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Caroline Guitar Company
Kilobyte Lo-Fi Delay
The new Kilobyte Lo-Fi Delay moves with ease from rockabilly slapback echo to avant textures and enables the mixture of both. It’s equally adept at lo-fi and clean voices, or you can hold down the momentary footswitch (right) to craft self-oscillating freak-outs with infinite feedback.
Disaster Transport SR.
With tape-like bright (300 ms) and dark (600 ms) delays that can be run separately, in parallel, or in series, as well as reverb and the ability to create multi-head-style delays, the Disaster Transport SR’s wealth of delay flavors might keep a lot of echo freaks studio-bound for weeks. And, like so many EarthQuaker pedals, it’s just as likely to please forward-looking musicians as vintage-minded guitarists.
Mini Fuzz Faces
The new Mini Fuzz Faces—which come in Silicon, Germanium, and Jimi Hendrix versions—address the issue of pedalboard space that’s no doubt deterred a lot of space-conscious, would-be Fuzz Face fiends over the years. And we love that Dunlop managed to retain the signature look of what, in our humble opinion, might be the coolest-looking fuzz box ever, all without sacrificing sonics.
EHX brought several new products to Anaheim—including the 8-Step Program synthesizer, HOG2, and 45000 looper—and some of our favorite NAMM moments include watching their intrepid demo dudes navigate the almost infinite possibilities of a rig with all three. If we have to choose just one, though, we’d probably take the awesome 45000, which uses a multitrack-recorder-style interface to enable complex loop textures.
Dwarfcraft’s new Surrender Dorothy fuzz is ferocious, deep, and muscular but also delivers plenty of the noisy irreverence and anything-but-the-same-old fuzz flavors we’ve come to expect from designer Benjamin Hinz. The three simple controls—resonance, cutoff, and level—put heaps of fuzz deviance at your disposal.
Eventide’s H9 Harmonizer is a crazily powerful multi-effector that consolidates the company’s Space, ModFactor, PitchFactor, and TimeFactor effects, and adds a new Ultra Tap Delay. It can be controlled by iPhone or iPad via Bluetooth, but all parameters can also be accessed via the pedal’s controls. It’s likely to be a bonanza for guitarists who dabble in production, or who play experimental or electronic music.
Although the digital Leslie pedal looked a bit diminutive amongst all the hulking speakers and organs at the Hammond booth, it looked sharp nonetheless. And with spot-on emulations of 122, 147, and Model 18 rotary speakers, as well as a model of the PR-40 stationary cabinet—which lends sweet, organic overdrive tones—it sounds incredibly fat and delicious.
Fat Fuzz Factory
Z.Vex seems to have dredged the new Fat Fuzz Factory up from the molten magma at the center of the Earth. It’s got all the muscular fuzz and squirrelly delights of the original, but it adds bowels-of-the-earth low-end capabilities that will freak out guitarists and bass players alike.
Ibanez has often returned to vintage looks with excellent practical results. Visually, the ES2 Echo Shifter delay seems to riff a bit on the old Ibanez Standard Fuzz, which also had slider controls, It has an analog signal path but uses DSP for tap-tempo functions. The tones range from subtle to tape-delay-style mayhem that you can make wilder still with the oscillation and modulation toggles.