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Pedal. Mania 2. 01. New Stompboxes Reviewed! Each year following the avalanche of new gear that rolls out from Winter NAMM, the staff at GP checks their notes and comes up with a list of new stompboxes to review for our annual Pedalmania roundup. Ouija 2 (2016) Video Download more. True to form, for 2. To our way of thinking, it’s all good when it comes to effects, because the inspiration they often provide can, at the very least, fire you up for that monthly gig at the local brew pub or possibly inspire something much bigger—like writing a tune for your next record that might not have happened if you’d been washing the car instead of messing around with a new pedal. The 2. 7 stompboxes in this roundup come from all sectors of sonic galaxy, and the list includes some real audio Argonauts—the Digi.
Tech Freq. Out, GFI Specular V2 Reverb, and Electro- Harmonix Blurst, to name a few. All of these pedals were put through their paces on gigs and/or in our studios, using humbucker and single- coil guitars from Epiphone, Fender, Framus, Gibson, Gretsch, L. Or maybe not. BAE founder Mark Loughman embraces ’7. Neve- inspired channel strips, compressors, and other designs, and he had a dream of capturing a fuzz sound akin to what he heard in the Isley Brothers’ “Summer Breeze.” The Hot Fuzz—which is hand built in the USA and struts the look of vintage- stompbox cool—is the manifestation of that reverie, and it rules.
It’s as rugged as a Triceratops, the knobs turn smooth and tight like precision instruments, and it delivers a mighty righteous fuzz tone and a walloping treble boost. I couldn’t find a bad tone in this box. You can pull back the Juice for dynamic AC/DC- like overdrive, or slam the control for blistering fuzz that’s still bold and articulate. Hit the Hi- Freq Boost, and you get awesome, Mick- Ronson- like cocked- wah aggression. My pedalboard wishes the In and Out jacks were right/left, instead of the reverse, but it will just have to deal with it. The Hot Fuzz is simply too extraordinarily remarkable to worry over trifles. The DS- 1 followed in 1.
DS- 1- 4. A is just as ferocious, sonically relevant, and tonally invaluable as the originator. Right out of the box, and with its three knobs (Tone, Level, and Dist) all left at 1.
You’re done. Everything is ballsy and menacing and huge and ear catching—almost as if the distortion sound was already mixed and mastered on a hit track. That said, tweak- y types will enjoy the musical Tone control that can calm the scorch, or pile on the midrange burn. There’s also plenty of signal level on tap for boosting solos and riffs over the noise of a live band. The DS- 1- 4. A is only available throughout 2. At just $5. 9, this distortion is not only a spectacular value—it’s an essential instrument for your tonal toolbox. When he wanted a personally voiced pedal with high gain and crunch channels that could also be combined, he called Carl Martin.
The result includes those two channels, along with a third, adjustable Boost channel. The mid- voiced crunch comes after the high gain, overruling the high gain’s voicing, to beef up solos and help them cut though the mix.
The pedal runs on a 9v power supply, which is then boosted to 1. V for extra headroom. Howe may have had the channels tuned to his taste, but I found them malleable enough to suit a wide range of preferences. The Crunch channel delivered guitar volume- and pick- attack- responsive blues tones, as well as classic- rock rhythm grit. Depending on its tone and gain settings, the High Gain channel spat out sizzling metal, laid on lush, articulate fusion tones, or served up endless sustain.
The Boost comes last in the signal chain, so engaging it with either or both of the others on doesn’t add gain, only up to +1. B of volume. The sonic variety afforded by mixing channels, Level, Gain, and Tone might make this the dirt box you desire.
Three “Ghost Lit” knobs glow eerily when the effect is engaged, as they dial in delay time, feedback, and wet/dry mix. An interior trim- pot controls whether—and how fast—the feedback goes into self- oscillation. To my ears, Cast Engineering has produced a digital delay with all the warmth and grit of an analog or tape unit. The name’s subtitle, “a ghostly delay,” seems appropriate, as the repeats lurked in the shadows even with the mix well past noon, helping me create Lanois- style lushness, Edge- type rhythms, and spooky dub- style effects. A drier mix delivered Gilmour- ish grandeur for solos, and the effect’s 7. In an era when companies offer boxes that deliver a multitude of delay types in one package, why settle for a one- trick- pony pedal? It might be because that pony is a thoroughbred—gorgeous and inspiring.
The unit has guitar and power amp outputs (the latter exploits its capabilities as a preamp), and a 1. If you seek pornographic levels of sustain you’ve come to the right place. The VH4 has ridiculous gain and output, and the excellent EQ makes it super easy to get diabolical tones that should suit any metal devotee’s taste for midrange suckage and wall- shaking low end. No matter how fiercely it’s dialed, however, the distortion stays clear, focused, and amazingly touch responsive. Obviously, you don’t buy a pedal like this for a roots- rock gig, but there’s enough flexibility here to make the VH4 suitable for practically anything you care to throw at it. If you like having more power under the hood than will likely ever be needed, the VH4 is definitely your kind of pedal. The Freq. Out is probably the most “pure fun” pedal I’ve encountered in years.
Sure, it’s “just” a feedback generator, but the control over that one trick can be transformative if you like adding strange beauty and explosive carnage to your music. You can set the onset and level of the feedback, choose a harmonic (Sub, 1st, 2nd, 3rd, 5th, Nat Low, Nat Hi), defeat your direct- guitar signal (feedback only), and work the switch in momentary or latching modes. There’s so much aural sorcery in here that it’s near impossible to reveal every musical application. I used it like an EBow for soaring melodies, deployed Sub for resonating synth- like lines, dialed in a fast onset for robot noises, and unleashed caterwauling feedback to punctuate chords and riffs. I’m still figuring out all the ways I can get weird with this thing, and I love it almost as much as I adore movie- theater popcorn.
Using just the delay controls (Time, Repeats, Mix), you can evoke primal slapbacks and faux tape- echo effects that are appropriately dark sounding, but also stout and clear. In other words, you get the vintage, fleshy warmth, but without losing the intelligibility of the repeats in a crowded mix, or when using super- saturated guitar tones. Adding modulation with the Depth, Shape, and Rate knobs is where otherworldly sounds happen—even though a subtle touch will keep you grounded in new- wavey territories of chorus/flangestyle repeats. Un- subtle knob twists can create noise nightmares perfect for a David Lynch soundtrack, beautiful ambient undulations, tortured pings, or even detuned madness so epically cool that it’s almost musically unusable. The Space Spiral certainly challenges your tonal preconceptions, and it’s a fantastic tool for destroying comfort zones and giving your right brain a kick the ass. Their stuff just doesn’t sound like other companies’ stuff, and this pedal is no exception. The Blurst is a modulated filter, which is like an envelope filter, but instead of the filter’s response being controlled by your playing dynamics, the Blurst employs an internal oscillator to wreak its sonic havoc.
It adds up to a pulsating, undulating, funkifying, yowyow trip that will instantly add a layer of otherness to your guitar parts. There are three waveforms—triangle, rising saw- tooth, and falling saw- tooth—and controls for Volume, Blend, and Resonance. Watch Maudie (2017) Online more. You can vary the speed with the Rate knob or the Tap Tempo footswitch.
You can get a subtle phasing, a vibey trem, a trippy auto- wah, or dance- party EDM throb depending on how you set these knobs.