The Catalinbread STS-88 flanger and reverb isn’t designed to be associated with any one genre or style. But pairing a 2-knob flange effect with a preset reverb is a strong stance. It’s as if Catalinbread were saying, “These tones are supposed to go together, deal with it.” Rather than provide a bevy of tweaking options, the STS-88’s simple 4-knob/2-effect design removes the potential for sonic option anxiety. It also arguably eliminates some possibilities. But shoegazers and space rockers should listen up.
Simple and Stripped Down
Using a stripped-down pedal can be refreshing, and advanced flangers and reverbs can both be more complex than fun. The STS-88, though, does not suffer from that malady. Instead, flanger control is limited to just two knobs, depth and rate, both of which have a nice, wide range. The STS-88’s flanger tone is warm, and I had no trouble conjuring airplanes and ooze as soon as I plugged in. But the limited nature of the pedal’s controls does mean a lack of sculpting nuance that I’ve enjoyed in some other flangers. Players who aren’t flange freaks, though, will probably find most of what they want in just two knobs.
I was compelled by the idea of a 1-knob reverb. It’s a bold move! And the STS-88’s lush reverb is perfect for washing out the gooey flange. But with just one knob, you can only select less reverb or more, and I couldn’t help imagining what else I could do if I was given just a little more control over decay or tone. The fourth knob is a wet/dry mix, which I’m surprised to say is my favorite option on the STS-88. I’m normally all in on flangers and content to go pretty wet with my tones. But having the ability to dial-in my mix allowed the STS-88 to play a bit better with other effects, which is, I believe, essential to its mission.
With the mix around 11 o’clock and a Fuzz Face clone cranked, I struck a balance between gnarly, cutting fuzz and washy flange and reverb that mixed into a booming, shoegaze-y slurry.
Mixin’ It Up
Catalinbread’s pedals always feel well-thought-out and unique. So, despite my desire for more control, I knew there must be something a little deeper behind the simplicity of the design. If this flanger and reverb are meant to live together within these parameters, what’s the angle? The mix knob, I found, is the key.
Take the way the STS-88 plays with fuzz. I’m a sucker for fuzzed-out flanger tones in the Dinosaur Jr. vein, but I don’t always love the way flangers play with fuzz. But the wet/dry mix on the STS-88 is an easy and elegant solution, and when I ran a fuzz through the pedal, I found my bliss. With the mix around 11 o’clock and a Fuzz Face clone cranked, I struck a balance between gnarly, cutting fuzz and washy flange and reverb that mixed into a booming, shoegaze-y slurry. Messing with the mix is rewarding, and I found many fuzzy, spaced-out sounds throughout the range of the flanger controls with this pairing. A noise gate on the wet side of the flanger circuit also helps the STS-88 pair more effectively with high gain. I also enjoyed overdrive sounds with the STS-88, but to my ears, the STS-88 really thrives with fuzz, and that’s what sells the pedal. In that setting, the limitations the designers built into the pedal make a lot of sense.
The Verdict
Option fatigue can be a real thing with feature-rich pedals, so I’m usually happy to have my options limited. It would be cool if Catalinbread built multiple versions of the STS-88, as they do with their Belle Epoch delay, which also comes in a more complex Deluxe version. Maybe it could include a searing fuzz circuit as well as a time or tone control for the reverb.
As is, the STS-88 is a fun and totally useful addition to a pedal collection. As a flanger, it’s less about Prince-style tones than space-rock sounds. The biggest hangup will probably be whether you like the reverb tone or not, or whether you miss more control. Considering the pedal’s $209 price, that’s worth researching, because it’s going to be a personal taste kind of thing. But if you dig it, the STS-88 sure is fun.
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
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
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.