We test the DI that''s a lot more than a DI—giving bass players tone-shaping capabilities built-in.
As bassists, we are often thrown under the bus when it comes to our signal chain, regardless of how much care or expense we have taken with our preamps and our sound. It seems that we are always the last on stage to be trifled with, and instead of fancy mic’ing techniques, we are most often relegated to a less-than-exciting DI box. While this is enough in most cases, there are situations that call for more dynamic control and tonal shaping. To answer that call, bassist Spencer Doren and his company 3Leaf Audio have introduced the Enabler—a DI, EQ, preamp, and headphone amp rolled into one.
Revo-leaf-tionary
The Enabler is housed in a solid enclosure with a footprint not much bigger than a standard DI box. It is smartly laid out, with the XLR output and ground lift well out of the way of the four 1/4" connectors for input, output, headphones, and aux input. The top row’s quartet of big knobs control the EQ and gain, while the smaller pair of knobs right below handle the auxiliary input volume and master volume. Nestled between those knobs are three switches—one for boosting the bass, another for choosing the center frequency of the mids, and the third that allows pre- or post-signal routing to the XLR out.
Allowing for minute adjustments, the knobs are smooth and tight, and the soft-touch footswitch is a custom design that should be included on just about every pedal. Unlike traditional stompboxes, the bass signal doesn’t actually pass through the switch, but rather through a relay. This way, activation is silent, and if the switch wears out over time, there is no loss of signal. The innards of the Enabler looked clean and were also well constructed. My only real beef with the design is that there is no option to power it with a 9V battery, but more on that later.
The Swiss Called …
Like the do-it-all knives constructed in the land of Ricola, the Enabler is not just a DI. It’s also not just an EQ. And this pedal has enough gain control to drive a power amp, effectively making it a preamp as well. If that isn’t enough, it’s also billed as a studio-grade headphone amp. With a fairly reasonable street price, I was more than ready to check out this box.
I went both new- and old-school by using a Music Man double-humbucker StingRay and a vintage Framus Star hollowbody for test instruments in the studio. Both basses have very distinct tonal properties and need a little EQ help to make them cut through a mix or add subtlety. The amp used for this review was an Eden WTX 500 paired with a 1x15 cab, and I used a pair of Ultrasone HFI-580s for headphones.
Leaf Through this Tone
I started things out with the StingRay through the amp and found that the Enabler’s EQ boasts a pretty wide spectrum of usable bass frequencies. (The builder is a bassist after all.) The Enabler’s EQ is almost more like a sweetener, rather than a standard EQ, and it was very easy to dial up a great tone while still maintaining a faithful reproduction of the instrument. The bass boost brought a nice round lift to the tone, yet didn’t let things get muddy. And the mids and treble added clarity without any added harshness.
One of the Enabler’s nicest features is how it can bring out an instrument’s tonal subtleties without getting overbearing. It was difficult to dial myself into a hole unless I was really trying. But just in case you do want a little something more, it’s available.
Next up was the vintage Framus. To me, this bass has always been like a favorite shirt with a hole in it—I like to wear it, but there are better options. Its tone is thin and can’t come close to the depth and clarity of modern instruments most of us have become accustomed to. But when paired with the Enabler, the Framus bass took on a more refined identity simply by easing the bass control to about 2 o’clock and engaging the deep switch. It all of a sudden sounded more like a “grown-up” instrument. And after cranking the gain, I unexpectedly found a nicely saturated overdriven tone, so in a pinch, one could use the Enabler for some roughed-up sound.
Ratings
Pros:
Excellent EQ, well appointed, and packed with a lot of usable features.
Cons:
No battery power.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$299
3Leaf Audio
3leafaudio.com
Listening to and fine-tuning your tone with headphones is always a good idea because it lets you get a true representation of your sound. And when using the Enabler as a stand-alone headphone amp, I was amazed with the quality of sound it produced. The gain structure of the pedal is ridiculously hot, so a little goes a long way. Going too far past a quarter turn resulted in the signal starting to break up, so I did have to use care when recording with the pedal. Having the 1/4" stereo aux input to plug in a music source for practicing is another great feature of this little powerhouse, but I’d hesitate to call the Enabler a complete practice-amp solution since the pedal doesn’t have a battery power option. Since I don’t always have the luxury of a wall outlet close by (nor do I want one), this could be a drawback for me. Conversely, 3Leaf states that the headphone amp produces such good sound because it uses a unique, internal-power supply that draws a significant amount of current. Powering the headphone amp with a 9V battery would only provide about an hour of battery life before the headroom dropped below a usable level.
I also put the Enabler through its paces as a dedicated DI in a live setting for a stripped-down acoustic show in a 1000-seat theater. Playing a Gretsch Electromatic hollowbody, I ran straight to front-of-house and really appreciated the added bonus of having the EQ control at my feet for easy adjustments. Quickly dialing in a great tone to my in-ears was easy, and the report from our engineer confirmed the same for the sound out front.
The Verdict
The Enabler has a number of great features in the plus column, and the fact that it can be used for multiple applications is certainly appealing to this bassist. Even if you currently have a good DI and a headphone amp, the excellent EQ-shaping ability of the Enabler alone would make it a nice addition to any signal path. The Enabler already deserves kudos for being well constructed and tonally impressive, so if 3Leaf is able to build in a 9V battery option, this useful piece of gear may just pop up in remote locations around the globe.
Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.