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Author Archive
The T-Rex HOBO DRIVE is one of the best sounding, most flexible distortion pedals I’ve ever come across. That said, calling this pedal a distortion pedal is a little misleading; it’s less a distortion pedal, and more of a preamp. Manufactured in Denmark and assembled in Taiwan, the HOBO DRIVE (yes, their website capitalizes both words entirely), is a solidly built, dual-function “overdrive amplifier simulator”. The enclosure is cleanly finished, the controls have a very smooth, professional feel, and the layout is spacious and intuitive. – Read Ron Guensche’s full review here.... Click on the title for more
Despite the vast amounts of music recoded on computers, tablets, and phones, the allure of analog recording persists. In recent years there has been a proliferation of audio processors that attempt to emulate the qualities of vintage recordings. In this vein, Electro Harmonix’s Analogizer is a versatile and compact pedal intended to thicken and and enhance guitar tones. Particularly if you record with DI instruments and digital effects (digital delay/reverbs/EQs etc.), placing the Analogizer at the end of your chain will help to define color and clarity in sound. The Analogizer has four controls: Volume, Blend, Gain, and Spread. Volume is a nearly transparent trim that controls the master output of the pedal, allowing the pedal to function as a boost or at unity level. Gain hits earlier in the signal path with a darker drive circuit for beefier tones. Once adjusted Volume and Gain for the desired coloration, the Blend control allows you to tweak the ratio of dry to effected tone. The Spread knob, which delays the wet signal, sweeps across a range of sounds: tonal shifts, mild ambiences, even a 15 ips tape slapback effect. If you’re looking for a wide variety of analog sounds on a tight […]... Click on the title for more
If the crazily named Reezafratzitz distortion pedal from Denmark’s Emma Electronics (street $245) has a dual personality, both of them are nasty. But for lovers of saturated distortion, the pedal’s double-trouble approach to fuzzing up sound waves offers musical, usable tones. The magic in the box is the Reezafratzitz’s “Bias” knob. Turn it all the way counterclockwise and you’ve got what Emma describes as “Class B” distortion, an amp class that’s rarely used but that’s known for its flabber. Turn it all the way clockwise and the pedal emulates “Class A” distortion, common to small tube amps. (The more efficient AB amp class alternates the signal between two sets of tubes, sharing the strain and allowing for a more efficient, louder amp—a big yawn from a distortion point of view). In practice, the Class B bias setting sounds deep and compressed, along the lines of a cranked Marshall JCM900 head, whereas the Class A side lessens the compression for a more open distortion (relatively speaking). Turning the Bias knob anywhere in between blends the two sounds. Let’s be clear, this isn’t a subtle pedal: It goes from distorted to very distorted, screaming like a trapped witch at the slightest opportunity. […]... Click on the title for more
With thousands of delay pedals available, not to mention recording plugins, choosing an effect can be overwhelming. Are you looking to add a subtle slapback or an intense rhythmic pattern? While it’s capable of everything you’d expect from a delay pedal, Seymour Duncan’s SFX-10 Deja Vu Tap Delay truly excels at the latter. Though its sound is not as immediately glowing as an Electro Harmonix Memory Man or controls as eccentric as a Line 6 Delay, the Deja Vu’s strength lies in its flexibility and precision when dialing customized sounds into a live environment. The Deja Vu contains all the standard delay controls (wet/dry knob, feedback, delay time) with some notable extras. A dedicated tap tempo footswitch with a ratio knob (half note, quarter note etc.) makes it unbelievably easy to adapt complicated delay settings on the fly. Meanwhile, a toggle between a true bypass mode and trailing repeats lets you kill the delay effect while letting the echoes trail off. This allows for adding anything from sweet flourishes to ringing shock waves. Finally, a feedback insert jack lets you apply a separate effects chain to the wet signal, giving you endless possibilities for customization. Even without using the insert, […]... Click on the title for more
The Eau Claire Thunder from Dwarfcraft Devices is the big one; big tones, big features and a big, knob laden enclosure. This pedal cranks out all manner of fuzz from the blunted, smokey kind of Sabbath style fog to the much more modern aggressive waves of noise rock bliss. The five knobs on the pedals face seem infinitely interactive and changing one leads to variations in the way they combine with each other. While some people may find this strange, it should be noted that the ECT is not a good house guest. It’s cooperating just long enough to get the job done before trashing the place and leaving through the back door. Sturdy metal construction and heavy duty foot switches de rigueur are there as expected, while the finish is kind of gum paste propaganda poster which is refreshing and punk-y. The ECT sounds, at times, like a circular saw. It won’t be polite. It may be out to steal your woman, drink your whiskey and destroy your hearing. Housed within its die-cast enclosure, it has the unrelenting force of a Wisconsin winter storm. At its core is a standard volume, tone, gain arrangement yielding a distortion that is […]... Click on the title for more