||Download Example 1
Strat clean tone with both sweep settings
||Download Example 2
Les Paul/Hartman Germanium Fuzz with RMC-8
||Download Example 3
Les Paul clean cycling through graphic EQ settings
|Clips recorded with a 3rd Power American Dream, Shure SM57 into a Chandler LTD-1 mic pre directly into Pro Tools.
Anyone who has searched for the perfect wah pedal is probably familiar
with RMC and Geoffrey Teese. Teese is a hardcore wah fanatic, and it
shows in RMC’s impressive lineup of nine wah pedals.
The RMC8-Guitar Eqwahlyzer is modeled on the benchmark tone of
mid-’60s, Italian-built Vox wahs. But it adds a pair of sweep contours
and a 5-band graphic EQ to optimize the wah’s voice for different playing
styles and gear.
Glitter and Control
Packaged in a new, longer shell, the true bypass RMC8 is finished in a
cool multi-sparkle graphite grey that’s a dead ringer for my ’70s banana
bike seat or a vintage vinyl speedboat interior. Up at the top of the
pedal is the 5-band graphic EQ with +/-15 dB center-detent sliders, an
LED indicator that lights to show the EQ circuit is active, and a push
button that engages the EQ.
Under the rocker, a mini toggle switch changes the sweep contour
from either a NOS Icar-taper pot to an expanded-range taper that’s
reminiscent of an aged Icar-taper ROC-POT 5.2 wah pot. You access
the RMC8’s 9V battery by removing the underside plate, which is
attached by four screws that pass through the pedal’s rubber feet.
Conveniently, changing the battery doesn’t require a screwdriver. An
AC adapter input is located just below the output jack on the left
side of the pedal.
According to Teese, the basic RMC8 circuit is blueprinted from engineer
Brad Plunkett’s mid-’60s design for the Italian Vox Clyde McCoy,
the pedal that represents quintessential wah tone for many players. The
sweep was smooth and quiet in both toggle positions. I preferred the
slower sweep of the “aged” setting, as it enabled me to explore the
tonal nuances of each position of the sweep. That said, the NOS setting
was equally cool, imparting a slightly more aggressive snarl and granting
quicker access to the extreme ranges.
The RMC8 really started to speak when I added a little more gain on
my test amps. At this point, I enhanced the harmonics in my tone by
engaging the EQ. As I started tweaking the settings, I discovered the
utility of Teese’s design. Raising the 160 Hz slider a little and dipping at
2.5 kHz created one of the thickest wah sounds I’ve ever experienced.
This setting allowed me to push the pedal without fear of cutting heads
off with runaway treble.
Plugging in different guitars made me appreciate the EQ even more.
Strats liked some of the highs rolled off, Les Pauls liked a 1 kHz boost
and my P-90 guitars preferred a little 160 Hz boost.
No matter what combination of guitars and amps I used, the RMC8
delivered in spades. The tone was always lush, the sweep was smooth
and free of scratchiness, and the sonic flexibility was nearly unlimited.
It can be easy to grow weary of a wah when it’s a one-trick pony. But
there’s almost no end to what the RMC8 can deliver, which makes it a
potent musical asset—one that can extend your voice as a player and
play an invaluable role in your pedalboard.
you want a classically voiced wah with
you use your wah once a year.