August

November 2011

Tech 21 Bass Boost Chorus Pedal Review

October 18, 2011
The Bass Boost Chorus provides the tones of classic chorus effects while solving some the issues that often arise when applying chorus to bass frequencies.
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Ibanez TS9B Bass Tube Screamer Pedal Review

October 18, 2011
The TS9B is a variation of the famed TS9 that’s revoiced for more low-end growl and modified for even more tonal control.
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Providence Chrono Delay DLY-4 Pedal Review

October 18, 2011
Chrono Delay DLY-4 replaces their cult-classic DLY-83, but also adds many significant upgrades that enable you tailor a very vintage analog delay sound with superb modern control and fine-tuning capabilities.
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Let's Make a Deal!

October 18, 2011
Whether by phone or email, I’m most frequently contacted with this question: “I have three basses sitting in front of me, and I’m trying to decide which one I’m going to buy. What’s the best deal?”
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Mojo Hand Colossus Pedal Review

October 18, 2011
Mojo Hand FX based its Colossus Fuzz on the Sovtek Big Muffs of the early ’90s, which until recently tended to be regarded as the homely stepsister of the Big Muff family.
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Fuchs Plush FX Jersey Thunder Pedal Review

October 18, 2011
The Thunder boasts three custom-voiced EQ curves and gain boost settings, which are accessible via a 3-way switch located on the side of the unit.
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Scott Walker Guitars

October 18, 2011
Master craftsman Scott Walker is a Santa Cruz-based luthier who cut his teeth in the business working for Santa Cruz Guitar Company alongside Richard Hoover
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CD Review: Sleeper Agent - "Celebrasion"

October 18, 2011
The band’s debut full-length release, Celebrasion, celebrates hook-heavy, riff-laden, garage rock and had already enjoyed a wealth of critical acclaim prior to hitting the shelves a few weeks ago.
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Gibson Les Paul Junior DC Bass Review

October 18, 2011
This Les Paul Junior bass draws influences from Gibson’s storied EB-0, but also benefits from the addition of some new refinements.
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Electro-Harmonix Neo Mistress Pedal Review

October 18, 2011
Electro-Harmonix has packed much of the punch of the original into the company’s Nano-sized package for guitarists with limited pedalboard real estate.
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Carl Martin Blue Ranger Pedal Review

October 18, 2011
A Texas-flavored addition to Carl Martin''s Vintage Series.
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To Mod or Not to Mod?

October 18, 2011
Flashy and loud, brimming with sex appeal, and plenty of geeky, mechanical specs to discuss—instruments and vehicles share many of the same characteristics.
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Empress Effects Compressor Pedal Review

October 18, 2011
Empress places an emphasis on tone control and transparency that you don’t see in a typical stompbox compressor.
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Fishman Fission Bass Powerchord FX Pedal Review

October 18, 2011
The Fishman Fission Bass Powerchord FX does some funky things by building grinding, root-fifth chords from single notes.
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Silence is Golden

October 18, 2011
The electric guitar can be a noisy beast. I’m talking about the unwanted variety of noise that can accompany an electric guitar—buzz, hum, hiss, radio stations, and more—all picked up by the guitar’s pickups, its wiring, or something else in its signal chain.
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Framus Hollywood DC Electric Guitar Review

October 18, 2011
The new 24 3/4"-scale Hollywood DC is based on the original Hollywood 5/131—a model that originated as Framus’ late-’50s bid to meet the demand for rock-oriented guitars.
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Beyond Blues: Phrasing—A Lost Art

October 18, 2011
Phrasing: When it comes to an improvised solo, it’s pretty much what separates the good players from the greats.
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Orange Dark Terror Amp Review

October 18, 2011
Forbiddingly dubbed the Dark Terror, Orange’s newest low-power amp builds upon its predecessor’s winning recipe, while piling on heaps of molten gain and smoking overdrive that can stretch your notions of just how huge tiny can get.
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Z.Vex Instant Lo-Fi Junky Pedal Review

October 18, 2011
With the Instant Lo-Fi Junky, Z.Vex adapts the effects that make the Loop Junky’s loops so, well, junky and puts them in a stomp box without the looper.
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The Beauty of DI

October 18, 2011
The fact is that modeling software has improved by leaps and bounds in recent years and—in many real-world situations—it can sound even better and be a more suitable choice than traditional amplification.
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