional switching options using the external input jack on the unit’s front panel.)

FRONT PANEL CONNECTIVITY

Along the unit’s front you’ll find the mono input and output jacks, and a wet out for processing the delay signal on its own. Next in line is an external input jack that accepts an expression pedal or the included Clicker remote foot switch. Use the Global Settings menu to determine the function of whichever you plug in here. Optional modes here include Expression Pedal, Tap Tempo Switch, Repeats/Swell Switch and Bypass Switch

The I/Os continue with a MIDI input (the Boonar accepts MIDI CC and Program Change messages, as well as MIDI clock) and a USB mini-B port for future firmware updates. Finally there’s the 12-volt DC 800ma center-negative power input for the included power supply.

IN USE

As you can tell, this is a fully spec’ed delay. In my experience, it’s easily the best Echorec emulation I’ve found. I own the original Boonar Multi-Head pedal and love it. I also have an Italian-made Guru Echosex 2 T7E tube delay pedal, a rather rare Echorec emulation that has been my studio go-to mainly due to its pro-level features and tube tone.

But I have to say the Boonar Tube Deluxe is a game changer. The updates to the DSP engine bring new realism to the effect. And then there’s that tube preamp. As the Boonar’s front end, it performs a good deal of the magic that makes every cascading echo sound alive and three dimensional. The fact that you can use it even when the effect is off is yet another of the pedal’s benefits.

But let’s not downplay the real advantages of the pedal’s large-format design. A pedal like the Boonar Tube Deluxe invites you to grab the knobs and start experimenting, and I jumped right in. One of my favorite tricks was to set the Drum Age full left to the “newest” setting and turn the Length of Swell control to the point of self oscillation. I’d then turn drum age clockwise to attenuate the high frequencies, until the feedback subsided but held steady as an almost violin-like drone. I could then capture the feedback in my looper and use it as a bed for new phrases and riffs. I got hours of pleasure experimenting this way and discovering the different textures that could be created with various settings of the pedal.

Let’s also not forget the new Boonar’s pair of preamp modes, Original and Modern, which deliver two completely different front-end responses. Add in the wealth of global options, switching, 16 onboard presets, advanced MIDI interfacing and bulletproof handbuilt quality, and the Boonar Tube Deluxe is easily the best Binson Echorec emulation available.

Production is limited due to its use of NOS parts, and Boonar Tube Deluxe units are being made available in batches rather than all at once. Given all this, it’s by no means inexpensive, but as premium boutique quality pedals go, it’s well within reason. If you play classic rock, rockabilly, blues, prog or any various flavors of ambient, you’ll find it a delightful addition to your arsenal, and one worth making a fair bit of room for on your pedalboard.

SPECIFICATIONS

CONTACT dawnerprince.com

PRICE $1,199.95

CONTROLS Input control, bass/treble, echo volume, Length of Swell, Drum Age, Drum Speed, Playback Head buttons (4, illuminated), Back buttons (4, illuminated), Menu select (save), up and down navigation buttons

FOOT SWITCHES Swell/Repeats (Preset Load) with status LED (amber for Swell mode); On/Off (Favorite Select) with Status LED (amber for On)

I/O Input, output, wet out, external in for expression pedal or foot switch, USB mini-B port, MIDI In, 12V power in

DIMENSIONS 7.28” x 4.72” x 2.12” (LxWxH)

WEIGHT 2 lb 6 oz

EXTRAS 12-volt DC 800ma center-negative universal adapter, external Clicker switch and USB mini-B cable are included

BUILT Handbuilt in Croatia

A pedal you can kick might seem like a gimmick, but since its 1999 release, Danelectro’s Spring King reverb has become a cult classic. Now it’s making its return in a more compact form.

Heavily inspired by ‘50s and ‘60s combo amps, the Spring King was an oversized box with a real spring reverb tank inside and a kick pad you could stomp to create all sorts of sproingy sonic chaos.

The only problem for most guitarists was the pedal's size — 10.5 by 7.5 by 3 inches — which made it difficult to place on crowded pedalboards, although its size and yellow enclosure made it a pretty easy target to hit on dark stages.

After a lengthy absence, the Spring King is back in a slim "post Ozempic"-sized enclosure that retains the true spring goodness and stomp-savvy wackiness of the original.

The pedal still features a real spring in its core, and controls for tweaking its tone and reverb length, but its kick pad and individual volume control for wet/dry mix have been lost in the downsizing process.

But rest assured, the Spring King can still be kicked, thanks to its rugged die-cast housing. It also features a true bypass footswitch and a small light that illuminates when the pedal is on.

It’s worth noting that the input and output jacks and the DC input for its nine-volt power supply are side-mounted. The only obvious place to kick, then, is the back of the enclosure, which ensures the Spring King will have a place at the player's front of the pedalboard.

As R.J. Ronquillo's demo of the pedal demonstrates, placing both dials at two o'clock offers a snappy and resonant surf-rock 'verb, with a long, natural tail when the reverb length is maxed.

The new Spring King costs $199, but as of this writing it's available only at Thomann and is still absent from Danelectro’s website.

Founded in 1974 by David Oreste DiFrancesco and John Johnson, Salt Lake City, Utah–based DOD became one of the major players in the mid-’70s effects pedal market. This limited-edition, updated version of the Overdrive 250 pedal that helped put DOD on the map features analog circuitry, a mechanical foot switch with a true bypass, input and output jacks, and a nine-volt adapter jack. It can also be powered by nine-volt battery which is a convenience many pedals don’t offer (adapter and battery not included).

The bottom plate has to be removed to install a battery and there’s not much else to see on the inside other than the back of a PCB, upon which the components are soldered through-hole style. The aluminum housing has a metallic gray finish with yellow silkscreened graphics, and includes a metal badge that is laser-etched with “50 Years 1974–2024”. Even the color of the bypass LED was selected to match the pedal’s scheme, and it emits a pleasing yellow-green glow that’s not blindingly bright.

Gain and level are controlled by potentiometers topped with black knobs that sport snazzy aluminum tops. Both knobs turned very smoothly, but the gain pot on our pre-release review model was a little scratchy in parts of its rotation. A significant departure from the original 250’s circuit is the addition of a three-position mini-toggle switch that has settings for Silicon (the original diode), Lift (which eliminates diode clipping from the signal path) and GE/ASYM which uses a vintage germanium diode to create asymmetrical, even-order harmonic distortion.

Tested with single-coil– and humbucker-equipped electric guitars, and run through a Matchless Chieftain combo and a PRS DGT 15 head and 1x12 cabinet, the Overdrive 250 delivered grind from the moment the gain knob was cracked open, going into mildly compressed saturation from about 11 o’clock until the knob was maxed. At this point, distortion is the raspiest and the volume is the loudest. The tones walk the line between fuzz and distortion, making this pedal a great all-rounder for lead and dirty rhythm.

Since the output is dependent on the gain setting, this is not a clean booster, however you can get that sort of response via the Lift mode setting, which provides a volume boost with minimal distortion until the gain knob is up past three o’ clock. Lift worked well with the Matchless amp in particular, allowing me to go from a girthy/gritty clean to thick distortion at the touch of the foot switch.

The GE/ASYM position yielded the warmest sounding distortion overall, sounding killer for bridge-position lead tones and cleaning up for rhythm when the guitar volume was rolled down. All said, the DOD Limited Edition 50th Anniversary OD250 Overdrive/Preamp is a welcome revision of an American classic, made even better with three modes. But with just 1,974 copies available, it's also a collector's item.

SPECIFICATIONS

PRICE $250

CONTROLS Gain, level, 3-position toggle (Silicon/Lift/Germanium)

FOOT SWITCH Mechanical on/off

I/O Input, output, 9VDC jack (adapter not included)

DIMENSIONS 4.68” x 2.63” x 2.25” (LxWxH)

EXTRAS Analog circuit. Silicon, germanium and clean-boost modes True bypass with LED. Can be battery powered

WEIGHT .62 lbs

BUILT USA

KUDOS

CONCERNS

Look, I know this is the bit that no-one reads. You just want the deals and there's no point in messing around. I get it. Time is ticking. There are some enormous savings on pedals this Cyber Monday and they won't be around forever.

Need to know more? We set a pack of tone-hungry guitar wolves loose on the internet to sniff out and hunt down the best deals in guitarland. Below is what they came back with – delay, distortion, wahs, multi-fx, you name it.

I wiped their saliva off and posted them below.

Buy them. Save money. Get great tone. Make weird noise.

It's that simple. Be careful out there.

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Some things never go out of style. That includes the Boss SD-1 Super OverDrive, one of the longest-running overdrive pedals in existence. There's good reason for that. The SD-1 approximates the asymmetrical response of a tube amp to produce a slightly jagged, granular drive tone that slices through the mix and really perks up the ear. Thousands — dare we say millions? — of guitarists have been putting the SD-1 to use on their pedalboards ever since.

If you're not one of them, now's your chance to join the club. Boss SD-1 pedals are under $50 at Musician's Friend on Cyber Monday, a savings of nearly 25%!

Since 1981, the humble Boss SD-1 Super OverDrive has been juicing the tones of more rigs and recordings than any other single pedal on the planet. Its “just-right” circuit delivers pushed-amp tone in situations where an amp can’t easily be pushed, and it can provide a little poke when you want to take your lead from satisfactory to luscious.

The tone control is really the heart of the matter. Whereas the Super OverDrive's predecessor — the OD-1 OverDrive — offered only level and overdrive controls, the Super OverDrive raised the sonic options with the tone dial to let guitarists cut or boost highs as they so desired. It proved the perfect complement that made this a pedal for the ages.

Those revolutionary foundations remain fundamentally unchanged today. The SD-1 still supplies the glorious harmonic-rich roar that identifies it with a single riff — alongside the open-ended tone-shaping that has drawn players as eclectic as Eddie Van Halen, Richie Sambora and Mark Knopfler.

If you’ve never welcomed the legend to your pedalboard, now’s the time while Musician's Friend has the Boss SD-1 for under $50 during its Cyber Monday sale.

If you’re the sort of player who can’t resist a cheap pedal deal, you need to head over to Amazin this Black Friday. With 17 pedals below the $40 mark, it’s the perfect place to pick up a bargain addition to your pedalboard that won’t break the bank. It’s one of the cheapest Black Friday guitar deals we’ve seen this year, and there’s plenty of choice that should cover most guitarists' tastes.

These pedals might be cheap but don’t mistake them for being not good. Many are clones of famous circuits, giving you access to a much more famous pedal for a lot less. Others are just actually great pedals that are capable of delivering some seriously good tones without costing you an arm and a leg.

Here are five great pedals that are completely worth picking up in the sale:

I've been using Electro-Harmonix effects for too long to mention, and I know two things to be true: the pedals are built to last, and their tones never go out of style. All of which makes these Musicians Friend Black Friday deals all the more reason to celebrate. From Big Muffs to multieffects to a half-price Pulsar Stereo Tremolo and Satisfaction Plus Fuzz — there are loads of great deals to be had on these and other Electro-Harmonix pedals this Black Friday.

Personally, I love the Big Muff tone, and the variety of Big Muff pedals on tap here is remarkable. If you want to try it in your arsenal, I'd suggest starting with the classic Big Muff Pi. For a more-cutting vintage tone, the Op-Amp Big Muff Pi Fuzz should do nicely, but if you want lush distortion of the original with greater articulation, but all means go for the J Mascis Ram's Head Big Muff Pi Distortion/Sustainer. You get all the true Big Muff tone without losing the nuance of your playing style.

I also have to vouch for the XO Stereo Pulsar Tremolo Guitar Effects Pedal. I'm a big fan of modulation effects, and the Stereo Pulsar has everything you could want. The ability to not only choose between triangle and square but also shift to various shapes between them is truly awesome. If you love tremoloand want maximum control over the effect, it's the way to go.

Musician's Friend's Electro-Harmonix Black Friday deals seem to grow with each hour, so be sure to check back here or at the Musician's Friend's EXH page.

And of course check out more early offers on our dedicated Black Friday guitar deals page.

Having been on a self-imposed pedal-buying ban for most of the year, I’ve got to admit that I’m insanely tempted by a huge 25% discount on all JHS Pedals at Sweetwater. It’s a brilliant deal if you’re looking for a new stompbox and one of the best Black Friday guitar deals I’ve seen so far this year.

There’s a big range of pedals available from Josh Scott’s ever-popular company, but the emphasis is particularly on overdrive pedals and distortion pedals. You can get some select modulation and time-based effects pedals too, and with discounts of up to $124, it’s a brilliant opportunity to save money on a fresh pedalboard addition.

Of course, being something of a pedal-hound myself I had to check out the sale to see what was available. I swore to myself I wouldn’t buy anything this year, but I might just be tempted to a new drive pedal thanks to a massive $49.75 off the JHS The Kilt. One of the most versatile pedals in the JHS stable it can go from low gain to almost fuzz-esque sound. Many bemoan the lack of a clean boost option in the V2 model, but I think this is still an amazing-sounding pedal in its own right.

For something a little more utilitarian, I’d go for the JHS Pulp ‘N’ Peel compressor pedal. It’s got a tasty $57.25 discount in the sale, bringing the price well below the $200 mark. Equally as good on guitar as it is on bass thanks to the blend knob, it can do everything from subtle comp to super squishy tones. An XLR-out adds further versatility and it even has a built-in drive circuit to add some color to your tone.

Finally, I had to shout out the JHS Flight Delay, which is a great option for adding some delay tones to your ‘board with a huge $62.25 reduction. One of the newer JHS pedals on offer in the sale, it’s available in blue and white and features three different delay modes as well as the ability to add modulation to your delay tails. If you prefer your delays a little easier to use than some of the more feature-rich digital stompboxes out there nowadays, this is a great pedal that gets in between those with singular delay sounds, and those stompboxes that have too many choices.

Pedalboards are always a work in progress, no matter what you tell yourself about your last purchase. Whether your latest addition was a practical utility or a bank-breaking multi-effect, you’re reading these words because part of you is wondering what’s next for your rig, right?

Well, Sweetwater may have made things easy for you this Black Friday, too, with some unmissable discounts on Walrus Audio pedals that would make waves on any ‘board.

In this mega Black Friday guitar deal, Sweetwater has knocked $175 off the list price of two powerful pedals from Walrus Audio’s high-fidelity Mako Series. This is, make no bones about it, a huge discount on professional-grade devices – knocking 50% off their usual price of $349.99. Even if you’re lucky enough to feel your rig’s complete, this kind of deal is enough to give you pause for thought.

All of Walrus Audio’s pedal designs are studio-grade boutique affairs. Their OG range includes amongst its ranks the definitive modern modulation pedal, the Julia chorus/vibrato; even their recent foray into affordable entry-level effects with the Fundamental series saw them bring boutique-quality algorithms to the entry level. The Mako Series, though, is a cut above. Taking after the high build quality and endless tweakability of upper-echelon boutique brands like Chase Bliss, the Mako Series leans away from the esoterica of its brand-mates, towards pro-level practicality and versatility.

The pair of pedals on offer here are Mk1 editions of the R1 Reverb and D1 Delay respectively. Each sits within the same pedal template – offering multiple effects programs, stereo ins and outs, MIDI in and thru-put, and a 3x3 parameter control surface that offers deep control over your sound.

When is a stomp box too small to stomp?

When it's as small as the Cicada, a tiny new overdrive pedal from California-based Olinthus. Measuring just 1.2 inches wide by 1.8 inches long and .9 inches deep, the Cicada has a ridiculously compact footprint for an effects pedal and weighs a mere 1.1 ounces.

The idea behind Cicada was to stuff the biggest dirt sounds inside the smallest enclosure possible. To that end, Olinthus took tonal inspiration from the original Ibanez TS808 Tube Screamer and shoehorned it into a rather ingeniously engineered box that doubles as chassis and on/off switch (more on that below). With a price tag of $99, it's about $50 cheaper than the Ibanez TS808 reissue.

First up, the electronics. The Cicada is an analog overdrive featuring a single-stage soft-clipping circuit with filtering before and after the gain stage. Three sound-shaping controls — level, drive and tone — reportedly allow Cicada to cover “a wide variety of sonically complex overdriven tones.”

As for its diminutive size, making guitarists smile is part of goal at Olinthus. Describing themselves as “a small team of musicians, designers, and engineers,” Olinthus aims to create products “that inspire creative ideas, bring joy, and make you laugh.” The company admits that “an overdrive pedal this tiny is a bit ridiculous," but adds, "making it small also makes it pretty awesome.”

It's worth pointing out that this isn't the first tiny Tube Screamer clone we've seen. Two years back, Pedal Pawn unboxed a boutique TS808 not much bigger than a nine-volt battery and gave it a proper demo shortly after.

But that mini TS was made in limited numbers and hard to find. The Cicada is very available through at Reverb.com.

Given the pedal's size, some compromises had to be made. For one thing, Cicada has one TRRS {Tip, Ring, Ring, Sleeve} jack that comprises the pedal’s input, output and power. Fortunately it ships with a dedicated breakout cable, but you’ll need to provide your own nine-volt DC center-negative power supply (minimum 50mA).

As for that ingenious design, you'll notice there is no obvious on/off switch. That's because the entire pedal is the on/off switch. The green anodized aluminum chassis is hinged at the top — just press below the knobs to turn it on, and again to turn it off. Olinthus says not to worry — you can use your foot and you won’t damage the knobs, even if you step on them by accident. The switch mechanism can withstand up to 250 pounds of force.

All of which means you'll probably misplace it sooner than you'll destroy it.

The release of the Quad Cortex floor unit by acclaimed amp-modeler plug-in manufacturer Neural DSP in 2021 caused something of a stir in the market, while igniting the kinds of debates that passionate digital riggers often dive into when a new shark swims into their waters.

The ruggedly built Quad Cortex was an Editors' Pick Award winner when reviewed in Guitar Player’s July 2021 issue. It received raves from many users happy with its compact size, sound quality, processing power, easy graphic interface, and ability to easily execute digital captures of analog amps, pedals and cabs right in the box.

Some some were occasionally frustrated with the maker’s slow roll-out of updates to cover further desirable functions or fix perceived issues. Regardless, the Quad Cortex quickly became a contender against market leaders like Fractal, Line 6 Helix, Kemper and others.

The new Nano Cortex hits the streets in a much smaller enclosure (5.6 by 4 by 2.4 inches), weighs just 1.36 pounds, and costs roughly a third of the QC’s price. While it does somewhat less than its big brother and lacks its user-friendly visuals, it still presents a powerful digital amp, cab and effects processor and capture unit in a box that fits in a Ziploc sandwich bag.

Styled akin to the amp-in-a-box (AIAB) pedals that have become popular these past several years, the Nano Cortex can be used to dial in the currently selected capture and cab IR as the “amp” portion of a semi-traditional pedalboard, with drive pedals ahead of it and wet effects off the back end. But it does much more than that. The highlights among its features include:

• 64 preset slots

• 5 IR slots

• 5 FX slots (used separately or combined, but in a fixed order)

• MIDI support and Bluetooth connectivity

• Onboard Neural Capture capabilities

• 25 Capture slots arranged in five banks

The pedal-style interface includes traditional control knobs for gain, bass, mid, treble, FX Amount and level. Push buttons enable the Bank, FX, Exit, Capture and Save function. The two foot switches let you toggle between four presets and capture or select IRs, and they double as rotary knobs for scrolling the Capture bank and IRs.

Basic connectivity includes a single ¼-inch input, stereo 1/4-inch outputs (one of which doubles as Capture Out for that function with ground lift button), 1/4-inch TRS Exp/MIDI jack, 1/8-inch headphone jack with level control, USB-C jack, center-negative connection for a nine- or 12-volt DC supply (not included; 600mA-plus required), and finally, a combo XLR/1/4-inch Capture Input on the side of the unit with Boost switch for low-gain incoming signals. It should be added that the USB-C jack lets the Nano Cortex function as a low-latency audio interface with 24-bit, 48 kHz recording. An onboard tuner is also provided fr added convenience.

I won’t try to replicate the manual here — which is worth reading to clarify some initially enigmatic functions regarding Preset, Bank, IR and FX selections in particular — but it basically allows you to select between five banks of five amp captures each, a total five onboard IRs, and four pre-loaded presets just as it sits.

You can also access a lot more using the Cortex Cloud app for iOS or Windows via Bluetooth. The Cortex Cloud provides access to thousands of other Neural Captures, which can be loaded into the slots on the Nano Cortex for use individually or in presets. This is also the place for swapping in other captured or third-party IRs.

As much as it can do, however, there are also a few limitations. Neural DSP notes that the five onboard effects exist in a “fixed signal chain,” but further exploration reveals that’s fixed in terms of both block selection and order. Put simply, you get what you get: an Adaptive Gate (a.k.a. noise reduction) and Transpose positioned pre amp capture; and chorus (a Boss DC-2W emulation), analog delay (a BBD emulation) and Mind Hall Reverb (a Lexicon 224 emulation) positioned post. Any or all can be switched on or off and their parameters adjusted, but the order cannot be changed, nor can a different type or version of effect be loaded into any of these positions.

My own biggest gripe with this is the lack of any form of drive pedal in the pre position (which might arguably prove more useful to a greater number of players than the Transpose effect you’re stuck with, which is useful for capo-less key changes and the like). This also means, rather oddly, you can capture your favorite overdrive pedals on the unit but can’t use them unless you slot them in place of the amp capture and use the Nano Cortex as a digital OD-pedal modeler rather than an amp modeler. (When asked about such limitations, Neural DSP told us, “It is likely we will expand upon the platform in the future.”) Also, you can only access four presets on the fly using the hardware on its own — toggling between two each on foot switches I and II — but MIDI connection enables a lot more possibilities there.

Regardless, this compact box still does a lot, and it benefits from an easy-to-use phone app that increases editing and use functionality exponentially. The Capture capabilities alone will bring a lot of people to the table, and they’re dead simple to use. During testing, I created several amp and pedal captures in a process that takes about five minutes per item, and was very impressed with the results. They included a cheeky capture of another plug-in designer’s popular digital AIAB pedal, which sounded extremely close to the original in A/B comparisons.

I tested the Nano Cortex using a Fender Telecaster, Gibson ES-355 and Collings 470-JL direct into headphones, into a Universal Audio Apollo x6 interface and studio monitors, and a couple of different powered FRFR (Full Range, Flat Response) options. First and foremost, finding great-sounding presets and dialing up my own by mixing-and-matching captures and IRs (and tweaking gain and EQ to taste) were both as easy and rewarding as I could hope. Given my prior experience with the Quad Cortex, the realism, dynamics and overall depth of the Nano’s amp captures and presets came as no surprise, but it was still something of an eye-opener emanating from a box this size.

Personally, I initially found the high-gain options more satisfying than the clean tones, something I’d also experienced with the Quad Cortex and which seems to speak to Neural DSP’s popularity with the heavier-rocking crowd in general. However, quality renditions of clean and vintage-voiced edge-of-breakup tones are certainly achievable with a little tweaking and by exploring other available captures and presets in the library and the cloud. That’s what the Neural Capture capabilities are for. And, ultimately, my favorite rendition of a certain semi-clean, mid-sized black-panel American combo of the ’60s came courtesy of that capture of another manufacturer’s product.

Obviously, the cab/speaker IR selections play a big part in any rig editing, and Neural DSP provides some excellent options here. It would be handy to have more than five available on the unit itself, but they are easily dialed up within the Cortex Cloud, which enables loading of your third-party IRs from popular suppliers, too. And for all my griping about the fixed nature of the five onboard FX, those available function well and sound great.

Users seeking more options in a pedalboard setup might use a handful of favorite analog overdrive pedals in front of the Nano Cortex and any of a number of stellar delay and reverb processors after to achieve a more personalized rig. But even as it sits, with four instantly available presets for clean/crunch/lead/etc options on the fly and very usable chorus, delay and reverb, this little box makes for a powerful performance package at this price, and earns an Editor’s Pick Award doing so.

SPECIFICATIONS

CONTACT neuraldsp.com

PRICE $549 list/street

CONTROLS Gain, bass, mid, treble, FX amount, level. Push buttons for Bank, FX, Exit, Capture and Save. Two combo footswitch/rotary knobs for Capture and IR selection and preset selection.

DSP 2GHz SHARC processor

CONNECTIVITY Single ¼" input, L and R Output (L doubles as Capture Out), XLR/¼" Capture In with Boost switch, ¼" Exp/MIDI jack, 1/8" Headphone out with level control, USB-C jack, 9-12V DC input (center-negative, 600mA required).

SIZE 5.6"x4"x2.4"

WEIGHT 1.36 lbs

MADE IN Finland

KUDOS Great-sounding digital amp and effects modeling, capture capabilities, and a ton of functionality in a compact and well-priced box

CONCERNS Effects slots are fixed, and there’s no overdrive pedal available in the unit

The notion of rich, warm tube tone still looms large in guitarists’ imaginations. So much so that some manufacturers are still making strides to capture an authentic rendition of that technology in a smaller and less power-hungry form for use in compact circuits, even while so many others are embracing the digital technology that ably imitates such tones without a tube in sight.

By adding these four new Valvenergy Series 2 pedals to the four that already exist in Series 1, Vox is further embracing the Nutube technology invented by Korg several years ago, which has also been used in a series of Vox mini-amps under the Nutube banner.

Invented and patented by Korg, the Nutube, according to its maker, is “similar to a conventional vacuum tube, has an anode grid filament structure, and operates exactly as a triode vacuum tube. Also similar to a vacuum tube, it creates the same characteristic rich overtones.”

It’s worth noting up front, however, that you can’t replace existing dual-triode preamp tubes, such as the common 12AX7, with a Nutube. And while a Nutube uses far less power and produces less heat, it also produces significantly less gain. All that aside, it purportedly presents a clever means of achieving tubey richness and compression in circuits designed to employ it.

Pedals in this Series 2 selection include the Power Burst, Fuel Injector, Tone Sculptor, and Smooth Impact, listing at $199.99 for the first two and $219.99 for the second two. All are housed in a rugged aluminum box measuring 4.5 by 2.5 by 1.5 inches, the top of which displays a color and etched design unique to each model. Controls are unique to each pedal, but every one carries a small oscilloscope front and center that displays the circuit’s effect on the waveform as you play, as well as the pedal’s on/off status. Also common to all is the inclusion of space for a nine-volt battery inside, with Vox’s recommendation that you use an adaptor (not included) when possible due to the pedals’ considerable power consumption. The latter means that a minimum 600mA supply is required.

Vox also tells us that a buffered bypass is engaged when the pedal is switched off, as required for the Nutube to function smoothly in these circuits. Each pedal has side-mounted jacks for input and output, plus a nifty Link feature on a 1/8-inch jack at the front that can link two pedals to automatically turn one off when you turn the other on, thereby minimizing the toe tapping. This feature arguably made more sense with the Series 1 pedals, which were all amp-in-a-box style, enabling faux channel switching, but might still be handy to instantly turn off the Power Burst booster while turning on the Fuel Injector overdrive, for example.

I tested each of these with a Fender Telecaster and a Gibson ES-355 into a tweed Deluxe-style 1x12 combo and a 65amps London head and 2x12 cab.

Fuel Injector Tube Overdrive

In addition to the shared features, the Fuel Injector carries knobs for drive, tone and level, plus a two-way mini-toggle for Natural or Fat mode, the latter position inducing a thicker voice that Vox proposes is particularly useful with single-coil pickups.

In use, this OD largely exhibits its own flavor rather than aping any of the classics of yore, while its oscilloscope displays the circuit’s impact on the overtone spectrum as you play. Within the Fuel Injector’s unique character I found good note-to-note clarity, which avoids getting muddy in power chords, along with some raspy bark and aggression at the core and a little fizz at the edge of the note that hints toward old-school ’70s distortions. There’s a pretty good range of gain-induced flavors from the drive knob, from mild overdrive (yet still with this pedal’s own personality) up toward a more distortion-leaning overdrive. The Natural/Fat voicing switch is effective, and I like that it doesn’t tip into being too boomy in the latter position, but adds just enough grunt to thicken up thinner-sounding guitars.

Fuel Injector Tube Overdrive

CONTACT voxamps.org

PRICE $199.99 street

CONTROLS Drive, Tone, Level, Natural/Fat voicing switch

EXTRAS Input and output, buffered-bypass switching, oscilloscope, center-negative 9V DC input (600mA minimum required)

SIZE 4.5"x2.5"x1.5"

ASSEMBLED IN Vietnam

KUDOS An original overdrive with a distinctively aggressive character when pushed.

CONCERNS Might be a little hard-edged for players seeking smoother TS-style overdrive.

Power Burst Tube Booster

Graced with a single boost knob for gain, plus a three-way mini-toggle for Treble, Natural, or Middle voicing, the Power Burst is a straightforward, yet relatively versatile boost designed to offer a degree of variable coloration to its gain staging. In this one, much like the Fuel Injector, the oscilloscope displays the harmonic complexity added to the sound wave as you play, and particularly as you turn up the boost knob.

While boost pedals can seem a dime a dozen at times, I found this one surprisingly good sounding, with an appealing character that lands somewhere toward the middle of the neutral-to-colored spectrum. The three-way voicing switch adds significant versatility, too, although it might prove something many players would like to switch on the fly depending on the guitar in use.

Arguably the Middle (mid boost) position can sound a little choked with some guitars and amp settings, but it’s handy if you need added grunt from a thin instrument. I really like the fact that the Treble setting adds sparkle to the upper register without emasculating the lower wound strings, and Neutral does much as it says on the box. With the boost knob up much beyond noon the hint of compression at the front — whether from the Nutube or merely the circuit itself — tips the Power Burst into low-gain overdrive territory, but with excellent articulation and less color than most drive petals. All in all, a useful and relatively versatile box for all its simplicity.

Power Burst Tube Booster

CONTACT voxamps.org

PRICE $199.99 street

CONTROLS Boost, Treble/Natural/Middle voicing switch

EXTRAS Input and output, buffered-bypass switching, oscilloscope, center-negative 9V DC input (600mA minimum required)

SIZE 4.5"x2.5"x1.5"

ASSEMBLED IN Vietnam

KUDOS A versatile booster pedal with an appealing character.

CONCERNS Not entirely neutral, if that’s what you’re seeking.

Smooth Impact Tube Compressor

The Nutube-equipped compressor of the bunch carries controls for tube gain, comp and output, with a three-way voicing/feel switch delivering Vintaged, Natural or Sag, plus an oscilloscope that displays its gain reduction upon attack and the speed of ramping up as the note swells.

In use, it’s a good-sounding compressor that simply does the job expected of it, but with appealing, if subtle variation from the three-way switch and the rather nifty added bonus of the tube gain knob to drive it. Generally, the first test of a good compressor is finding out how much you miss it when you turn it off, and indeed I heard a degree of that “blanket over the amp” thing when switching off this one.

With three flavors of comp readily available — subtle, yet distinct variations — and the three-knob versatility, it’s still very easy to use, yet a bit more flexible than some of the simpler compressor pedals out there. On one hand, it’s arguably not as overtly colored or characterful as some of the most-revered units on the market, but it’s a good-sounding rendition that has an appealing personality and does well at this price point.

Smooth Impact Tube Compressor

CONTACT voxamps.org

PRICE $219.99 street

CONTROLS Tube Gain, Comp, Output, three-way Vtg/Nat/Sag switch

EXTRAS Input and output, buffered-bypass switching, oscilloscope, center-negative 9V DC input (600mA minimum required)

SIZE 4.5"x2.5"x1.5"

ASSEMBLED IN Vietnam

KUDOS An effective comp benefitting from three feel/voice modes.

CONCERNS Possibly a touch subtle for those seeking more colored compression.

Tone Sculptor Tube Preamp Equalizer

This graphic equalizer features six sliders for frequency-band-dependant boost or cut of +/-10dB at 100Hz, 250Hz, 570Hz, 800Hz, 2.2kHz and 5.6kHz, plus a level slider capable of boosting or cutting by 12dB in either direction. On this one, the oscilloscope presents a graphic display of the relative levels of several frequency bands as you play when switched on.

All in all, it’s a handy and effective EQ, which pretty much does what you would expect from such a pedal. Effective at everything from a scooped smile curve that made the Voxy London head sound more black-panel Fender, to a pushed mid hump with a little level boost to convert the tweed combo into a mini Marshall, it also works well as a simple clean boost, with added frequency-carving flavors to taste. Beyond all this, though, I enjoy the way it adds a little compression to the front of the note while still remaining clear, and maxing out the level slider at 12dB is easily enough to crunch up the front end of your tube amp.

Tone Sculptor Tube Preamp Equalizer

CONTACT voxamps.org

PRICE $219.99 street

CONTROLS EQ sliders for +/-10dB at 100Hz, 250Hz, 570Hz, 800Hz, 2.2kHz and 5.6kHz; Level slider for +/- 12dB

EXTRAS Input and output, buffered-bypass switching, oscilloscope, center-negative 9V DC input (600mA minimum required)

SIZE 4.5"x2.5"x1.5"

ASSEMBLED IN Vietnam

KUDOS A simple but effective EQ, useful for tonal changes or frequency tweaked boost.

CONCERNS Might seem a tad pricey for what it does.

Public anticipation for any new Fractal product inevitably follows routine: a buzz, followed by rumor, inuendo and, eventually, celebration. And now that the new VP4 Virtual Pedalboard has hit the streets, I’m confident there will be plenty of the latter. You'll always have a few detractors in this market, of course, because you can’t make all of the people happy all of the time, unless you build a unit eight feet wide to fit all the features and charge $10,000… at which point you’re back to making no one happy anyway.

But without lobbing too much of a spoiler into the party, the VP4 is very good at doing exactly what it sets out to do. And it does so housed in a form factor that has been cleverly designed to make that “what it does” as accessible as possible to the widest range of players likely to use it. Put simply, it’s hard to argue with that.

While Fractal calls the VP4 a “virtual pedalboard” — by virtue of the software that powers the unit — it is most definitely a solid piece of hardware, housed in a 10-by-6.25-by-2.5–inch steel enclosure with four foot switches, five rotary selectors, six pushbuttons and a 4-by-2-inch full-color display screen. Arguably, it's more akin to the multi-effects units available since the late ’70s or so, although it’s exponentially more powerful and mindbogglingly more flexible.

The VP4 brain is loaded with 25 effects categories, with dozens of sub-types for each available (for example, 63 drive pedals, 66 reverbs, 32 flangers, 44 plex delays). All of these can be configured into 104 presets (in 26 banks arranged alphabetically), and each preset contains four scenes, each of which itself contains four channels (possible variations of the same effect block loaded into it). So thanks to Fractal’s flexible switching possibilities you’re never really limited to just four individual effects under your feet at one time, unless you want to be.

Those familiar with the Fractal ecosystem will understand the layers and groupings available within the pedal’s setup parameters and the myriad ways in which you can access multiple presets (or parts thereof) on the fly. In this regard, it functions much like an FM3 or FM9 amp-modeling floor unit, minus the amp and cab blocks. As such, a full understanding of the setup possibilities includes coming to grips with familiar Fractal grouping terms such as “blocks,” “scenes,” “channels,” and the more universally familiar “presets” and the like. It behooves new users to read the very clear and comprehensive Owner’s Manual. But even without going too deep, the guitarist who just wants to use the VP4 as a four-effect floor unit with an on/off foot switch for each virtual pedal will get a lot of value out of it. Start probing the unit’s full capabilities, though, and the possibilities really are endless.

The real heart of the VP4’s programming and performance falls within the user’s choice of mode in which to use it. You can use Effects mode to set up blocks for a drive, phaser, delay and reverb, for example, and simply turn each on or off as desired via the foot switch. Going deeper, this mode also allows for a hold-press of any footswitch to reveal the four channels available within each effect block. Each channel — let’s say this block is an overdrive, for example — can hold different settings for that overdrive, or even an entirely different type of overdrive, meaning presets can be set up without limitation. Furthermore, pressing two foot switches at a time can access other functions, such as the tuner.

Even more powerful, Scene mode offers one-stomp access to varying states derived from your four-pedal setup — Drive off but Delay and Reverb on in Scene 1, Drive on in Scene 2, and so on, however you set it up to function for your song or set list. I won’t try to replicate the manual here, which would be pointless (and impossible), but suffice it to say the options are many.

Programming can be done on the unit using the push button selectors for Home, Enter, Save, Page Left, Page Right and Exit, along with the rotary Selector knob and four rotary controls, whose parameter assignments vary depending on the screen you’ve entered. I’ve seen players who are adept at this stuff make and save significant preset changes on their FM9 amp modelers in seconds. I find it easier to use Fractal's free VP4-Edit software for this. It presents a more comprehensive view of the unit’s myriad parameters right on your Mac or Windows monitor. But unlike many compact digital units, you don’t need the app to access the VP4's full array of effects options: they’re all right there in the unit.

The VP4’s connections include mono/stereo inputs and outputs, a pair of pedal jacks for connecting expression pedals or extra foot switches, SPDIF In and Out (for fully digital connection to other devices), USB-C, 3.5mm MIDI In and Out, and the power input jack for the supplied external unit. In addition to enabling connection to your computer and the VP4-Edit app, the USB connection allows use of the unit as a 2x2 24bit/48kHz audio interface for recording, or MIDI-over-USB applications.

Even with the impressive list of capabilities, there has to be a compromise somewhere. The most noteworthy, to my mind, might be that the VP4’s size and the demands of other features don’t allow for the inclusion of an effects loop as such, which would better enable four-cable-method (4CM) usage to place drive pedals (and the like) in a front-of-amp position and delay, modulation and reverb after, or in an amp’s effects loop, and still have your wet effects in stereo.

As it is, the VP4’s 4CM setup option does allow for splitting off virtual pedals in pre and post positions but in a mono configuration only, since the dual inputs and outputs are all needed for the to-and-from connections. Otherwise, it can be used with a Drive block included first-position in a stereo setup into a pair of pedal-platform amps that receive the lot, or loaded with all delay, modulation and reverb effects and positioned fully in the stereo loop of another modeler or pair of amps. That said, there’s so much going on here that this isn’t much to complain about, and again, you have to draw the line somewhere.

So, for all this unbridled functionality, how does it sound? In two words: utterly fantastic. The company might have made its name on amp models first and foremost, but Fractal’s many and varied effects are highly acclaimed and have acquitted themselves extremely well in the rigs of myriad big-stage professional players to date. In fact, the VP4 includes the majority of what’s available on the powerhouse Axe-FX III (other than the amps, cabs, and some amp- or routing-specific functions), and many of these compete with the best in the digital realm.

As an old analog soul, I was particularly surprised by the dynamics and realism of many of the excellent overdrive-pedal models. The medium-gain Shimmer Drive, Griddle Cake and Timothy emulations — representing the Voodoo Lab Sparkle Drive, Crowther Hot Cake and MXR Timmy, respectively — rocked my world, whether into a traditional tube amp or a pair of FRFRs via a compact amp-modeling pedal. I was not so surprised, though, by the lush, multidimensional Cloud, Large Hall or SFX reverb variations, given Fractal’s reputation in this department, but it’s impossible not to be transported sonically by a deep-dive Plex Delay preset, for example, which can have you lost in your noodling for hours.

All in all, this small-shop New Hampshire digital audio designer has done it again with a stunningly deep, great-sounding and highly functional product that comes in at a rather impressive price considering all that it can do. Worthy of an Editor’s Pick Award? Do you even have to ask?

SPECIFICATIONS

CONTACT fractalaudio.com

PRICE $699 street

CONTROLS Four multi-function rotary parameter knobs, Selector knob, six editing/navigation push buttons, four foot switches.

I/O L/Mono and R Inputs, L/Mono and R outputs, Pedal 1 and 2 jacks, SPDIF In and Out, USB-C, 3.5mm MIDI In and Out, power in

POWER 9V DC at 1.3A, power supply included

BUILT China and USA

KUDOS A cleverly designed, highly functional, and great sounding multi-FX modeler at a reasonable price

CONCERNS Some minor compromises required in connectivity for 4CM

Fractal Audio Systems has announced the new VP4, a compact virtual pedalboard processor that provides four simultaneous effects with a user-friendly experience inspired by traditional electric guitar pedals.

The compact multi-effects unit features effects based on the award-winning Axe-Fx III, comprising hundreds of classic stompbox and studio effect models. They include drives, delays, reverbs, choruses, flangers, phasers, pitch and the company's own Plex Delay, plus EQs, compressors, wah, tremolo and many more.

The VP4 has four foot switches, with classic on/off switching that makes it intuitive to use like four traditional pedals. In addition, the VP4’s factory default “Gig Mode” switching system places presets, scenes, effects, channels, tuner and tap tempo at guitarists’ feet.

The unit has 104 presets, each with your choice of four effects, allowing a single VP4 to replace a collection of effects. Additionally, each preset has its own noise gate, master EQ/levels and more. Connect up to two expression pedals — such as Fractal Audio’s EV-1 and EV-2 — or switches for real-time control of effect settings. The VP4 also employs the company’s latest pitch detector from the Axe-Fx III and features a dedicated large display guitar tuner mode, plus a handy mini-tuner that’s always visible.

The VP4’s connectivity is comprehensive and includes mono/stereo analog I/O, with unity gain an ultra-low noise floor, and a 4CM Mode that allows you to divide effects in front of your amp and in its loop. Other features include buffered analog bypass, SPDIF digital I/O, MIDI I/O, and USB audio/MIDI capabilities.

For those who want to go beyond a basic pedalboard, the VP4 supports scenes, channels, modifiers and more for a highly customizable experience. Plus you can customize your VP4 with VP4-Edit, a free companion software editor and librarian. And like every Fractal Audio processor, the VP4 can be upgraded with free periodic firmware updates that provide new features and improvements.

In addition to guitar, the VP4’s multi-FX processing works with acoustic guitar, bass guitar, keyboards and other instruments.

The Fractal Audio Systems VP4 compact virtual pedalboard retails for $699 and will be available on October 15, 2024. Visit Fractal Audio for updates and to purchase or contact a Fractal Audio dealer for inquiries outside the U.S. and Canada.

Almost all guitarists associate germanium with fuzz boxes. But in fact, this chemical element was used to make transistors and diodes for myriad applications before silicon components became more widely available. Amp maker David Kowalski has something of an obsession with germanium. Based in McAllen, Texas, Kowalski – whose Dark Gene micro amp was reviewed in our November 2021 issue – has created the Rare Earth Germanium Device to bridge the gap between overdrive and fuzz.

Quirky circuits

Inspired by the iconic two-transistor Tone Bender Mk 1.5 and Fuzz Face circuits of the ’60s, Kowalski spent years testing and selecting appropriate germanium components for his Germanium Device. He ultimately decided to work with suitable transistors from a range of makers, including Telefunken, Mullard, RCA, Brimar, NKT and – as found in our review sample – Amperex. Controls for swell and expander govern the input and output gain stages, respectively, and the pedal runs on an internal nine-volt battery only, as is Kowalski’s preference for germanium circuits.

The vagaries of these transistors mean that some pedals (my test model included) carry a mini-toggle Expander switch on the side, which converts traditional output control operation to a frequency-widening mode that extends various portions of the range. It takes advantage of a quirk that can be tapped from some germanium circuits and not others, and Kowalski points out that those pedals that don’t feature the switch function optimally without it.

In creating the Germanium Device circuit, Kowalski set out to undo aspects of the Tone Bender Mk 1.5 and Fuzz Face circuits that inhibited their range. “I modified the feedback portion of the circuits and capitalized on transistor leakage to restore otherwise obscured upper-midrange cut and definition,” he tells me. Working in conjunction with the Expander mode switch and swell control, his circuit “elegantly bridges the gap between less defined, complete saturation and articulate, raw germanium overdrive,” he adds.

Putting it more simply, Kowalski explains, “I really just wanted to create something I thought Jeff Beck would have used.”

Fuzz factor

It’s all housed in a crinkle-finished, powder-blue trapezoidal metal enclosure with a ’60s-style font, large white reproduction RCA radio knobs and white British-made Cliff jacks. A soft-click Gorva foot switch, Alpha potentiometers and Vishay capacitors add to the quality parts count in an elegantly handwired circuit that harks to the glory days of these pedals.

Tested using a Fender Jaguar and a Gibson ES-355 into a tweed Deluxe-style 1x12 combo and a 65amps London head and 2x12 cab, the Rare Earth Germanium Device Pedal slathered hairy and occasionally unpredictable harmonic saturation over my tone across its full range of gain settings.

Although Kowalski voices his desire to coax overdrive from the circuit, to my ears it doesn’t dip much below the clipping levels of a classic fuzz pedal with its first knob set low — and I’d say that’s a good thing. Crispy and edgy at lower levels, with great playing dynamics, the Germanium Device segues into gradations of full-on fuzz about halfway up the swell knob’s rotation, and that’s where the party really begins.

At higher swell settings with the expander knob advanced (and/or the Expander mode switch flipped), the pedal coughs out inspiringly quirky dirt that’s occasionally glitchy and gated in a fun, freaky, frequency-dependent way. The result is often heard in a joyfully random response to your playing. For instance, the dissimilar voices of my guitars’ bridge and neck pickups were treated dramatically differently at times (the Jaguar’s “strangle switch” became a powerful tool here), unison bends in some positions induced crazy pulsing modulation, and the pedal slipped from smooth to snarly at different playing positions along the neck.

All in all, it makes for an inspiring variation on the iconic germanium fuzz. Kowalski’s Rare Earth Germanium Device Pedal brings new and fun aspects to the humble fuzz box, and for that it deserves our Editors’ Pick Award.

Specifications

Rare Earth Germanium Device Pedal

CONTACT D. Kowalski Amplifiers

PRICE $259 direct

CONTROLS Swell, expander, Expander mode switch (only on pedals that require it)

EXTRAS Single input and output, two hand-selected germanium transistors, internal battery only

SIZE 4.375” x 3” x 1.5” (LxWxD)

BUILT USA

KUDOS A harmonically saturated medium-gain fuzz pedal with a fun random edge

CONCERNS No on/off indicator light or DC power input

MXR’s Yngwie Malmsteen Overdrive pedal may be the company’s latest addition to its stomp box lineup. But as Ynwgie tells Guitar Player, the effect unit was some 60 years in the making. And it all started with the Swedish guitarist’s search for a signature tone.

“When I started out in Sweden, there was one TV channel from six to 10 p.m.,” he explains. “There was no information. There were no magazines. I didn’t know what guys like Hendrix or Blackmore were doing. I saw pictures where they had a Marshall. That was it. That’s all I knew. And Marshall made an amplifier called the Master Volume, and before then, they made the Plexi, with four inputs but no master volume, and there wasn’t much distortion.

“I wanted a Marshall, but it was very expensive. But suddenly, those Master Volume’s became obsolete. Nobody wanted them, and they piled up in stores, collecting dust. I’d buy them for, like, 30 bucks a piece, so I’d have more Marshalls than anybody.”

But as Yngwie quickly learned, all the Marshall amps in the world weren’t enough to create his elusive desired tone.

“From the very beginning, I had something in my head," he says. "I had a sound. When I was 13, I had this bright idea that I wanted to take the precise and fluid notes of a violin and do that on guitar. I wanted huge octave shifts without moving my hand, you know? That’s what I was going for.

“But whenever I would plug into, say, a more modern amp with high gain, to me that’s high gain, but it’s not a complete sound. The notes were too separated."

He soon realized the missing ingredient: an overdrive pedal. With that in his rig, Yngwie would go on to become a guitar hero virtually overnight thanks to a feature in the February 1983 issue of Guitar Player.

But finding the right one was a matter of trial and, mostly, error.

“I tried everything, and one day I found the DOD [Overdrive Preamp] 250. I bought it and put it between my amp and the Stratocaster, and I got the sound,” he says. “It’s the fucking sound that I have now. I never changed it.”

What did change over the years was the means by which Yngwie achieved his desired tone. In 2015, Fender gave the Strat-wielding guitarist his own signature stomp box: the Yngwie Malmsteen Overdrive. “It was very good, but they decided they would stop making it because there was no market,” Yngwie explains.

“That's when I started talking to MXR. We went back and forth, and we made the perfect one. The noise floor is the lowest, and the gain stage is the highest that you can get. It’s not a distortion pedal; it’s what you put into the guitar. The guitar signal comes into it and gets a boost into the preamp of the Marshall. The Marshall reacts to it in a way that compresses and distorts the signal, so it’s more like a smooth violin guitar sound.”

So be aware that if you’re looking for that fluid, overdriven Yngwie Malmsteen tone, you’ll need more than a Strat and a Marshall tube amp. “You can’t just take a Strat and plug it into a Marshall and have the sound,” Yngwie says. “You have to have this. I’ve always had a version of it since day one, which was what? Sixty fucking years ago?”

Boss has announced the first firmware update for its affordable GX-100 floor modeler since its release in 2022.

A slimmed-down version of its flagship GT-1000 multi-effects unit, which is pitched to rival amp modelers like Fender’s Tone Master Pro, the GX-100 has been given “a bevy of enhancements,” to bolster its offering amid fierce competition.

In total the update brings 10 new amps, seven new effects, and some important feature tweaks to GX-100 users, while also improving its partner desktop app.

Suitable for guitar and bass players alike, bassists may get a little more mileage out of the free update with six new amps brought to the table, marrying “vintage classics and modern favorites.”

The Studio Bass, Silver Tube, and Classic Blue amps are models of Markbass' Little Mark III head, a Fender Bassman 100 head, and the Acoustic 360 head, respectively.

The Solid Stack, Fat Tube, and Dark DRV, meanwhile, channel the magic of a Gallien-Krueger 800RB head, an Orange AD200B MKII head, and the Mmicrotubes B7K preamp by Darkglass.

For guitarists, Boss has extracted its “innovative MDP technology” found in its X Series of pedals and instilled them into three new digital amps. Standing for Multi-Dimensional Processing, Boss says the tech optimizes each element of a guitar's sound, including pitch, loudness, and timbre, to retain as much character as possible.

That fancy tech has given extra personality to the trio of new amps it's added to the GT-100, called the X-Ultra, X-Optima, and X-Titan. All high gain amps, seemingly catering more towards metal-inclined players, the Ultra boasts “an extended dynamic response that’s not possible with traditional analog designs.” The Optima is said to sit “perfectly in every mix,” while the Titan focuses on tight articulation in aggressive settings.

The new effects are all replications of classic Boss stompboxes. The SD-1 Super Overdrive and DS-1 Distortion have been added for players wanting a little more grit. There's also a sitar simulator (Sitar Sim), an Auto Wah, and a Feedbacker for generating natural harmonic feedback.

The Slicer and Humanizer effects are the most curious additions. The Slicer chops the instrument signal with different rhythmical patterns, which Boss says is ideal for distinctive tempo-synced backing, and the Humanizer adds vocal vowel sounds to the note attack.

Improvements to the unit itself equate to greater options for the onboard speaker cabinets, and a streamlined workflow. The GX-100 2.0 exhibits its new features via eight newly added presets.

Lastly, the Boss Tone Studio app for MacOS/Windows has also been updated. New features include the ability to download Livesets and share patches with other Boss modeler users.

The GX-100 offers 32 amplifier types with tube amp-like touch and response thanks to Boss' signature Augmented Impulse Response Dynamics (AIRD) wizardry, and over 170 Boss effects.

It comes with a send/return loop to partner it up with external pedals, and a control jack for remote channel switching if used in conjunction with an amp.

Says Boss: “The GX-100 Version 2.0 system program update brings a bevy of new features and enhancements that let you dial in exceptional tones in seconds.”

Head to Boss to learn more about the GX-100 and its update.

In the pursuit of perfect tone, it might seem counterintuitive to invest in something that is designed to silence your guitar, but the best noise gate pedals can work with your tone to enhance it by removing unwanted noise or hum. The noise gate is a simple concept, and its name is pretty self-explanatory: a ‘gate’ opens and closes to allow or stop noise from going through. It’s really as simple as that.

Having experimented with my fair share of noise gate pedals over 20 years of playing, I’ve developed a keen understanding of what works and what doesn’t. Working in a busy guitar store for nearly 10 years has allowed me to interact with a plethora of different guitarists whose styles vary drastically, and whose use of the noise gate ranges from utilitarian to outright wacky. Relying on this experience, I’ve selected the best possible options for guitarists today.

For those after the best of the best, look no further than the Boss NS-1X. Part of Boss’s premium X-Series, the NS-1X takes everything great about the standard edition and utilizes advanced Multi-Dimensional Processing for better response and expressiveness. For those looking to save a buck, the TC Electronic Iron Curtain is a great option. For ease of use, build quality, and affordability, it’s a no-brainer.

If you’re just foraying into noise gates, I’ve written a helpful how to choose section for beginners, while the FAQ and our glossary of key terms cover common questions, address jargon, and help you make an informed decision. Without further ado, let’s take a look at the best noise gate pedals on the market.

My top picks

Best overall

Overview: The NS-1X from Boss is the pinnacle of noise gates. With many noise gates, there can be a slightly jarring feeling, where notes are cut off abruptly, or their attack feels unnatural, but the NS-1X doesn’t have either of these problems, offering a fantastically musical experience and easily allowing the user to dial in the correct settings to reduce only what’s unwanted and retain tonal clarity.

Usability: A feature that sets the NS-1X apart is its graphic LED display which lets you see the gate coming into action. While some will be happy to set their noise gate exclusively by ear, the visual guide is super valuable and will really appeal to those who use software noise gates when recording their guitar.

Sounds: Featuring three modes – gate, reduction, and mute – the NS-1X is anything but a one-trick pony, catering to those who just want to remove hum or those who want a heavy gate that absolutely clamps down all sound between playing. It comes at a premium price tag, but this is everything you will ever want in a noise gate pedal.

Best budget

Overview: The Iron Curtain from TC Electronic is a brilliantly simple noise gate with only two controls to operate: threshold and decay. It is built like a tank, incredibly affordable and will appeal to those looking for a no-nonsense noise gate for their pedalboard.

Usability: Despite its simplicity, these two controls allow you to manipulate the reaction time of the gate drastically, taking you between a hard gate that aggressively slams shut to a more gentle, subtle gate that should be almost undetectable in use.

Sounds: It doesn’t have the bells and whistles of more premium pedals, but at only around $50, you wouldn’t expect it to. For those on the hunt for a super-accurate and endlessly adjustable noise gate, this might not fulfil all your gating desires. However, for those just looking to reduce hum – single coil players, we’re looking at you – this would be an excellent addition to your pedalboard.

Best for beginners

Overview: If you’re not sure whether you will need a noise gate regularly, the Behringer NR300 Noise Reducer is a perfect introduction to noise gates. Coming in at a, frankly, insane price point, it’s ideal for those who want to test how a noise gate can improve their sound.

Usability: Based on the Boss NS-2, the NR300 is laid out very similarly. Featuring a ‘threshold’ and ‘decay’ control, with both ‘mute’ and ‘reduction’ modes, a beginner isn’t going to be overwhelmed with the options on this pedal. The plastic chassis is surprisingly tough and should last well, though it does mean this pedal looks and feels as cheap as it is.

Sounds: For those who play with low to moderate gain, it functions particularly well, though it may struggle to cope with higher gain sounds. The NR300 is a good pedal for the casual gate user, but die-hard enthusiasts should only look here if they are on a very tight budget.

Best for metal

Overview: The majority of noise gate pedals will find their home in the realm of high-gain tones, and this is undoubtedly the genre that the MXR Smart Gate excels in. It’s remarkably simple in operation for such a powerful tool, with just one ‘trigger level’ knob that handles how quickly you want the gate to open, accompanied by a pair of switches (Mode and Hi Trigger). Don’t let the lack of knobs fool you, though; it’s mighty effective despite its simplicity.

Usability: Despite the wide range of gating options the Smart Gate provides through its one knob control, as a gate pedal that sits towards the higher echelons of the market, some users may expect additional controls, with the two switches giving limited parameters to edit the gate’s characteristics.

However, the vast majority will find that MXR has created a pedal that will suit their needs right out of the box, and the three settings of ‘full’, ‘mid’, and ‘hiss’ will generally cover all uses.

Sounds: Full mode offers a really dynamic, quick gate that snaps close and produces a tight sound that is ideal for chugging, while Hiss mode does an excellent job removing any trace of nasty noise in your sound, with Mid sitting somewhere in between.

Best for bass

Overview: As masters of high-gain bass amplification and tone shaping, Darkglass knows a thing or two about the heavier genres where noise gates come into their own. The NSG Noise Gate is certainly made with gain in mind, with an uncanny ability to deliver precise and transparent noise reduction, even when faced with crushing gain or complex signal chains.

Usability: Despite that, it’s really straightforward to operate, with a simple threshold control acting as your sole control option with an integrated switch between hard and soft gain reduction. Some users may prefer more options, and it may not be ideal for those who don’t play with lots of gain; however, it can comfortably remove noise in most applications.

Sounds: Although it features just a single knob, the range of tones on offer makes it well worth the investment. The selectable modes genuinely change the pedal’s character, allowing you to switch between hard and soft settings for either an aggressive or more subtle gate response.

Designed primarily as a pedal for bassists, guitarists may want to look for something built with guitar in mind, though the NSG can work just as well with guitar and even keyboards, so multi-instrumentalists should place this high up on their lists.

Best mini pedal

Overview: There's surprisingly few compact noise gate pedals out there, but out of that select few, I think the Pigtronix Gatekeeper 2 is the best. It does a great job of cutting hum, feedback, and hiss, while remaining compact enough that you'll have plenty of space for more exciting pedals.

Usability: As it's small there are only two knobs, which means you will have to spend some time adjusting the controls to find the perfect balance. Threshold determines how much signal is needed to open the gate, with the release knob determining how long before it closes. It has a fairly limited range compared to other, more complex pedals, but for the vast majority of players this should be plenty.

Sounds: The Gatekeeper is great at keeping things tight and controlled, but you do have to be careful with the knob positions otherwise you will find sustained notes get cut off. It's probably not the best for those who want a more subtle hum reduction, but if you're playing overdriven and high gain tones, then it does a fantastic job.

Also consider

How to choose

If you’re new to the world of noise gate pedals, this section is for you. With over 20 years of playing, testing, and buying pedals – and nearly a decade working in a busy guitar store – I’ve helped countless players find the right noise gate for their setup. Even experienced guitarists will admit that noise gates can be a little confusing at first, but don’t worry. If you keep these three key points in mind, choosing your next pedal will be much easier.

1. Control

First things first, how much control do you need over your noise gate? As our list of pedals states, there are noise gates that are incredibly simple in setup, to much more advanced options with multiple controls. If you don’t require or are just starting out, having a simple threshold control may be enough to get started and to clean up your signal. On the other hand, if you feel a bit more confident, a noise gate that allows you to control the attack, decay and release may be preferred.

2. Connectors

Next up, what connections do you need? If you run a fairly basic pedal setup with only one overdrive to tame, then a noise gate with an input and output will do you fine. On the other hand, if your setup is more complex, you have an overdrive, distortion and three fuzz pedals running into multiple delays and modulations, then a noise gate with a return/send will be better suited. This allows you to place the noise gate in an effects loop, which is beneficial for an advanced setup with more variables.

3. Playing style

Lastly, what do you play and how do you do it? Noise gates behave differently depending on how you play. If you have a tight, percussive playing style or play heavier genres, you’ll want a gate with a fast response that clamps down quickly between riffs. On the other hand, if you play blues, pop, or more expressive styles, a slower, smoother gate will sound more natural and preserve your note sustain. Before buying, think about how you play and what kind of response you will feel most comfortable with.

FAQs

Key terms

• Attack: On a noise gate pedal, attack refers to how quickly the gate opens to let your signal through once it has hit the threshold.
• Bleed: This refers to any unwanted noise that might get through the noise gate pedal’s threshold.
• Chattering: This refers to the rapid, unwanted opening and closing of a noise gate when it struggles to distinguish between your playing signal and background noise, resulting in an uneven or stuttering sound.
• Decay: This control determines how quickly the gate closes after the signal drops below the threshold.
• Downward expander: A more technical version of a noise gate, a downward expander doesn’t completely cut off background noise; instead, it gradually lowers the volume, making the effect sound more natural.
• Floor: The floor, or noise floor, refers to the inherent background noise present in an audio signal or system, below which the noise gate begins to attenuate or mute the sound.
• Gate: This is the part of a noise gate that closes, stopping your signal from going through once the threshold has been reached.
• Hysteresis: This type of noise gate pedal essentially has two thresholds, one to open the gate and one to close it. This helps the gate operate more smoothly and prevents chattering.
• Hold: The hold control keeps the gate open for a certain amount of time after the signal drops below the threshold.
• Look-ahead: This is a feature that analyzes the incoming audio signal and reacts slightly ahead of time. It’s useful for preserving transients and keeping the gated sound more natural and transparent.
• Ratio: Simply put, the ratio control determines how much the volume is reduced once the signal drops below the threshold.
• Release: This affects how long it takes for the gate to fully close after the signal falls beneath the threshold.
• Send/return: Found on more advanced noise gates, this loop allows you to target specific pedals or parts of your signal chain. You can place particularly noisy effects between the send and return so only those pedals are gated.
• Sensitivity: This control adjusts how easily the gate reacts to your playing dynamics. Higher sensitivity means the gate will open more readily to quieter notes.
• Threshold: The level at which the noise gate activates. When your signal drops below this point, the gate begins to close, filtering out unwanted noise.

How we choose

At Guitar Player, our team of writers aren't just music enthusiasts; we're real-life musicians. Our hands-on experience with overdrive pedals ensures that our reviews and recommendations are backed by practical knowledge and real-world testing.

When it comes to selecting the best noise gate pedals, we leave no stone unturned. Meticulously evaluating factors like tonal versatility, sonic character, build quality, and value for money, it's only after rigorous testing in a variety of playing scenarios do we choose products for our guides. We stand by our selections, ensuring that every pedal we recommend is one we'd use ourselves.

Read more on how we test gear and service at Guitar Player

Related buyer's guides

• Check out the best distortion pedals
• Get it all in one with the best multi-effects pedals
• The best delay pedals augment your tone
• Add some space with the best reverb pedals
• The best looper pedals improve your playing

It’s fair to say that amp modelers are on the rise. Thanks to the success of Neural DSP’s game-changing Quad Cortex and Positive Grid’s Spark amps – and recently released Spark II – Fender has recently thrown its hat in the ring, and Marshall has hinted at its intentions to do likewise.

It’s no surprise to see big-name brands jump on the bandwagon and try their hand in a fast-rising market, but not every brand feels the same. British amp builder Orange, for instance, has no intention of jumping on the bandwagon.

Speaking on YouTube channel Lonely Rocker, Charlie Cooper, Orange's Marketing Director and the son of its founder Cliff, has distanced the firm from the modeling world and equally wants to shrug off any “retro” tags that people banner the company under.

“My dad's not a fan of Orange being called ‘retro,’ when someone thinks like, ‘Oh, you've got an Orange amp. Oh, that's so retro,’” he says. “Because I guess, from our perspective, it's not even tradition. It's what we know.”

And so Orange will stick to its expertise, believing it is in a stronger position as a result.

“We're not even going to pretend or try to dabble in digital amplifiers or digital modeling. Everyone else is essentially. They can do it better. We can't beat them at that. So we just keep evolving amplifier technology.”

That’s a world, the junior Cooper underlines, that’s ever-changing. Hence his father’s resistance to the retro tag.

“The thing that's consistent is the tubes,” he adds. “That's probably the oldest thing. But the design and how they're pushed changes, and how the circuit works changes.”

From Charlie Cooper’s standpoint, amp owners and modeler users represent two distinct and different demographics. His way of thinking isn’t unfounded either. It comes after a lengthy period of monitoring the market and its reaction to Orange’s OPC amplifier, described as a “musician’s personal computer.”

“I think it was 2010. I had officially joined Orange,” he explains of the OPC’s genesis. “I was showing everyone at the company, ‘Look, this modeling stuff can be really cool, and we can be part of it. We can accept that we can't do the software – we're way too late in the game. But we can do hardware around it and we can just do a cool computer.’

“Around that time, we partnered with IK Multimedia. They got a really good tone and nailed it,” he continues. “We're like, ‘This is great!’ And then, over time, it's been getting more and more convenient with modeling amplifiers that you don't even need the operating system or an iPhone or anything,” thus Orange’s short foray into the modeling world came to an end.

“But I kind of see it as different audiences. Now it's evolved to the point where it's not just a race to get the identical tone. The conversation has changed to be more about, ‘It's kind of convenient to get an idea of what all these different sounds sound like.’

“Sometimes you're just doing a small gig [and] you don't really care too much to lug a class A amplifier around with you. So now you’ve got these different ecosystems, and they're cohabiting.”

Ultimately he sees this coexistence and the separate audience streams as positive things for the industry. Indeed, many players will have tube amps and more compact digital modelers in their tone arsenals to call upon depending on different circumstances.

Just like the rise of MP3s, and later streaming services, had some industry experts and consumers ringing the death knell for CDs and vinyl, the two listening experiences have both proved successful in the contemporary market.

Although there are some overlaps, with amp-in-a-box pedals like Orange’s Terror Stamp offering tube-like tones without the need to carry big amps around. It’s been listed as one of GP’s favorite amp pedals and is itself part of a fairly dense market.

Still, with the amp and modeling worlds viewed as different beasts, Cooper says that early “concern in the industry [is] kind of not there anymore.”

And so Orange doesn’t feel it has to enter the modeling game to survive. Instead, it wants to stay ahead of the curve in the separate amp market stream and continue to make waves there rather than split its energy into streams

Boss’ new SDE-3 Dual Delay pedal condenses the vintage digital personality of the Roland SDE-3000 rackmount delay into a stompbox primed for pedalboards.

With “comprehensive delay and modulation controls” available with mono and stereo outputs, and some new features, it looks set to be an interesting new addition to the firm’s compact pedal collection.

Entering the market in 1983, the original Roland SDE-3000 quickly became a staple effects unit for its blend of rich analog and digital sounds. Last year, to mark its 40th anniversary, Boss relaunched the unit as the SDE-3000D and SDE-3000EVH (the latter made in collaboration with EVH Gear), two wide-format, feature-laden pedals.

Here, its tonal character has been further condensed into the standard Boss housing, and bolstered with an Offset function that, its makers promise, “unlocks an array of colorful dual-delay textures.”

In this classic format, a streamlined control panel consists of dials for Level/Depth, Feedback/Rate, and Time/Hi Cut. These sit alongside the all-important Offset dial, “to create interesting tones with two simultaneous delays.”

That means a second delay can be layered over the primary effect, differing the SDE-3 from other delay pedals. That leaves doubled, sounded, and timed dual delays to hand (or foot) via tap tempo that is activated with a press and hold of the pedal switch.

“A wide range of tones are available,” says Boss, “from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music.”

As the SDE-3000 proved invaluable on stage and in the studio, Boss is aiming for the same benefits here. Two stereo modes offer discrete left/right delays, and it also comes wielding a panning option for “ultra-wide sounds that move across the stereo field.”

As such, dry and effect-only signals can be sent to two different amps for wet/dry setups a la Steve Morse. Additionally, the direct sound can be muted for studio mixing and parallel effect rigs.

A TRS MIDI input has been loaded in to sync with clock signals from DAWs, keeping its effects focused and freeing players to focus on their playing when performing live.

There’s also a hold function for on-the-fly-looping, and it can partner up with an expression pedal to allow for more dynamic control of its Level, Feedback, and Time knobs.

The Boss SDE-3 Dual Delay is available today for $219.

Head over to Boss to learn more.

MXR is continuing its recent run of signature and innovative pedal releases with a custom overdrive pedal for neoclassical shred master Yngwie Malmsteen.

The overdrive pedal, designed to fuse Malmsteen’s “neoclassical prowess with the raw energy of rock n’ roll,” follows hot on the heels of the delay-blighted MXR Randy Rhoads Distortion+, its spacey Layers pedal, and Joshua Tree-channeling Ambient Echo delay.

A signature circuit has been developed with the help of Malmsteen to deliver clarity, expressive dynamics, and rich harmonics. As MXR says, this makes for a pedal “perfectly tailored for his light-speed arpeggios, expressive vibrato, and big, bold riffs,” but there should be plenty of scope to use this pedal outside of finger-burning exercises, too.

It offers a simple two-knob control setup, with its Level and Gain left extremely sensitive to the most minor of adjustments. “Every adjustment you make,” MXR assures us, “will have a profound impact.”

Naturally, with Malmsteen famed for his ‘more is more’ mantra, MXR recommends cranking both dials for the pedal’s most authentic Yngwie channeling.

“This pedal is the culmination of over 45 years developing a sound that’s perfect in every possible way,” says Malmsteen, adding that players should “prepare to be amazed,” by what this pedal can do.

MXR is no stranger to simple but effective pedals when it comes to minimalist controls – with its ever-adored Phase 90 phaser the most obvious example.

Indeed, minimal knob fiddling puts greater emphasis on the pedal’s dynamic control, so it could represent one of the most responsive overdrive pedals around if the collaboration’s brief has been properly met, potentially making it a valuable asset for players of a huge variety of styles.

For those looking for a little Malmsteen flair for their pedalboard, the MXR Yngwie Malmsteen Overdrive will come as an exciting prospect. It’s set to be available for $129. A yellow-finished version is available from Sweetwater.

Head to MXR for the full story.

Jack White’s Third Man Audio has linked up with French pedal specialist Anasounds for the La Grotte – a stompbox that ends his lifelong quest for the perfect analog spring reverb.

After the firm gained huge prominence in the American market, White purchased one of Anasounds’ Elements spring reverb pedals back in 2021 and it was love at first riff.

A desire to collaborate with its makers on a new design – springing off the Elements’ successful template – has resulted in La Grotte, which comes with some major differences to further its tonal goodness.

A mechanical reverb at its core, a three-spring tank is combined with a warm preamp for “a distinct sonic personnalité”. Interestingly, its two-band EQ affects only the reverberated sound, with independent volume settings for dry and wet sounds completing its left-field tweakability.

Two years after his inital Anasounds purchase, White sent off his first draft for La Grotte, and little has changed in the back and forth between the two firms since.

Some fine-tuning was needed to find the right tank and get the right frequencies to shine, with all involved careful not to trigger the spring sound when turning the pedal on. An anti-pop system was the solution, fading the reverb in and out when activated.

Thinking of iconic spring reverbs from Fender and Roland, White deemed a built-in preamp a necessity. Consequently, White and Mancini leant on Anasounds’s expertise, with the resulting circuit offering plenty of headroom but still with the ability to get dirty when pushed.

Players who don’t vibe with White’s preamp sweet spot can find their preferred setting by toying with the pedal’s internal trimpot.

Where the Elements was designed for better highs, La Grotte aims for deeper lows, and the best possible signal-to-noise ratio. It has true and buffered bypass modes, with the reverb trailing off naturally when the buffered mode is used.

A pad allows players to adjust the input level from 0dB to -10dB for those wanting to use the pedal as a studio outboard unit, and the preamp’s “massive volume boost” will “help your tracks come alive”.

The minds behind the La Grotte have extended its application beyond just the electric guitar, too. Its input and output impedance also works with synth, an active bass, and even brass instruments so that musicians of all kind can “benefit from the added soul of an analog spring”.

“It's been a lifetime searching for a small real spring reverb that could be used a stompbox on stage or in the studio,” Jack White reveals.

“The hang-up is that you normally have to use really long springs to get a good sound, making the unit too large. With the La Grotte pedal, it was the addition of the third spring that really brought this sound alive and gave us the ability to have that long decay from a real spring in a small box.

“In addition,” he concludes, “the built-in drive/boost feature you get from the Dry knob is very impressive in how it elevates the signal you are sending to the springs.

Third Man Hardware is no stranger to collaborative releases, having worked with CopperSound Pedals for the Triplegraph digital octave pedal, and budget-friendly firm Donner for the floor space-saving Triple Threat.

The standard La Grotte edition of the pedal will cost $299, a limited-edition, yellow-heavy housing rising to $349. It will be available exclusively from Third Man's Reverb shop.

Visit Anasounds and Third Man Hardware to discover more.

Origin Effects has added to its Halcyon range of overdrive pedals with the Halcyon Blue, which is inspired by Marshall’s iconic ‘90s Bluesbreaker pedal.

That pedal was reissued by Marshall last year, with the firm saying it reproduced the original format “exactly” – and so Origin Effects has clearly seen an opportunity to go one step further.

This new homage is said to “capture the Bluesbreaker magic” while new features ensure fresh ideas are brought to the table.

It has been built around Origin’s proprietary Adaptive Circuitry, which helps generate the original’s vintage character but vies for improved playability and “boutique-style modded tones” to boot.

It becomes the third pedal in the Halcyon series, following the Halcyon Green and Halcyon Gold pedals – which mimicked the majesty of the Ibanez TS808 Tube Screamer and Klon’s infamous Centaur boost pedal, respectively.

Here, its Adaptive Circuitry empowers players to change the pedal’s tone in response to volume knob tweaks and dynamic playing.

Pulled back, the pedal promises to deliver a “sparkling clean tone” free of mid-hump. Give it both barrels and a “faithful Bluesbreaker tone with a warm and prominent midrange” shows itself.

A second voice mode is another notable upgrade from its ‘90s progenitor. Joining the faithful BB mode is a higher gain MOD voicing, which has a different clipping characteristic and extra warmth in the mids that are a dime when pushed through single-coils.

A Dry control also augments its Level, Drive, and Tone parameters. It aids players searching for a little more definition with their edge-of-breakup tones. Equally, it says it can make for a more convincing drive tone when placed before a clean amp.

The pedal also boasts premium components, a high-quality buffered bypass, and a “tough-as-nails brushed stainless steel enclosure” so it can withstand the heaviest of boots.

“The Halcyon Blue Overdrive is a new and unique take on the classic Bluesbreaker tone,” its creators say. .

The pedal is available today and costs $299 + tax.

Visit Origin Effects for more information.

MXR has unveiled Layers, an innovative new soundscaping pedal built around stacked sustains for players to build dense musical landscapes with just a single, standard-sized stompbox.

A layering and sustain pedal, Layers' magic hinges on its ability to stack three sustained, erm, layers on top of one another. The lengths of each layer can be tweaked from short to infinite, and the pedal handles chords and single notes in equal measure, trapping them in dizzying realms of sustain.

It represents a fun ambience-building tool for bedroom guitarists and gigging musicians alike, with a sub-octave feature and the ability to link up with external tap tempo, expression, and keyboard sustain pedals.

Each layer has a dedicated LED status light and is accessed by pressing its footswitch. A Single button keeps the pedal’s features to one layer for a more streamlined effect; double-tapping the footswitch turns all layers off simultaneously.

There are four dials for fine-tuning each layer: Mix, Trig, Attack, and Decay. Mix dials in the volume of the layer effect, but maintains the dry signal’s presence even at the maximum setting.

The Trig knob alters the auto-trigger sensitivity of the pedal, and Attack is all about the attack of the effect itself. Therefore, with the dial rolled back, the effect quickly punches in, whereas, at the other end of the scale, it will swell in for a smoother, more cinematic effect.

Finally, Decay dictates the sustain given to the layered notes. The sustain is at its shortest when dialed back, and rolls up to infinite when maxed out. MXR notes that high frequencies will be more sensitive to faster decays than their lower counterparts. The decay will come into play once the footswitch has been released, therefore locking in that layer.

Each knob can be tweaked in relation to each stacked layer, meaning they can be weaved together for a brain-melting amount of combinations across the three layers.

This principle extends to the sub-octave button that lets users choose which layers its “fat subterranean vibes” are applied to, and which are not.

The pedal has mono, stereo and wet/dry modes for ultra-wide application. Ultimately, there looks to be a world of tone-shaping fun to be had with MXR’s Layers, and the fact it comes in the standard issue MXR housing means integrating it into existing pedalboards is a breeze.

“Build richly detailed soundscapes that elevate musical expression to new heights,” says MXR. “With a versatile suite of controls, this pedal can be as simple or complex as you need. Whether you want to lengthen single notes or generate multi-layered soundscapes rich with ambience, the MXR Layers Pedal will extend the creative potential of your instrument.”

The Layers pedal follows the eagerly-awaited and delay-blighted MXR Randy Rhoads Distortion+ pedal. Its creation saw MXR boffins open up the late Ozzy Osbourne guitarist's famous "chip pan" pan pedalboard for the first time in 40 years to reconstruct Rhoads' personal Distortion+ distortion pedal.

The MXR Layers is available now and costs $219.99.

Visit MXR to learn more.