Friedman Amps

August Issue

Reviews: Effects

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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Celestial Effects Virgo Overdrive Pedal Review

October 18, 2011
The Virgo Overdrive reviewed is the rock overdrive member of the five-pedal Celestial line.
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Levana Mellow-D Pedal Review

October 18, 2011
The Levana''s circuit is digital, but it’s designed to emulate the warmth of older, tape delays with a 3-way switch that brings in two degrees of leftover digital distortion and applies it to the delayed signal.
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Stomp Under Foot Red Menace Pedal Review

October 18, 2011
Based off of the very first Sovtek Muff, which wasn’t a Muff at all—it was an almost identical pedal, misleadingly named the Red Army Overdrive.
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Jacques Stompboxes Black Mamba Pedal Review

October 18, 2011
Jacques aims to simulate Jimi Hendrix’s classic Fuzz-Face-and-cranked-Marshall combination.
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Boss RC-30 Loop Station Pedal Review

October 18, 2011
The new twin-pedal RC-30 adds new functionality and greater recording capability—up to 3 hours and 99 phrases
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Juliet Collective Circadia Pedal Review

October 18, 2011
The Circadia polyrhythmic auto wah is the perfect embodiment of the Juliet Collective’s philosophy. Not every player will find a need for one, but those who do are likely to cover interesting new ground.
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Burriss Boostiest 2.5 Pedal Review

October 18, 2011
The Boostiest 2.5 contains the same components as the discontinued Boostiest II but with a redesigned and streamlined internal PCB and simpler graphics, resulting in a more wallet-friendly price tag
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MXR Noise Clamp Pedal Review

October 18, 2011
The Noise Clamp detects the amount of noise present in your bypassed guitar-tone, and lowers the hiss and extremities to that level when pedals in the Noise Clamp’s effects loop are engaged.
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Skreddy Pedals Lunar Module Deluxe Pedal Review

October 18, 2011
Skreddy Pedals Lunar Module Deluxe inspired, in exacting—even obsessive—terms by David Gilmour’s tone on “Time” from Pink Floyd’s classic The Dark Side of the Moon.
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