Latest from Guitar Player in Stompboxes

If you’re looking for cheap pedal deals you need to head over to Amazon - here are 5 awesome stompboxes below the $40 mark

matt.mccracken@futurenet.com (Matt McCracken) — Sat, 30 Nov 2024 14:18:39 +0000

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:

Everyone needs a Rat on their pedalboard, and the Joyo Splinter Distortion can do a lot of different Rat tones in one stompbox. It’s uber cheap and gives you lots of options for tone shaping that make it super versatile. It can do stock rat sounds but also has an option to imitate a Fat Rat and has a MOSFET mode too.View Deal

Based on one of Boss’ most famous chorus pedal circuits, the Behringer UC200 Ultra Chorus is essentially an exact clone of the famous blue Boss pedal. You’d be hard-pressed to tell the difference between the two if you were blindfolded and with this reduction in the sale it’s insanely good value for money.View Deal

You might not have heard of Monoprice before but don’t let that put you off. They actually make a brilliant budget tube amp in the Stage Right by Monoprice, so it’s not surprising to find that their distortion pedal is great value for money too. We really like the fuzzy side of this pedal when you start cranking the settings.View Deal

A genuinely great amp modeler for less than $40? Yes, you’ve read that right. The Joyo American Sound is destined to become a cult classic, delivering the sound of a Deluxe Reverb on a shoestring budget. It takes pedals really well too, making it great for building a pedalboard-based rig without spending loads.View Deal

Reverb pedals are notoriously expensive but the Donner Verb Square absolutely delivers for relatively little money. With 7 different algorithms it can cover a lot of ground whether you want a nice short room tone or something a little more cavernous. It’s the most expensive pedal here but at just below $40, still one of the cheapest reverb pedals you can buy right now.View Deal

‘‘Creating dreamy sounds that were once only possible in world-class recording studios…’’ The new award-winning range of stompboxes from Universal Audio will blow your mind

Art Thompson — Fri, 17 Nov 2023 14:55:12 +0000

The four latest pedals from UAFX are the company’s first to feature compact enclosures, and are designed to be both straightforward and easy to use. Nevertheless, they offer the high-grade tones of the more complex UAFX units they’re derived from — primarily the Starlight Echo Station, Golden Reverberator, Del-Verb Ambience Companion and Max Preamp and Dual Compressor, all of which have been previously reviewed here.

The Evermore Studio Reverb, Heavenly Plate Reverb, Orion Tape Echo and 1176 Studio Compressor have different control functions, but they share a single on/off foot switch, a status LED (it glows different colors to indicate certain functions), and a complement of jacks that includes mono input and output, a USB-C port for connecting to a computer for firmware updates, and a nine-volt center-negative power-in jack for an adapter of 250mA minimum (not included).

Each pedal also has a pair of recessed slider switches on the front: One selects buffered or true bypass, while the other performs different functions depending on the pedal. All measure 4 ½ by 2 ½ by 1 ½ inches and are manufactured in China.

EVERMORE STUDIO REVERB

(Image credit: Universal Audio)

Designed to deliver the spacious ambience, grainy trails and mesmerizing modulation of an iconic, late-’70s digital reverb, the Evermore zeros in on the Lexicon 224 algorithm from the Del-Verb Ambience Companion. Evermore’s streamlined interface has a mod knob that adjusts reverb tail modulation; a mix knob for setting reverb level; and bass, mid and treble controls that respectively adjust low-, mid and high-frequency decay time.

A toggle switch selects three of what the company says are “bit-for-bit emulations” of classic 224 effects: Room, Small Hall and Large Hall.

On the front there’s a bypass switch with trails and true-bypass settings; the former lets the reverb trails play out when bypassed, while the latter stops the trails immediately. The predelay switch adds a slight delay before the onset of reverb when set to on.

A marvel of miniaturization, the Evermore basically gives you the large, 34-pound 224 digital ’verb in a pedal, which is impressive when you consider that the Lexicon unit was behind some great sounds of ’80s-era albums, such as Talking Heads’ Remain in Light, Pink Floyd’s The Final Cut, U2’s The Unforgettable Fire and many others.

(Image credit: Universal Audio)

Evermore’s sounds are beautifully spacious and so inspiring, I could just set up a lush spring-sounding reverb pad and play over it, basking in that space and time continuum.

I was also knocked out by how good the reverbs sound through an amp, and wound up using the Room and Small Hall settings a lot with a non-reverb Fender ’48 Dual Pro.

The mod knob textures things very nicely with subtly grainy modulation when set around 11 o’clock or so, and the reverb time adjustments afforded by the bass, mid and treble decay controls let you create gorgeous ambient washes that are quite breathtaking.

Obviously, the Evermore is serious overkill if spring reverb is all you need to get your guitar game on, but being able to create dreamy sounds that were once only attainable in a world-class recording studio is a luxury I’ll take any day.

CONTROLS: Mod, mix, bass, mid, treble (all EQ controls affect the decay signal). Room/ Small Hall/Large Hall switch

FOOT SWITCH: Reverb on/off

EXTRAS: Bypass switch (buffered/true bypass). Predelay switch

I/O: Input, output, USB-C (for firmware updates), 9V power jack (adapter not included, 250mA minimum)

HEAVENLY PLATE REVERB

(Image credit: Universal Audio)

The Heavenly Plate Reverb reaches back to the technology that German company EMT introduced in 1957 with its model 140 plate reverb unit, focusing on those emulations as presented in the UAFX Golden Reverberator.

Here we find decay (reverb time) and mix controls across the top; a three-position Plate select switch with settings for Vintage Bright, Vintage Dark and Modern Full; and knobs across the bottom for predelay, EQ (reverb tone cut/ boost; flat at noon) and mod (modulation amount; interacts with the front-mounted mod rate slow/fast switch). An adjacent switch selects trails or true-bypass.

The sounds of the EMT reverb are typically what you’re hearing on hit records from the ’60s and ’70s. In general, a plate reverb is more natural sounding than a spring reverb, but there’s also a certain brightness to it that's caused by the fact that higher frequencies travel faster along an eight-foot thin steel plate than the low frequencies.

(Image credit: Universal Audio)

Heavenly’s plate reverb tones can be varied in myriad ways, starting with the Plate switch, which sets the overall response from brighter to darker, and the EQ knob, which controls the frequencies you want to boost or cut. I mostly parked it at noon for a non-boosted response.

Predelay is also useful for adding a bit of delay between the time you hit a note and when reverb is heard, and the mod knob lets you adjust the amount of modulation, which can pulse at your desired rate, depending on the slow/fast switch on the front.

The Heavenly Plate is great for adding vintage-sounding ambience to instrument and vocal tracks, where its smooth, lively reflections make you realize why real plate ’verbs and their digital modeling equivalents (including UAD’s own EMT 140 plug-in) remain popular.

I liked the Heavenly’s sound with acoustic guitar, and it also sounded great when played into a Fender Princeton with the spring reverb turned off. That spring sound is something I did miss with an overdriven electric guitar through the Fender Dual Pro, but the Heavenly sounded cool running clean, and it delivered a nice studio quality to slower tunes, where the reflections created by the Vintage Bright setting were perfect with predelay off and the mod knob at noon or so on a slow setting.

CONTROLS: Decay, mix, pre delay, EQ (reverb tone cut/boost; flat at noon), mod (modulation amount; interacts with mod slow/fast switch). Plate A/B/C switch

FOOT SWITCH: Reverb on/off

I/O: Input, output, USB-C (for firmware updates), 9V power jack (adapter not included, 250mA minimum)

EXTRAS: Buffered/true-bypass switch. Mod rate switch (interacts with mod knob)

ORION TAPE ECHO

(Image credit: Universal Audio)

Using algorithms from the Starlight Echo Station, the Orion Tape Echo offers authentic emulations of the vintage Maestro Echoplex EP-III tape delay. The delay knob sets the echo rate, mix adjusts echo level (100 percent wet at maximum), and the three-position Tape (tape-age) switch offers Mint, Worn and Old settings.

There’s also a feedback knob for echo repeats, a Wonk knob to adjust wow and flutter (interacts with the Tape setting), and a record level control that varies tape “color” (i.e. distortion), which increases when turned clockwise.

On the front is a bypass switch with trails/true-bypass settings and a preamp on/off switch. In the on position, the preamp is active in either bypass mode, whereas when set to off the preamp is never active when the pedal is bypassed.

The Orion is a colorful and expressive delay that provides a lot of control, but you can set the knobs pretty much anywhere, short of full oscillation, and it just sounds good.

(Image credit: Universal Audio)

The tape-age switch is useful for getting the tape character that you want, from a clear, smooth response on the Mint setting to progressively more grunginess and lo-fi texture. The Worn mode sounded great as the echo repeats faded into gritty darkness, and the record level control can make things grimier when it’s turned up.

The EP-III’s coveted preamp stage is a tone enhancer, so I kept it on the dry signal full-time, with bypass in trails mode. I also liked to set the delay, mix and feedback controls to taste and toggle between the tape-age settings.

Orion sounded cool through the Dual Pro with single-coils and humbuckers alike from a Knaggs Severn SSS Trem and a Gibson Memphis ’63 ES-335. This pedal sounds so tactile and organic, and having the preamp on even when not using delay definitely adds tone. It’s one of a kind, and a keeper.

CONTROLS: Delay (echo rate), mix, feedback (echo repeats; self-oscillating at maximum), Wonk (wow & flutter; interacts with tape-age switch), record level (tape color; turn clockwise for more distortion). Mint/Worn/ Old Tape switch

FOOT SWITCH: Echo on/off

I/O: Input, output, USB-C (for firmware updates), 9V power jack (adapter not included, 250mA minimum)

EXTRAS: Buffered/true-bypass switch. Preamp on/off switch

1176 STUDIO COMPRESSOR

(Image credit: Universal Audio)

As the name implies, the 1176 focuses on that classic UA studio compressor. Designed by UA founder M.T. “Bill” Putman, it was the first compressor to use solid-state circuitry and ultra-fast FET gain reduction and has been a mainstay of the studio scene for decades.

The UAFX 1176 features a standard set of comp controls — input, output, attack, release and ratio — but things get interesting with the Type switch (only labeled as such in the one-page manual), which has three modes.

Single is classic UA 1176 Rev E compression (all of the selections here are Rev E versions which refers to the early ’70s blackface low-noise units designed by Brad Plunkett). Dual is two 1176s in series “L. Zep” style, and Sustain is two 1176s in series “L. Feat” style.

Circling back to the controls, there’s also an All function on the six-position ratio knob that provides the response of an 1176 with all of its buttons pushed in, and an off setting that offers circuit color without compression.

On the front is a bypass switch with buffered and true-bypass settings, as well as a parallel switch: Turn it on for blended dry and compressor signals, or leave it off to hear just the comp signal.

The 1176 has that unique quality of making instruments sound juicier and smoother, and the Type switch is all-powerful, as you can simply set it to Single and crank up the input until you get the amount of squeeze needed (the LED glows green, orange or red depending on how much compression is being used), and then tailor the output, attack, release and ratio to suit the playing feel you want.

(Image credit: Universal Audio)

Toggling to the Dual and Sustain positions often results in having to reduce the input level to prevent distortion (because you’re dealing with two comps in series), but the fun really begins when you start exploring the dynamic qualities of these sounds. Dual mode models a Jimmy Page trick of grinding up the input on the first 1176 and using the second to add tube-like sustain and feel.

In contrast, Sustain mode models a setup used by engineer Donn Landee that involves DI-ing the guitar into the first 1176 set for mild compression, and then into the second 1176 set for super squash. From there, setting the attack and release controls in opposite directions yields the clean sustain that Little Feat’s Lowell George was after.

The Sustain mode is cool, as it delivers a very clear sound with lots of sustain that’s really sweet for slide playing. It also sounds great for lead and rhythm with distortion from a pedal, or you can switch to Dual mode, crank up the input and enjoy that kind of Helios console–style grind. It all points to the 1176 Studio Compressor’s great versatility.

CONTROLS: Input, output, attack, release, ratio. All setting is a 1176 with all the buttons pushed in. Off setting is circuit color without compression). Single/Dual/Sustain switch

FOOT SWITCH: Compressor on/off

I/O: Input, output, USB-C (for firmware updates), 9V power jack (adapter not included, 250mA minimum)

EXTRAS: Bypass switch: buffered bypass/ true bypass. Parallel switch: On is dry and compressor signals blended; Off is compressor only signals

Acoustic Control Gamma Effects Pedals Review

Dave Hunter — Thu, 21 Sep 2023 16:59:59 +0000

The budget effects lineup has been a popular go-to for many manufacturers over the past several years, but Acoustic Control Corporation – the parent company behind the new six-pedal Gamma lineup – arguably has a richer history in vaunted professional gear than most. This is the company behind the massively powerful Acoustic 361 bass amps that became a touring staple from the early ’70s through much of the ’80s, belting out the low-end of four-string stars like Jaco Pastorius, John Paul Jones, Larry Graham, John McVie and many others.

Following a pair of lower-priced solid-state guitar combos in the Gamma range, the company’s new no-nonsense Gamma pedal lineup is designed in the USA and manufactured in China, and features six perennial standards, including three flavors of gain, chorus, reverb and delay. All but the latter two are a mere $69, with those pricier offerings landing at $89 each.

They all fit into the same rugged 4.59 x 2.75 x 2.19-inch metal box, each differentiated by its own color and model name – mostly based on the Greek god that best represents the pedal’s capabilities – and all sport knurled silver knobs plus bonus features on a few, as detailed below.

Each pedal also carries the same single input, output and electronic-switching buffered bypass, and has an easy-access battery panel on the underside with a nine-volt DC center-negative adaptor input on the forward edge.

All were tested using a Fender Jazzmaster and a Gibson Les Paul into a 65amps London head and 2x12 cabinet, and a tweed Deluxe-style 1x12 combo.

ATLAS BOOSTED OVERDRIVE

(Image credit: Acoustic Control Corporation)

The candy-orange Atlas Boosted Overdrive is a low-to-medium-gain drive pedal aimed at gain staging and overtone enhancement without masking the character and dynamics of your guitar and amp. It also enables hotter levels to push tube amps into heavier breakup with the Boosted toggle switch engaged. Control knobs include drive, level and tone.

While the characteristics of a low-gain boost or overdrive can sound quite subtle on paper, many guitarists find the resulting tone to be transformative, and I was impressed with how well the Atlas ticked that box for the price.

This is a surprisingly balanced and open-sounding overdrive pedal, with lots of shimmer and harmonic enhancement plus plenty of clarity throughout the gain range. And it all gets delightfully more so with the Boosted switch engaged, without going overly squishy or hairy.

What’s more, there’s a sweetness and musicality to it that holds up quite well against many boutique overdrives costing two or three times this much. It doesn’t quite perform Klon-level tonal magic tricks, but the Atlas delivers very appealing low-gain overdrive that should suit a boatload of applications.

CONTROLS: Level, drive, tone

SWITCHES: On/off foot switch, Boosted/ Normal gain mode switch

BACCHUS DYNAMIC DRIVER

(Image credit: Acoustic Control Corporation)

Colored a rich red in honor of the Greek god of wine-making and bacchanalia, the Bacchus is a broad-ranging gain pedal billed as taking you from “edge of breakup” to “epic metal tone.” Controls include drive, level and tone, and there’s a Fat mode switch for a thicker, more full-bodied core tone that the makers say is great for fattening up single-coil pickups or adding more girth to humbuckers.

Despite the maker’s description, the Bacchus doesn’t provide notably more gain than the Atlas, perhaps until you wind the Drive up toward max. What it does present is a more midforward voicing that’s a little closer to the classic hazy thickness of the Tube Screamer platform, which still appeals to so many players.

It’s a warmer, slightly chewier overdrive overall, with perhaps a little more compression at the front of the note. The Fat switch does as advertised for single-coils, although it’s subtle at best and virtually negligible with the Les Paul. A good one when your clean amp needs an injection of thick and juicy.

CONTROLS: Level, drive, tone

SWITCHES: On/off foot switch, Fat/Normal voicing mode switch

HADES METAL DISTORTION

(Image credit: Acoustic Control Corporation)

Of all the Greek god–themed pedals in the bunch, the metallic-black Hades is probably the most accurately self-descriptive. The maker promises aggressive high-gain distortion without sacrificing articulation and clarity… unless you want it that way. Full-size knobs offer drive and level, with the smaller black plastic knobs below them for setting bass, mid and treble levels.

The distortion pedal might be one of the simplest of gain-increasing devices to approximate, yet one of the trickier to do really well. The Hades gives it a good try at this price, delivering what players generally expect from the sector. It piles loads of saturation into a traditional metal-voiced driver that’s an easy one-stop-shop for classic metal tones, with a fairly portly feel overall. That said, it benefits from respectable clarity for a high-gain pedal and a crispy high end that helps it cut through.

Rolling the mid control down to zero for that archetypal scooped EQ really just eviscerates the thing entirely, dropping the volume in the process. Its voicing is pretty darn scooped as is, although boosting bass and treble can further enhance that. Raising the mid, on the other hand, unveils a chunky, retro-metal sludge that I enjoyed even more.

CONTROLS: Drive, level, bass, mid, treble

SWITCHES: On/off foot switch

EROS CLEAN CHORUS

(Image credit: Acoustic Control Corporation)

Was naming this metallic-pink chorus after the Greek god of love intended to evoke the potentially dizzying effect of both the emotion and the pedal? Either way, it’s an easy pedal to like, if maybe not be obsessively enamored of.

Controls for level, depth and speed govern an analog circuit biased toward the crisp and shimmering. Chorus pedals – even pricy ones – can range from the delectable to the distracting, which makes the Eros’s achievements all the more impressive at this price point. This Gamma design does well, in my view, to avoid the extremes, restraining all parameters to the musical and usable. The result is an appealing chorus that’s easy to dial in and a doddle to work into your setup.

The “Clean” in the name hints at the fact that this pedal doesn’t give you the characterful analog textures of a CE-1 or a Small Clone, instead focusing on the effect itself, making it sweetly loveable and a real grower of an effect in the process.

CONTROLS: Level, depth, speed

SWITCHES: On/off foot switch

NARCISSUS WARM DELAY

(Image credit: Acoustic Control Corporation)

Is delay the effect of the vain and self-obsessed? The metallic-green Narcissus seems to think so, although after just a short while I found it to be quite giving, selfless and eminently likeable. Rather than employing the generic delay DSP found everywhere these days, the Narcissus is a nominally analog delay. It uses a Princeton PT2399 chip with some digital elements that has lately been found in a number of modern pedals that chase bucket-brigade-like echoes.

Controls for time, echoes (repeats) and level are all you need to get the job done. I didn’t expect a whole lot out of a delay pedal listed at $89, which made the Narcissus all the more surprising. Without offering the bonus functions and added-parameter switching of more complex units, it sidesteps all the second guessing, simply delivering very usable and appealing echoes right out of the gate.

I found the “Warm” in the name entirely justified, with the delectably thick impersonation of girthy analog-like repeats providing more character than might be expected from such a pedal. In addition, the long delay time allowed for major atmospherics and some wild self-oscillation when desired. Tasty stuff.

CONTROLS: Time, echoes, level

SWITCHES: On/off foot switch

CUMULUS 3-WAY REVERB

(Image credit: Acoustic Control Corporation)

The metallic-blue Cumulus strays from the Greek-god theme to dub a reverb pedal in the sky-themed manner that some other makers have used of late. This is the only properly digital pedal in the lineup, and the “3-Way” in the name represents the impressive variation of type found on its mini-toggle selector for Studio, Spring and Plate.

The decay, tone and mix knobs set the depth and timbre. Reverb is tricky to do extremely well on a budget, and the Cumulus perhaps makes that case first and foremost, although it’s also a usable and well-designed pedal at heart. Each of its three reflection varieties is usable, if not terrifically realistic, and the controls offer the range to do just about anything you’d want from a compact, workaday pedal.

The overall quality, however, puts me in mind of the DSP loaded into more affordable “multi-featured” solid-state practice amps. It certainly does most of what it sets out to do and should provide good value to many players, but arguably it isn’t overly inspiring. It was also the noisiest of the six Gamma pedals upon switching on – perhaps not unusably so and perhaps noteworthy only because the others are so impressively quiet.

CONTROLS: Decay, tone, mix

SWITCHES: On/off foot switch, mini- toggle for reverb type: Studio, Spring and Plate

CONCLUSIONS

In all, I was impressed with the six-pedal Gamma series, and certainly more than I had expected to be, given the price range. They are well designed and ruggedly built, their buffered-bypass is refreshingly neutral, and all deliver sounds and functions commensurate with their promises and expectations.

I found the Eros a chorus pedal that I could easily use in many situations. But I was even more smitten with the Atlas Boosted Overdrive for its balance, clarity and tasty overtone enhancement, and with the Narcissus Warm Delay for its girthy analog character and excellent range of parameters.

All are worth checking out, but the latter two deserve Editors’ Pick Awards.

Visit Acoustic Control Corporation for more information.

Soma Laboratory Cosmos Drifting Memory Station Review

Christopher Scapelliti — Tue, 19 Sep 2023 16:39:39 +0000

Soma Laboratory is not well known to guitarists. Based in Russia and Poland, the company was founded in 2016 by radio engineer and musician Vlad Kreimer after the successful creation of his LYRA-8 synthesizer, a device that, in a unique move, generates tones from eight tunable touch-sensitive plates. Unlike most musical instrument makers, Soma’s devices are designed to make musicians rethink how they approach the tools for creating music and, in doing so, break with the usual constructs of pitch and rhythm that define Western music, all while engaging more with themselves, their environments and each other.

Cosmos is a perfect example of that ethos. To quote the company’s literature, it’s “a drifting memory station designed to work with meditative states through music.” To put it in terms more familiar to guitarists, Cosmos was inspired by Robert Fripp and Brian Eno’s Frippertronics system to create ambient washes of sound through a combination of extremely long delay times and multiple delay lines. Suffice to say, Cosmos is not your traditional delay pedal but rather a generative musical device for mindful sonic exploration and performance. There’s a lot to get into, so let’s get started.

Cosmos’ control panel includes an input and output level control at either end, between which are seven rotary controls. The large central dial is where you choose which of the pedal’s effects you’ll be using. Cosmos has four types of algorithms – Two Delays, Four Delays, Giant Reverb and Granular Delay – each with three variations.

Two Delays, which consists of two delay lines that constantly shift relative to one another, has delay times of about 2.5, 9.5 and 22 seconds. Similarly, Four Delays has four shifting delay lines with times of roughly 2.5, 8.5 and 11.5 seconds. Giant Reverb simulates echoes in an imaginary hall several kilometers in size, and is offered in huge, super-huge and insanely-super-huge varieties. Finally, Granular Delay chops the delay signal into small, medium or large grains, and the large setting includes an additional central granular delay.

The other controls are used to shape the chosen algorithm. From left, they include blur, drift, drive (a gentle overdrive), sup/com, FB (feedback) and mix (wet/dry balance). A few of these require some explanation.

(Image credit: Soma Laboratory)

Blur: In the Two and Four Delays algorithms, blur adds cross-feedback between the delay lines, which causes the lines to become less separate and distinct. In the Granular Delay modes, it modulates the position of the grains. It does nothing in Giant Reverb.

Drift: With Two and Four Delays, drift randomly modulates the delay lines’ positions to make them drift across the stereo field rather than remain in the left and right channels. Likewise, with Granular Delay, drift randomly modulates the positions of the grains within the panorama. It does nothing in Giant Reverb.

Sup/Com (Suppressor/Compressor): With this control in its middle position, no effects are applied. Turned counterclockwise, it applies a suppressor that replaces previously recorded sounds with new ones. The louder the incoming sound, the more suppression is applied. When turned fully clockwise, it engages a compressor that makes soft sounds louder and loud sounds softer.

Feedback: Similar to the feedback control on a delay, this affects how long you hear the effected signal. If it’s set to less than 1.0, the delays will fade. At 1.0, the sounds stay at the same level, and at greater than 1.0, the volume of the effected signal will increase. The manual suggests, “In most cases, this knob should be at a position slightly less than 1.0,” which was accurate to my experience.

(Image credit: Soma Laboratory)

In addition to all that, Cosmos has five function buttons along the bottom of the pedal: (from left) HPF, LPF, erase, reverse/select, and record/erase all.

HPF and LPF engage high-pass and low-pass filters, respectively, on the effected signal. Each button has two LEDs that indicate whether the filter is off (no LEDs lit) or on at various levels of intensity that can be set by pressing the button in conjunction with the reverse/select button.

Erase can be used to erase signals from the delay line or to clear the memory buffer when pressed along with the record/erase all button.

Reverse turns on reverse playback for each effect, and record has four modes indicated by two LEDs. When turned off (no LEDs lit), any recorded sounds are heard and any new signal is heard unaffected at the output. This is ideal for playing live over your recorded sounds. You can also choose to record to just the first group of delays (left LED lit), the second group of delays (right LED lit) or both (both LEDs lit). This last is the Cosmos’ main mode.

Finally we have a five-LED sound level indicator with two green LEDs, two yellow LEDs and one red LED. Green indicates the volume is sufficient, yellow is for maximum volume without distortion, and red indicates that the built-in limiter has been triggered. Keep your signal in the green and yellow LEDs and you’ll be fine.

While Cosmos’ controls may seem arcane, the pedal is intuitive to use once you understand each control’s application

Around the front are the on/off switch, the 1/4-inch left and right inputs and outputs, a 1/4-inch stereo headphone output, the 12-volt power input and a USB 2.0 port to which you can connect a flash drive when it’s time to update the unit’s firmware. (Note that Soma has different firmware versions available on its site, including a rhythmic version with a completely different set of algorithms.)

The inputs can take TS and TRS cables, and the left and right inputs are sent to different delay groups. If you’re sending just one signal, it will be replicated at the other input. You can also put Cosmos into a dual-mono mode, allowing it to act as a mixer for two mono sources.

While Cosmos’ controls may seem arcane, the pedal is intuitive to use once you understand each control’s application. And even though it’s designed to be used as a floor unit, the push buttons are easy enough to press with your fingers, making it useful as a desktop unit.

Cosmos is beautifully designed and solidly built in a steel enclosure that’s now available in orange, pink, blue, green, white and black. And, I’m happy to say, the sound is audiophile quality, thanks to a 48 kHz sampling rate with 24-bit resolution. In addition, Cosmos has a built-in noise gate that helps keep the loop sounding clean, and you can adjust its sensitivity as needed by following the manual’s instructions.

I had a blast using Cosmos and really enjoyed the contemplative mood it put me in, regardless of the algorithm chosen. The delay times, even at their shortest, are long enough to discourage the sort of rhythmic playing I usually fall into when using a delay, and I found this was a natural inducement to sonic experimentation.

(Image credit: Soma Laboratory)

The interplay between the original signal and the effect led me to be alternately mindful of what I was playing and blissfully trancelike as I sunk into the groove of what was being generated.

I especially like the Granular Delay algorithms, with their pleasing rhythmic blip-like effect. The small Granular Delay setting, in particular, provides a nice entry point to the Cosmos. With feedback set low, suppression engaged and mix at the midpoint, the effect was manageable, never overwhelming, and allowed me to move slowly around the fretboard without creating too much harmonic chaos. From this starting point, I could gradually explore the pedal’s more extreme modes and settings.

Given Cosmos’ unique nature, I found a few basic ground rules helped me to get the most out of it. First, use the stereo output to receive full enjoyment from the unit.

Second, use the suppressor/compressor control on the fly to change how long sounds remain in the buffer.

Third, keep feedback just under 1.0, as lower settings make the sounds fade away too soon and don’t play to Cosmos’ strengths.

Fourth, hit that reverse switch to smear the effect and add a psychedelic wash that blurs things even more.

Fifth, use those filters! Engaging the high- and low-pass filters is a great way to add character to the effects and create a sense of depth between your original signal and the effected signals.

Lastly, grab that central dial and switch up the modes as you play. Any signal that’s in the buffer will be seamlessly transferred to the newly selected mode, allowing you to follow your sonic bliss without suffering any abrupt changes in mood.

It’s not often that a pedal is both an effect and a generative musical device. Cosmos is that rare thing, as well as a mood-shifting gizmo that will expand your creative mindset while it soothes you, lowers your blood pressure and lets you drift off into heady sonic realms.

For its uniqueness, gorgeous sound and healthful benefits to mind and spirit, it gets an Editors’ Pick award.

Specifications

BUILT: Europe
CONTROLS: Input and output volume, blur, drift, drive, algorithm select (Two Delay, Four Delay, Giant Reverb, Granular Delay), suppressor/compressor, feedback, mix
FOOT SWITCHES: High- and low-pass filters (each with two status LEDs), erase, reverse/select (with status LED), record/erase all (with two status LEDs)
I/O: 1/4” TS/TRS left and right inputs, 1/4” TS/TRS left and right outputs, 1/4” stereo headphone
AUDIO: 48 kHz sampling rate, with 24-bit resolution
POWER: 12VDC (adapter included)
OTHER: USB port for firmware updates via flash drive
DIMENSIONS: 13.5” x 6” x 2.6” (LxHxD)

Visit Soma Laboratory for more information.

Fishman AFX Mini Acoustic Pro EQ Mini, Broken Record, AcoustiVerb and Pocket Blender Effects Pedal Reviews

Jimmy Leslie — Fri, 18 Aug 2023 10:21:29 +0000

Fishman joins the revolution for effects tailored to acoustic guitars with four AFX Mini pedals. They include the Pocket Blender AB/Y mixer, the Broken Record looper/sampler, the Pro EQ Mini preamp and equalizer and the AcoustiVerb reverb.

Each pedal is voiced to play nice with acoustic amplification, something that Fishman, manufacturer of the venerable Loudbox, knows a thing or two about. The AFX Mini concept provides powerful 32-bit processing in a durable aluminum enclosure that has a footprint less than two inches wide, under four inches deep and not quite two inches tall. On the surface, each pedal is relatively straightforward, but there’s a lot more under the hood.

AFX effects process in parallel, meaning the effected signal runs alongside the pure direct signal, not on top of it. The pedals can operate in mono with standard instrument cables, but they also have an option for dual-channel audio when using a TRS stereo cable (not included). You can then assign each pedal using a switch on the back to set the audio path to tip or ring, and choose between buffered or true bypass.

AFX PRO EQ MINI

(Image credit: Fishman)

Based on Fishman’s Platinum preamp, the Pro EQ Mini provides up to 20dB of gain and impedance matching for a variety of pickup types. The Pro EQ Mini has a level control, an input trim to dial in the best sound with the lowest noise, and five EQ faders – bass, middle and treble, plus low cut and brilliance – to aid in sculpting your acoustic guitar’s voice.

In use, the EQ helped home in on the bass, treble and middle ranges of whatever instrument I tried, from a Taylor 816 Grand Symphony to a Cole Clark True Hybrid to a Martin CS-SC-2022, which are all very different. The brilliance control was subtle but handy, while the low cut was a godsend. One could argue that’s the most important EQ control for an acoustic tone hound, as it sets the stage for where the signal sits in a mix.

On a big guitar, I used it to harness low-end boom, especially in conjunction with significant amounts of reverb. With thinner instruments, setting the low cut at the very bottom, bringing up a bit of the bass EQ and cutting some mids made the instruments sound much beefier without feeding back. The Pro EQ Mini has a phase switch to help curtail feedback, and the pedal can be configured as an audio mute, which is especially handy if you have no other mutes in your signal chain.

Specifications

CONTROLS: Level, input trim, level indicator LED. Switches: buffered or true bypass; audio path: tip (mono) or ring
FOOT SWITCH: Assignable as on/off or audio mute
I/O: ¼” TRS input and output jacks
BUILT: China

AFX BROKEN RECORD

(Image credit: Fishman)

Here’s a keep-it-simple looper/sampler that can hold up to six minutes of 24-bit audio, which can also be transferred to a computer. In sampler mode, the main foot switch can trigger audio to play once and then stop. The pedal will remember what you’ve recorded even when powered down, and the same is true for the last recorded loop when in looper mode. That’s how I was mainly interested in using the Broken Record.

When a looper has one button, that button must do everything, so you’re going to have to use it in various ways, such as multi-tapping and holding. That’s true here, and while it works as you would expect to record, start or stop play, overdub, undo or erase, it’s a good idea to study the manual to get the gist. While I prefer a looper with at least two buttons, the AFX Broken Record functions and sounds as well as any one-button looper I’ve come across.

Specifications

CONTROLS: Level, LED indicator red/yellow/ green. Switches: looper or sampler mode; buffered or true bypass; audio path: tip (mono) or ring
FOOT SWITCH: Record/play/stop/overdub/ undo/erase
I/O: ¼” TRS input and output jacks, USB-C for audio phase transfers

AFX ACOUSTIVERB

The AFX Acoustiverb has three reverb types on offer: spring, hall and plate. There’s a mini-switch to toggle between them, as well as level and tone knobs (positioned left and right, respectively) and a larger knob to control decay time. The controls only manipulate the affected sound, not the direct audio. I appreciated being able to dial in the desired amount of top-end shimmer without brightening the whole guitar tone. Turn it up and the selected reverb glistens. Dial it back and the effect tucks in to become a bit less noticeable.

The spring setting offers the familiar sound of a classic tube amp. Switching to the hall reverb is a significant step, as the effect opens up and really resonates. Switching to plate reverb is less dramatic, the main difference being a more bellowing bottom-end resonance that becomes very evident when you suddenly mute a chord.

I can see why the primary control is decay time, as it has the most dramatic impact, such as allowing you to make the hall reverb sound more like a room reverb. And I appreciate how the pedal lets the reverb spill over even after you hit the bypass button when it’s in buffered mode.

The reverbs are all very high quality, and the pedal proved extremely easy to use. I mostly left the level and tone knobs at noon and toggled between the three reverb types, depending on the tune, and adjusted decay accordingly. The AFX AcoustiVerb puts a lot of ’verby goodness at your fingertips.

Specifications

CONTROLS: Level, tone, decay time. Reverb select: spring/hall/plate. Switches: buffered or true bypass; audio path: tip (mono) or ring
I/O: ¼” TRS input and output jacks

AFX POCKET BLENDER

(Image credit: Fishman)

This pedal for AFX chains is an AB/Y + D.I. with a two-channel mixer. It lets users of dual-element pickup systems balance the signals individually and facilitates sending them to separate amps with their own effects assignments – which I did, using a Taylor 816ce with a Fishman PowerTap Rare Earth.

It’s pretty wild – and rather confusing. For instance, There are many modes to choose from and an indicator light that only indicates on and off, not mix A or B. (Fishman says that feature had to be sacrificed to keep the circuitry completely analog with top-shelf components.) Still, the dual system is a ton of fun once you figure it out.

I sent the Rare Earth’s magnetic signal to a Hughes & Kettner TubeMeister 18 for a slightly overdriven tone to complement the very lively and ambient body sensor signal feeding into a brand-new Taylor Circa ’74 amp (look for a review soon). I used that amp for loop beds created on the Broken Record and added plate reverb from the Acoustiverb to make the percussives in my fingerstyle thump and pop. Blending the signals from the two amps into one dual-tone monolith was absolutely awesome!

Specifications

CHANNELS: 2
MODES: 4-position toggle switch offers: A+B/A, A+B/Mute, A+B/B, A/B.
CONTROLS: Four input faders control tip and ring for each channel. Switches: ground/lift (on back). Foot-switch assignable to A/B mixes or global mute
I/O: ¼” input jack, two ¼” output jacks for AB/Y and D.I.

CONCLUSION

Fishman’s AFX Minis offer a lot of options for the acoustic-electric enthusiast. You can be up and running with a basic mono signal in moments, and while most will take that path, others will enjoy going down the dual-audio-path rabbit hole to discover whole new worlds via an infinite number of tonal blends.

To find that kind of flexibility and sonic superiority from a such a set of miniature and affordable pedals is hugely impressive, and earns the AFX Minis an Editors’ Pick Award.

Visit Fishman for more information.

“It’s My Gain Masterpiece”: Pedal Guru Dan Coggins Reveals the Secrets Behind His New Dinosaural Cogmeister

Rod Brakes — Thu, 17 Aug 2023 18:43:47 +0000

A legend in the stompbox world, Dan Coggins is best known for his groundbreaking Lovetone circuit designs that heralded the start of the 1990s boutique pedal boom. Lovetone’s Meatball, Big Cheese, Brown Source, Cheese Source, Doppelganger, Wobulator, Ring Stinger, and ?/Flange With No Name have since become collectible modern classics, while Dan’s Dinosaural pedals – the brand he started up in 2002 – such as the Tube Bender have also become sought after.

After taking a break from pedal building in 2008, Dan started making Dinosaural pedals again in 2012, at which point a stompbox-obsessed customer by the name of Adrian Thorpe decided to get in touch. Aside from ordering a new Dinosaural compressor, Adrian was also keen to talk about launching his own operation. Now one of the U.K.’s most prominent pedal brands, the fledgling builder would soon become known as ThorpyFX.

“As he was just down the road, I suggested we meet up so I could give him his new Dinosaural OTC-201 Opti Compressor,” recalls Dan. “We got chatting and he mentioned he was thinking about starting his own pedal company. I gave him as much advice as I could. I was involved with ThorpyFX from day one and assisted with things like printed circuit boards. I got involved with designing circuits a few years later and in 2020 started working for Thorpy full time.”

ThorpyFX pedals chiefly designed by Dan include the Deep Oggin chorus/vibrato, ER-2 Uni-Vibe, Fallout Cloud fuzz (EQ section), Fat General compressor, FLIR buffer, Camoflange flanger, and Scarlet Tunic amp emulator, plus “MKII Lovetone” units the Bunker drive, Field Marshal fuzz, and Pulse Doppler phaser/vibrato/tremolo.

"Lovetone MKII" ThorpyFX pedals the Pulse Doppler (Doppleganger), Field Marshall (Big Cheese) and Bunker (Brown Source).Adrian Thorpe

A selection of original Lovetone pedals.Future

Now, Dan and Adrian are also collaborating on a different venture – one that falls under the Coggins Audio brand Dinosaural: the Cogmeister three-in-one gain pedal. It’s an idea that dates back to 2010 when Dan was playing in a covers band (“I wanted a pedal that would fit between my mic stand legs”). Ten years in the pipeline, it wasn’t until 2020 when the pedal guru finally decided to put a prototype together. “I was going to open mic nights and fine-tuning it,” says Dan. “Eventually I thought, Wow! This is really working!”

The Cogmeister originally got off the ground with Dan crowdfunding the first batch of 50 units via Facebook. Here, a supportive community of likeminded guitarists jumped at the chance of owning what Dan has described as his “gain masterpiece.”

Initial runs were hand built by Dan himself, but demand for Dinosaural Cogmeisters soon reached a point where extra help was required. “Thorpy helped me with a bespoke case and the graphics. Before that, I was hand-drilling Hammond cases in my kitchen,” remembers Dan. “From day one, his company has been making the circuit boards for me, which I was then assembling by hand.”

Dan Coggins. (Image credit: Future)

Having gained a reputation as one of the best pedals of its type, demand for the Cogmeister saw production move from Dan’s kitchen table to a commercial production facility. “Thorpy now builds them on a subcontract basis,” clarifies Dan. “This means there’s no longer a long waiting list; they’re readily available. I still test them all individually, however. And I procure all the parts for them – discrete transistors and high-quality resistors and capacitors.”

So what is the Dinosaural Cogmeister exactly?

In a nutshell: a trio of compatible booster effects designed for the electric guitar. Arranged in fixed series and running from right to left, they comprise the Push, Drive, and Solo sections – each featuring its own true/hard-wire bypass stompswitch and corresponding LED.

The Cogmeister is unique because of the gain structure and the way the three effects – Drive, Solo and Push – are combined in a particular order. Drawing on decades of knowledge, skill, and experience (Vox AC30 designer Dick Denney once told Dan, “Blimey, cuz, you’ve got the ears!”) the Dinosaural founder has bestowed each of the pedal’s three sections with unique sonic attributes – equalization curves that complement without overlapping too much.

“The lower row of controls are all to do with equalization,” highlights Dan, “though the Peak knob in the Solo section also controls gain and distortion. The top row of knobs are all to do with gain and level.”

Powered using a standard 9-volts DC (12-volts max) center-negative connection or a regular 9-volt battery, the Push, Drive, and Solo sections sport ‘traffic light’ LEDs. If battery power is running low, an early warning is indicated by the red Drive section light dimming. “I still love using batteries with single pedals,” enthuses Dan. “The current consumption is between 7 and 16 milliamps, so they should last a while.”

Classic rock is the sound the Cogmeister evokes. But it’s a really comprehensive and versatile design
Dan Coggins

The Cogmeister has received great feedback from pro guitarists since its introduction, with That Pedal Show describing its old-school sound as “sublime.” It seems those in the know can’t get enough of it. Indeed, Chris Turpin (Ida Mae, Kill It Kid) bought two Cogmeisters while Paul Stacey (Oasis, Noel Gallagher's High Flying Birds, the Black Crowes) owns three!

So does Dan agree the Cogmeister has a distinct retro flavor? “I didn’t set out to make it that, but the truth is I’m still devoted to the music of the mid ‘60s to the mid ‘80s and, by and large, classic rock is the sound the Cogmeister evokes. But it’s a really comprehensive and versatile design. You can get everything from a clean boost to outrageous Big Muff- and Colorsound-style fuzz.”

HOW IT WORKS

(Image credit: Adrian Thorpe)

Push

“This is the only part of the Cogmeister that bares any resemblance to a previous design,” reveals Dan. “It’s a generic one-transistor treble booster similar to the Dallas Rangemaster and Vox Treble Booster. Out of the old designs it’s more similar to the Hornby-Skewes Treble Booster unit famously used by Ritchie Blackmore of Deep Purple and Martin Barre of Jethro Tull. Actually, it’s more like an upper-midrange booster.

“The Push boost uses a single transistor to ‘triode’ clip. It’s got a gain control to adjust the AC gain of the transistor. So when you turn it up it gets more and more distorted and clips by itself, but the level is correspondingly huge and will overdrive an amplifier or anything that comes after it.

“When the Low control is fully anticlockwise, the Push section is like an old-school treble booster, and as you turn it up you introduce more of the low frequencies which were otherwise high-pass-filtered out. Then it becomes more of a full-range booster. The input impedance is typical for this sort of circuit (about 20 kOhms) therefore it cleans up really nicely using the guitar’s volume control.”

Drive

“The Drive section is a reworked version of my old Dinosaural Tube Bender circuit which came out in 2003,” explains Dan. “It’s a transistor overdrive circuit with a special design that clips very smoothly and sounds remarkably like an overdriven amp.

“The distortion on the Cogmeister Drive section is progressive and natural. It doesn’t use diode clipping, rather it employs transistors to simulate tube low-order symmetrical clipping. This means more complex chords such as a 6/9, for example, retain individual string definition. It’s a combination of symmetrical and asymmetrical clipping, which is compounded further when you push it with the Push boost. The Push section produces asymmetrical clipping, so the harmonics become more complex.

It’s a transistor overdrive circuit with a special design that clips very smoothly and sounds remarkably like an overdriven amp
Dan Coggins

“The Sustain knob is a gain control and the Vol knob adjusts the output level. I added some compensation equalization to the old Tube Bender circuit so that it has more emphasis in the low frequencies and a bit of a deemphasis in the high frequencies. I did this because I like old-school, weighty drive sounds. It’s a bit like simulating an amp and cab.

“The Drive section uses a passive tone circuit with a see-saw tone control – a low-pass filter going anticlockwise, and high-pass filter clockwise (with a mixture of the two in the middle). The Shift switch affects the left-hand side of the Tone knob and adjusts the cutoff frequency of the bass content.

“There are three different grades of mid-dip in the low-mids ranging from around 300-400 Hz up to about 700 Hz, which can make the sound more articulate. The most scooped setting sounds like a silverface Fender amp, while I believe the middle setting [selected with the switch in the upper position] sounds like a Hiwatt. The third position [switch in the middle] is more reminiscent of an early non-master volume Marshall or a Vox AC30 Normal channel.”

Solo

“The Solo section uses Zener diode clipping,” points out Dan. “I came up with the Solo booster after listening to ‘Doctor Robert’ from the Beatles’ Revolver album and studying the frequency spectrum to see where those midrange-y guitars were coming from. I realized it was all between 1.8kHz and 2.8kHz, so I designed a midrange boost to give the guitar that kind of clang – the clarity and clout, if you like, in the midrange.

“The Peak control has a progressive midrange bell-curve emphasis that is centered between 1.8 kHz and 2kHz, depending upon setting. When the Peak control is at zero the Solo section acts as a straight, non-inverting amplifier with a few decibels of gain. My feeling is that whilst boosters are often advertised with huge amounts of dB, in practice when you’re looking to lift a guitar sound then 3 or 4 dBs does the trick nicely. The Level control can be used like a master volume, and it goes from nothing so you can even use it as a killswitch.”

Visit Coggins Audio for contact and further information.

DOD Overdrive Preamp 250, Envelope Filter 440 and Meatbox Subsynth Reviews

Art Thompson — Thu, 17 Aug 2023 17:20:17 +0000

Founded in 1974 by David Oreste DiFrancesco (who contributed the company initials) and John Johnson, Salt Lake City – based DOD became one of the major players in the burgeoning effects market of the 1970s and ’80s. The trio of pedals featured here are part of a group of reissues that are underway now that DOD and its high-tech offshoot DigiTech are back in business under the ownership of Korea-based Cor-Tek, which is the parent company of Cort Guitars.

The Overdrive Preamp 250, Envelope Filter 440 and Meatbox Subsynth all feature analog circuitry, mechanical foot switches with a true bypass, input and output jacks, and a nine-volt adapter jack. They can also be battery powered, which is a convenience many pedals don’t offer (adapter and battery not included). The bottom plate must be removed to install a battery and there’s not much else to see, just the back of the PCB covered by a piece of foam rubber.

I tested these pedals with a Fender Telecaster, a Gibson ES-335 and a new PRS Myles Kennedy signature model equipped with Narrowfield pickups, running them through Fender Deluxe Reverb and Tonemaster Princeton Reverb amps.

OVERDRIVE PREAMP 250

(Image credit: DOD)

One of the company’s earliest products was the Overdrive Preamp, which in time had “250” added to its name. Originally offered in a sheet-metal enclosure, the pedal eventually received a custom die-cast aluminum housing that differentiated DOD pedals from those of MXR, which mainly used Bud box enclosures. The Overdrive Preamp 250 on review here wears a gold sparkle finish and features gain and level controls.

Similar to the MXR Distortion+ but with silicon diodes that increase the output and dramatically change the texture of the gain, the ODP 250 dishes out grind from the moment the gain knob is cracked open and goes into toothy saturation from about 11 o’clock until the knob is maxed, which is where the distortion is the raspiest and the volume is the loudest. The output is dependent on the gain setting here, so this is not a clean booster. The ODP 250 walks the line between fuzz and distortion, and it’s a great all-rounder for lead and dirty rhythm, where its responsiveness to playing touch are welcome attributes. You may have to work the guitar’s tone control to keep the high-gain grit in check, but it nails old-school rock distortion and is a nice contrast to the tube-style pedals so prevalent nowadays.

The Overdrive Preamp 250 hearkens to a time when designers were trying to figure out how to make solid-state pedals (and amps) that sounded like tube circuits, before Ibanez cracked the code with the TS-808. Ironically, Oreste made his first distortion pedal in the ’60s while a missionary in South America, where local guitarists asked if he could build something to give them the “Satisfaction” sound. Since he didn’t know about Keith Richards’ use of the Maestro Fuzz Tone at the time, Oreste reverse-engineered the FZ-1’s sound with a circuit that used cascaded 12AX7 tubes.

Specifications:

CONTROLS: Gain, level
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. True bypass with LED. Can be battery powered
WEIGHT: .62 lbs
BUILT: China

ENVELOPE FILTER 440

(Image credit: DOD)

The sparkle-green Envelope Filter 440 is a two-knob auto-wah that responds to picking dynamics to produce effects similar to working the rocker on a wah pedal. The 440’s sounds can be shaped in various ways with the level and range controls, along with a two-position toggle switch that alters the frequency sweep from brighter and more vocal in the up position (where the sound is the most wah-like) to bassier and whooshier in the down position.

Setting the switch up produced tones that instantly reminded me of the Grateful Dead’s “Estimated Prophet” (Jerry Garcia probably tracked the funky lines with a Mu-Tron III pedal), while flicking the switch down yielded chewier textures imbued with a “bow wow” inflection that can be cool for rhythm playing, where adjustments in picking can evoke an almost phaser-like swooshiness that sounds great with distortion.

Specifications:

CONTROLS: Level, range, voice switch
OTHER: I/O, dimensions, weight and country of origin identical to Overdrive Preamp 250

MEATBOX SUBSYNTH

(Image credit: DOD)

The Meatbox tracks well on single lines and somewhat less so when playing intervals, which can induce a little gronkiness to the brew — all part of the fun of analog technology that’s represented by this cadre of most welcome DOD reissues

Another remake of a classic, the Meatbox Subsynth debuted in the ’90s alongside the Gonkulator ring modulator, Milk Box compressor and others. It produces a subharmonic synthesized note in the 30-60 Hz range. This update sports red paintwork emblazoned with a fly, and four controls: octave (varies the amount of octave sound; full-up is 100 percent wet), low, output and sub (adds subharmonic content).

The effectiveness of the sub control begins around noon, and the sound gets progressively deeper and more rumbling as you turn it up. I liked using the Meatbox with octave and sub both around one o’ clock and the low and output knobs at maximum. Pushing it with an overdrive pedal really makes this thing come alive, and I used both a TWA SH9 and the aforementioned Overdrive Preamp 250 to coax grinding, low-down tones that were a blast for low-string riffing.

Specifications:

CONTROLS: Octave, low output, sub, low
EXTRAS: Allows splitting the output into wet and dry signals by using a TRS cable
OTHER: I/O, dimensions, weight and country of origin identical to Overdrive Preamp 250

Visit DigiTech for more information.

Make Your Tone Stand Out With These Seven Pro Tips on Guitar EQ

Craig Anderton — Fri, 04 Aug 2023 14:49:41 +0000

You can make dramatic changes to a guitar’s tone with EQ, and the settings below offer some common tonal options.

Note that if distortion is part of the signal chain, patching EQ pre-distortion causes a boosted range to distort more readily, and thus changes the distortion intensity and tone. Post-distortion EQ affects only the distortion tone.

1. Tighten

Insert a sharp high-pass filter to reduce frequencies below about 100Hz.

This opens more room for the bass and kick, and also gives more of an open-back cabinet sound.

2. Beef Up

Too much boost in the 200Hz to 400Hz range often results in a muddy tone, but a little boost can give a beefier sound.

However, many instruments have energy in this range, so a boost is most effective if the guitar isn’t competing with other instruments.

Use a parametric stage with moderate Q (resonance). Too wide a Q increases the risk of muddiness, whereas too narrow a Q can give a more gimmicky, “plastic” sound.

3. Airy & Bright

The usual choice is a high-shelving EQ set for lots of boost with the shelf leveling off at around 5kHz.

This raises the level of frequencies above the notes themselves, which emphasizes harmonics and adds gloss to humbuckers and acoustic guitar sounds.

4. Boomier

A low-shelving EQ that starts boosting at around 200Hz does the job.

Alternatively, a parametric stage boosting at around 100Hz to 150Hz can also give a bassier sound.

5. Articulate

Boosting in the 3kHz to 4kHz range brings out harmonics, pick noise and transients, but be careful, the ear is most sensitive in this frequency range, so a little bit of boost goes a long way.

When you need a guitar to cut through a mix or live performance setup, boosting this range will help.

6. Honk

A boost at 1kHz to 2kHz emphasizes the tone between beef and articulation.

The sound is thick, but not quite as dark as the beefy frequencies, or as prominent as the articulation range.

Boosting the honk frequencies post-distortion provides a smoother, more prominent guitar solo.

Boosting pre-distortion gives a more touch-sensitive feel in the upper notes for leads.

7. Smile

This uses a very broad Q that cuts around 300Hz to 500Hz to “knock a hole” in the midrange, while leaving the highs and lows intact.

A cut this major reduces the overall level quite a bit, so compensate by bringing up the gain.

This curve is particularly useful when the guitar needs to get out of the way of other instruments, but still have a presence.

A Favorite of Eddie Van Halen, the MXR Phase 90 Smeared Its Luscious Tones Over Countless Classic Recordings

Dave Hunter — Tue, 01 Aug 2023 11:02:30 +0000

For a time in the 1970s, guitarists were using phase shifters like they were going out of style. Remarkably, while the effect lost some of its popularity in the decades that followed, it has remained a staple of the guitarist’s arsenal.

After all, why hack out static-sounding guitar tracks when a phaser can give them a stunningly three-dimensional swirling sound?

Maestro and Electro-Harmonix were among those that popularized the devices, but undoubtedly the most-loved phaser of its time was the MXR Phase 90.

More dramatic sounding than MXR’s Phase 45, more affordable and less obtrusive than the larger two-knob Phase 100, the Phase 90 hit the sweet spot, and it landed on a bucketload of classic recordings and touring pedalboards as a result.

Edward Van Halen smeared its tones all over Van Halen I, David Gilmour used one to add six-string sheen to Pink Floyd’s “Shine on You Crazy Diamond,” and Mick Jones slathered it on the Clash’s “Lost in the Supermarket,” to name just a few artists and recordings associated with the Phase 90.

At the heart of a phase shifter is a circuit that splits the incoming signal in two and reverses the phase of one strand by 180 degrees. A low-frequency oscillator is then applied to the signals, causing them to intersect at varying points along the frequency spectrum.

When the two signals meet, they are 180 degrees out of phase with one another and cancel each other out, creating a “notch” in the frequency. As the oscillator sweeps those notches up and down the audio spectrum, it produces the characteristic swooshing effect that these pedals are famous for.

The Phase 90 was the debut effect from MXR, which Terry Sherwood and Keith Barr formed in 1972 in Rochester, New York. Designed by Barr and released in either 1972 or ’74 (sources vary), the Phase 90 is a four-stage phaser, since it has four independent stages at which the signal’s phase is reversed, resulting in two modulated frequency notches.

The speed at which these notches are swept up and down the frequency spectrum is controlled by the Phase 90’s lone control knob.

Because the original MXR pedals were not true bypass, the input signal passed through the pedal’s buffer stage even when the effect was switched off, which caused it to suffer from tone suck.

By late 1974, MXR had introduced other pedals, including the Blue Box octave fuzz, Distortion+ and Dyna Comp compressor. Toward the end of the same year, the Phase 45 was released, followed by the Phase 100 in 1975.

The MXR Phase 90 is a four-stage phaser

These early pedals had their names and MXR’s logo silkscreened on their fronts in a distinctive script font. By 1976, all the pedals in the line were given more modern block-letter logos encircled by a black box.

By then, MXR was the pro choice among the many alternatives on the market. Unfortunately, the competition was massive, and that, among other factors, helped drive the company out of business in 1984.

Dunlop acquired the MXR brand in 1987, and has released several reissue renditions of the Phase 90 and other MXR favorites, as well as modernized phasers that pay homage to the original circuit, with conveniences such as contemporary DC power inputs, LED indicator lights and true-bypass switching.

But for purists, nothing except an original script-logo Phase 90 will do.

Universal Audio Max Preamp/Dual Compressor Review

Art Thompson — Thu, 20 Jul 2023 12:04:29 +0000

On the heels of the Dream ’65 Reverb-Amp, Ruby ’63 Top Boost Amplifier and Woodrow ’55 Instrument Amplifier come three new UAFX pedals: the Del-Verb Ambience Companion, Galaxy ’74 Tape Echo & Reverb and Max Preamp/ Dual Compressor.

As with previous UAFX pedals, which also include the Astra Modulation Machine, Golden Reverberator and Starlight Echo Station, these units have metal housings, stereo ins and outs, and dual foot switches, as well as the ability to add bonus effects (on some models), change foot-switch assignments and access other functions via the UAFX Control mobile app (iOS and Android).

All three pedals require an optional nine-volt DC power supply rated at 400mA minimum.

Max Preamp/Dual Compressor

Two is always better than one, right? That’s the premise of the Max Preamp/Dual Compressor which features two identical and stackable sets of classic compressors: the MXR Dyna Comp, Teletronix Opto LA-2A and Universal Audio UA 1176 (labeled here as FET 1176), along with an emulation of UA’s 610 tube preamp/EQ (in fact, one for each side), which adds its own sonic charms to the brew.

The upper controls are preamp, comp and output (makeup gain), and just below them are three switches.

At left is Comp 1, with settings for Dyna, Opto LA-2A and FET 1176. The middle switch is Comp Select, which selects whether Comp 1 or Comp 2 is controlled by the knobs (even when both comps are on, only one is affected by the knobs). The switch on the right is Comp 2, which has the same compressor selections.

The lower row of knobs are attack, which works on FET 1176 only and controls onset speed; ratio, which produces harder compression when turned clockwise; and release, which is recovery speed – turning it clockwise gives a faster release.

Comp 1 drives into Comp 2 in serial fashion, and the left and right foot switches turn them on and off in that order.

(Image credit: Universal Audio)

If desired, you can change to parallel configuration in the UAFX Control app, in which the input signal is split to feed both comps and then mixed at the output stage.

There is also an Exclusive mode in which the input signal is fed into both comps, but only one can be turned on and off by either the left or right foot switches.

Lastly, the Control app provides low and high EQ adjustments (up to 6dB boost/cut) for each of the two UA 610 preamps, and you can also configure a side-chain bass filter (FET 1176 only) to reduce compression and pumping on bass-heavy signals without affecting tone.

The LEDs above each foot switch show on/off status and change color to indicate how the compressor is responding to input signal: Green is no response, amber is moderate and red is heavy. The metering on the early review sample I received wasn’t working, but fortunately that was easily fixed by updating the software via UAConnect, which requires an optional USB-C cable for the computer connection.

Max works great using Dyna to impart crush to an overdriven guitar riff or make your slide solos sound smooth and liquid.

(Image credit: Universal Audio)

The studio comps up the game from here as both have distinctive coloration that can impact your tone in compelling ways: Opto LA-2A offers its signature tube warmth and soft limiting, and the added ratio control lets you increase compression beyond that of the original unit or the UAD plug-in. FET 1176 is a classic UA squeeze-box with a hallowed reputation as a go-to studio limiter for recording guitar. You’ve likely heard it on some of your favorite solos.

But it’s when you start stacking different comps with various amounts of compression and preamp drive that Max really comes into its own as you explore the different tonal and dynamic textures that can be created by running, say, Dyna into FET 1176 with its controls set for heavy squash, quick attack and a long release; or Opto LA-2A with the compression turned up, ratio around 20 and release at noon (where it matches the original’s non-adjustable release time) into FET 1176 set for moderate compression and a fast release.

Turn up the 610 preamp to inject a little graininess, add distortion and delay, and it doesn’t get much cooler, because with Max you can set the knobs wherever you like and just bliss out on playing this super-interactive tone machine.

Specifications

CONTROLS: Preamp (UA 610 tube preamp), comp (amount of compression), output (makeup gain), attack (onset speed; FET 1176 only), ratio (turn clockwise for harder compression), release (recovery speed). Switches: Comp 1 (Dyna, Opto LA-2A, FET 1176); Comp select (1, 2); Comp 2 (Dyna, Opto LA-2A, FET 1176)
SWITCHES: [see above]
FOOT SWITCHES: Comp 1 and comp 2, each with an LED that indicates on/off and also functions as a meter for compression amount
I/O: Stereo inputs and outputs, USB Type-C (connect to computer for firmware updates), pair button (activates Bluetooth for UAFX Control mobile app) 9VDC adapter jack (400mA, adapter not included)
EXTRAS: Buffered bypass. Compressors can be configured in series (default) or parallel via UAFX Control app. Exclusive mode allows left or right foot switches to toggle Comp 1 or Comp 2 on/off (only one comp active at a time). Also provides adjustable low and high EQ for each of the two UA 610 preamps. FET 1176 also has a configurable side-chain bass-filter to mitigate pumping on bass-heavy signals
SIZE: 3.5” deep x 5.5” wide x 2” tall
WEIGHT: 1.8 lbs
BUILT: Malaysia

Visit Universal Audio for more information.

Universal Audio Galaxy ’74 Tape Echo & Reverb Review

Art Thompson — Thu, 20 Jul 2023 11:19:15 +0000

On the heels of the Dream ’65 Reverb-Amp, Ruby ’63 Top Boost Amplifier and Woodrow ’55 Instrument Amplifier come three new UAFX pedals: the Del-Verb Ambience Companion, Galaxy ’74 Tape Echo & Reverb and Max Preamp/ Dual Compressor.

All three pedals require an optional nine-volt DC power supply rated at 400mA minimum.

Galaxy ’74 Tape Echo & Reverb

UAFX’s alternative option in the delay/reverb category is Galaxy ’74 Tape Echo & Reverb, which is based on a mid-1970s Roland Space Echo.

The pedal features echo rate, feedback and echo volume controls; a Head Select switch (cycles through three tape-head combinations) and a two-position switch for Main and Alt, the latter of which activates tape age, bass and treble as alternate functions, respectively, for the bottom row of knobs: input volume, dwell and reverb volume.

The left foot switch is on/off, and the right switch is either tap tempo, or, by pressing and holding, a “performance mode” function in which Head 1 (on the Head Select switch) is a dotted 16th note, Head 2 is a dotted eighth and Head 3 is a dotted quarter note.

Even better, these tempo effects swell with feedback volume until you release the switch and the delay tempo reverts to what was set by the tap switch or echo rate knob.

This is a lot of fun to play with, as the ability to swell notes at different tempos can make even simple lines sound amazing, and when you release the foot switch the trails slowly fade out as you keep playing on top on them.

(Image credit: Universal Audio)

If you prefer, the bypass routing can be set for trails off by using the UAFX Control app, which also lets you change the foot-switch order so the left switch is delay on/off and the right switch is reverb on/off.

There are no alternate sound effects offered within the app for Galaxy.

The delay sounds are juicy and organic and can be beautifully textured with grainy wow and flutter as you turn up the input level when the right-hand switch is in the Alt position.

It really sounds like changing speeds on a motorized tape drive as you sweep the echo rate control, and, true to form, here’s where you can deploy runaway-echo mayhem by cranking up the feedback knob.

The Galaxy made it easy to get everything from rockabilly/slap-back sounds (think Brian Setzer with his Bassman/Space Echo rig) to soaring, richly textured echoes that sound amazing through a stereo setup with the Head Select switch on position three, where you can enjoy delay times of up to 974ms.

The Space Echo always seems somewhat overlooked in the world of tape delays, so it’s awesome that Galaxy puts its own spin on this classic to become yet another great-sounding offering in the UAFX line.

Specifications

CONTROLS: Echo rate (delay time for active tape heads), feedback (echo repeats), echo volume, input volume (tape recording level. Alt function is tape wear, wow & flutter); dwell (drive into reverb tank; Alt is echo bass – flat at noon); reverb volume (Alt is echo treble – flat at noon
SWITCHES: Head select (cycles through three tape-head combinations); Alt select (activates the alternate tape age, bass and treble controls)
FOOT SWITCHES: On (toggles echo and reverb on/off), Tap/Hold (sets echo tempo; hold for sustained performance FX: Head 1 dotted 16th note, Head 2 dotted 8th, Head 3 quarter note
I/O: Stereo inputs and outputs, USB Type-C (connect to computer for firmware updates), pair button (activates Bluetooth for UAFX Control mobile app) 9VDC adapter jack (400mA, adapter not included)
EXTRAS: Buffered bypass. Turn delay trails on or off and change foot-switch order via the UAFX Control mobile app
SIZE: 3.5” deep x 5.5” wide x 2” tall
WEIGHT: 1.8 lbs
BUILT: Malaysia

Visit Universal Audio for more information.

Universal Audio Del-Verb Ambience Companion Review

Art Thompson — Thu, 20 Jul 2023 10:24:00 +0000

On the heels of the Dream ’65 Reverb-Amp, Ruby ’63 Top Boost Amplifier and Woodrow ’55 Instrument Amplifier come three new UAFX pedals: the Del-Verb Ambience Companion, Galaxy ’74 Tape Echo & Reverb and Max Preamp/ Dual Compressor.

All three pedals require an optional nine-volt DC power supply rated at 400mA minimum.

Del-Verb Ambience Companion

Based, like all UAFX pedals, around dual-engine processing for enhanced sonic authenticity, the Del-Verb delivers emulations of classic delay and reverb effects lifted from the Starlight and Golden Reverberator, which are selected via two mini-toggle switches.

The left-hand switch offers Tape EP-III, Analog DMM and Precision (respectively a ’70s Maestro EP-III, EHX Memory Man and UA’s own pristine delay with studio-grade chorusing and flanging). The right-hand switch offers Spring 65, Plate 140 and Hall 224 reverbs that model the tank and circuitry of, in order, a 1965 Fender Deluxe Reverb, an EMT plate reverb (from the Record Plant in Sausalito) and an ’80s Lexicon 224 digital processor.

The top row of controls are delay time, feedback (delay repeats) and mix (delay level). The bottom row controls are Color, mod and reverb. Depending on the delay selected, Color alters the Tape EP-III record level, the Analog DMM input gain or the Precision delay tone. Mod sets modulation amount and is off at 12 o’clock. Mod also affects other parameters depending on the selected effect: Tape EP-III is N.O.S tape when mod is turned to the left and worn tape when turned to the right; Analog DMM is vibrato when turned left and chorus when turned fully right, and Precision is flanger when turned left and chorus when turned right. Finally, reverb adjusts an effect’s level up to 100 percent wet at maximum.

The left and right foot switches both feature an LED and toggle, respectively, delay and reverb on/off. Note that this can be changed via the UAFX Control app to toggle delay and reverb on/off with the left foot switch and have delay tap tempo on the right foot switch. You can also select whether the trails stay on when the delay and reverb are bypassed (which is the default) or have the trails stop when the effects are bypassed. Another great function of UAFX Control is the ability to change the voicing of the delay and reverb – 12 choices for Analog DMM and 12 for Spring 65 – which provides numerous ways to shape sounds to suit your needs.

(Image credit: Universal Audio)

As we’ve previously stated in reviews of the Starlight Echo Station and Golden Reverberator, the delay and reverb emulations are stellar, and the Del-Verb delivers this same level of performance in a package that gives players quick-and-easy access to those sounds.

Running the Del-Verb though a new Fender ’48 Dual Professional JB edition 2x10 combo, a Fender Tonemaster Princeton Reverb, as well as through studio monitors, showcased how effectively echo sounds can be shaped via the delay time, feedback and mix knobs, and especially the Color and mod controls, which provide useful variance for the selected delay – for instance, adding texture to the Tape EP-III model by turning the recording level up past one o’ clock with the Color control and using mod to give the repeats a touch of graininess when set to the worn-tape side.

This sounded very hip through the Dual Professional amp and especially with a healthy dose of the righteous-sounding spring model. It’s like a melding of Fender circuits from decades apart, with a vintage Echoplex along for the ride, and it’s super-cool to play through.

I could also indulge in beautiful ricocheting, flanged delays using Precision in stereo, as well as trippy sci-fi effects from Analog DMM with Color (gain) cranked, feedback at maximum and the delay time swept manually. UAFX Control can also take Analog DMM into seriously twisted places via presets like Sync Oct X Dirty Try, Square Mod Octave and Dirty Double Octaves. Conversely, the tamer offerings, like Warm Slower Mod Speed, Extra Bright Attack and the colorful AM Radio, open the door to delay sounds that are different and very inspiring because of it.

The reverb choices should satisfy most needs without necessarily diving into the app, but when you do you’ll find plenty of alternate voicings for Spring 65 that are all based on the sounds of three different tanks (labeled A, B and C), with some standouts being Symphonic Reverb (a cavernous ’verb with pitch-shifted modulation), Spring C Rotato (reverb with lush rotary-speaker vibrato) and Spring Tube Drive B, which emulates another hand-picked tank with luscious reflection and decay characteristics.

(Image credit: Universal Audio)

Specifications

CONTROLS: Delay time (echo rate), feedback (delay repeats), mix (delay level; 100% wet at max), Color (delay character), mod (modulation amount; off at noon), reverb (reverb level; 100% wet at max). Switches: Delay select (Tape EP-III, Analog DMM, Precision); Reverb select (Spring 65, Plate 140, Hall 224)
FOOT SWITCHES: Delay on/off (left), reverb on/off tap
I/O: Stereo inputs and outputs, USB Type-C (connect to computer for firmware updates), pair button (activates Bluetooth for UAFX Control mobile app) 9VDC adapter jack (400mA, adapter not included)
EXTRAS: Buffered bypass. Turn delay and reverb trails on or off, add tap tempo and download custom voicings via the UAFX Control mobile app
SIZE: 3.5” deep x 5.5” wide x 2” tall
WEIGHT: 1.8 lbs
BUILT: Malaysia

Visit Universal Audio for more information.

Death By Audio Disturbance Lockable LFO Modulator Pedal Review

Dave Hunter — Wed, 19 Jul 2023 12:04:28 +0000

The Queens, New York-based effects maker Death by Audio has been thrilling us with inspiring sound-sculpting devices for several years now, and its new Disturbance pedal promises another boatload of creative aural mayhem.

Billed as a Lockable LFO Modulator pedal, Disturbance includes filter, flanger and phaser capabilities with the bonus of an option to lock the LFO modulation in order to freeze eerie soundscapes in place within the sweep. The result yields a plethora of textured synth-like tones for electric guitar, bass or whatever you plug into it, in addition to more traditional modulation effects.

And, as with most things from DBA’s mad scientists, the pedal is capable of more than first meets the eye. For all of its eponymous disturbance, the pedal boasts a relatively straightforward layout, although the controls are so interactive and interdependent that it really behooves you to take time to explore the myriad combinations unearthed by various twists of the knobs, as we shall see later.

The Tensity knob is a bidirectional control with center detent that controls the feedback amount and therefore the intensity of the effect. (DBA’s chosen spelling makes some sense given the tense nature of many tones available here.)

Center Point controls the LFO’s width and center point and therefore interacts closely with the width knob next to it, which controls the LFO’s range.

The red speed knob governs the rate of the modulation, which can be frozen entirely by stomping on the Trip foot switch; a green LED beside the speed knob means the modulation is active, while red means it’s frozen.

The other foot switch is the pedal’s traditional bypass, and the three-way mini-toggle selects the basic effect type: filter, flanger or Fazer (an eight-stage phaser).

(Image credit: Death By Audio)

Input and output are mono and mounted on the front face of the box, on either side of the center-negative nine-volt DC input that draws 67mA of current. But there’s also a sneaky CV (control voltage) output on the right side of the unit that can be connected to other effects with expression inputs to take over their modulation rates. (A CV output voltage trimmer lurks inside the pedal, so you can match it to the required specs of other pedals.)

It’s all housed in a rugged metal box with a mirrored finish that’s arguably rather disturbing in its own right, depending on your band’s light show, and adorned with retro-leaning red graphics.

Inside, the pedal, Disturbance reveals DBA’s usual rugged, high-quality construction, bolstering a digital circuit that does the heavy lifting.

I tested Disturbance using a Fender Jaguar and a Gibson non-reverse Firebird V into a custom tweed Deluxe-style combo and a 65amps London tube amp head and 2x12 cab, alongside a selection of other pedals, and I quickly discovered a mind-boggling range of sounds.

I predict the bulk of demo videos for this pedal will lean heavily into the more extreme sounds it’s capable of generating and some of the harsher voicings achieved with the LFO paused – and they are in here, for sure.

(Image credit: Death By Audio)

But I would be remiss not to mention right up front the beauty and musicality of the three types of modulation available here. These can also be pushed to the far reach of seasick wobbliness if you want, like any of the more complex phaser or flanger pedals available. But if used judiciously and set to enhance your tone rather than (ahem) disturb it, all three will deliver lush, multidimensional depth and movement. I, for one, was loath to turn it off once I’d gotten rolling.

In use, the eternally morphable nature of the pedal’s controls comes quickly into focus. The Tensity knob essentially increases the intensity of the effect either way you turn it, but does so in different ways depending on whether it’s pointed toward the plus or minus sign. It also changes its function further depending on the effect you’re using it with, and to greater or lesser extremes depending on the Center Point and width settings.

While the pedal as a whole really begs for some exploring, all this interactivity allows you to apply a surprising amount of control to – and extract an astoundingly diverse sonic palette from – the filter, flanger and phaser within the box, and get more range out of them than some single-effect pedals with more controls.

(Image credit: Death By Audio)

Many of the pedal’s more distinct sounds come from settings in between the subtle and the extreme. For example, there are sounds here that emulate a modulated auto-wah, rotary speaker, harmonic vibrato, a chewy merging of phaser and flanger, and more.

The only immediate downside to all of this might be that there is no programmable/preset feature in the pedal, so revisiting any favorite settings discovered likely requires extended familiarity, and a good memory.

In addition to all the modulated sounds, the paused-LFO feature delivers everything from subtle revoicings of your core tone to aggressively smashed and honky or percussive sounds. Think of it as a cocked-wah, of sorts, yet with a near-infinite and instantly re-selectable range of settings.

In short, Death by Audio’s Disturbance is a pedal you could likely explore for a lifetime without getting bored.

For that and its uniquely creative approach to modulation effects, it earns an Editors’ Pick Award.

Specifications

CONTROLS: Depth, Center Point, Tensity (intensity), speed. Three-way Filter/Flanger/Fazer switch; foot switches for on/off and Trip
EXTRAS: Input, output, CV out, center-negative 9VDC adaptor input
SIZE: 4.5” x 3.65” x 1.9” (excluding feet and knobs)
BUILT: Assembled in USA

Visit Death by Audio for more information.

Warm Audio Releases the ODD Box V1 and Mutation Phasor II

Rod Brakes — Wed, 28 Jun 2023 18:10:18 +0000

Founded in 2011 by Bryce Young, Warm Audio are all about affordable, well-built gear designed to rival the sonic elegance of vintage classics. Based in Austin, TX, the firm develops and tests its products in the field while making great use of their own top-notch recording studios. Readers interested in recording, be it at home or in a commercial facility, would be wise to check out their extensive range of equipment that includes microphones, preamps, outboard gear and more.

Warm Audio has also turned its attention to guitar pedals, and their current lineup features a host of vintage-inspired stompboxes including the Foxy Tone Box (Foxx Tone Machine); Jet Phaser (Roland Jet Phaser AP-7); Centavo (Klon Centaur); and Warmdrive (Hermida Audio Zendrive).

Today, Warm Audio has added two more to the range: the ODD Box v1 and Mutation Phasor II.

Priced $119, the ODD Box v1 is based on the lauded Fulltone OCD overdrive, while the $149 Mutation Phasor II is inspired by the luscious Mu-Tron Phasor II.

ODD Box v1

Warm Audio says their op-amp-based ODD Box v1 overdrive is “inspired by an iconic pedalboard staple overdrive with a ‘cranked amp’ tone.” Like the considerably more expensive original alternative on the used market, the $119 ODD can be dialed in to produce a wide range of tones ranging from clean boosts to amp-like distortion.

“We wanted to revive a very popular modern sound but also reintroduce a pedal that inspires people to explore their tone,” said Young. “When considering the inspiration for the ODD, we wanted to accurately deliver an artist-favorite tone that has been part of some of our favorite music.

“We know this massive, live electric guitar sound has attracted so many players from Billy Gibbons to Mark Hoppus to Eric Johnson and we wanted to bring those tones back to the market.”

Mutation Phasor II

Billed as an “accurate recreation of a swirly phaser made famous in the experimental era of the 1970s,” Warm Audio’s Mutation Phasor II is an electro-optical phase shifter. As per the original ‘70s unit it features depth, rate and feedback controls, along with a purple/red/orange color scheme.

Capable of delivering a super-rich, colorful phasing sound or a mellower, less intense effect, the Mutation Phasor II ranges in speed from a gentle 1/10 sweep per second to an energetic 18 sweeps per second.

“The Mutation Phasor II really brings back the depth and psychedelic tones from the 70s when musical experimentation was actually celebrated,” continues Young. “To achieve this, we stayed true to the controls and tones of the original pedal that musicians like Billy Corgan, Tom Bukovac, and Robin Trower used to create innovative music that broke the mold.

“This phaser is for those who want to step out of the box and back in time.”

Visit Warm Audio for more information.

If You Like Analog Delay You’ll Love the New Boss DM-101 Delay Machine

Rod Brakes — Thu, 22 Jun 2023 13:46:22 +0000

Following up the release of the RE-202 Space Echo and SDE-3000D/SDE-3000EVH units, guitar effects pioneer Boss has unveiled their latest big-box delay, the DM-101 Delay Machine.

Billed as “the ultimate analog delay pedal” this smorgasbord of echo is packed with 12 distinctive modes that include complex stereo effects, old school delay sounds, rhythmic patterns, expansive modulation and more (see below for a detailed list).

In addition to the standard delay parameters of Delay Time, Intensity (feedback) and Delay Volume, the unit boasts modulation Rate and Depth controls along with a multi-function/mode-dependent Variation knob.

A trio of stomp switches allow bypass (effect tail optional), memory/preset selection, and tap tempo. Up to four presets can be chosen using the switch, although this is expandable up to 127 if using an external MIDI device. Nine tap division options comprise half-, quarter- and eighth-note selections (each with dotted and triplet choices).

Here’ a rundown of each of the DM-101 Delay Machine’s six mono modes…

Classic Up to a whopping 1200ms of classic analog delay with tape-like wow and flutter-style modulation controlled by a generous range of waveforms
Vintage Simulates the singular tone of the legendary Boss DM-2 Delay (now available as the DM-2w Delay in Boss’s Waza Craft series). Delay time settings range from 10-300ms and, as per the Classic setting, a variety of waveforms modulate the signal for a more complex sound
Modern While the Classic and Vintage modes offer traditional warm analog delays, the Modern setting provides clear, sparkling repeats ranging from 40-840ms. As above, modulation can be controlled using the Variation knob
Multi-Head Reminiscent of Space Echo effects, albeit with an idiosyncratic BBD flavor, this setting allows 10 selectable variations of multi-head tape-style delay
Non-Linear Produces an interesting reverse-style effect via a series of short delays that increase in volume consecutively. Can be adjusted from 35-190ms using the Variation knob
Ambience Great for some short reflections that mimic the sound of a smaller space

Boss

The remaining six modes exploit the DM-101 Delay Machine’s powerful stereo function. These include…

Reflect Produces a reverb-like stereo sound (adjustable from 90-320ms) with a pre-delay parameter ranging from 40–290ms courtesy of the Variation knob
Doubling+Delay This setting is like having two analog delays in your chain; one creates a doubling effect (10–20ms) while the other adds distinct repeats in a similar range to the DM-2 (10–310ms)
Wide Whether used subtly with short delay times (min 25ms) or more overtly using longer delay times (max 590ms), this setting produces a rich, expanded stereo image. Great for mixing and dual amp setups
Dual Mod Adjustable between 110-600ms, this unique setting is described as a “stereo delay with different modulation phase settings on the left and right outputs.” In this mode, the Variation knob adjusts the stereo output phase amount (up to fully inverted)
Pan Ranging from 20-450ms, this tap delay outputs repeats with different timings at the stereo jacks (labeled “A/Mono” and “B”)
Pattern Using the Variation knob, ten different stereo delays can be chosen, each with a unique rhythmic pattern

The Boss analog delay family includes the original DM-1 Delay Machine (1978-1980); DM-2 Delay (1981-1984); DM-3 Delay (1984-1988); and the new DM-101 Delay Machine (Image credit: Boss)

The latest guitar effects unit from Boss proves the Japanese brand is committed to moving the industry forward with exciting new products while leaning into their rich heritage of innovation.

Taking inspiration from their first delay unit, the DM-1 Delay Machine launched in 1978, the DM-101 features a similar form factor and color scheme. However, unlike their latest offering that showcases eight bucket-brigade device (BBD) microchips, the DM-1 was based on charge-coupled device (CCD) technology.

Appearing in 1981, the DM-2 Delay employed a BBD circuit and became a bona fide vintage classic of Boss’s compact pedal range that debuted in 1977 with the SP-1 Spectrum, PH-1 Phaser and OD-1 Over Drive.

The DM-2 Delay was supplanted by the DM-3 in 1984 following the release of the groundbreaking DD-2 Digital Delay compact pedal (the world’s first digital delay in pedal form). While digital delay continues to inspire, many guitarists enjoy the classic tones of analog delay.

Marrying the time-honored sounds of BBD circuit design with the modern flexibility of CPU control, the Boss DM-101 Delay Machine makes the best of both the analog and digital worlds while setting a new benchmark in stompbox design.

Visit Boss for more information.

EHX Lizard Queen Octave/Distortion Review

Art Thompson — Mon, 19 Jun 2023 16:11:52 +0000

The result of an unusual coalition between Electro-Harmonix, JHS pedals founder Josh Scott and graphic artist Daniel Danger, the Lizard Queen Octave/Distortion is a compact version of JHS’s “big box” pedal of the same name.

Created in the spirit of a “love letter” to Mike Matthews (who founded EHX in 1968), and made to echo the style of pedals that EHX produced in the mid 1970s, the limited-edition run features period-correct sheet-metal housings with silk-screened graphics, N.O.S. transistors and old-school circuit-board construction, complete with hand-drawn traces rendered artistically by Danger himself. (For the full story about the LQ, visit jhspedals.info)

The nano Lizard Queen has the same graphics and complement of volume, octave and balance controls, but adds modern conveniences like a jack for external power and an on/off LED, as found on the JHS version.

Removing the bottom plate from the die-cast enclosure provides access to the already installed “super-heavy-duty” carbon battery sporting Mike Matthews’ image, and allows you to see all of the circuit components instead of just the back side of the PCB, as is often the case.

Scott maintains that the Lizard Queen is not a clone of a Roger Mayer Octavia, Foxx Tone Machine or, for that matter, any other vintage or modern octave-fuzz.

(Image credit: EHX)

The pedal is particularly interesting because it’s a fixed-gain fuzz that dispenses with a standard gain knob in favor of a balance control that operates with a sort of dual personality. As Scott says, it’s “not a tone control, but it affects the tone; and not a gain control, but it affects the gain.”

The distortion sounds thickest and heaviest with the balance control turned counter-clockwise to the Shadow position. It’s more biting and gated sounding when turned clockwise to the Sun position, particularly when the highly interactive octave control is also halfway up or so.

Having a dedicated octave control is also somewhat unusual (although EHX’s Octavix also has one), and it’s a cool feature because you can turn the octave almost completely off or progressively add it to get the desired amount of shrill, ring-modulation-infused sound.

The pedal has a lot of output too, so plenty of boost is available, if needed. Played through a Fender Deluxe Reverb combo with a variety of single-coil and humbucker guitars from Fender, Gibson and PRS, the Lizard Queen was easy to dial in for tones that can be very reminiscent of the previously mentioned classic octave-fuzzes – or for that matter non-octave pedals like the Big Muff or Fuzz Face – while also having plenty of latitude to conjure sounds that are just fun and pleasing to hear.

Reminiscent of classic octave-fuzzes – or for that matter non-octave pedals like the Big Muff or Fuzz Face

For instance, turning the octave knob all the way up with the balance control set to Shadow elicits gated, modulating swells that sound like a backward effect. Turn the knobs the other direction and the tones become smooth and vocally in a “woman tone” sort of way with the guitar turned up (especially when using a neck-position humbucker), before descending into spittiness with a halo of octave chime as you turn down.

Neat stuff.

The Lizard Queen is such a blast to play, and for the admission price of $99 you’re essentially getting a boutique pedal for a pittance when compared to the original JHS offering, which is a piece of sonic art in its own right.

Bottom line: If you’re looking to summon your inner Jimi Hendrix or just want the most flexible octave-fuzz available to add fresh color to your distortion tones, the Lizard Queen is the bomb, and it gets an Editors’ Pick Award.

Specifications

CONTROLS: Volume, octave, Balance
I/O: Input, output, 9VDC center-negative, power jack (adapter not included)
FOOT SWITCH: Mechanical, true-bypass
EXTRAS: 9V battery installed
SIZE: 4.25” x 2.25” x 1.25”

Visit Electro-Harmonix for more information.

Introduced in the 1970s, Morley’s PWF Power Wah Fuzz Pedal Was the Final Word in Unrelenting Fuzz-Wah Tone

Dave Hunter — Wed, 07 Jun 2023 11:00:00 +0000

If you were seeking power in your fuzz-wah tones in the mid-to-late 1970s, nothing delivered in a more high-voltage fashion than the Morley PWF. The name was short for Power Wah Fuzz, and the pedal was long on aggressive, hard-charging tone.

Shining through a crowded field of stompboxes, Morley pedals were big and built to last. Swathed in shiny chrome, they were presented as the best of the best in the effects revolution’s boomingest decade. Morley products were often referred to as “the Cadillac of effects pedals,” although the company frequently advertised them with a Rolls-Royce grille subtly hovering in the background, a notion purportedly inspired by the fact that Ike Turner used to drive his own Rolls to the Morley factory outside L.A. to purchase pedals directly from the maker.

Either way, they were priced accordingly. The company’s first big success, the RWV Rotating Wah Volume pedal of the early ’70s, listed at a whopping $259. That might sound about right for a boutique pedal in 2023, but the figure comes into perspective when we consider that a standard blond Fender Telecaster listed for $283 at the time, plus $65 for the case. The impression was that Morley pedals were serious gear for professional players – or at least for those who might need to take out a stage invader with one swing of the brick-like effects unit.

The original manufacturer of Morley pedals was Tel-Ray Electronics, a TV and radio repair company in Los Angeles, founded by Raymond and Marvin Lubow in 1946. The brothers were born in the Bronx, New York, and served in the military in WWII, after which they decided to head to sunnier climes and start their own business.

Ray’s training in electronics at Manhattan’s Hebrew Technical College, combined with his service in the Army’s Signal Corps afterward, set him up as the operation’s creative mind, while Marv’s business acumen made him a valuable partner. Tel-Ray segued from repairing to inventing and manufacturing original products. As the venture moved into the 1960s, Ray became more and more interested in how electronics were directly helping artists make music.

PEDAL COURTESY OF MAIN STAGE MUSIC, PHOTOS BY BRAD PUTT

This led to him developing an oil-can delay for use with guitar, keyboards and voice in the mid ’60s. He later adapted it into an effect capable of mimicking a rotary speaker-style vibrato. Dubbed the Rotating Sound Synthesizer, it was the precursor to the Rotary Wah Volume pedal. Both versions were made using a can filled with electrostatic fluid and a pair of brushes that would record and playback the instrument signal to and from the interior of the drum, with the delay time or rotary speed determined by the drum’s revolutions.

In the late 1960s, the transmutation of this effect into pedal form, with a rocker to control the rotary speed, led the Lubow brothers to the brand name by which their creations would henceforth be known. As the story goes, Marv and Ray jokingly quipped that while the big name in rotary speakers was Leslie, their pedal delivered more. Thus, the Morley name was born, leading to the slogan, “Why settle for less with a Leslie when you can get more with Morley.”

As our featured PWF pedal from circa 1977 reveals, Morley’s unusual approach didn’t stop with echo and rotary-speaker effects – they did everything differently. For example, other companies’ rocker pedals were entirely mechanical, moving a potentiometer by means of a toothed rack and gear. Morley instead used a light-dependent resistor (LDR). Moving the rocker pedal lifted and lowered a shade that affected how much light reached the LDR, which in turn changed the response of the tone-filter circuit. Having no direct mechanical interaction with the electronic components resulted in less wear and tear on the parts and no scratchy potentiometers. The rocker itself appeared more like the chromed, treadle-topped accelerator of an American muscle car, and was built to withstand similar abuse.

Combining high quality, great sound and roadworthiness, Morley pedals were found under the feet of many pro guitarists in the ’70s and ’80s

As for the sound, the fuzz from the PWF was brutally thick and aggressive, capable of plastering enticingly raspy distortion all over your tone. In addition to controls for intensity and tone, it offered the nifty option of using the rocker pedal to blend the desired amount of fuzz into the clean signal, or merging the pedal’s two effects for an all-out fuzz-wah attack. Rather than using the toe-down position to trigger the effect, as on many traditional wah-wah pedals, the PWF had individual on/off foot switches on either side of the rocker’s heel position, and a sturdy power switch at the toe end.

The name ‘Power Wah Fuzz’ might imply three effects, but from Morley’s perspective the pedal was all about power. Notably, the PWV didn’t run on wall warts or batteries – you plugged its hard-wired power cord straight into a wall socket, delivering enough juice via the internal transformer to supply upward of 60 volts to some parts of the circuit.

Combining high quality, great sound and roadworthiness, Morley pedals were found under the feet of many pro guitarists in the ’70s and ’80s, and several other notable users ever since. The PWF user cited most often is late Metallica bassist Cliff Burton, while Steve Vai has long been a user of Morley wah-wahs and has rocked his signature Morley Bad Horsie wah pedal for years. Other signature units include the Mark Tremonti Power Wah, George Lynch Dragon 2 Wah and DJ Ashba Skeleton Wah, all now made by the Morley Product Group in Carpentersville, Illinois.

But they all owe their existence to the innovation and success of early Morley pedals like the PWF.

PEDAL COURTESY OF MAIN STAGE MUSIC, PHOTOS BY BRAD PUTT

Essential Ingredients

Heavy duty chromed steel enclosure and rocker pedal
Individual foot-switches for fuzz and wah-wah
Controls for fuzz Intensity and tone
Internal light-dependent resistor (LDR) circuit for potentiometer-free wah-wah control

“If You Want to Be Successful, You Have to Love What You Do:” EHX Founder Mike Matthews Reveals the Secrets of His Success

Michael Molenda — Mon, 17 Apr 2023 09:00:00 +0000

As founder of Electro-Harmonix, Mike Matthews certainly deserves his 2012 Guitar Player Hall of Fame Award for Manufacturing Legend. But the man is also a force of nature.

He’s someone I’d bet would laugh during a zombie apocalypse with unlit cigar in hand and a master plan for continued existence in tow – well, as long as the fish were still biting.

His company has survived union thugs, bankruptcy, strong-arm tactics in its Russian tube factory, and well over five decades of competing in the roller-coaster-in-flames wild ride of the electric guitar industry.

Back in the ’70s, I stupidly smoked too much pot, drank too much liquor, and I jumped on every good idea I had
Mike Matthews

“Effecting music since 1968,” EHX continues to develop a balanced mix of inventive and traditional products

Matthews is also one of the last icons of the spontaneous, innovative, and well-educated hippie entrepreneurial clan that challenged and changed the music industry – even if that spirit caused a few problems here and there.

“Back in the ’70s, I stupidly smoked too much pot, drank too much liquor, and I jumped on every good idea I had,” explains Matthews. “Eventually, I had too many problems at once, so Electro-Harmonix collapsed in the early ’80s.

“That was painful. But I got the business back, and when I did, I was more conservative. I waited patiently until it was really the best time to produce a product. Because of that, we’re now financially strong, and we can move on anything that’s hot. Patience is important.”

(Image credit: Future)

My very first guitar effect was an LPB-1.

I jumped on that in 1968 – and we still sell tons of them. I wanted to develop a guitar sustainer so people could sound like Hendrix, and the LPB-1 was a small box that was plugged into the sustainer prototype.

I recognized that box was a great and simple product that was needed, and it ushered in the age of overdrive.

In those days, you could turn up an amp to 10, and it still had enough headroom where it wouldn’t distort. But with an LPB-1 hitting the amp, you got much added power, and then the overdrive.

Not everything is a winner, but we have a real high percentage of them
Mike Matthews

You guys have been around since 1968, yet you still put out cool pedals as if you’re some weird boutique company working in a garage. How do you make that happen?

We listen to people, we have a bunch of guitarists in the company, we have great designers, and we’re quick. We’ll only get involved with a design project we can bring to the market in less than one year.

Also, we always have a mix of products under development – complex digital products, simple digital products, and a variety of analog products.

Thanks for the compliment about being like a boutique company, but our pricing is mass market – as if we were a company manufacturing in Vietnam.

There’s a tsunami of pedals in the market these days. How do you strategize if a planned product is relevant, new and exciting, and/or competitive?

I’ve been doing this for a while. The more you do it, the more you learn, and I’ve been fortunate at being good at picking winners. Not everything is a winner, but we have a real high percentage of them.

(Image credit: Future)

It’s business. You’ve got to compete, and we like to win. But you can’t win without really good products. In the old days, I would decide on every single feature of every product. Today, we have some great designers, so all I do is pick the products we’re going to spend the R&D investment on.

But I still come down hard on sticking to the features we initially identify. I don’t like it when engineers change their minds and add additional features during the development process. That can screw things up – especially with digital, where you could wreck the whole software structure.

We have about 10 percent of the world market, so there’s room for us to grow
Mike Matthews

Once we decide, we stick with it. If there are some great new ideas along the way, I leave those for a future design. You’ve got to shit and get off the pot, and bring out the product. To survive, you have to ship more products. We have about 10 percent of the world market, so there’s room for us to grow.

So what’s life like now, after so many years of running your company?

The first thing with me is Electro-Harmonix, the second thing is fishing, and the third thing is the ladies. During the week, I’m at the factory 24 hours a day, and I dig it. I have my Jacuzzi and my Direct TV, and, on weekends, I head out to Montauk and go fishing if the weather is decent.

If you want to be successful, you have to love what you do, because you’re going to be competing with other people who love what they do, as well.

Visit Electro-Harmonix here.

“He’s the Best Guitar-Playing Mechanic You’ll Ever Hear”: Roger Mayer Looks Back On Jeff Beck’s Formative Years in the Surrey Delta

Rod Brakes — Mon, 27 Mar 2023 14:52:16 +0000

It’s hard to talk about Roger Mayer without mentioning he was the “secret studio weapon” of Jimi Hendrix. Having invented the Octavia pedal he helped the guitarist achieve the standout tones heard on some of his greatest tracks such as “Purple Haze” and “Fire.”

Before Hendrix stepped foot on British soil, however, Roger was already lending his expertise to two other guitar legends by the name of Jimmy Page and Jeff Beck.

During the early ‘60s, the trio lived in an area of South West London that has since been dubbed the Surrey Delta. Packed with gig venues and fed on a diet of rare American records, the local music scene was a breeding ground for exceptional guitar talent.

Guitar Player recently caught up with Roger who shared some fond memories of his old pals.

Roger Mayer, 2006. (Image credit: Richard Ecclestone/Redferns)

How did you meet Jeff Beck?

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.

We started to get together at Jimmy Page's house on a Sunday where we’d go and listen to records
Roger Mayer

Plus there were loads of venues around at the time. There was Eel Pie Island, Epsom Baths, The Toby Jug (where David Bowie started), The Crawdaddy Club where the Rolling Stones played – all kinds of venues where you could see bands. That’s where it started for me.

I just met Jeff and started talking about music. We started to get together at Jimmy Page's house on a Sunday where we’d go and listen to records. Jimmy lived in Epsom just down the road from me. And Jeff was from Wallington, which is near where I lived in Surbiton. We all lived in the same area.

Did it feel like you were part of an alternative music scene?

Very much so. It was a scene that was happening here in South West London. The Essex and East London scene felt different to the Surrey scene. I think we had more venues per square mile than anywhere else in England.

I think we had more venues per square mile than anywhere else in England
Roger Mayer

Also, Kingston and Epsom had art schools. And wherever there was an art school there was often interesting music happening. My sister went to art school and she used to play me rare blues records and turn me on to stuff I’d never heard before.

What records did you listen to with Jeff Beck and Jimmy Page?

We listened more to the American records – the same stuff the cutting edge bands were listening to. Music that was coming out of California, New York, and Chicago like the Chess Records stuff. Most people had never heard of Freddie King and there was no way to buy his records. People had never heard of James Brown in 1962. It was all very cutting edge to us. You had to be in with the in-crowd to have access to that music.

Jeff Beck in London, 1965. (Image credit: Val Wilmer/Redferns)

So Jeff Beck was picking up ideas from listening to these records?

Yeah. And we were listening to other good guitar players who backed up singers. Guitarists like Scotty Moore who played with Elvis Presley, James Burton who played on Rick Nelson’s records, and Cliff Gallup who played with Gene Vincent. Then, of course, there was Les Paul and Mary Ford. I mean Les Paul was the innovator of multitrack recording and used a lot of echo.

As a scientist, I could come up with an alternative solution – one that’s better.
Roger Mayer

So, we were keeping our ears open to what was going on there and also what was being recorded in Chicago – the electric blues scene over there.

Why did you start custom-building effects for Jeff Beck and Jimmy Page?

"The 2000 Pound Bee” record by the Ventures was very influential. 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.”

How did you modify the circuit?

I started from square one, really. As a scientist, I could come up with an alternative solution – one that’s better. I made more than one pedal. Jimmy Page gave one to Big Jim Sullivan. There were a few people who had them, but not many. They’re as rare as rocking horse shit.

Surrey Delta lads in 1983 (L-R): Jimmy Page, Eric Clapton and Jeff Beck perform at the ARMS Charity Concert at London's Royal Albert Hall. (Image credit: Larry Hulst/Michael Ochs Archives/Getty Images)

What other custom-built effects did you make around that time?

There was actually a treble booster I made before the fuzzes in ’62. I think that got copied and made into a very famous treble booster.

The Dallas Rangemaster?

Yeah, that’s it. It was all the same. It’s a copy of one of my original circuits.

It was like giving a painter a new pigment
Roger Mayer

How did these effects impact Jeff Beck’s approach to playing guitar?

It was like giving a painter a new pigment. The boundaries changed. Even recently, when him and I were playing around in his home studio, I showed him my 615 compressor and he was coming up with some really interesting stuff. He thought it was fantastic. Without the box, you can’t have the sound. And without the sound you can’t play the same thing, or it might not even occur to you.

From your point of view, how did Jeff Beck and Jimmy Page compare as guitarists?

Their personalities were quite different. Jeff was very quiet and an introvert. You wouldn’t say he was particularly gregarious. He had a different connection to the audience on stage that Jimmy has. Of course, Jimmy went on to produce a very, very powerful sounding band.

The Jeff Beck Group in 1967 (L-R): Jeff Beck Group, 1967: drummer Aynsley Dunbar, guitarist Jeff Beck, singer Rod Stewart and bassist Ron Wood. (Image credit: Chris Walter/WireImage)

What do you recall about Jeff Beck’s guitar playing before the Yardbirds?

Before the Yardbirds, Jeff played with a few other bands like the Nightshift and the Tridents that gigged in various venues around London. The thing about the Yardbirds is they had a really strong singer, Keith Relf.

I would say a lot of Jeff's advanced technique came from Nashville – country stuff like Chet Atkins – and rockabilly
Roger Mayer

Before the Yardbirds, the songs weren’t structured with longer solos. And to be honest, around that time, most younger kids didn’t have enough chops in their repertoire as a guitarist to not burn out after about four songs.

How did Jeff Beck develop his incredible technique?

I would say a lot of Jeff's advanced technique came from Nashville – country stuff like Chet Atkins – and rockabilly. You can’t play certain things with a pick. But at the same time, there are a lot of things you can only do with a pick.

We all listened to Chet Atkins. Back in the early ‘60s, Chet Atkins was the de facto guitar hero. You might not like all the music, but he was a great guitar player. He was the guitar hero’s guitar hero. The rockabilly style developed from Chet Atkins and some of the other country pickers.

Jeff Beck performs with the Jeff Beck Group at the Newport Jazz Festival in Newport, Rhode Island on 4th July 1969. (Image credit: David Redfern/Redferns/Getty Images)

How does recording in the ‘60s compare to now?

Back in the '60s, you had to rock up at the studio with a new sound and put that new sound onto tape within a few hours. Because no one could afford to spend much more than that amount of time.

Back then, you didn't have the opportunity to record at home like you do now. So you had to make sure that your chops were together before you actually went into the studio. And that you were bringing something fresh!

You had to make sure that your chops were together before you actually went into the studio. And that you were bringing something fresh!
Roger Mayer

What did Jimi Hendrix think of Jeff Beck?

To be honest, I never heard Jimi talking about Jeff. He was aware of his records but I don’t think he was on his radar much, really.

How was Jeff Beck perceived among his peers?

Jeff Beck often relied on having a very good contact or synergy with a singer. He did some great records with Rod Stewart singing. But the point is, because Jeff didn’t sing and play at the same time, he was a different guitar player to say B.B. King or Jimi Hendrix.

B.B. King tended to stop playing when he sang. But the thing about Hendrix is, he sang and played at the same time, but there was no discernible difference in energy – I mean he never took his foot off the gas. His guitar playing sounded just as intense when he sang.

When the Jeff Beck Group formed with Rod Stewart in '67, do you think they were trying to capture some of that magic?

Yeah. Rod needed to have the best possible band behind him to tap into the American market. There were great guitarists playing in the States, but you still needed a great song.

When you were living in the States in the ‘70s, did you stay in touch with Jeff Beck?

Funnily enough, that’s how I met my wife, Connie. I met up with Jeff at a Flo & Eddie gig at The Bottom Line in New York and I met my wife there the same evening.

Jeff and I always remained very friendly. I mean, our paths didn’t crossed that much, but I'd get a phone call from him from time to time.

Jeff always needed something to keep him inspired about guitar playing
Roger Mayer

The last time I saw him, I went to his house as he wanted to interview me about something he was writing. We got chatting about the old days and spent a couple of hours playing in the studio.

Later on he had his birthday party and a private show on his estate. He’d been working with Rosie Bones and Carmen Vandenberg of the band Bones UK. (I’ve also been helping Carmen Vandenberg – she’s a fantastic guitarist.)

Jeff always needed something to keep him inspired about guitar playing. You can be the best guitar player in the world, but if you haven’t got people around you to get inspired then it can become lonely. You need that multiple DNA input. You need a team.

What do you think Jeff Beck’s legacy is?

I think he’s the best guitar-playing mechanic you’ll ever hear. [laughs] He loved his hot rods. He’d invite me over and I’d say, “I'll come over on one condition: you have to show me your cars. But don’t show me any guitars! I’ve seen enough of them.”

Discover New Sounds and Get More From Your Pedals With These Simple Tips

Craig Anderton — Fri, 10 Mar 2023 14:33:21 +0000

People often ask about the “proper” order of effects in an effects chain: Should pedal A be before or after pedal B?

I think the best answer is, Try it both ways, and find out for yourself!

Playing with effects should be fun, and there’s nothing like a happy accident to make your day.

Sure, there’s a “standard” order:

Effects that need an unprocessed guitar sound (octave dividers, envelope followers, pitch trackers, synth pedals)
Dynamics processors (compressors, noise gates)
Overdrive/distortion effects
Modulation effects (chorus, tremolo)
Time-altering effects (delay, reverb)
Volume pedal

But why be normal? Instead, let’s play with some nonstandard options.

EQ

Empress Effects ParaEq MKII and ParaEq MKII Deluxe (Image credit: Empress Effects)

An EQ pedal can go in multiple locations. Placing it after distortion alters the distortion timbre, but placing it before distortion can change how the distortion reacts.

For example, with a 3 kHz boost, higher notes (such as those played in solos) will go into distortion sooner.

Trimming response below about 150 Hz tightens the lows, and cutting highs above 6 or 7 kHz reduces harshness.

I prefer EQ before and after distortion.

Wah

Vox V846-HW Hand-Wired Wah Wah Pedal (Image credit: Future)

Like EQ, placing wah after distortion changes the timbre.

Placing it in front of heavy distortion creates a cutting, animated sound that, when you move the pedal, resembles a synthesizer’s hard-sync sound – the wah emphasizes certain frequencies, which get heavier distortion.

It’s a cool sound. Envelope filters before distortion can give the same kind of effect.

Tremolo

Boss TR-2 Tremolo (Image credit: Future)

As a modulation effect, tremolo typically follows distortion; the distortion sound is the same, but its level varies.

With tremolo before distortion, the amplitude variations alter the drive going to the distortion, so the level doesn’t change as much, but the sound varies between mild distortion and heavy distortion.

Volume Pedal

Ernie Ball VP Jr. (Image credit: Future)

This usually goes at the end to control the master volume, but putting it before distortion varies the drive.

Pulling it all the way down should still cut your output.

Fig 1: The circuit uses one switch and six jacks to make it easy to reverse the order of two effects. (Image credit: Future)

Now, let’s put theory into practice.

Fig. 1 shows a passive switching circuit that reverses the order of two effects. You’ll need a 4PDT (four-pole double-throw) switch for this.

Patch the FX A input to the FX A in jack, the FX A output to the FX A out jack, and patch FX B similarly.

With the switch in position A, the order is A>B. With position B, it’s B>A.

This also lets you switch two series chains of effects instead of just single effects.

Who knows what you’ll discover by trying different effects orders.

Visit craiganderton.org for articles, videos and free downloads.

Universal Audio Dream ’65, Ruby ’63 and Woodrow ’55 Reviews

Art Thompson — Thu, 02 Mar 2023 12:12:44 +0000

The growing family of UAFX pedals from Universal Audio now includes three amp-emulator models that join the Astra Modulation Machine, Golden Reverberator and Starlight Echo Station we previously reviewed.

As with those pedals, the new Dream ’65 Reverb-Amp, Ruby ’63 Top Boost Amplifier and Woodrow ’55 Instrument Amplifier feature stylish metal housings, stereo ins and outs, dual foot switches, and the ability to activate and manage factory and user presets via the UAFX Control mobile app (iOS and Android), where you can download artist sounds, edit amp tones and even change the functions of the foot switches. (Eight foot-switching combinations are available on all but the Woodrow, which has three combinations.)

Bonus! These amp-emulator pedals also offer the ability to use 4-Cable mode with any amplifier that has an effects loop, allowing for switching between the amp’s preamp section and sounds in the pedal (or all three of ’em if you like), with 4-Cable mode being one of the foot-switching options.

For testing I plugged in either a Strat or a Les Paul and ran the three UAFX pedals daisy-chained together into either a compact live rig with a small power amp and a 1x12 cabinet, or direct into a PA, usually in mono.

Dream ’65 Reverb-Amp

CONTROLS: Volume, reverb, output, bass, treble (doubles as tremolo speed), boost (doubles as tremolo intensity). Switches: Speaker (GB25, Oxford, EV12); Alt (amp, store); Mod (lead, stock, D-Tex) (Image credit: Universal Audio)

On all three pedals, the controls follow the standard UAFX format of six knobs and three mini toggle switches. However, they perform different functions depending on the model.

Starting out with the Dream ’65 Reverb-Amp there’s volume, reverb, output, bass, treble and boost, the latter two doubling as speed and intensity when tremolo is active.

It was easy to get very realistic Fender Deluxe Reverb tones that sounded excellent, with lush reverb adding a beautiful wash of airiness

The three toggle switches perform several functions: The speaker switch selects the mic’s speaker cabinets – GB25, Oxford and EV12 – and pressing the switch down cycles though all six cabinets, plus bypass, which may be prefereable when running into your own amp/speaker rig.

The middle switch has Alt, Amp and Store functions. When Alt is selected, the tremolo speed and intensity controls (a.k.a. treble and boost) are active. In Amp mode, the standard amp controls are available. To store a preset, hold the switch in the down position until the green LED blinks rapidly.

The right-hand mod switch selects Lead (OD Special mod), Stock (standard Fender circuit) and D-Tex (SRV mod).

With pedal set clean in the Stock position, it was easy to get very realistic Fender Deluxe Reverb tones that sounded excellent, with lush reverb adding a beautiful wash of airiness.

Now you have the convenience of grinding things up via the boost knob, which can deliver up to 10dB of clean level to the front end.

For heavier grind the Lead setting (which cuts out the bright cap) sounds formidable when boost is turned up to 10 o’clock and higher, where midrange from the tone stack is added to yield increasing amounts of fat, juicy distortion.

Lastly, D-Tex (the aforementioned SRV mod) has both more gain and midrange. It’s a sweet setting that has a mildly compressed response at low boost numbers and a good deal of gain as the boost is turned up – which also reduces the effect of the tone stack (down to zero effect at maximum boost) – yielding a richly detailed and vocally inflected distortion tone that’s really satisfying for lead.

As per the original circuit mod, vibrato is only available when the boost knob is off.

Ruby ’63 Top Boost Amplifier

CONTROLS: Volume, cut, output, bass (doubles as room ambience), treble (doubles as tremolo speed), boost (doubles as tremolo intensity). Switches: Speaker (Silver, Blue, Green); Alt (amp, store); Channel (bril, norm, vib) (Image credit: Universal Audio)

Based on a Vox AC30 platform, the Ruby ’63 Top Boost has a control layout consisting of volume, cut, output, bass, treble and boost.

The left-hand speaker switch has Silver, Blue and Green settings, and here too you can cycle though all six mic’d cabinets (or bypass) by holding down the switch.

The middle switch’s Alt position selects room amount (ambience), vibrato intensity and speed, which are available, respectively, on the bass, treble and boost knobs.

The Ruby’s Brilliant channel is a blast to play through, as it models the original “top boost” circuit’s extra tube to deliver more gain and treble

The Amp position activates the standard control complement for an AC30, while the Preset position is used to store custom sounds.

The channel switch on the right side selects the following: Brilliant, based on the Brilliant channel of a ’63 top-boost amplifier (the boost knob adds gain from the preamp of an EP-III tape echo); Normal, based on a ’61 non-top-boost amplifier (the boost knob adds gain from a germanium treble booster circuit); and Vibrato, based on the vibrato channel of a ’63 top-boost amplifier (the boost knob adds clean boost to the amp’s input).

The Ruby’s Brilliant channel is a blast to play through, as it models the original “top boost” circuit’s extra tube to deliver more gain and treble.

The cut, bass and treble knobs work in the usual fashion and provide plenty of range to dial-in tactile, “blizzard of nails” tones from humbuckers and single-coils alike.

You can summon more dirt via the boost knob, which adds front-end gain from the preamp section of an EP-III Echoplex, but even with boost all the way up there’s not a huge amount of distortion here.

UA recommends the combination of the Blue speaker selection with the Brilliant channel as a pairing used by the Beatles and U2, which is certainly a good start for exploring the other five mic’d-speaker combinations, a good one for distortion tones being “Match,” a 2x12 Matchless cabinet with Celestion G12-H speakers mic’d with a Shure SM-57.

UA recommends the combination of the Blue speaker selection with the Brilliant channel as a pairing used by the Beatles and U2

True to form, the Normal channel is a relatively clean affair that sounds awesome for smashing out big kerranged chords, and cranking up the boost knob ups the dirt factor with fat grind that sounds great for blues and anything needing a dirty-sweet rhythm sound.

And although the cut control is the only EQ for the Normal channel, it accommodated guitars with single-coils and humbuckers with no fuss, yielding killer tones with a selection of distortion pedals that included a TWA SH9.

Here too, UA’s recommended pairing of a Silver speaker with the Normal channel for a classic Brian May setup will inspire you to check out the other mic’d-speaker combinations on offer here.

With the Vibrato channel selected, the treble and boost controls are used to adjust speed and intensity respectively, and it’s interesting with the intensity knob set low, as you get a more pitch-shifty, harmonic-tremolo sound.

In addition, the Ruby can go slower than the stock circuit, which makes for some happening in-between textures as it transitions into choppier, volume-modulating tremolo when the intensity (a.k.a. boost) is turned past noon.

This is also where added input gain from a germanium-style treble-boost circuit gives a bump to the midrange and treble without increasing distortion.

Woodrow ’55 Instrument Amplifier

CONTROLS: Instrument volume, mic volume, output, room, tone, boost. Switches: Speaker (Blu15, JP12, GB25); Store; Boost (KP-3k, Stock, EP-III) (Image credit: Universal Audio)

Designed to deliver American tweed amp tones, the Woodrow ’55 Instrument Amplifier features yet another different control set that includes instrument volume, mic volume, output, room (ambience), tone and boost.

Starting on the left side is the speaker switch which has settings for Blu15, JP12 and GB25, and you can cycle though all six mic’d cabinets by holding the switch down.

The Woodrow takes you straight to the ’50s zone

The middle switch is only for storing presets, while the right-hand boost switch has positions for KP-3k, Stock and EP-III.

The Woodrow takes you straight to the ’50s zone by virtue of its two channels, which are internally jumpered to facilitate blending the brighter more aggressive instrument channel with the cleaner-, bassier-sounding mic channel.

The three selections on the right-hand Boost switch play a big role in shaping tones.

At the top is KP-3k, which models a preamp boost from the Korg SDD-3000 digital delay as famously deployed by The Edge. It uses the lower-gain mic input to provide a clear, bright sound that’s cool for rhythm playing with the boost knob set low (turn it up for more grit), or to push an overdrive pedal into meaty sustain.

The Stock position uses the instrument input and adds clean gain at low settings, although there’s plenty of graininess available when the instrument volume knob is turned up. And while the boost knob increases gain too, it’s more of a tone shaper that adds midrange and treble.

The bottom setting is EP-III, which models the preamp from a solid-state Echoplex tape echo. It uses the instrument input for extra gain and sounds great for lead, with the boost knob bringing on some fuzzy edge at higher settings.

The bottom setting is EP-III, which models the preamp from a solid-state Echoplex tape echo

As with all the UAFX amp emulators, the various cabinet pairings greatly affect the Woodrow’s tones, as it can go in a warm, vintage direction via Blu15 (15-watt Celestion Blue in a 1x12 tweed combo, mic’d with a Nuemann 67 condenser), veer into muscular rock tones courtesy of Vee30 (Marshall 4x12 with Celestion V30 speakers, mic’d with a Sennheiser MD 421), or cop a more hi-fi attitude with B-Man selected (Fender 4x10 Bassman with Jensen P10R speakers, mic’d with a Shure SM-57).

The tones provided by these pedals makes one appreciate the ears and engineering of the UAFX developers to create pedals that accurately replicate the best-sounding vintage amps that were cherry-picked for each model.

The Dream ’65 Reverb-Amp, Ruby ’63 Top Boost Amplifier and Woodrow ’55 Instrument Amplifier are stompboxes, sure, but they are painstakingly rendered amps in their own right, each capable of standing in for the real thing while providing sonic options galore, and they all receive an Editors’ Pick Award.

Specifications

FOOT SWITCHES: On/off, preset
EXTRAS: True bypass. stereo inputs and outputs, USB Type-C, pair button (activates Bluetooth for UAFX Control mobile app), 9VDC adapter jack (400mA, adapter not included)
SIZE: 3.5” deep x 5.5” wide x 2” tall
WEIGHT: 1.8 lbs
BUILT: Malaysia

Visit Universal Audio for more information.

Donner Arena 2000 Amp and Effects Pedal Review

Dave Hunter — Wed, 01 Mar 2023 16:38:46 +0000

As impressively compact all-in-one rig solutions continue to become more feature-packed and more affordable, Donner Music has fired a noteworthy volley into the fray.

The Chinese gear maker’s Arena 2000 is a floor pedal delivering effects, amp and cab sims, and a massive bundle of functionality and connectivity, all for about the price of a mid-level single-effect boutique stompbox, making it a prime contender for guitarists shopping in the booming entry-level end of this market.

We’re getting used to jaw-dropping feature complements in these things by now, but even so, the Arena 2000’s list of bells and whistles is rather astounding. The unit packs 80 amp models, 50 cab IR models (with 50 slots for loading third-party IRs) and 278 effects, all easily editable right from the unit itself.

One of the things that impressed me upon unboxing the Arena 2000 was the general robustness of its construction

There’s also a built-in drum machine with 40 patterns and 60 loops, as well as a tuner, and it can all be configured into 50 banks of three presets each – 150 presets in all, but others can be stored and easily swapped in and out via Donner’s Control app for Windows and MacOS, which also allows remote preset editing.

Given the bounty stuffed into this 11.5 by 5.5 by 1.5–inch box, at this price you might expect to find a plastic enclosure with iffy switches, knobs and connectors. But no. One of the things that impressed me upon unboxing the Arena 2000 was the general robustness of its construction.

I can’t vouch for its longevity on a 50-date road tour, but the brushed aluminum panels, metal ends and underside, and the rugged latching foot switches inspire confidence.

(Image credit: Donner)

Central to the top face, a three-by-two-inch screen provides visualization of control settings and movable/editable FX, amp and cab blocks.

Traditional rotary knobs offer control over ¼-inch and XLR outputs, five variable parameters (most of these are multi-function, as we’ve come to expect), headphone out and aux-in levels, and preset scrolling and editing (via a large value knob).

Given the limited size of the unit’s back panel, Donner has squeezed in an impressive bundle of connectivity options

Several other functions are accessed by touch-screen buttons. There is also a compact rocker pedal for volume, wah-wah, and other expression-pedal functions. Three stomp switches allow for preset A/B/C selection and bank-up/bank-down, as well as other alternative functions.

Given the limited size of the unit’s back panel, Donner has squeezed in an impressive bundle of connectivity options. In addition to the single ¼-inch input, stereo outputs are available on both balanced XLR and unbalanced ¼-inch jacks with a ground lift switch for the former. A TRS jack accepts a second expression pedal or two more foot switches, plus there’s a DIN for MIDI in, USB Type-C for direct recording and software access, Aux In and headphone out on 1 /8-inch jacks, and an input for the 9VDC/500mA power supply, which is included.

Absent is any kind of FX loop, as many contemporary modelers offer for incorporating favorite external reverb, delay and modulation effects.

Donner

There’s neither scope nor space to list every amp, effect and cab included in the Arena 2000, nor to provide a detailed how-you-use-it guide here, but suffice to say the operation is simple, and will be likely intuitive to anyone who has used modeling amp and/or effects units in recent years.

Amp-wise, the Arena 2000 is packed with a familiar list of vintage classics and popular boutique models

And fired up right out of the box, the Arena 2000 presents 50 factory-loaded banks with three presets each, which might be about as much as many new users need to be getting on with for a while anyway.

I tested the Arena 2000 with a Gibson 1959 Les Paul reissue and a Fender 1954 Telecaster reissue using headphones, both directly from the unit and via a Universal Audio Apollo Twin Duo recording interface, and with studio monitors.

To be honest, I was expecting at best some grins and giggles from the easy jam potential you get with a sub-$275 box of budget-grade sonic tricks, but there are some entirely usable sounds in here, and plenty of fun to be had besides.

Amp-wise, the Arena2000 is packed with a familiar list of vintage classics and popular boutique models. As I find with many lower-priced units, some of the most viable tones are in the high-gain presets, and particularly so with lashings of reverb and delay slathered on.

I’d largely be happy tracking or performing some arena-rock lead antics with a few of the Boogie, Marshall JCM800 or Soldano lead presets I found in here.

Clean sounds were generally less convincing but still respectable enough considering the investment, and the variety of everything available from the effects and settings variables won’t leave you hanging.

Arena 2000 is a ton of fun and an impressively versatile entry-level amp and effects pedal

As for parameters and sonic flexibility, I was rather surprised by the amount of tone crafting the unit provides. For example, using a “Mar 1960B 4x12” cab and twisting the cab-mic selector from a Shure SM57 dynamic mic to a Royer R121 ribbon to an AKG C414 condenser, and others, brought significant foundational changes to the overall sound and presented a very usable tool for fine-tuning my tone.

The same was true for amp and effects parameters. Put it all together and there is some powerful editing to be had here.

As set up out of the box, the factory presets are organized into a somewhat random run of quite different sounds through ascending banks and presets, rather than grouped into banks of Marshall clean, Marshall crunch and Marshall lead, for example, but that’s easily rectified by creating and storing your own user presets.

And although for overall sonic depth and dimension and playing dynamics, the Arena 2000 doesn’t touch upper-echelon units like the Fractal Axe-FX series, Neural DSP Quad Cortex or Line 6 Helix range – all units I’m more familiar with in studio use, at least – I wouldn’t expect that at this price.

As it is, Arena 2000 is a ton of fun and an impressively versatile entry-level amp and effects pedal.

Specifications

CONTROLS: Output and XLR levels, five rotary parameter controls, headphone level, value/ preset scrolling knob; three preset/bank foot switches; rocker pedal for volume, wah-wah and expression; myriad touch-screen buttons for parameter selection and editing
CONNECTIONS: ¼” input, ¼” and XLR outputs, expression pedal/FS4-5 jack, MIDI in, USB Type-C, Aux In, headphone out, power in
POWER: 9V DC at 500mA, power supply included
BUILT: China

Visit Donner for more information.

Kernom Ridge Review

Art Thompson — Wed, 01 Mar 2023 15:40:56 +0000

Touted as the “million moods overdrive,” the Ridge is carving out a niche as the world’s first augmented-analog pedal, with the underscore that it contains technology that allows the player to control in real time the behavior of key internal components.

If this sounds like an echo of something that draws people to pedals in the first place, the clean-looking Ridge, with its custom housing and six matching knobs, doesn’t trumpet that there’s more going on than meets the eye.

But that’s before you start exploring it in depth.

Touted as the 'million moods overdrive,' the Ridge is carving out a niche as the world’s first augmented-analog pedal

The unit’s controls consist of volume, post tone (it works after the clipping stage to vary the sound from fat and heavy to slim and chiming), pre tone (it works before the clipping stage to affect how the pedal reacts to guitar signal), drive, mid and the unique Mood control, which alters the clipping from high headroom zero-to-soft-clipping to compressed hard clipping.

There are also two lighted foot switches: one for on/off, and another labeled preset, which lets you save and recall a custom preset as well as toggle between it and the sound represented by the knob settings.

On the rear of the unit are the input and output jacks (the former adjustable for instrument or line level, the latter with Normal and Punishing Voltage modes).

Lastly there’s an expression pedal input (optional, and a stereo cable is required), MIDI in/out type-A TRS mini jacks and a 2.1mm jack for a nine-volt power adapter (not included).

Key to the million moods story is, of course, the Mood control which is divided into five distinct-sounding zones that the manual describes as follows:

Zone 1: Very clean and open sounding, with zero to light clipping
Zone 2: A transparent and highly dynamic overdrive
Zone 3: A more pronounced overdrive, with coloration
Zone 4: A high-gain monster
Zone 5: Almost fuzz-like, characterful sounds

These are general descriptions, because Mood is continuously variable and provides a wide variety of tones as you sweep though its rotation.

(Image credit: Future)

Kernom refers to Ridge as having “hundreds of analog overdrives in one box with a seamless and clutter-free interface,” which is where the term augmented analog comes from.

It also means that no digital modeling is involved.

Kernom refers to Ridge as having 'hundreds of analog overdrives in one box with a seamless and clutter-free interface'

Combining Mood settings with the other controls dramatically increases the sonic possibilities that this pedal offers, which is why programmability is available.

It starts with a quick and convenient way to save and recall a favorite sound, which is done by pressing and holding the preset foot switch until its LED blinks to confirm that the sound is saved. Now you can use the switch to toggle between a custom preset and a different sound that reflects the actual knob positions. (Presets are adjustable too, though some foot-switching is involved.)

You can also plug in an expression pedal to morph between the two sounds, and even specify different toe-down and heel-down sounds when used in conjunction with Ridge’s MIDI functionality, which includes access to 128 presets and the ability to control the pedal’s internal settings.

(Image credit: Future)

I tested Ridge using electric guitars loaded with humbucking and single-coil pickups, and running it into Fender Deluxe Reverb and Vibro-Champ combo amps.

Used on a studio session and set up for different levels of overdrive – one toward the upper reaches of Zone 3 and the other near the top of Zone 4 – Ridge delivered touch-responsive tones that were easy to EQ for different guitars.

Ridge delivered touch-responsive tones that were easy to EQ for different guitars

For a G&L ASAT Classic fitted with a Duncan Billy Gibbons bridge pickup, setting the mid knob around nine o’clock, post tone at three o’clock and pre tone all the way down produced a fat bridge-pickup sound that cut through well and remained smooth and non-harsh when pushing gobs of grind.

Settings changed a bit with a Les Paul, with both tone knobs moving closer to their center positions to elicit ballsy lead tones that sustained beautifully and were very responsive to guitar volume changes and adjustments in picking.

Ridge also offers a palette of clean-boost options in Zone 1, where the tones range from pristine to slightly gritty textures that are like playing through a small tube amp – and this is with the drive knob dimed.

So by design this is all about using Ridge’s powerful output to drive an amplifier set on the edge of breakup into roaring distortion – and that’s before deploying the aforementioned Punishing Voltage mode if you want to take boosting to the extreme.

A lot of pedals don’t offer this much flexibility

At the far end of the dial, the tones in Zone 5 can be massively overdriven when you crank up the drive knob, but setting it closer to halfway produced tones with a certain amp-like compression and feel that sounded cool for slide and other things.

The tonalities that emerge at the far end of Zone 5 assume some compressed, fuzz-like character that works great for lead, and they morph nicely into dirty-rhythm flavors when you roll back on the guitar volume.

The Ridge is an interesting overdrive pedal that provides myriad shades of grind. It could be a good candidate if you’re looking for a do-it-all box that offers expanded controllability via expression pedal or MIDI.

A lot of pedals don’t offer this much flexibility, and it’s cool that Ridge opens up the spectrum of tones so broadly while keeping it all in the analog realm, which is one of the main benefits of Kernom’s augmented-analog technology.

Specifications

CONTROLS: Drive, volume, mid, post tone, pre tone, Mood I/O Input and output, expression pedal input, MIDI in/thru using TRS type A mini jacks
FOOT SWITCHES: On/off, preset
EXTRAS: True bypass. Can store one preset for instant recall or 128 presets via MIDI. Expression pedal input. 9VDC adapter jack (250mA minimum, adapter not included)
SIZE: 4.4” deep x 6.5” wide x 2” tall
WEIGHT: 1.8 lbs
BUILT: France

Visit Kernom for more information.

“We Copied Them Exactly”: Marshall’s Steve Smith Introduces the New Guv’nor, Bluesbreaker, Drivemaster and Shredmaster Reissues

Rod Brakes — Fri, 24 Feb 2023 18:54:13 +0000

Great news for pedal lovers: After much excitement and anticipation, Marshall has finally reissued their classic ‘black box’ units: the Guv’nor, Bluesbreaker, Drivemaster and Shredmaster.

While the circuits are said to be “exact” recreations of the originals, the firm has needed to update the pedals with new pots and jack sockets (though the specs remain the same.)

Marshall’s stompbox history goes back to the '60s, beginning with the Sola Sound Tone Bender-style Supa Fuzz. And although effects pedals are not Marshall’s most obvious contribution to the rock world, their ‘black box’ stompboxes introduced in the late ‘80s and early ‘90s have since become desirable pieces of vintage gear with original units commanding several hundred dollars on the used market.

Over time, these Steve Grindrod-designed products have inspired many other pedals, some of which are considered modern classics in their own right.

Guitar Player spoke to Steve Smith at Marshall to find out more.

“People were paying crazy money for the original Marshall pedals on eBay and Reverb,” he tells us, “so we got the original schematics from our archive and made some prototypes. We also used some original pedals from the late ‘80s and early ‘90s from the museum and R&D storeroom to AB the sounds.

We thought people will be disappointed if we started messing with the original circuit
Steve Smith

“We plugged them in and they still sounded amazing. I was particularly surprised about the noise floor – it was really low, even with loads of gain. In terms of quality, these old designs easily stand up against today’s pedals.”

Interestingly, the team discovered that all of their original Guv'nor units sounded slightly different to one another. “When it comes to pedals that are decades old, the [component] tolerances change,” explains Smith. “We had a few original Guv’nors from 1988 and they all sounded just a little bit different. But we found it was possible to get them all sounding identical by adjusting the knobs ever so slightly.”

Given the benefit of hindsight, we asked if Marshall was at any point tempted to change the circuit designs. “We copied them exactly,” underscores Smith. “We did toy with the idea of doing some modifications. The Bluesbreaker and Guv’nor are two of the most copied pedals ever, but they have their little quirks. For example, if you put the Bluesbreaker on minimal gain, you actually get less volume than with the pedal bypassed.

“We thought, Shall we tweak it? Shall we change it? But we concluded: No. Leave them exactly as they are. We thought people will be disappointed if we started messing with the original circuit.

“All the through-hole components are the same and we’re making these pedals in the U.K. The only difference is the jack sockets and pots; the original manufacturer no longer exists, but they’re the same specs.”

The Guv’nor

Marshall

Charisma Records America, Inc.

When Marshall released the Guv’nor in the late ‘80s, it set benchmarks for all amp-in-a-box pedals that followed.

“The Guv’nor came out first in ’88," says Smith. "Back then, amp-in-a-box pedals weren’t really a thing. You had [ProCo] Rats, the [Boss SD-1] SD-1 Super Over Drive and [Ibanez] Tube Screamers, but a distortion pedal with a full EQ to recreate the sound of a Marshall stack was a game changer.

“There were so many players that used the Marshall Guv’nor, and Gary Moore is one of the most notable. He was actually pictured with the Guv’nor on the artwork for [1990’s] Still Got the Blues.”

Bluesbreaker

Marshall

The Marshall Bluesbreaker pedal was inspired by the groundbreaking sounds of Eric Clapton when he plugged a Les Paul Standard into a Marshall model 1962 combo in 1966 to record John Mayall’s Blues Breakers With Eric Clapton, a.k.a. the Beano album.

And while the Guv’nor has inspired countless other stompbox builders (the JHS Angry Charlie variants and Danelectro Daddy-O, for example), the Bluesbreaker served as the basis for one of the most revered gain pedals in the business: the Analog Man King of Tone.

“The Guv’nor was discontinued in 1991,” continues Smith, “to make way for the other three which we’ve also reissued: the Bluesbreaker, Drivemaster and Shredmaster. Apparently, the official release date was in ’92, but they were already on the market in ’91.”

Drivemaster

Marshall

“The Drivemaster is actually a Guv’nor circuit,” reveals Smith. “Marshall rehoused it and brought it a little more up-to-date.”

Appearing sans effects loop jack, the Drivemaster sports amp-like Bass, Middle and Treble controls, as per the Guv’nor, enabling a broad range of tones to be dialed in.

A favorite of Jeff Buckley and Dan Hawkins of U.K. rockers the Darkness, the Drivemaster’s hard-clipping diode distortion emulates the classic British sound that has made Marshall tube amps such a hit throughout the decades.

Shredmaster

Marshall

The Shredmaster is famous for its ability to produce high gain distortion sounds. Its EQ comprises Bass, Treble and Contour knobs (Contour changes the character of the midrange while enhancing low and high frequencies.)

“This is the pedal famously used by [Radiohead guitarist] Jonny Greenwood,” Smith reminds us. “It doesn’t just do the shred thing; it’s a really meaty overdrive.”

The long-discontinued 'black box' Guv'nor, Bluesbreaker, Drivemaster and Shredmaster were superseded in the late '90s by Marshall's Mark II pedal line that included the Guv’nor II and Bluesbreaker II.

However, many guitar players still yearned for the original stompboxes and were willing to part with relatively large sums in order to acquire one.

Fortunately, paying vintage prices is no longer necessary with the new Marshall ‘black box’ reissues.

IK Multimedia Unveils the TONEX Pedal

Rod Brakes — Thu, 16 Feb 2023 17:19:44 +0000

Last year, AmpliTube creators IK Multimedia introduced their advanced AI Machine Modeling technology.

Said to be “indistinguishable from the real thing,” it allows users to make virtual versions of any rig.

Utilizing artificial intelligence to capture a rig's unique tone, electric guitar players are able to accurately model the sound of any amp, cab or gain pedal within minutes using IK’s TONEX software and minimal gear.

IK Multimedia calls this a Tone Model.

Available for PC, Mac, iPhone and iPad, TONEX can be used as a standalone application or as a plug-in with your favorite DAW.

Now, the Italian firm has announced the TONEX Pedal, thus “completing the TONEX ecosystem and bringing AI Machine Modeling Tone Models to any venue for live performance or recording.”

With an ever-increasing number of Tone Models available to choose from (currently in the thousands) users can enjoy the virtual experience of playing some of the best pedals, amps and cabs in the world.

Furthermore, a growing ToneNET online community allows owners to freely share their unique Tone Model creations.

Able to store up to 150 Tone Model presets, Tone Models can be loaded in to the TONEX Pedal via USB.

While the TONEX Pedal features exclusive IK VIR cabinets, you can also load your own custom IRs.

Incorporating five reverb algorithms, a compressor, a noise gate and extensive EQ control, this groundbreaking unit is a “complete ecosystem of tone.”

Boasting high-end audio specs – notably 24 bit/192kHz operation and a super quiet 123dB noise floor – the TONEX Pedal also functions as an audio interface.

Flexible connectivity includes dual mono or stereo outputs (with or without cab), full MIDI in/out, and an external control jack for hooking up an expression pedal or single switch in order to control any number of parameters with a single action.

A handy 1/4-inch headphone jack is also included.

Visit IK Multimedia for more information.

Heard on Classic Records by the Cult, the Smiths, Frank Zappa, David Bowie, Metallica, Talking Heads, King Crimson and More, the Boss and Roland Chorus Sounds Are a Mainstay of Rock

Dave Hunter — Tue, 07 Feb 2023 16:55:13 +0000

So many guitarists of the late ’70s and ’80s were using the Roland stereo chorus in the studio that it’s sometimes difficult to parse if the sound was coming from an amp (such as the JC-120), a pedal (like the CE-1, CE-2 or CE-3 Chorus Ensemble) or a Dimension D rack unit.

Regardless, “that sound” is all over countless classic recordings from the era.

When used in the studio, the JC-120 provided a meatier rendition of the tone that players had previously achieved by DI’ing their tracks.

As noted by Steve Levine, producer for Culture Club, China Crisis and others, “In the right hands it’s quite a tone palette, you can do a lot with it. It does bridge the gap between being a regular amplifier and a kind of DI’d monster.”

Johnny Marr's Roland JC-120 Jazz Chorus amplifier (Image credit: Future)

Billy Duffy of the Cult and other projects derived the clean, chorused element of his signature tone from a JC-120, often used in combination with a Marshall JCM800 or other tube amp.

Although the Cult hit “She Sells Sanctuary” has a heavy feel that helped lodge it as a classic rocker amid the British New Wave boom of the mid ’80s, the guitar tone on the song is clear and clean, and slathered with JC-120 chorus.

“The signature sound of the first two Cult albums was the Gretsch and a Roland JC-120,” Duffy explains on BillyDuffy.Com. “The Roland is great for the early, chimey stuff, because of that chorus sound – which I can really only get out of the combos. Some guys get a great sound with just one amp, but I’ve never been able to do it.”

Johnny Marr’s use of chorus with the Smiths was generally pretty subtle, but also an essential ingredient of his sound on many classic tracks.

“The Hand That Rocks the Cradle” and “I Don’t Owe You Anything” from the Smiths’ self-titled debut album reveal a nuanced chorus tone that might have been JC-120, CE-1 or Boss CE-2, while the swirl is a little thicker on songs like “The Headmaster Ritual” and “I Want the One I Can’t Have” from the 1985 follow-up, Meat Is Murder.

Marr turned to that sound again for his latest solo album, 2022’s Fever Dreams, where we hear it prominently on “Receiver,” “Ariel” and other tracks, shining through what is otherwise a denser mix than heard on early Smiths records.

“For this album, I also dug out my old Roland JC-120 Jazz Chorus amp,” he told Rod Brakes in Total Guitar magazine. “Transistor amps have a sonic presence that puts the sound right in your face. It’s sort of an Ennio Morricone sound.”

Transistor amps have a sonic presence that puts the sound right in your face
Johnny Marr

While Andy Summers’ seminal swirl on early Police hit “Message in a Bottle” is purported to be a combination of pedals, he is also a long-time devotee of the JC-120, and often had one in his touring rig with the band.

“The Roland JC-120 has been a staple in my collection of amplifiers for as long as I can remember,” he told Roland.com, “probably from the day it came out! I have used it on many recordings for its distinctive clarity of sound and always-superior chorus. If I am playing away from home and amps have to be supplied, my first choice is always the JC-120. It is a no-fail amp in just about every situation.”

While it might sound counter-intuitive, heavy metal icons Metallica have often turned to the JC-120 for the clean tones tracked by guitarists James Hetfield and Kirk Hammett.

Several songs on 1988’s …And Justice for All feature the amp, likely heard most prominently on “To Live Is to Die,” but also apparent in the mellower passages of “One” and the intro to the title track.

It’s no surprise, however, that a creative sonic sculptor like Adrian Belew might have fallen in love with the JC-120’s sound, as he did from the very first listen. “I first heard a JC-120 at a casual party in L.A. in 1977,” he told Roland. com. “Someone was playing some chords and noodling around – not very well in fact – but the sound mesmerized me.

“I had never heard an amp sound so pristine and beautiful. There was a shimmering clarity to every note. Then the player turned on the actual stereo chorusing. Wow! What an incredible sound. I nearly fell off my chair! I sat there speechless until I finally asked if I could play through it. Within the first two notes I played, I was madly in love with the JC-120.

“To me, the stereo chorusing and vibrato were the single most beautiful guitar sounds I’d ever heard an amp produce. I was in L.A. at the time rehearsing with Frank Zappa, my first big break in the music business. I told Frank about the amp, and the next day one showed up for us to investigate.

“Frank liked it enough to advance me the money to buy my first JC-120. I still have it ensconced in my studio. I still love it and still record with it.”

Belew’s first prominent use of the JC-120 appeared on the 1978 Zappa classic Sheik Yerbouti, but he also plastered the amp – with and without chorus and vibrato effects – on several tracks of David Bowie’s 1979 album, Lodger, the seminal Talking Heads super-group affair Remain in Light from 1980 and King Crimson’s 1981 smash, Discipline, which reveals that crystal-clear shimmer on Belew’s tour de force “Elephant Talk,” “Frame by Frame,” “Thela Hun Ginjeet,” “The Sheltering Sky” and others.

Famous JC-120 user Adrian Belew sits with (and on) his Jazz Chorus, April 1994 (Image credit: PAUL NATKIN/GETTY IMAGES)

Visit the Roland website for more information on Jazz Chorus amps.

Click here for info on Boss chorus pedals.

"I Just Don't See Any Need for Pedals”: Walter Trout Shows Us How He Gets All the Tones He Needs From His Vintage Mesa/Boogie Mark IV Amp

scott.rowley@futurenet.com (Scott Rowley) — Tue, 07 Feb 2023 15:35:07 +0000

Pedalpocalypse – the popular show from Guitar Player, MusicRadar and Guitar World – returns for the final time.

Produced in L.A. by British guitarist Robin Davey and Growvision, this last instalment really is a stompbox apocalypse – as far as blues guitar veteran Walter Trout is concerned, anyway.

"I just don't see any need for pedals,” says the Strat-wielding blues rocker with a nod to his trusty old Mesa/Boogie Mark IV tube amp. “I have this theory that if you get a kickass amplifier, why would you put it through a $100 pedal?”

In each episode of Pedalpocalypse, we asked guitar players, “If you could only take three pedals with you into lockdown, which ones would they be?”

“None,” underscores Trout.

A true old school blues club performer, Trout used to goose the front end of his Fender Super Reverb with an Electro-Harmonix LPB-1 Linear Power Booster.

Introduced in late 1968, the LPB-1 plug-in device was Electro-Harmonix’s debut product and is, strictly speaking, not a pedal.

Nowadays, the LPB-1 is available from EHX in pedal format, however.

When I started playing in bars in the middle-to-late '60s, pedals didn't exist
Walter Trout

"When I started playing in bars in the middle-to-late '60s, pedals didn't exist," Trout recalls. "At the time, I was playing through a Fender Super Reverb (which I still have out in my garage) and I wanted to get a little more out of it.

“At that time a pedal came out by Electro Harmonix called an LPB-1. It was just a gain boost and it plugged right into the input on your amp. It stuck out from the front of the amp – it was very elemental and kind of primitive – but I would plug that into the Super.”

Trout discovered the joys of cascading gain in the 1980s during his John Mayall & the Bluesbreakers years.

Walter Trout's vintage Mesa/Boogie Mark IV amp (Image credit: Future)

"When I discovered Mesa/Boogies while I was with John Mayall, I realised that basically it's a Fender that's been very souped-up and modified and the overdrive is built into the amp."

I control it all with the volume button
Walter Trout

So how does the guitarist manage to squeeze out such a broad range of tones from his amp?

"I control it all with the volume button," he tells us. "I have the amp set on Channel 3, which is the high-gain channel. I have the gain all the way up and I'm controlling the cleanliness and the whole thing with the volume on the guitar and I play all the time with my pinky wrapped around the volume button."

(Image credit: Provogue)

Order Walter Trout's most recent album, Ride, here.

Visit the Walter Trout website for the latest news, tour dates and tickets.

Pioneering Chorus: How the Roland JC-120 Jazz Chorus Amp and Boss CE-1 Chorus Ensemble Pedal Set Industry Standards

Dave Hunter — Tue, 07 Feb 2023 13:18:00 +0000

For massive clean power and hypnotic chorus and vibrato effects in a relatively compact package, the Roland JC-120 Jazz Chorus is hard to beat. But we take its existence too much for granted these days. Before its arrival in 1975, most guitarists had given the cold shoulder to the first wave of solid-state amplifiers.

From the mid 1960s onward, major makers in the industry such as Vox, Fender and Gibson tried their damnedest to convince players that tube amps were the way of the past. Their promotional efforts declared they were too fragile, hot, temperamental, heavy and expensive to maintain.

They even insisted the old glowing glass bottles should be abandoned for the way of the future: solid-state transistors. And this was in spite of the fact that each of them already made great tube-based models pro players loved.

Roland approached things differently, and in retrospect that’s no surprise

The problem was, the efforts of these makers and others to replicate the tube-amp tones that rockers had fallen in love with failed abysmally, and guitarists just weren’t buying it.

Roland approached things differently, and in retrospect that’s no surprise. The Japanese company was new, and it took a novel approach to product development that continues to this day.

Rather than attempting to emulate the sounds of existing tube amps, Roland designed a high-quality, dual-60-watt stereo solid-state output stage fed by a relatively high-fidelity solid-state preamp, with built-in stereo chorus/vibrato, reverb and distortion.

Roland JC-120 Jazz Chorus amplifier (Image credit: Roland)

As this feature set suggests, the JC-120 was intended to serve as an all-in-one amplification solution, clearly with hopes that the onboard distortion option would lure some rockers who would otherwise be turned off by the model name’s jazz-certified intentions.

As it happened, the distortion effect didn’t launch many hits, but the modulation effects and the JC-120’s rich, clear core sound certainly did, making it a mainstay of professional guitar tone right from its arrival on the scene.

And not only did the JC-120 Jazz Chorus and its sibling amps create countless classic tones on their own – they also established a sound guitarists would continue to chase through the use of other Roland and Boss gear with roots in the JC-120, right up to this day.

Roland Roars In

Given the rousing success of the JC-120 and other Roland products introduced shortly before and after (not to mention the myriad hits to come from its subsidiary Boss), it’s incredible to think that this company was established only three years earlier, in 1972.

Founder Ikutaro Kakehashi already had a decade of experience marketing rhythm machines with his former company, Ace Tone, and indeed the TR-33, TR-55 and TR-77 beat boxes were among the very first products released by his new Osaka-based company.

The following year brought the SH-1000 monophonic analog synthesizer, arguably the first affordable compact keyboard synth produced in Japan, with both the groundbreaking EP-30 electric piano and legendary RE-201 Space Echo landing the year after that.

Boss CE-1 Chorus Ensemble (Image credit: Roland/Boss)

The JC-120 kept the hits coming in 1975, followed by the mammoth System-700 Modular Synthesizer and Boss CE-1 Chorus Ensemble chorus pedal in 1976, and the GR-77 Guitar Synthesizer and first trio of Boss compact effects pedals in 1977. The ’80s brought the TR-808 drum machine; Jupiter 8, JX-3P and DR-50 synths; the RD-1000 electric piano, and… well, you get the picture.

Suffice it to say the Roland name no longer needs any introduction in the world of music electronics, but guitarists encountering the JC-120 for the first time are still likely to declare, “What, they made a guitar amp, too?” Indeed. And in fact, they made several.

The first lineup included the 60-watt JC-60 1x12 alongside the JC-120, with the 160- watt JC-160 4x10 combo and JC-80 1x15 following in 1976. Meanwhile, modern descendants both of the Jazz Chorus itself and the effect within it continue to set the standards for the tones these designs established nearly five decades ago.

Roland JC-60 Jazz Chorus (Image credit: Roland)

Anti-Hero Amp

Aside from the robust and atmospheric sounds themselves, the JC-120’s early success is owed partly to how well it was pitched to the market of the day, and even more so to that of the decade that followed.

It was introduced in an era when guitarists were surprisingly receptive to new technology – even in the wake of what was arguably the failure of the first few waves of solid-state guitar amps – and it landed at a time when many musicians perceived their bigger, more powerful modern amplifiers as rather workmanlike tools, expecting them to appear as such.

The Jazz Chorus lineup’s business-like black livery and riveted corner and edge protectors lent it a flight-case-like look that might have sunk a new product in a more stylish age. And indeed it was tour-ready right out of the box, constructed inside and out to withstand the rigors of the road.

Johnny Marr's Roland JC-120 Jazz Chorus amplifier (Image credit: Future)

Much of Andy Summers’ tones with the Police epitomized the JC-120’s atmospheric power, and the amp similarly became the core of the sounds of players like Steve Hackett of Genesis, John McGeoch of Magazine and Siouxsie and the Banshees, Robert Fripp, Adrian Belew, Joe Strummer, Robert Smith of the Cure (who used the rare JC-160 4x10 variant) and many others, all within the first decade or so of the model’s existence, with a plethora of future artists to follow in their wake.

The amp’s quick uptake was also thanks in part to the enthusiasm with which it was embraced by many guitar anti-heroes in an age when punk, new-wave and other alternative-minded guitarists were rebelling against the arena-rock norms of poodle haircuts, Marshall stacks and Spandex slacks.

And while the JC-120 excelled in an age when clean was the cool new sound, and was even hipper with lush stereo chorus engaged, the amp’s power and projection would appeal to a host of guitarists who discovered its ability to deliver stage-rumbling overdrive amid a dense rock mix.

Witness the onslaught of Billy Duffy of the Cult, Bob Mould of Hüsker Dü and Sugar, or Wes Borland with Limp Bizkit for examples of what this creation can do with some oomph applied to the front end.

Roland JC-120 Jazz Chorus belonging to Hawkwind founder and guitarist Dave Brock (Image credit: Future)

Pedal Points

The Jazz Chorus range is significant not only for the music made by the amp itself but also for the seminal chorus sound it introduced to the world.

Granted, the JC-120’s clean, rich, 120-watt stereo output through a robust 2x12 cab presents a stunning soundstage for the textured, emotive shimmer delivered by Roland’s groundbreaking chorus effect. But the company’s transmutation of this circuit in 1976 into the first Boss pedal ever released, the CE-1 Chorus Ensemble, made the sound available through other eager guitarists’ rigs of choice.

Deep, thick, spatial and multi-dimensional, the CE-1 sounded great in mono, but otherworldly in stereo, whether through two guitar amps or one JC-120.

In addition to being the first of the line of legendary chorus pedals, and an inspiration for countless others from rival manufacturers, the CE-1 was also the first chorus pedal from any maker and is often said to be the first effect to use bucket brigade device (BBD) chips in its circuit.

It was housed in a much larger and heavier enclosure than most of the more common pedals today, but so were many of the more complex effects of the ’70s.

It carried two foot switches – one for effect on/off and another to switch between its vibrato and chorus effects – along with a level control, a control for chorus intensity, two knobs for vibrato depth and rate, a power switch to engage its hard-wired AC power and a high-/low-input switch.

As the industry exploded with chorus effects, and the sound virtually engulfed the pop and rock airwaves, Roland and Boss continued to set the standard.

As the industry exploded with chorus effects, and the sound virtually engulfed the pop and rock airwaves, Roland and Boss continued to set the standard. Boss unveiled its ubiquitous compact pedal line in 1977, and the company’s brightly colored renditions of just about every effect under the sun rolled out continually thereafter.

In 1979, the CE-2 Chorus joined the ranks, taking a similar sound into a compact format that sacrificed the vibrato effect and the stereo outputs.

Stereo chorus and vibrato did arrive in compact pedal form in 1982, however, with the updated Boss CE-3.

Even so, the CE-1 itself remained in production until around 1984, while an ever-evolving range of both analog and digital chorus pedals joined the lineup in the years to follow.

Another Dimension

With the demand for chorus effects exploding in the late ’70s, Roland released the SDD-320 Dimension D stereo analog chorus rack unit in 1979 to take a high-quality version of the effect to the studio world.

Quite different from the CE-1 and its descendants, the Dimension D was considered a subtler effect, intended more for enhancing the spatial dimension and stereo width of just about any instrument or vocal, rather than producing the more obvious modulation and movement of traditional chorus pedals.

Major artists like Peter Gabriel, Brian Eno, Talking Heads and Kate Bush quickly put it to work on many recordings, but plenty of guitarists also tapped into its lush sound both live and in the studio.

Boss CE-5 Chorus Ensemble (Image credit: Roland/Boss)

Alan Murphy, guitarist with Kate Bush and Go West, frequently recorded through the SDD-320, and Andy Summers added one to his touring rack for the Police’s Ghost in the Machine tour of 1981-’82.

The Dimension D was also different from existing chorus pedals in its use of four push buttons and no control knobs, allowing for increasing depths of the effect, and bypass.

The circuit itself used BBDs in two independent delay lines, out of phase, blended with a dry signal, to create a sound that was less motion and more dimension, totally avoiding the more obvious and occasionally obtrusive wobble of chorus effects designed more for depth and speed.

In 1985, the Boss DC-2 Dimension C pedal presented the same sound and functionality in a traditional compact floor enclosure that guitarists could include on their boards. Both the original rack-mounted Dimension D and the Dimension C pedal have become highly collectible effects in recent years.

Boss chorus went digital in 1988 with the DC-3, and this new technology dominated much of the modulation and delay world well into the ’90s.

Often considered cleaner and more precise than analog chorus, with what some players hear as a modern “metallic” edge to it, digital chorus was sometimes derided by others as being colder and more sterile than the variety produced by BBD chips.

Several Boss digital chorus pedals can, of course, sound fantastic when used to their strengths, but the resultant clamor for new analog releases in the ’90s and early ’00s was partly a result of what turned off many guitarists regarding digital units.

Current Issue

Both Roland and Boss fill guitarists’ myriad chorus needs with present-day renditions of the classics that established the sound 48 years ago. The JC-120 is still available in its original form, with the contemporary bonus of a stereo FX loop to incorporate outboard effects into the amp’s natural spatiality.

At the end of 2022, the company announced a Limited Edition 50th Anniversary JC-120 to mark the occasion. And, although mono sibling combos like the JC-60 and JC-80 have been discontinued, the recent-issue JC-40 and JC-22 are truer to original form by offering the full stereo effects in dual-speaker formats.

Delivering 20 watts per-side into two 10-inch speakers, the JC-40 further compacts the format by including only a single channel with the original Jazz Chorus control layout, but the addition of stereo inputs accommodates stereo instruments and front-of-amp effects pedals.

Roland JC-22 Jazz Chorus amplifier (Image credit: Roland)

In addition, it has a stereo FX loop to further enhance the left-right soundstage as desired.

The even smaller JC-22 offers 30 watts of power (15 watts per side) into two six-and-a-half-inch speakers, with the same stereo connectivity but a little more savings with the inclusion of a chorus effect only in the modulation section, and no vibrato.

For current-issue, state-of-the-art stereo chorus in pedal form, the CE-2W from Boss’s Waza Craft line combines the essential elements of both the CE-1 and CE-2 sound via true analog BBD delay lines with added functionality to both modes, all in stereo.

Boss CE-2W Chorus (Image credit: Future)

Released in 2018 in the face of climbing prices for original DC-2 Dimension C pedals made between 1985-’89, the DC-2W is another Boss Waza Craft pedal that combines enhanced functionality with the sounds of past classics.

With a switch to flick between DC-2 and SDD-320 modes, its four push-button selectors can be used two at a time rather than singly, enabling a full 20 possible settings.

Having developed from hot new things to celebrated pieces of gear whose sound defined an era, the JC-120 Jazz Chorus amplifier and CE-1 Chorus Ensemble pedal have become essential ingredients for guitarists in nearly every genre, and it’s hard to imagine them disappearing from our boards any time soon.

Boss DC-2W Dimension C (Image credit: Future)

Visit the Roland and Boss websites for more information.

Maestro Agena Envelope Filter, Arcas Compressor Sustainer, Mariner Tremolo, Orbit Phaser and Titan Boost Reviews

Art Thompson — Thu, 05 Jan 2023 19:22:22 +0000

The latest group of Maestro pedals covers boost, compression, envelope filter, phase shifting and tremolo.

Like the debut models we reviewed last year (the FZ-M Fuzz-Tone, Comet Chorus, Discoverer Delay, Invader Distortion and Ranger Overdrive) they feature wedge-shaped steel housings with vintage-style brushed-aluminum decal graphics and a lighted “three bugles” on/off indicator.

All are true-bypass analog designs

They also keep the same format of three knobs and a mini-toggle switch that, depending on the effect, provides two parameter options for enhanced functionality.

The input, output and adapter jacks are on the front panel, which allows for placing the pedals close together on a pedalboard.

All are true-bypass analog designs and, unlike the debut models, do not have internal trim pots.

The enclosures open easily when you loosen four screws (they don’t have to be removed), allowing you to access the clip for a nine-volt battery (not included) – handy if it’s inconvenient to be tethered to an adapter (also not included).

I tested all five pedals with a Telecaster, a Reverend Crosscut and a Slick SL56 plugged into a Fender Deluxe Reverb and a mid-’60s Vibro-Champ combo.

Agena Envelope Filter

FOR: Tracks well. Hi/Lo switch provides useful tone options
AGAINST: None

The Agena Envelope Filter delivers classic auto-wah effects via its sense (sensitivity), decay and attack controls, along with a Hi/Lo switch that selects the filter’s frequency range. Set the switch to Hi for a sharper tone or to Lo for a bassier response.

A sweet-sounding pedal that tracks picking dynamics very well

The accompanying literature points out that a Maestro BG-1 or BG-2 Boomerang Wah pedal was used by legendary Stax Records session guitarist Charles “Skip” Spence on the 1971 recording “Theme From Shaft.”

It’s not clear if the Agena is based on any ’70s-era circuitry, but it is a sweet-sounding pedal that tracks picking dynamics very well, making it feel like you’re working the rocker on a wah pedal to create sharper “toe-down” effects and rounder timbres – all with a nice vocal character – when you back off on your picking.

I like the sounds with sensitivity at noon or thereabouts (depending on whether I’m playing humbuckers or lower-output single-coils), attack (which sets how quickly the filter opens) at around one o’clock and decay (which adjusts how long the filter stays open) at two o’clock or higher.

It’s like wah-wah without having to think about it

The controls don’t have radical amounts of range, and that could be a good thing because the Agena sounds warm and natural and is fun to play with.

You can find a lot of reasons to just leave it on for rhythm and melodic parts, where the embellishing qualities of wah can be so organically woven into the music when you’re not anchored to a rocker pedal.

It’s like wah-wah without having to think about it. It’s an addictive thing, too, and the Agena gives you the essentials you need to get your Jerry Garcia groove on with this hip effect.

Arcas Compressor Sustainer

FOR: Smooth compression, quiet operation. Useful Hi/Lo function
AGAINST: None

A totally different experience is the Arcas Compressor Sustainer, which has sustain, attack and level controls, and a Low/Hi switch that, in the latter position, provides greater sensitivity to picking dynamics.

The Arcas is very unobtrusive, and you can basically have it on and get very comfy with the smoothing qualities it brings to your playing.

The Arcas is very unobtrusive

This is where compression is at its best, in my opinion, but the Arcas can be more effect-y sounding with sustain (which varies the amount of gain applied during compression) set at around three o’clock, attack (which adjusts how quickly the compression engages) at two o’clock and level around one o’clock or whatever it takes to give a little boost to the output or mitigate level loss caused by compressing the signal.

With the switch set to Hi, Arcas added a nice juiciness to slide parts, and I liked how it doesn’t change the dynamic feel but rather just makes everything sustain longer and sound meatier in the process.

The Arcas does the job effectively and is very quiet and transparent, making it ideal for guitarists who can appreciate a compressor that doesn’t overtly affect that all-important dynamic feel.

Mariner Tremolo

FOR: Wide range of tremolo sounds available via the Harmonic/Classic switch
AGAINST: None

The Mariner tremolo is another well-implemented pedal that offers the choice of Classic and Harmonic modes via its two-position mode switch.

Classic mode provides amplitude modulation to deliver warm, amp-style tremolo

This pedal is a straightforward three-knobber, with controls for depth (varies the intensity of the effect), shape (progressively alters the waveform shape from triangle to square) and speed (modulation rate).

However, in combination with the aforementioned mode switch, a surprisingly wide range of tremolo textures are available here.

Classic mode provides amplitude modulation to deliver warm, amp-style tremolo when you set shape to noon or thereabouts.

The effect is nice and thick with the depth knob all the way up, and turning the shape control toward maximum yields progressively choppier sounds that really stand out at higher speed settings and can be useful for embellishing breaks or other dynamic shifts in a song.

Harmonic mode introduces frequency amplitude modulation

Harmonic mode introduces frequency amplitude modulation, which has pitch-bend color and sounds that are closer to a rotary speaker.

I like it with depth at maximum, shape at around 11 o’clock, and speed either on the slow side, for a watery, Robin Trowe-style tone, or faster, for a shimmering Lonnie Mack-style sound, especially played through a lower-gain amp boosted into breakup.

The versatility of the Mariner makes it a good choice if you’re looking for a basic tremolo pedal that has something extra up its sleeve.

Orbit Phaser

FOR: Delivers sweet-sounding phasing with a choice of 4- and 6-stage operation
AGAINST: None

It would be unthinkable not to have a phase shifter in the new Maestro lineup, and the Orbit Phaser answers the need in a juicy-sounding pedal that features controls for width (adjusts the effect’s intensity), feedback (sets the amount of vocal phase effect) and rate, plus a 4-Stage/6-Stage switch that provides classic, bold phasing textures in the former position and a slightly thinner, smoother and perhaps more hi-fi response in the latter position.

A good choice if your tastes lean in a vintage direction and you love the swirly coolness of this primordial effect

They both sound good in different ways, and I liked the overall response with the width and feedback controls at around one and two o’ clock respectively, and rate set for a rich, chewy sound at around 10 o’clock.

From there the tones can be easily slanted toward classic EHX Small Stone/MXR Phase 90 sounds with a little tweaking of the controls.

The Orbit Phaser is a good choice if your tastes lean in a vintage direction and you love the swirly coolness of this primordial effect, whether using it to add tasty color, like ’70s-era Keef, or as a tone shaper to help facilitate the “brown sound,” as per early EVH.

Titan Boost

FOR: Powerful clean boost. Handy HFP mode provides enhanced tone-shaping
AGAINST: None

The Titan Boost begins as a garden-variety booster with tone and level controls, but it adds a nifty twist courtesy of the mode switch, with its Flat and Hi Pass settings.

You can fine-tune the tones quickly and easily

The latter operates in conjunction with a third knob labeled HPF that lets you adjust the high-pass filter’s bandwidth and is only operable when the switch is on the Hi Pass setting.

The cool thing here is you can fine-tune the tones quickly and easily by using the HPF knob to do things like tame shrillness inflicted by single-coils or eliminate low-end muddiness that humbuckers can cause.

In Flat mode the Titan simply adjusts tone and level, which may be all that’s needed to give your guitar signal a girthy boost of 25dB or more to overdrive the front end of a tube amp.

A very capable boost pedal that gives you two distinctly different ways to shape your tone

I found it worked well in that role, letting me get more grind from a Deluxe without changing its core tone, and the Titan proved to be a cool alternative to switching on an OD pedal, which invariably colors the sound to some degree, even though that may be exactly what you want.

A booster can also be an essential part of the pedal chain when placed before or after a distortion pedal to give some extra lift when it’s needed.

The Titan is a very capable boost pedal that gives you two distinctly different ways to shape your tone, while retaining the simplicity and ease of use that are fundamental qualities of all these models in the Maestro line.

Specifications

All Pedals

CONTACT: maestroelectronics.com
EXTRAS: Battery power option
SIZE: 5.044” x 3.45” x 2.5” (LxWxH), including knobs
WEIGHT: 1.24 lbs (tested)
BUILT: China

Agena Envelope Filter

PRICE: $159
CONTROLS: Sense, decay, attack. Hi/Lo switch

Arcas Compressor Sustainer

PRICE: $149
CONTROLS: Sustain, attack, level. Hi/Lo switch

Mariner Tremolo

PRICE: $154
CONTROLS: Depth, shape, speed. Harmonic/ Classic switch

Orbit Phaser

PRICE: $149
CONTROLS: Width, feedback, rate. 6 Stage/4 Stage switch

Titan Boost

PRICE: $154
CONTROLS: Tone, HPF, level. High Pass/Flat switch

Visit Maestro for more information.

Origin Effects M-EQ Driver Pedal Review

Dave Hunter — Wed, 04 Jan 2023 17:41:02 +0000

British maker Origin Effects ascended quickly into the upper echelon of high-end boutique pedal makers largely with its Cali76 compressor, based on the legendary Urei 1176 studio rack compressor.

They’re back at it with the new M-EQ Driver, which channels another classic processor, the vaunted Pultec passive EQ made famous in the 1950s for its ability to sweeten and boost, in particular, a signal’s midrange.

Rather than tap the Pultec circuit purely for its frequency-adjusting capabilities, Origin takes advantage of the original circuit’s ability to drive a signal into sweet, harmonically saturated distortion.

(Image credit: Origin Effects)

It’s a low-gain overdrive at best, but a succulent and musically enriching effect that has become as much a part of the Pultec’s magic as its EQ capabilities themselves.

Put it all together, and the Origin M-EQ Driver is an enticing mid-boost and drive pedal that speaks to some highly creative design thinking before you’ve even plugged it in.

The Origin M-EQ Driver is an enticing mid-boost and drive pedal that speaks to some highly creative design thinking

The M-EQ Driver is housed in a brushed stainless-steel enclosure topped with the simple but deceptively versatile control complement that is part of the company’s calling card.

This interface includes knobs for drive, level, mids and cut, with a two-way toggle switch for Adapt on/off, and a three-way KCS (kilocycles) switch to select three mid-boost frequency bands: 0.8kHz, 1.0kHz or 1.3kHz.

The mids knob increases mid-boost within the KCS band as you turn it up. Cut rolls off high end as you turn it clockwise, while the Adapt switch works upon the cut control when engaged to reduce the amount of cut applied to the high end when you pick lightly or turn down your guitar’s volume. This allows for a seamless transition from warmer lead tones to brighter, clear rhythm playing.

The M-EQ is designed and built in England using a plethora of quality components.

Internal features of the all-analog pedal include a transformer-driven circuit like that of the original Pultec M-EQ rack unit, as well as a push-pull output stage that mimics that of the vintage EQ.

The input impedance is ultra-high to interact well with a wide range of guitar pickups, and switching is high-quality buffered bypass to help condition your pedalboard overall and play nice with long cable runs.

The center-negative adaptor between the input and output on the front of the box requires a nine-volt DC supply delivering at least 80mV, which is converted to 18V internally for optimal headroom, so converter supplies higher than nine volts are not recommended.

Origin Effects

I tested the M-EQ with a Fender Telecaster and Jazzmaster, both with their traditional single-coil pickus, and a Gibson Les Paul and Firebird III with PAF-style and mini humbuckers, respectively, into a ’66 Fender Princeton combo and a 65amps London head and 2x12 cab.

It makes the electric guitar sound more alive

And, wow, what a pedal!

Perhaps the most important thing to convey is that it just makes everything sound better. And presumably that’s the principle behind adapting this hallowed studio gear to guitar-pedal form: The best vintage analog rack gear has become legendary because just running through it adds a little extra magic to your signal.

In this case, it makes the electric guitar sound more alive, as if it’s hot-wired from the strings to the amp’s output stage and even the voice coils of the speakers beyond it.

Put in less waffly terms, the M-EQ Driver delivers on the impressive ability to enhance both the articulation and the body of each guitar-and-amp combination I tried it with. Call it “clarity with grit.”

Origin’s M-EQ Driver takes inspiration from the Pultec EQP1A (top) and MEQ-5 Mid-Range Equalizer (bottom), shown left. Gene Shenk developed the passive EQ units in the 1950s, and manufactured them through his company, Pulse Techniques. (Image credit: Origin Effects)

In addition to its mild overdrive, it enhanced character and personality, and simply made each guitar feel easier and more fun to play.

As already discussed, the M-EQ Driver is a low-gain overdrive at best, but that still offers a lot of toothsome, dynamic breakup with the gain maxed and the rest dialed in to voice the pedal to your taste (an effort that taps impressive versatility from the mids and cut knobs and FCS switch).

Given the feel and responsiveness of the circuit – and its aforementioned blend of crispness and girth – that level of drive usually felt enough for rock leads and power-chord work for which I might have sought a more saturated sound from other distortion pedals.

And that being said, this thing sounded equally good doing a near-unity-gain “clean-ish” boost, mild drive or going all-out.

(Image credit: Origin Effects)

At all settings, it’s also a very dynamic pedal, working symbiotically with your pick attack and your guitar’s volume control to deliver an expressive range of touch sensitivity. And although the Adapt feature might be subtle in some uses, it cleverly increases this capability – exponentially so, when used right.

Oddities? It doesn’t do much for your signal until you push either drive or level (and ideally both) past noon, with some mids dialed up to boot.

The first time I plugged in, I wondered why my guitar was so anemic, then realized the pedal’s gain and level were only at 10 o’clock and the mids turned off.

Turn them all up a little, and this thing sounds utterly glorious, making it an Editors’ Pick Award, both for its creative design and luscious results!

Specifications

CONTROLS: Drive, Level, Mids, Cut; Adapt switch, FCS (midband) switch
EXTRAS: Input and output, high-quality buffered-bypass switching, center-negative 9V DC adaptor input (external power only, min. 80mV)
SIZE: 4.75” x 2.5” x 1.75” (excluding feet and knobs)
BUILT: England

Visit Origin Effects for more information.

Boss DS-1W Waza Craft Distortion Review

Alex Lynham — Wed, 04 Jan 2023 16:23:40 +0000

Introduced in 1978, the Boss DS-1 Distortion was the first such pedal released by Boss, arriving just two years after the release of the company’s debut pedal, the CE-1 Chorus Ensemble. For this reason, it was many players’ first distortion pedal.

Like the ProCo Rat that arrived the same year, the DS-1 used two hard-clipping diodes for an aggressive edge.

This became known as distortion, rather than the smoother overdrive of soft-clipping stompboxes.

(Image credit: Boss/Roland)

The DS-1 was not op-amp based. Instead, it used the Toshiba TA7136AP preamplifier, for a gritty and warm overdrive tone. When the Toshiba preamp became harder to source, the circuit was redesigned in 1994. All three post-1994 DS-1 models would share the same circuit, and in turn, the same trio of quirks.

First, they were not very loud, a problem most noticeable in the 1994 block.

Second, they had significant noise at higher gain settings.

And third, fizzy top-end frequencies were not filtered out, resulting in an unpleasant “waspy” edge to the distortion tone.

(Image credit: Boss/Roland)

This led many players, as well as companies like Analog Man, to modify the stock unit. Boss has now given the DS-1 the boutique treatment with the new DS-1W Waza Craft unit shown here.

And while you might assume it hews to the specs of the original DS-1 pedal, the answer is somewhat more complicated. As you would expect, the DS-1W has controls for tone, level and distortion, but there is also a switch to select between Standard and Custom modes.

The great irony is that the pedal’s Standard setting is a faithful replication of the post-1994 DS-1 rather than the DS-1 with the Toshiba TA7136AP.

(Image credit: Boss/Roland)

The Custom setting, on the other hand, feels like an attempt to fix all the inherent artifacts that come with the post-1994 design. Happily, it succeeds. There’s better filtering, no fizz and a more stable high-gain distortion tone.

The pedal is more mid-forward, punching through a busy mix far better than in Standard mode.

Finally, it’s 6dB louder, meaning that turning on the pedal no longer results in a volume drop. At higher settings, the clipping is a square-wave, thanks to the hard-clipping diodes, but it cleans up surprisingly well.

With humbuckers rather than single-coils it runs hotter, but there are some lower-gain tones there at a push.

(Image credit: Boss/Roland)

The real question is why Roland engineers didn’t take the opportunity to make this mode Standard when it is so superior to the actual Standard mode. They could then have pushed the boat out even further with the Custom mode.

It feels like a slightly missed opportunity, but with that said, there are doubtless some players who have grown accustomed to the post-’94 DS-1 tone, which remains intact here.

For those who prefer the true original, the DS-1W is a two-mode pedal with only one usable mode, and at a price point where it’s outclassed by both other Boss pedals and competitors.

While the Custom mode is a vindication of the post-1994 unit, it rectifies rather than progresses the DS-1 story.

The modding and DIY community have already shown there’s a good pedal in there, and electric guitar players now have the chance to buy a Boss-approved modded DS-1 Distortion.

(Image credit: Boss/Roland)

Specifications

CONTROLS: Tone, level, distortion. Switch to select Standard or Custom modes
I/O: Input, output, power
EXTRAS: LED indicator. Pedal runs on 9V DC center-negative or 9V battery (neither included)
SIZE: 2 3/8” x 2 7/8” x 5-1/8” (HxWxD)
BUILT: Japan

Visit Boss for more information.

From Jeff Beck and Joe Perry to Kurt Cobain and Thurston Moore, the Flexible ProCo Rat Has Star Appeal and Staying Power

Dave Hunter — Fri, 16 Dec 2022 09:45:01 +0000

Considering how ubiquitous overdrive pedals are today, it’s difficult to think of a time when they were still in their infancy. Remarkably, the late-’60s to mid-’70s classic rock era achieved its template-setting guitar tones without the aid of any overdrive or distortion pedals as we know them today.

Fuzz boxes and treble boosters were present and accounted for, but the magic of amp-like clipping in a compact stompbox didn’t become a reality until the mid to late ’70s, and the ProCo Rat was there at the center of it all.

Based in Kalamazoo, Michigan, the former home of the Gibson Guitar Corporation, ProCo Sound Inc. evolved in 1974 from the remnants of another local studio-sound company and quickly made a name for itself manufacturing professional-quality microphone and speaker cables and snakes.

(Image credit: RETROFRET VINTAGE GUITARS/GEORGE ASLAENDER)

But the product for which the company would be best known was the Rat.

ProCo engineer Scott Burnham was an avid guitarist who was fond of modding fuzz and distortion pedals but was unhappy with what he found under the hoods. He decided he could build a better mousetrap and set about designing a new and original pedal.

He unveiled the first few custom-made renditions of the Rat in 1977 and 1978, and named them in honor of the rodents that were infesting ProCo’s basement workshop.

According to JHS Pedals’ information site, thejhsshow.com, Burnham made only 10 standard Rats and one double Rat in the first year or so of the unit’s existence. The pedals in this initial run are known as Bud Box Rats for the off-the-shelf hobby enclosure in which they were assembled.

The pedal featured on these pages, known as a Version 1-B, was built in mid ’79 and is virtually identical to the first production V1-A pedals of early ’79

The popularity of these pedals was enough to convince the company’s owner, Charlie Wicks, there was a future in the thing, and ProCo put the Rat into production in 1979.

The pedal featured on these pages, known as a Version 1-B, was built in mid ’79 and is virtually identical to the first production V1-A pedals of early ’79 other than a change in the logo, which lost its “fringe” from the “T” and the tip of the Rat tail.

Notable on all early Rats until around 1981 is the inclusion of a center tone control, where the majority of Rat players are used to seeing a filter control, one of the few changes to the circuit from the pedal’s inception through to its wider distribution in the 1980s and ’90s.

(Image credit: RETROFRET VINTAGE GUITARS/GEORGE ASLAENDER)

The Rat’s bright, heavy distortion is the product of op-amp clipping, allegedly made even heavier than intended by an errant resistor choice during the prototyping, which pushed the op amp harder.

The Rat circuit is rather similar to that of the Boss DS-1 Distortion pedal, which debuted in 1978, although many players have noted that the DS-1 begins to compress more as you turn up the gain, whereas the Rat stays raw and immediate almost to the end of the dial.

Otherwise, the only real circuit alteration from this V1-B Rat to the more popular later renditions is a simple reversing of the tone control to make it a filter control. Both are simply low-pass filters, as found on many other overdrive pedals, but the former adds treble as you roll it clockwise, whereas the latter adds treble as you turn it counter-clockwise.

(Image credit: RETROFRET VINTAGE GUITARS/GEORGE ASLAENDER)

The V1-B Rat shown here has the fabled Motorola LM308 op amp used in all early renditions of the pedal, and is entirely original, other than a mini switch added many years ago to disengage the battery when the external adaptor is used.

Most often praised for its ability to re-create the fury of a cranked 100-watt stack, the Rat’s tonal nuances make the unit far more than an all-out sonic assault device. Judicious use of the distortion control can drive a tube amp more subtly, similar to a lower-gain overdrive pedal, but with the Rat’s raucous personality.

Set midway through the dial, the distortion knob delivers seminal heavy-rock lead and crunch rhythm tones, and when pushed to the max it approximates a genuine fuzz pedal, with plenty of hair and splutter amid the clipping.

(Image credit: RETROFRET VINTAGE GUITARS/GEORGE ASLAENDER)

The Rat pedal’s success in a market thin on usable overdrive and distortion boxes brought it a host of notable users. Over the years they have included Kurt Cobain, Johnny Greenwood, Joe Perry, Thurston Moore, James Hetfield, Kirk Hammett, Jeff Beck and Graham Coxon.

More than just a retro-toned dirt box, the Rat has proved its staying power, too. In addition to the several original and reissue renditions of the pedal – plus popular spin-offs like the Rat 2, Turbo Rat and Lil Rat – numerous clones and homages have paid tribute to the gist of the original circuit.

The Joyo Splinter, Jam Rattler, Mooer Black Secret, Pettyjohn Rous, Stomp Under Foot Skinner Box, JHS Pack Rat, ThorpyFX Warthog and many others all contain a good dose of ProCo Rat DNA.

But for retro purists, only the original will do.

Essential Ingredients

Black metal enclosure
Fluted plastic knobs
Controls for distortion, tone (changed to filter on later models) and volume
LM308 op amp

Guitar Player would like to thank Retro Fret for showing us this vintage ProCo RAT.

Victory V1 the Duchess and the Jack Overdrive Reviews

Dave Hunter — Wed, 14 Dec 2022 16:49:09 +0000

British gear maker Victory is primarily known for its well-built tube amps, but the amp-in-a-pedal sector is a growing and popular one, so it makes total sense for this company to join the likes of Bogner, Friedman and countless stompbox makers in this arena.

Designed in a collaboration between Victory’s Martin Kidd and Adrian Thorpe of ThorpyFX, Victory’s new V1 pedal series takes the tonal characteristics from several of its amp models and converts them into compact individual solid-state units, providing pedals that can be used as always-on sonic templates, or as standard overdrives with distinct characteristics.

I’m checking out the Duchess and the Jack, which aim at American tweed and retro-modern high gain, respectively. Others in the five-pedal series aspire to Vox, Plexi and modern high-gain tones.

The pedals are housed in semi-wedge-shaped folded-steel enclosures and feature five controls, a foot switch for true-bypass, and a purple amp-style jewel light on the top, plus single input, output and nine-volt center-negative jacks on the front face.

Along with the other pedals in the series, the Duchess and Jack offer the same control functions, which includes gain, volume, and a three-stage EQ with bass, middle and treble.

The V1 pedals feel rugged and solid. The next time a stage invader threatens, rather than chopping him down with your Telecaster à la Keith Richards, just wield one of these hefty defense bricks.

I tested each pedal into a 65amps London head and 2x12 cab and a 1x10 Fender Princeton (non-reverb) combo, using a Telecaster and a Les Paul.

Victory V1 the Duchess

You might think a tweed-flavored overdrive pedal based on a Victory amp best known for its clean to edge-of-breakup tones would verge on pointless, but from my first big, kerranging G chord, the Duchess proved delectable and utterly addictive.

Clipping-wise, this one runs from a gain-neutral boost to juicy lower-gain overdrive – pretty much the range of the average Tube Screamer or Klon, and these are rarely considered pointless.

It’s a detailed, articulate and succulently sweet tone enhancer throughout the range, though, and a great lower-gain overdrive by any measure.

(Image credit: Victory Amps)

From the character and slight grit added at around 10 o’clock on the gain knob to more saturated levels up in the one o’clock to three o’clock range, everything impressed with its clarity and balance, and in the way that it always left each guitar sounding like itself, while making each amp sound better.

From my first big, kerranging G chord, the Duchess proved delectable and utterly addictive

If not instructed, I wouldn’t automatically have thought “tweed overdrive” and would merely have taken the Duchess for a very appealing and dynamic American-voiced OD.

Add great pick dynamics, the ability to clean up well at the guitar’s volume control (while retaining its own girth and personality) and the versatility of the three-band EQ, and the Duchess is a total winner.

Caveats? Like many tweed amps themselves, things get a little hairy and murky with the gain maxed out. Even that works well for Neil Young-style lead excursions, but the pedal really excels in the 11 o’clock to two o’clock realm on the gain.

Victory V1 the Jack

The Jack emulates an original Victory amp model, designed in collaboration with Guthrie Govan to suit his perfect fly rig, and as such it’s a little harder to pin a label on.

To my ears, it sits in that ground between earlier Boogie Mark series and the late-’70s/early ’80s Marshall 2204 Master Model, but with plenty of its own personality. It’s darker and warmer than the Duchess, with more girth and aggression and a pronounced midrange bark.

It has more gain available overall, too, and comes into its own with the gain knob turned to three o’clock and beyond. Thus dialed in, it delivers a juicy harmonic saturation with a singing quality to lead notes, all with just a little compression to lean you toward shred and metal circa 1989.

(Image credit: Victory Amps)

Given its nature, the Jack is a little more sonically obtrusive overall, with a stack-like congestion and boxiness in its voicing, but that’s the nature of the beast.

The three-knob tone stack enables easy sonic sculpting even so, and the Jack is an impressively versatile tone shaper for those aiming to push their amp across the pond.

All in all, they’re both extremely well-designed and well-built pedals that should win a lot of fans, but I particularly dug the Duchess’s balance, clarity and character, and found it a Tube Screamer killer worthy of an Editors’ Pick Award.

Specifications

The Duchess:

CONTROLS: Gain, volume, treble, middle, bass
EXTRAS: Single input and output, center-negative 9V DC adaptor input (external power only)
SIZE: 4.75” x 2.5” x 1.5”
BUILT: Assembled in England

The Jack:

CONTROLS: Gain, volume, treble, middle, bass
EXTRAS: Single input and output, center-negative 9V DC adaptor input (external power only)
SIZE: 4.75” x 2.5” x 1.5”
BUILT: Assembled in England

Visit Victory Amps for more information.

PRS Horsemeat Transparent Overdrive, Mary Cries Optical Compressor and Wind Through the Trees Dual Analog Flanger Reviews

Art Thompson — Wed, 14 Dec 2022 15:54:14 +0000

After initially establishing his reputation with electric guitars, and following with acoustic guitars and amplifiers, it seemed an inevitability that Paul Reed Smith would fill the missing link in the signal chain – pedals.

And so here we are looking at three new PRS stompboxes: the Horsemeat Transparent Overdrive, the Mary Cries Optical Compressor and the Wind Through the Trees Dual Analog Flanger.

Designed and assembled in the U.S.A., these elegant pedals feature textured housings and individually etched top panels, true-bypass switching and the ability to run on a nine-volt power supply or a battery (not included).

I tested these pedals with a Stratocaster and Telecaster, as well as a Reverend Crosscut and a Slick SL56 thinline, and plugged into a Fender Deluxe Reverb, a PRS HDRX 20 head and a Peavey Vypyr X2 digital 1x12 combo.

Horsemeat Transparent Overdrive

I couldn’t help notice that putting two of the pedals’ names together gives you “The Wind Cries Mary,” which falls in line with PRS’s recent focus on Hendrix with the HDRX line of amplifiers.

The Horsemeat lives up to the transparent overdrive part by sounding true to the guitar driving it

But that’s neither here nor there when it comes to the Horsemeat Transparent Overdrive, which is its own animal that stands out by having a large gain knob located at the top center, where it’s easy to grab.

Below it are the on/off LED and the level, voice, treble and bass controls. As with the other models in the series, the input, output and adapter jacks are on the front face to allow for placing the pedals close together.

The Horsemeat lives up to the transparent overdrive part by sounding true to the guitar driving it. Its core tone is clear and balanced, without excess midrange coloration, while its distortion range is broad and can cover everything from dirty rhythm playing to lead work where a medium-gain OD such as a Tube Screamer or a Zendrive might be called on.

(Image credit: PRS)

The Horsemeat’s treble and voice controls also bring to mind the old Hermida-designed pedal in the way they interact for enhanced sculpting of the distortion tones.

It’s not clear if the Horsemeat’s controls are similarly configured post gain-stage and pre gain-stage, respectively, like the Zendrive’s, but the net effect is that it’s very easy to dial in different guitars to steer toward darker or brighter textures while maintaining excellent clarity, without drifting into harshness.

The Horsemeat has plenty of output to overdrive an amp’s front end, and it doesn’t compress either

The Horsemeat has plenty of output to overdrive an amp’s front end, and it doesn’t compress either, which makes it feel responsive in a tube-like way to changes in guitar volume and picking strength.

It sounds great when running the gain on the low side and cranking the level to push the amp into breakup, but the Horsemeat also brings the saturated grind when you have to keep the amp volume down but still want the sound of sweating tubes when the pedal’s gain is cranked up.

In all, it’s a flexible machine with the EQ power to deliver happening tones with different guitars and amps, and that’s what makes it a good choice for those who, either by choice or what’s available at the venue, need an OD pedal that plays well with others.

Mary Cries Optical Compressor

The Mary Cries Optical Compressor is based on the famed Teletronix LA-2A rack-mount studio compressor, which reaffirms PRS’s statement as to the new pedals being studio-grade devices.

Designed to level out signal peaks, increase sustain and clarify your sound, the Mary Cries can also be used to boost your signal, and this makes it great for guitar use, where compression always seems to require an increase in level.

The pedal features conveniently stacked controls for compression (with an LED that indicates the onset of compression and gets brighter as it’s increased) and output gain.

(Image credit: PRS)

Using it is simple: Find the sweet spot where compression enhances sustain, helps smooth out a rhythm part and/or makes something sit better in a track, and from there adjust the output gain to restore or increase level as needed.

As always with compression, there aren’t any rules – whatever sounds good is good. Just find the settings that enhance whatever it is you’re going for.

And even if you’ve decided that compression isn’t your thing because it kills the guitar attack, the Mary Cries could change your mind about that because of how it can deliver the volume lift of a booster while still letting you squash things to make country licks pop, or a slide solo soar.

Compression isn’t a particularly exciting effect (if you can even call it that), but this LA-2A in a box could turn out to be one of the hippest pedals on your board.

Wind Through the Trees Dual Analog Flanger

Featuring the largest housing of the trio in order to contain 10 twistable functions, the Wind Through the Trees Dual Analog Flanger has two independent flangers.

Each has controls for manual (controls delay time), depth (adjusts sweep depth and sounds more swirly as it’s turned up) and rate, and the latter includes an LED that pulses in sync with the speed.

The Wind Through the Trees Dual Analog Flanger has two independent flangers

The WTTT delivers such a broad palette of effects that taking the manual’s advice and setting all the controls to noon is a good way to start exploring the myriad ways that a pair of flangers can be dialed to create everything from classic swooshing effects – which you can quickly sample by using

There’s also a mix control for blending the two flangers (a.k.a. LFO-1 and LFO-2), a global regeneration control that feeds the affected signal back into the front of the signal path to increase the intensity, an Added Highs control to restore lost high frequencies at the output stage, and a global dry/wet control.

It’s an adventurous pedal to say the least.

(Image credit: PRS)

suggested settings in the manual – to dramatic pitch-bent sounds, eerie whistling tonalities and things that sound like alien chatter and ’50s-style sci-fi sound effects.

All of this can be summoned by using disparate settings on the LFOs, adjusting mix ratios to allow one flanger to reign supreme over the other, turning up the regeneration and using Added Highs to keep it all sounding clear and detailed amid the sonic mangling.

An impressive debut thanks to the controllability it offers, its rich analog sound and super low noise

For my own pedestrian needs, I could use LFO-1 set to a slower speed and blend in LFO-2 manually to add color, or turn it all the way to the right for a totally different flanging effect and speed.

Having a foot switch to toggle between the LFOs would be nice, as would a volume control or trim pot to give the flanging some boost when it’s switched on.

The Wind Through The Trees Dual Analog Flanger is an impressive debut thanks to the controllability it offers, its rich analog sound and super low noise.

PRS has created a beauty of a beast that signals its arrival on the stompbox scene in a big way.

Specifications

Horsemeat Transparent Overdrive:

CONTROLS: Gain, level, voice, treble, bass. Foot switches for amplitude, octave and magnitude
I/O: Input, output, 9VDC jack
EXTRAS: True-bypass. Can be battery powered
SIZE: 4.75” x 3.50” x 1.75”
BUILT: Designed and assembled in USA

(Image credit: PRS)

Mary Cries Optical Compressor:

CONTROLS: Compression (with LED), output gain
I/O: Input, output, 9VDC jack
EXTRAS: True-bypass. Can be battery powered
SIZE: 4.75” x 3.50” x 1.75”
BUILT: Designed and assembled in USA

(Image credit: PRS)

Wind Through The Trees Dual Analog Flanger:

CONTROLS: (LFO-1) Manual, depth, rate. (LFO-2) Manual, depth, rate. Mix (blends between LFO-1 and LFO-2). Regeneration, Added Highs, dry/wet
I/O: Input, output, 9VDC jack
EXTRAS: True-bypass. Can be battery powered
SIZE: 5.75” x 4.75” x 1.75”
BUILT: Designed and assembled in USA

(Image credit: PRS)

Visit PRS for more information.

EarthQuaker Devices Special Cranker Review

Christopher Scapelliti — Tue, 13 Dec 2022 11:04:21 +0000

Many seasons ago, Akron-based effects maker EarthQuaker Devices rocked guitarists’ world with a little box called the Speaker Cranker. Featuring just one knob, labeled “More,” it could push your speaker to the edge of breakup without dramatically coloring your tone or affecting transparency.

EarthQuaker presents the Special Cranker, a pedal that builds upon the Speaker Cranker with more controls and clipping diode options

The result was thicker, crunchier power chords and singing leads that bloomed with rich harmonics and an almost full-frequency response.

The Speaker Cranker is out of production, but in its place EarthQuaker presents the Special Cranker, a pedal that builds upon the Speaker Cranker with more controls and clipping diode options.

The Special Cranker continues where the Speaker Cranker left off. It’s a medium-gain overdrive that delivers more saturation without altering your amp’s organic nuances or character. It’s as spongy, dynamic and touch sensitive as its predecessor but with more gain, twice the output volume (via the level knob) and a tone control.

It also has, notably, two flavors of gain courtesy of a small toggle: Si (silicon diode), which offers the asymmetrical silicone diodes of the original for a brighter edge and higher output; and Ge (germanium), for a darker tone and a softer response.

Tested with humbucker- and single-coil-equipped guitars through a Fender ’68 Custom Princeton Reverb tube amp, the Special Cranker was a real treat

The tone control comes in handy here for managing treble frequencies. Turning it counterclockwise tames the high end – useful with Si mode selected – while a clockwise spin delivers a slight boost to help brighten the Ge side. Park it at three o’clock for flat response.

Level, meanwhile, takes your volume from zero to nearly double, with unity gain between 10 and 12 o’clock, depending on which diode is selected.

The More control adjusts the bias of the transistor, so it’s normal to hear some noise as the knob is turned, although this varies depending on your pickups and their output.

Tested with humbucker- and single-coil-equipped guitars through a Fender ’68 Custom Princeton Reverb tube amp, the Special Cranker was a real treat, especially since I’m admittedly not fond of extreme overdrive.

Aside from a slight decrease in bass response, the pedal let my electric guitar’s tone come through, adding saturation and sustain and enriching harmonics to make everything I played sound livelier, thicker and crunchier.

Obviously, what you get from the Special Cranker has a lot to do with your pickups, but the bottom line here is that the pedal behaves like it’s part of your amp, helping you home in on the frequencies you want while delivering warm, tube-like crunch that increases in complexity as you turn the More knob clockwise.

Having both silicon and germanium diode options only adds to the pedal’s usefulness.

The silicon side is bright and robust, with a gorgeous bloom

Granted, if you’re accustomed to high-gain germanium tones, you may find the Special Cranker’s medium-gain overdrive more polite than you’re used to.

On the other hand, the silicon side is bright and robust, with a gorgeous bloom. The low mids sound fatter than on the germanium side, but chords remained distinct, without becoming muddy.

As you might expect, the Special Cranker features EarthQuaker’s Flexi-Switch foot switch that allows both momentary and latched switching. I especially like that the pedal can be operated from nine to 18 volts for increased headroom, one more impressive feature on a pedal that has enough to begin with.

If you’re not a player who wants or needs tons of overdrive, or if you just want a versatile medium overdrive that sounds like an extension of your amp, the Special Cranker deserves a look.

Specifications

CONTROLS: Level, tone, More. Ge/Si toggle switch to select germanium or silicon diodes
EXTRAS: Input and output, true-bypass, Flexi-Switch switching, LED indicator, center-negative 9V DC adaptor input. Pedal runs on 9 to 18 volts
SIZE: 5.75” x 3.25” x 3.25”
BUILT: Assembled in USA

Visit EarthQuaker Devices for more information.

"The Empress Effects ParaEq MKII Pedals Are as Good as It Gets": Head of Engineering, Jay Fee, Explains How Their New Parametric Equalizers Can Take Your Sound to the Next Level

Rod Brakes — Fri, 09 Dec 2022 20:14:23 +0000

When the original ParaEq was discontinued, many questioned why. Prices immediately shot up and rumors abounded as to what was on the horizon.

Surely Empress Effects had good reason to cease production? Was it really the last of what those in the know had come to recognize as an industry standard? The end of a parametric EQ pedal with the enviable reputation as one of the best (if not, the best) in its class?

More Control. More Sweetness. More Power. More Purity.
Empress Effects

Fast forward to today and the Canadian firm is poised to start shipping orders of not one, but two versions of the ParaEq MKII. These latest iterations – the ParaEq MKII and ParaEq MKII Deluxe – appear in a smaller enclosure with a circuit designed from the bottom up.

So what’s different? In Empress Effects’ own words: “More Control. More Sweetness. More Power. More Purity.”

Knowing the immense benefits a high-quality EQ unit can bring to your sound, we spoke to Head of Engineering at Empress Effects, Jay Fee, about his new designs.

Here, we get to read the gospel of the Empress Effects ParaEq MKII pedals according to the circuit designer himself, as he explains what they can do for you as a guitar player.

Why is it important for guitarists to own an EQ pedal?

EQ pedals can significantly extend the possibilities of all other equipment. They are more precise than most amp EQs and can be used in so many different ways, from broad tonal enhancement to surgical fixes.

A lot of guitarists use an EQ pedal to pre-shape the signal before an overdrive or to completely transform the sound of an amp. Some players might simply use them as a mid-boost for solos, while for others it might be a way of reducing the number of guitars they take on tour.

Graphic EQ is a bit of a shotgun approach, whereas parametric EQ is like using a sonic sniper rifle
Jay Fee

What’s the difference between graphic and parametric EQs?

Graphic EQ is a bit of a shotgun approach, whereas parametric EQ is like using a sonic sniper rifle.

The sliders on a graphic EQ are at fixed frequencies, so it’s rare you get to the perfect frequency. On a 10-band graphic EQ, each band is like an octave, so if you’re using a single band to reduce feedback, for example, you’re taking out a whole octave in the process.

However, a parametric EQ can center on the exact frequency and make narrower or broader cuts and boosts as needed.

What are the advantages of using a parametric Q control?

The adjustable Q control makes a big difference. In a situation where you want to correct or eliminate something, you can set a narrow Q.

When you want a broad sweetening (perhaps to enhance the low end, as a mid-boost, or to add some air to the top end) you can set a medium or wider Q, which tends to sound more transparent.

In other words, it still sounds like your instrument; it doesn’t change the character as much. If your goal is transparency, less is more.

Our goal with the ParaEq MKII pedals was to allow you to leave your original tone as intact as possible.

Our goal with the ParaEq MKII pedals was to allow you to leave your original tone as intact as possible
Jay Fee

Give us some tips on how to identify and treat problem frequencies using parametric EQ.

I recommend firstly overemphasizing it in your mind – latch on to the problem. Then create a boost in that area and sweep across until you can clearly identify where it lies in the frequency spectrum. From there, make a cut and adjust the Q as necessary.

It’s generally easier to sweep the boost across using a high Q setting so that you’re really locking on to the center point. Just to make sure, I recommend you A-B the sounds using the bypass function.

What unique effects can you get using parametric EQ?

You can get a really cool lo-fi effect by eliminating all the high and low frequencies. That’s sometimes used to contrast song sections, maybe to create a dramatic, open sound when the chorus kicks in, and take it back down in the verse or bridge.

In addition to creating natural-sounding mid-boosts for solos, you can go the other way and dial in really interesting Zappa-style cocked-wah sounds for prominent lead tones.

The metal mid-scoop is a really popular approach – taking out some of the mids while leaving or enhancing the bass and treble.

Also, guitarists are accustomed to reducing feedback by cutting frequencies, but a boost in certain frequencies can encourage feedback when that’s the desired effect.

EQ can make an instrument so much more versatile
Jay Fee

How might an EQ pedal affect the sound of a guitar’s pickups?

Many guitar players find they really like the sound of one pickup on a guitar, but another might benefit from some treatment. Maybe one pickup is too raunchy, the other isn’t raunchy enough, and what’s needed is something between the two.

These kinds of problems are really easy to fix with the Empress ParaEq MKII pedals because they give virtually infinite control.

Sometimes a guitar pickup might have too much low-end that needs to be tightened up before hitting your effects or amp. That can make a world of difference in terms of clarity, especially in a band mix.

It’s almost like getting a new guitar because the EQ can make an instrument so much more versatile.

Why is headroom important when it comes to parametric EQ?

You can run into trouble with headroom in parametric EQ circuits because you’re able to boost the signal level multiple times. The increased headroom was really important to avoid clipping and harmonic distortion.

The ParaEq MKII pedals required a complete change to the original design in order to improve this. They’re on par with rackmount equipment.

Although they are powered by a standard 9-volt DC connection, these pedals are running off 27 volts of headroom, which is triple that of a regular guitar pedal. We’re using a switching regulator to do that along with filtering to ensure very low noise and keep your sound as clean as possible.

We didn’t want ‘a sound’ with the ParaEq MKII pedals – we’re going for transparency
Jay Fee

What’s the difference between a cheap EQ pedal and the ParaEQ MKII pedals?

It’s about capabilities and features and the quality of components in the signal path. We use a high-quality switching regulator and low-noise op amps in the circuit, for example.

Sometimes people talk about ‘magical’ components that have a certain sound, but we didn’t want ‘a sound’ with the ParaEq MKII pedals – we’re going for transparency. In that sense, a lot of the magic is in the implementation.

The baxandall filter has long been used in Hi-Fi systems because it has such gentle EQ curves. This tends to lead to adjustments that are very musical and unassuming. We used transparent-sounding components that won’t color the sound and are always operating within their sweet zone.

What’s the difference between the two Empress ParaEq MKII pedals?

A lot of it comes down to the application and the type of user. The ParaEq MKII is ideal for sweetening tone or targeting problem frequencies.

Maybe you’re an acoustic guitar player and you just want to knock back some problem frequencies to control feedback. Or maybe you want to dial in a nice mid-boost for electric guitar. Either way, the regular ParaEq MKII is going to get the job done.

The MKII Deluxe offers the most control and versatility because of the added filters and sweepable Q. It’s the ultimate Swiss Army knife of tone.

For studio work and live performance, we believe the Empress Effects ParaEq MKII pedals are as good as it gets
Jay Fee

What notable players use an Empress Effects ParaEq MKII?

[Nashville session guitarist and producer] Tom Bukovac has used Empress Effects gear for years and we got in touch with him to see what he thought about the ParaEq MKII pedals because he’s a serious studio guy. We thought if we got his seal of approval, we’d be hitting the mark. A guitar player of that caliber is exactly where we’re aiming in terms of quality and performance, and he loves it - as does Paul Gilbert!

Aaron Marshall from Intervals is also using one. He created several launch videos to introduce the new pedals.

The ParaEq MKIIs are also very useful for bass players because of the added low shelf and high-pass filters. Both Tim Lefebvre [David Bowie, the Black Crowes, Elvis Costello] and Justin Meldal-Johnsen [Beck, St. Vincent, Nine Inch Nails] love them.

For studio work and live performance, we believe the Empress Effects ParaEq MKII pedals are as good as it gets.

(Image credit: Empress Effects)

Visit Empress Effects for more information.

CopperSound Launches the Telegraph V2 Autostutter & Killswitch – a Unique Effect for Stage and Studio

Rod Brakes — Tue, 06 Dec 2022 14:07:11 +0000

Massachusetts stompbox builder CopperSound Pedals has announced the release of the Telegraph V2. Handmade in the U.S.A., the firm's latest offering supersedes the popular Telegraph Stutter while promising to be “the ultimate killswitch and stutter system.”

Built for studio and stage, it features a handy power loss fail-safe and boasts a proprietary all-metal construction. With performance in mind, this upgraded unit offers players the ability to control the effect using latching and momentary options. An internal dip switch allows latching to be switched off.

Although elements of the original/discontinued Telegraph have been retained, CopperSound went back to the drawing board to design the Telegraph V2’s circuit. And while the familiar Kill and Activate modes have carried over into the V2, a new Burst mode additionally offers an automatic tremolo-like stutter effect.

Ranging from 110 BPM and upwards, the Burst rate is adjustable via the Burst knob although it can also be synced to a CV clock source or controlled with an external expression pedal (5K to 10K recommended).

A three-way toggle located in the lower-right area of the pedal’s face enables selection of Kill, Burst and Activate modes.

Kill and Activate modes either cut or pass the signal (respectively) when the key is held down. Similarly, the Burst mode itself can be set to either Kill or Activate using a two-way switch located on the side of the pedal.

CopperSound calls this switch the “Polarity” toggle. “When Polarity is set to Kill,” explains the press release, “your clean signal will pass through until the key is pressed (engaging Burst).

“When set to Activate, no audio will be heard until the key is pressed, allowing for controlled bursts of sound!”

(Image credit: CopperSounds Pedals)

Currently priced $249, the Telegraph V2 Autostutter & Killswitch is available now and comes in a variety of finishes including Carolina Copper, Gotham Grey, Sierra Blue, Alpine White, Army Green, and Romeo Red.

Visit CopperSound Pedals for more information.

Get Up to 33% Off Boss Gear in Sweetwater’s Epic Cyber Weekend Sale

Guitar Player Staff — Sun, 27 Nov 2022 20:50:56 +0000

Sweetwater has slashed prices on a big selection of Boss products, including effects pedals, multi-effects units, pedalboard gear, guitar amps and more.

Right now, you can get $92 off the Boss IR-200 Amp & IR Cabinet as well as $50 off the Boss HM-2W Waza Craft Heavy Metal and $20 off the Boss FZ-1W Waza Craft Fuzz.

Alongside these great stompbox deals, Sweetwater is also offering $106 off the Boss Katana-Air wireless amp, $102 off the Boss GT-1000 Core Guitar Effects Processor, and $50 off the Boss Waza-Air wireless headphones/guitar amp.

These incredible deals and many more besides are live on the Sweetwater website now. But don’t delay – these offers are available for a limited time!

Boss IR-200 Amp & IR Cabinet

(Image credit: Boss/Roland)

Boss IR-200 Amp & IR Cabinet: ~~$421.99~~ $329.99
We thought the Boss IR-200 Amp & IR Cabinet might be one of the boldest efforts yet to squeeze an entire rig into the smallest space possible. With an impressive selection of amp models and IR cabs, this space-saving pedal features versatile interface and routing options. Offers eight guitar amps, three bass amps, dual IR slots for genuine stereo processing and much more.View Deal

Boss HM-2W Waza Craft Heavy Metal

(Image credit: Boss/Roland)

Boss HM-2W Heavy Metal: ~~$199.99~~ $149.99
The pedal that became the sound of an entire genre, the 'chainsaw' buzz of the Boss Heavy Metal soon spread from Swedish Death Metal to pretty much every genre. This Waza Craft version features a second mode but keeps everything very true to the original, even down to the classic orange and black look. Now you can get a sweet $50 off this bad boy in Sweetwater's Cyber Weekend deals.View Deal

More great Cyber Monday deals

Amazon: Shop early Cyber Monday deals on guitars, mics & more
Boss Amazon sale: Save on Katana, FX and more
Fender Play: Save 50% on an annual guitar lessons subscription
Guitar Center: Save 15% on select items over $199
IK Multimedia: Save up to 85% on Max bundles
Musician's Friend: Up to 50% off a huge range of music gear
Native Instruments: Up to 75% off in their best Cyber Sale ever
Plugin Boutique: Save big on plugins from SoundToys, iZotope, SSL and more
Positive Grid: Big Black Friday savings on BIAS and Spark
Reverb: Up to 68% on select gear, plus deals on new and used items
Sweetwater: Save big money - up t o 80% - with their official Black Friday sale
Thomann: The Cyber Week sale is here, with up to 60% off gear
Waves: Shop the official Black Friday plugin sale – from $5.99

At $14, the Question Is: Can You Afford NOT to Buy the Behringer SF300 Super Fuzz in Sweetwater’s Black Friday Deal?

Guitar Player Staff — Sat, 26 Nov 2022 00:09:32 +0000

Ask any owner of the Behringer SF300 Super Fuzz and they’ll likely agree it’s one of the best buys they've ever had.

They'll probably then be equally happy to point out it’s virtually identical to the long-discontinued and highly sought-after Boss FZ-2 Hyper Fuzz.

But while those collectible Boss fuzz boxes can fetch upwards of $300 on the used market these days, you can bag a brand-new Behringer SF300 Super Fuzz now for a mere $14!

It almost feels wrong. But go on. You’re worth it.

Behringer SF300 Super Fuzz: ~~$29~~ $14
If you like vintage fuzz, you’ll love the Behringer SF300 Super Fuzz. Based on the Japanese fuzz pedals of yore, this absolute bargain of a stompbox delivers famously thick, powerful distortion in spades but can also be used as a handy booster if needed. Treble and Bass knobs allow you to dial in the perfect tone while modes 1 and 2 provide two distinct flavors of classic fuzz.View Deal

The origins of this, the archetypal Japanese fuzz, go back to the late 1960s when Honey made their landmark Psychedelic Machine and FY-6 circuit Baby Crying fuzz pedal.

When Shin-Ei took over the Honey operation, they started manufacturing the FY-6 pedal for a plethora of brands, including Univox who marketed it as the Super Fuzz (famously played by Pete Townshend).

This 6-transistor monster of a fuzz pedal sports two modes comprising a bass-heavy scooped sound and a more midrange-focused tone.

As per the Boss FZ-2 Hyper Fuzz, the Behringer SF300 Super Fuzz allows selection of these different fuzz flavors via a three-way switch labelled Fuzz 1, Fuzz 2 and Boost.

(Image credit: Behringer)

While the Boss FZ-2 Hyper Fuzz features a stacked tone knob ranging Cut to Boost, the Behringer SF300 Super Fuzz sports separate Cut/Boost Treble and Bass knobs.

Likewise, the pedals’ Gain and Level controls set their er, gain and level, respectively.

All in all, this provides a pretty broad scope of vintage-style fuzz tones to play with; from wasp-in-a-tin to elephant-in-a-canyon, it’s all there.

But the question is: at $14 can you afford not to buy this essential fuzz pedal in Sweetwater’s unbelievable Black Friday deal?

Warm Audio Centavo and Warmdrive Reviews

Art Thompson — Tue, 15 Nov 2022 14:21:49 +0000

Warm Audio is known best for its high-end tube and solid-state studio equipment and microphones.

But the Austin-based company has also produced a growing number of replica stompboxes that include the Jet Phaser, Foxy Tone Box (i.e. Foxx Tone Machine), and the new Centavo and Warmdrive pedals on review here.

These two boxes clone a pair of famed ’90s designs, namely the Klon Centaur and the Hermida Audio Zendrive.

Warm Audio Centavo

(Image credit: Warm Audio)

Like the original Centaur, the Centavo has a large custom-cast “champagne” enclosure and black pointer knobs for gain, treble and output. The input, output and nine-volt adapter jacks are on the back, along with a mod slider switch that provides extended low-frequency response in the up position.

Removing two screws is all it takes to remove the thick aluminum bottom plate to expose the PC board with hand-wired connections to the jacks, foot switch and Mod switch. There’s even a cast-in compartment for the unit’s nine-volt battery (not included).

Warm Audio

As per the original circuit specs, Centavo features TL072 op-amps, vintage-style diodes and a charge-pump voltage regulator, which is basically a type of DC-to-DC converter that can increase or decrease input voltage to a specific level. The pedal also has a buffered bypass.

The Centavo is a smooth-sounding overdrive with a nice, tube-like tone and feel. Tested with a new Fender Vintage II ’51 Telecaster and a ’59 Historic Les Paul, the pedal sounded excellent when used like a booster by keeping the gain on the low side and cranking up the potent volume control.

This worked great to coax more grind from a Deluxe Reverb with its volume about halfway up, using higher gain settings as needed to elicit more distortion. Even when dimed, however, the Centavo’s distortion is responsive to your picking and not overly compressed.

Pairing it with another pedal to get more sustain is a good option, and here’s where the buffered output helps maintain the warmth, transparency and juiciness that makes the Centavo so cool in the first place.

Warm Audio Warmdrive

(Image credit: Warm Audio)

The Warmdrive is Warm Audio’s take on the famed Zendrive pedal that put Hermida Audio on the stompbox map back in the late ’90s and was championed by Robben Ford among other super pickers.

As such, the pedal features gain, volume, tone (post op-amp clipping) and a voice control that, situated before the op-amp clipping stage, increases treble as it’s turned clockwise.

Unlike the Centavo, none of the circuit components are viewable from the PCB’s back side (aside from a bit of wiring to the nine-volt adapter jack and the connector for a battery) but the list includes original style 2N7000 Mosfets, a NE5532 op-amp, carbon-comp resistors and 1N34A germanium Schottky BAT41 diodes. Also unlike the Centavo, the Warmdrive is a true-bypass design.

Warm Audio

The Warmdrive is a flexible distortion pedal with moderate gain and abundant output that allow it to play well with amps of various gain structures.

I tested it with a Fender Deluxe Reverb, a Matchless Chieftain 2x12 combo and the very high-gain Blackstar St. James 6L6 1x12 combo.

Because of how the tone and voice controls are configured you can set them around one o’clock and 11 o’clock respectively, and have plenty of latitude to sculpt tones with single-coils or humbuckers, utilizing the controls’ interactive nature to get buttery tones by using a lower tone setting and turning up the voice knob to enhance definition.

Oppositely, you could run tone high and pull back the brights with the voice control to get more bite and presence.

Touch sensitive and very responsive to guitar volume changes, the Warmdrive is a great choice if you like leaving a distortion pedal on and using your guitar volume to control how clean or gritty you want your sound.

As a kind of “desert island” distortion box, the Warmdrive has that innate ability to shape-shift to suit the situation, and is a pedal you can count on to deliver the goods when the venue’s Twin Reverb might be your only option.

Specifications

CENTAVO

Controls: Gain, treble, output, two-position Mod switch, I/O input, output, 9VDC jack (also operates on battery power)
Extras: Original-style art deco aluminum housing
Size: 5” x 6.75” x 2.25”
Weight: 2 lbs

WARMDRIVE

Controls: Volume, gain, tone, voice, 9VDC jack (also operates on battery power)
Extras: True bypass
Size: 4.75” x 2.5” x 2.25”
Weight: .75 lbs

Visit Warm Audio for more information.

EarthQuaker Devices Sunn Life Pedal V3 Review

Dave Hunter — Tue, 15 Nov 2022 13:04:09 +0000

The Sunn Life Pedal is a collaboration between Akron-based effects manufacturer EarthQuaker Devices and the Seattle ambient metal band Sunn O))).

It effectively reproduces the sound created when the group’s guitarists slam their multiple stacks of vintage 100-watt Sunn amps with excessive fuzz, overdrive, octave and boost, creating a demonic wall like no other.

Now in its third incarnation, the Life Pedal has been modified to re-create the analog octave effect from a vintage Shin-Ei FY2 fuzz and FY6 octave-fuzz into a white-face RAT distortion, with a MOSFET booster following, to allow plenty of amp slamming from a single pedal.

(Image credit: EarthQuaker Devices)

The controls can be a hair confusing, since, in the spirit of many old pedals, they don’t follow a logical right-to-left order.

Amplitude, far left, is the output for the distortion side, while distortion is rather obviously the gain/drive for that stage, and filter is a RAT-like EQ.

A three-way rotary switch labeled clip selects between op amp, asymmetrical and symmetrical clipping.

Octave blends in the octave fuzz, and magnitude is the boost.

(Image credit: EarthQuaker Devices)

With all this in mind, the three foot switches for amplitude, octave and magnitude become self-explanatory, though it’s worth noting that they are soft-touch true-bypass, using EarthQuaker’s proprietary Flexi-Switch Technology. Hit and release them for traditional on/off, or hit and hold for momentary on.

The single input and output are on the pedal’s front face, along with an expression pedal jack for remote control of the octave blend, and a standard center-negative jack for your nine-volt DC supply.

The Life Pedal V3 comes in a rugged, black textured metal enclosure that’s not overly huge considering all it contains.

(Image credit: EarthQuaker Devices)

I don’t happen to have a 100-watt Sunn full stack on hand, but a silverface 50-watt Fender Bassman head and 2x12 cab stood in well for testing, played with a Gibson Les Paul and a Fender Jazzmaster.

As such, with the Life Pedal engaged and dialed in, I can’t imagine better or more immediate access to doomy, droney art-metal escapades.

The pedal still sounds eviscerating and appropriately menacing even at lower volumes, but the full-bore experience requires big decibels to approach the band’s fully transcendental sonics.

(Image credit: EarthQuaker Devices)

With the Bassman’s volume wound up beyond one o’clock, the pedal delivered with thick, chewy endless sustain and willing feedback. It’s mayhem in a box, and a wild ride, for sure.

The voicing and character of the distortion side are quite familiar, yet EQD has rendered them with impressive girth, texture and relative clarity, and the three-way clipping option is a cool bonus. It’s subtle, but definitely effective at zeroing in on the dirt of your dreams.

As with any traditional analog octave effect, this one is most prevalent playing higher up the fretboard with the neck pickup selected, where it functions for single-note runs only. But it can add oddity and interest to other settings and playing positions too, and makes a cool addition to your dirt arsenal.

(Image credit: EarthQuaker Devices)

Hitting the magnitude (boost) switch can slam the amp as intended, but it’s also great when used subtly, adding not only a perceived volume lift for soloing but enhancing articulation in the process.

And while the Life Pedal excels at foundation-rumbling excess, it also proved a great multifunction distortion pedal into my 1x10 Princeton combo, easily converting it into a proto-metal rig for the small stage, so don’t rule it out if you’re shy an earth-quaking, big-bottle stack.

Specifications

CONTROLS: Amplitude, filter, distortion, clip, octave, magnitude; foot switches for amplitude, octave, magnitude
EXTRAS: Input and output, Exp jack (Octave control), true-bypass, Flexi-Switch switching, LED indicator for each foot switch, center-negative 9V DC adaptor input
SIZE: 5.75” x 5.25” x 1.5” (excluding feet and knobs)
BUILT: Assembled in USA

Visit EarthQuaker Devices for more information.

EarthQuaker Devices Sunn Life Pedal V3 Review

Dave Hunter — Tue, 15 Nov 2022 11:17:31 +0000

The Sunn Life Pedal is a collaboration between Akron-based effects manufacturer EarthQuaker Devices and the Seattle ambient metal band Sunn O))).

(Image credit: EarthQuaker Devices)

The controls can be a hair confusing, since, in the spirit of many old pedals, they don’t follow a logical right-to-left order.

Amplitude, far left, is the output for the distortion side, while distortion is rather obviously the gain/drive for that stage, and filter is a RAT-like EQ.

A three-way rotary switch labeled clip selects between op amp, asymmetrical and symmetrical clipping.

Octave blends in the octave fuzz, and magnitude is the boost.

(Image credit: EarthQuaker Devices)

The Life Pedal V3 comes in a rugged, black textured metal enclosure that’s not overly huge considering all it contains.

(Image credit: EarthQuaker Devices)

As such, with the Life Pedal engaged and dialed in, I can’t imagine better or more immediate access to doomy, droney art-metal escapades.

The pedal still sounds eviscerating and appropriately menacing even at lower volumes, but the full-bore experience requires big decibels to approach the band’s fully transcendental sonics.

(Image credit: EarthQuaker Devices)

With the Bassman’s volume wound up beyond one o’clock, the pedal delivered with thick, chewy endless sustain and willing feedback. It’s mayhem in a box, and a wild ride, for sure.

(Image credit: EarthQuaker Devices)

Specifications

CONTROLS: Amplitude, filter, distortion, clip, octave, magnitude; foot switches for amplitude, octave, magnitude
EXTRAS: Input and output, Exp jack (Octave control), true-bypass, Flexi-Switch switching, LED indicator for each foot switch, center-negative 9V DC adaptor input
SIZE: 5.75” x 5.25” x 1.5” (excluding feet and knobs)
BUILT: Assembled in USA

Visit EarthQuaker Devices for more information.

Eventide Goes “Beyond the Effects Horizon” With the New H90 Harmonizer

Rod Brakes — Wed, 09 Nov 2022 18:00:38 +0000

Effects trailblazer Eventide Audio has just unveiled what it calls the “next-generation multi-effects pedal.”

Building on the legacy of the H9, Eventide’s new H90 Harmonizer boasts 62 effect algorithms as well as hundreds of program combinations curated with a variety of instruments and genres in mind.

Sporting an intuitive user interface, the Eventide H90 features a comprehensive I/O layout and adaptable routing options. A handy built-in tuner is also included.

Descending from the firm’s flagship H9000 Harmonizer, the pedalboard-compatible H90 features powerful ARM-based architecture that enables “never heard before” effects.

The H90 is the culmination of years of creative input from the team at Eventide as well as our inspiring users
Russell Wedelich, Eventide Audio

"The H90 is the culmination of years of creative input from the team at Eventide as well as our inspiring users,” commented Russell Wedelich, VP of Development and Director of Signal Processing at Eventide.

“We're excited about the music (and cool new DSP math!) made possible with this next level of DSP power, and even more excited to hear the music our customers will make."

Eventide Audio

Fans of the H9 Max can still look forward to using all 52 of those popular algorithms, though they have been enriched with features previously only available on the dot9 pedals and plug-ins.

The H90 offers ten additional state-of-the-art algorithms, including fast-tracking, warble-free Polyphonic Pitch Shifting courtesy of Eventide’s SIFT (Spectral Instantaneous Frequency Tracking) technology.

Seven of these new algorithms include:

Polyphony – Pitch shift chords with ease using SIFT technology. Create rising or sinking chorus and crystals-type effects. Use Freeze to generate pad textures
Prism Shift – Generate three voices from a single chord whose intervals are separated, staggered, and pitch-shifted to create four arpeggio types spanning up to three octaves
Even-Vibe – Authentic Uni-Vibe emulation reimagined in stereo with envelope followers
Head Space – Vintage four-head Tape Delay with classic and modern creative tone shaping controls for grit, spatiality, and character
Bouquet Delay – Bucket Brigade Delay (BBD) with modulation, LoFi, and Modern flavors; includes Pitch jump and Self-oscillation performance functions
Wormhole – A mega-sized hyper-modulated reverb with pitch warping performance
Weedwacker – Two-stage, serial overdrive reminiscent of a famous green pedal

A further three algorithms are derived from Eventide's acclaimed rackmount processors, namely:

Instant Phaser – Authentic emulation of the world's first studio Phaser from 1971 (as used on Led Zeppelin's "Kashmir")
Instant Flanger – Authentic emulation of the world's first studio Flanger heard on countless hit records
SP2016 Reverb – The legendary Room, Stereo Room, and Hi-density plate from the original studio rackmount

Visit Eventide for more information.

Maestro Knocks Out Another Batch of Classic Analog Stompboxes

Rod Brakes — Wed, 09 Nov 2022 13:42:59 +0000

Earlier this year, Gibson revamped the Maestro brand in style by releasing five new effects pedals: the Ranger Overdrive, Invader Distortion, Comet Chorus, Discoverer Delay and Fuzz-Tone FZ-M.

It signaled the return of a legendary stompbox line that claims the honor of being the first to market a bespoke fuzz pedal, the hallowed Maestro FZ-1 Fuzz-Tone.

Released in 1962, this “grandaddy of fuzz” is celebrating its 60th anniversary this year and the Maestro Fuzz-Tone FZ-M bridges the gap between those vintage sounds and contemporary tones by offering two distinct voices: Classic and Modern.

Similarly, the other pedals in the range have been fitted with a two-way switch that extends their functionality in unique ways.

This week, Maestro launched five more analog devices in the same pedalboard-friendly form factor. As per the first batch, these latest units feature true bypass and are powered by a regular 9-volt DC power supply.

They are the Agena Envelope Filter, Arcas Compressor Sustainer, Mariner Tremolo, Orbit Phaser, and Titan Boost.

Maestro Agena Envelope Filter

The Agena Envelope Filter features three knobs: Sense, Attack and Decay. These allow adjustment of the filter sensitivity along with attack and decay time, respectively.

Additionally, Hi and Lo modes allow the filter to be positioned within different (higher/lower) frequency ranges.

Maestro Arcas Compressor Sustainer

The Arcas Compressor Sustainer’s two modes are also labelled Lo and Hi. However, in this case the switch determines how sensitive the compressor is to pick attack (Lo/less or Hi/more.)

The Attack knob allows adjustment of compressor attack time while Sustain dials in the amount of gain applied during compression. Level sets the pedal’s overall output volume.

Maestro Mariner Tremolo

Touted as “two pedals in one,” the comprehensive Maestro Mariner Tremolo provides regular amplitude modulation in Classic mode while Harmonic mode offers ‘brown panel’-style harmonic trem.

Three standard knobs control the LFO/wave: Depth, Speed and Shape (triangle to square.)

Maestro Orbit Phaser

The Maestro Orbit Phaser (not to be confused with EarthQuaker’s Grand Orbiter phaser) features two modes labelled 4 Stage and 6 Stage that provide different flavors of phase shift.

While the pedal’s Width and Rate controls alter intensity and speed, respectively, Feedback emphasizes the “amount of vocal phase effect.”

Maestro Titan Boost

Boasting over 25dB of clean boost (set by the Level knob) the Maestro Titan Boost will easily kick the front-end of a tube amp into natural breakup while controlling unwanted highs and lows.

Extended tone control is available via the two-way switch labelled Flat and Hi Pass. While the HPF knob adjusts the high-pass filter, the Tone knob acts as a regular variable low-pass filter.

Visit Maestro for more information.

An Essential Guide to Guitar EQ Pedals

Rod Brakes — Fri, 04 Nov 2022 19:48:07 +0000

An EQ (equalizer/equalization) pedal could be one of the most genuinely useful stompboxes you don’t own.

When it comes to shaping tone and improving the audibility of guitar parts, it's often the most helpful tool in the box.

Rather than just kicking up your entire volume, a good EQ pedal used well almost always proves to be a more effective and agreeable method of bringing your sound sharply into focus.

Whether on stage or in the studio, having the ability to quickly fine tune a sound that works well for everyone makes all the difference.

It can also be an efficient way of controlling feedback – from combating problems with acoustic guitar to coaxing something musical out of an electric guitar.

Boss GE-7 Equalizer and MXR Six Band EQ graphic EQ pedals (Image credit: Boss/Roland/Dunlop/MXR)

Graphic EQ vs. Parametric EQ

Traditionally, EQ units come in two formats: graphic and parametric. Both are able to cut and/or boost certain areas of the frequency spectrum.

A graphic EQ can offer quick, easy solutions by boosting or cutting gain at fixed frequencies using multiple band sliders that also act as a handy visual aid.

A parametric EQ tends to provide more detailed choice and control while allowing continuous sweep across ranges of the audio spectrum, normally using knobs.

Having centered in on the chosen frequency (measured in hertz/Hz) users can then boost or cut gain as required.

On some units it is also possible to adjust how surrounding frequencies are filtered by widening and narrowing the Q curve.

WMD Utility Parametric EQ and Sine Effect MegaPara parametric EQ pedals (Image credit: WMD/Sine Effect)

What Makes a Good EQ Pedal?

It depends on your objectives. While some guitar players think of equalization as an indispensable utility, others approach it more like an overt filter effect (think AM radio sounds or fixed wah lead tones, for example.)

If all you need is a basic mid-boost for solos, then a complex studio-style unit is likely to be overkill. In this case, a simple booster pedal or low-gain overdrive with some midrange emphasis could do the job nicely.

However, if you’re trying to surgically carve out your space in a mix that contains other guitars and similarly midrange-focused sounds like vocals and saxophone, then you may be better off choosing an EQ pedal that allows for more precise adjustment.

If you have a good set of ears, parametric EQs let you really zero in on things, though many find they also get successful results from the visually intuitive graphic EQs.

Mesa Boogie Five-Band Graphic and Boss EQ-200 Graphic Equalizer graphic EQ pedals (Image credit: Mesa Engineering/Boss/Roland)

Keep It Clean

Ultimately, a good EQ pedal is one that helps you achieve your musical goals, but there are a number of other things you may wish to consider when trying to make the best choice.

Good signal-to-noise ratio and signal clarity are of great importance to some – particularly when using an EQ pedal for recording because strengths and weaknesses are far more likely to show up under close scrutiny in the studio.

Headroom and the amount of available boost (usually expressed in decibels/dB) are also high on the agenda, as this will provide a greater range to work within before the signal clips.

Unwanted distortion and noise may not appear obvious during a gig or even in the rehearsal room. But it can come over loud and (un)clear through studio monitors.

Speaking of Empress Effects' ParaEq MKII pedals, Nashville session ace Tom Bukovac says, "This EQ is a total game changer." (Image credit: Empress Effects)

Expanding Creative Options

Experimenting with EQ is one of the best ways to explore your instrument's capabilities, and an equalization pedal provides an easy, hands-on approach to discovering new and interesting sounds.

We were making a guitar sound that I would not have worked with before
Adrian Utley

While expanding your creative options, understanding EQ can change the way you think about guitar tone forever.

Portishead’s Adrian Utley told us about his eureka moment when recording with Jeff Beck in the early '90s. “We were working together in the studio all the time,” said the guitarist. “I’d play something, and he would immediately EQ it and take all the low-end out of it.

“So we were making a guitar sound that I would not have worked with before. Previously, I would’ve gone, ‘Don’t fuck with my guitar sound, man! I know better – don’t touch my amp!’ Y’know, in another studio – in another world.

"Now, I totally get it.”

Adrian Utley performing with Portishead. He features on Jeff Beck's 1993 Cliff Gallup/Gene Vincent and His Blue Caps tribute album, Crazy Legs (Image credit: Andrew Benge/Redferns via Getty Image)

The New Boss SL-2 Slicer Pedal Is in a Class of Its Own

Rod Brakes — Wed, 02 Nov 2022 17:12:20 +0000

Making its debut in the 2008 Boss catalog, the SL-20 Slicer Audio Pattern Processor promised to “instantly transform a guitar, bass, keyboard, or vocal into a pulsating groove instrument.”

With 50 onboard Slice patterns, a 40-second loop function, 3D Panning and more, this Twin Pedal series stompbox was said to “inject a shot of high-octane fuel into your music,” though it was eventually dropped from production several years ago.

However, as is so often the case with discontinued products, the SL-20 subsequently picked up a bit of a cult following. Guitarists as well as keyboardists, loop performers, DJs and producers all wanted their own slice of the SL-20.

With prices of used SL-20s continuously on the rise (they’ve been going for upwards of $300 lately) and following innumerable requests from music makers for Boss to update this sought-after effect, the firm has finally responded with the new SL-2 Slicer.

Evolving directly from the larger SL-20 Twin Pedal, the SL-2 appears in Boss’s iconic compact pedal format and takes the distinctive Slicer sound forward with expanded capabilities.

DSP has come a long way since the ‘00s, and with a $169.99 price tag the upgraded SL-2 Slicer will no doubt be giving the old SL-20 a run for its money on the used market.

Chopping your signal into unique percussive patterns, Boss says the new pedalboard-friendly SL-2 Slicer delivers “rich, animated sounds using single and dual paths chained with multiple internal effects.”

(Image credit: Roland/Boss)

Now with 88 patterns to choose from (comprising eight types and 11 variations) plus additional patterns via the BOSS Tone Studio app, the SL-2 offers an original style of effect that works equally as well in the studio as it does on stage.

Utilizing the SL-2 Slicer’s two outputs and seven output modes, guitar players can experiment with the stereo field using a variety of processing options.

Furthermore, with MIDI CC message and clock sync functions, tap tempo, momentary switching and multiple parameter expression control, the new Boss SL-2 takes the Slicer’s creative potential to a whole new level.

(Image credit: Roland/Boss)

Visit Boss for more information.

“Don’t Do This at Home”: Watch ThorpyFX Find out if Their Pedals Really Are Bombproof in This Explosive Video

Rod Brakes — Thu, 20 Oct 2022 14:38:17 +0000

Adrian Thorpe’s pedals are renowned for their robust build.

When the ex-British Army Major took his military training into the world of stompboxes he brought with him a trademark style that has drawn accolades such as ‘bulletproof’ and ‘bombproof.’

I was an explosives specialist
Adrian Thorpe

It’s a fair comment, given those distinctive holes in the sides of ThorpyFX pedals take inspiration from a type of anti-RPG armour.

“I had a career as an Ammunition Technical Officer, which is the full title of my trade within the British Army,” reveals Thorpe. “I was an explosives specialist.”

(Image credit: Six String Tales/YouTube)

With names like the Gunshot Overdrive (ThorpyFX’s first pedal,) the Fallout Cloud Fuzz and the Veteran (Si) Vintage Fuzz and Boost it would be hard to overlook the firm’s distinctive theme.

They’ve even managed to militarize circuit designer Dan Coggins’s legendary Lovetone pedals during his ongoing collaboration, including the Bunker Drive (Lovetone Brown Source MKII) and the Field Marshal Fuzz (Lovetone Big Cheese MKII.)

While steadily expanding their range over the years, ThorpyFX units have been spotted on the pedalboards of many a notable guitarist such as Ed O’Brien, Graham Coxon, J Mascis, Ariel Posen, Joey Landreth, Dave Gregory and Chris Robertson.

He may look shocked but Welsh guitarist Chris Buck had a blast (Image credit: Six String Tales/YouTube)

For many, that would be testament to quality enough. Yet it seems ThorpyFX’s relentless R&D has no bounds.

Don't test my theories; we've done it so that you don't have to
Adrian Thorpe

With the help of Welsh guitar whizz Chris Buck, the team put the ‘bombproof’ theory into practice by testing how ThorpyFX pedals stood up to a series of actual explosions.

“Everything is legal,” insists Thorpe. “Everything's above board. Everything’s safe. Don’t do this at home. Don't test my theories; we've done it so that you don't have to.”

Visit ThorpyFX for more information.

CopperSound Drops the Gravity Bomb V2 Booster and Renegade Fuzz

Rod Brakes — Fri, 14 Oct 2022 11:30:36 +0000

Massachusetts tonemonger CopperSound has expanded their acclaimed pedal line with two more stompboxes: the Gravity Bomb V2 booster and Renegade fuzz.

Both units appear in small-format enclosures, feature mechanical true-bypass switching, and are powered by 9-18 volts with increased headroom in mind.

Building on the legacy of its predecessor, the Gravity Bomb Boost and Buffer, the new $129 V2 Clean Boost & Mids Enhancer takes the design forward with the addition of a three-way midrange EQ toggle.

Meanwhile, the $149 Renegade Multi-Bias Fuzz offers Tone Bender MK1.5-style fuzz in tandem with a two-way bias toggle.

Gravity Bomb V2

The Gravity Bomb V2 is a powerful pedal in a pint-sized package, providing up to 20dB of clean boost – enough to pummel any tube amp into breakup.

As per its predecessor, the V2 boasts an audiophile-grade Burr Brown Op Amp. But with extended functionality, courtesy of a midrange-enhancing three-way toggle, a wider range of sounds can be dialed in.

With the toggle in the center position, a flat EQ curve is maintained. In the up and down positions, the boost is focused at 1kHz and 750Hz, respectively.

Such midrange EQ enhancements can allow electric guitars to stand forward in a band mix and are often used when gain stacking pedals.

Renegade

Derived from the Sola Sound Tone Bender MK1.5, CopperSound describes the sound of their new Renegade Multi-Bias Fuzz as “intense” and “full-bodied.”

Simple in operation, the Renegade features a single master volume knob with which to dial in the right amount of gain.

The toggle switch allows selection of two different bias voltages. Players can choose from either a classic “open” fuzz tone or a more gated sound that produces extra “electric sizzle” as the signal fades.

Like all fuzzes, a certain amount of control can be applied using the guitar’s volume knob.

CopperSound RenegadeCopperSound

CopperSound Gravity Bomb V2CopperSound

It's worth noting that CopperSound is currently offering a free active ABY with all orders over $199 while stocks last.

Visit CopperSound Pedals for more information.

Guitar Center Has Slashed the Price of This Boss DS-1 Distortion Kit by Over a Third

Rod Brakes — Wed, 12 Oct 2022 15:17:31 +0000

Right now, Guitar Center is offering over a third off the regular price of Boss DS-1 Distortion Kits in this incredible deal that also includes two six-inch patch cables.

Dubbed "the greatest guitar event on Earth,” the firm’s Guitar-A-Thon sale sees the price of this package slashed from $89.99 to just $58.99 – that’s a huge saving of $31!

With over 1.5 million units sold, the DS-1 Distortion is Boss’s best-selling effects pedal – and for good reason.

Seen on the pedalboards of countless pro guitarists over the decades, this tried and trusted dirtbox is a benchmark of tone.

Boss DS-1 Distortion Kit: ~~$89.99~~ $58.99
Debuting in 1978, the mighty DS-1 Distortion is a staple of Boss's professional compact effects pedal series. A favorite of guitarists such as Kurt Cobain, Mike Stern and Prince, Guitar Center has slashed the price of this Boss DS-1 Distortion Kit by over a third in their amazing Guitar-A-Thon deal.View Deal

Boss DS-1 Distortion

Roland/BOSS

The Boss DS-1 Distortion is a king among distortion pedals and is one of the most popular effects units of all time.

Unveiled in 1978 following the launch of Boss’s iconic compact pedal series the previous year, the flexible DS-1 Distortion set a standard for all that followed.

Great for rhythm and lead sounds, this Boss classic features three simple controls – tone, level and distortion – with which to dial in your perfect settings.

Known for its edgy voice, the DS-1 Distortion allows electric guitar players to cut through a band mix. Whether on stage or in the studio, this Boss staple can be relied on for world class tone every time.

Popular with beginners and pros alike, it’s a great pedal to have in the toolbox and is built to withstand decades of use.

Long sold with a five-year warranty, Boss pedals are famously tough and are frequently cited as modern classics (just ask Joe Satriani or Steve Vai!)

Boss’s Best-Selling Pedal Gets Waza Crafted With the DS-1W Distortion

Rod Brakes — Thu, 06 Oct 2022 15:13:58 +0000

Boss has unveiled the most recent addition to their acclaimed Waza Craft line: the DS-1W Distortion.

Officially described as a “complete redesigning of the original circuits by the original developers,” Waza stompboxes are refined versions of classic Boss compact pedals, representing the apex of the Japanese firm’s world-renowned ingenuity and craftsmanship.

Easily differentiated by a ‘W’ suffix and kanji logo, the Boss Waza Craft range now comprises the DS-1W Distortion; BD-2W Blues Driver; SD-1W Super Overdrive; DM-2W Delay; CE-2W Chorus; VB-2W Vibrato; TU-3W Chromatic Tuner; MT-2W Metal Zone; DC-2W Dimension C; HM-2W Heavy Metal and FZ-1W Fuzz.

Roland/BOSS

So what new features does the Boss DS-1W Distortion have?

Featuring a revised two-stage gain circuit this analog dirtbox now boasts two modes: Standard and Custom.

In Standard mode, the DS-1W incorporates a discrete circuit version of the original DS-1, delivering legendary tone that ranges from a light boost to heavy gain.

In Custom mode, a thicker, more midrange-focused variation can be explored – something Boss describes as “an evolution of the iconic sound that retains the essence of the DS-1.”

A two-way switch labelled 'S' and 'C' toggles between Standard and Custom modes, respectively (Image credit: Roland/BOSS)

The original DS-1 Distortion – Boss’s first bespoke distortion pedal – was released in 1978, the year after the brand’s now iconic compact pedal format made its debut with the OD-1 Over Drive, PH-1 Phaser and SP-1 Spectrum.

Over the decades since its release the DS-1 Distortion has been spotted on the pedalboards of some of the guitar world’s most influential players, including Steve Vai, Joe Satriani and Kurt Cobain.

Boss’s best-selling pedal of all time (over 1.5 million units and counting!) the DS-1 Distortion was superseded by the DS-2 Turbo Distortion in 1987 – itself a modern classic.

A collectible version known as the DS-1-4A Distortion was released in limited quantities in a black finish in order to commemorate the pedal’s 40th anniversary.

Visit Boss for more information.