Orbit dBucket Flanger
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Download Example 1
Half Regen, 3/4 Manual, Pos Feedback, Lin LFO
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Download Example 2
Hi Regen, Max Manual, Neg Feedback, Log LFO
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| Clips
recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon
35 combo.
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When it comes to flangers and phasers,
I’m usually a little more critical than I am
of other effects. To me, they can become
tiresome much quicker than delays or even
other time-based effects. However, there are
times when they can add some magic if you
use them sparingly. For example, I own a
vintage Ibanez FL9 Flanger that I absolutely
love, but only for one specific sound. But
the Orbit opens up a lot more possibilities
in the modulation realm. And that’s because
it sports an array of controls for altering the
speed, width, regeneration, mix, and delay
time of the flanging. You can also change the
phase of the wet/dry mix and significantly
alter the range of the effect with the threeway
Feedback switch.
But the three-position LFO switch is the
Orbit’s coolest control. It selects between a
logarithmic sweep (even frequencies), a linear
sweep (which speeds up through the high
bands and slows down through the lower
ones), and Thru 0, which phases in and out
of high and lower fidelities. Fittingly, you can
save your favorite setting by holding down
the Favorite footswitch, and you recall it by
simply stomping on the switch again. You
can also use the Favorite switch to assign the
expression pedal. Hold it down while plugging
in the pedal, and the first knob you turn
is the one the expression pedal will govern.
That means any control can be assigned to the expression pedal, which opens up the
possibilities for morphing from subdued to
wild even further.
For my tone testing, I warmed up the Vox
AC30 reissue once more and pulled out a
Fender Road Worn Telecaster. With the knobs
at noon, Feedback set to positive, and LFO
set to logarithmic, I achieved a fairly convincing
early-’80s flange tone. The Speed
and Regen controls are highly sensitive, yet
what really opens up the potential is the
combination of the Width, Feedback, and
LFO controls. Using the switches in tandem
with moderate changes in Width can dramatically
change the response, tone, and feel. I
like my flange to have a lot of air and movement,
but not be too overbearing. The negative
position on the Feedback switch adds a
lot of quack, which is perfect for funk styles,
but I was able to quickly cut it out by flipping
to the smoother sweep located in the positive
position. For a wider tone, I liked setting
LFO to the logarithmic position. When LFO
is set to linear, the Orbit lends itself to more
aggressive flanging tones, a la Smashing
Pumpkins and early ’90s grunge. For players
who like heavy distortion and a subtle flange
sound (think My Bloody Valentine’s Kevin
Shields, who is a master of using flangers and
phasers to belch out a seasick wave of sound)
the Thru 0 position is perfect.
Buy if...
you need an all-in-one device to
satisfy your flanging jones.
Skip if...
you need something simple or your
flanging needs are negligible.
Rating...
