Highlights include the MXR Custom Shop La Machine, Phase 99, Echoplex Preamp, and Way Huge Havalina.
Benicia, CA (January 23, 2014) -- Dunlop announced their new product line for 2014. Here are the details from their website:
Clyde McCoy Cry Baby Wah Wah The CM95 Clyde McCoy by Cry Baby Wah Wah is a tribute to the first production wah wah ever made. This modernized classic captures the throaty voice and expressive sweep of the original while offering gigging players the consistency and convenience they need on the road.
As heirs to the wah wah lineage and guardians of its legacy, Dunlop drew from decades of wah wah design and building experience to ensure that the CM95 faithfully represents the tone and spirit of the very first wah wah. Years ago, we inherited the original tooling and machinery used to design and manufacture the first Clyde McCoy pedals from the Thomas Organ Company and Jen Electronica. Combining these resources with our own 30+ years of experience developing and manufacturing wah wahs allowed us to create the most fitting tribute to the original Clyde McCoy Wah Wah.
The most important element of any wah wah pedal is its voice. The Thomas Organ Company and Jen Electronica used a special component called a Haloā¢ inductor to give the original Clyde McCoy pedals their highly-coveted smooth vocal quality. Because of the way those original Halo inductors were built, however, they often added undesirable microphonic noise. Our engineers created the Dunlop HI01 Halo Inductor to solve this problem, updating the original design with a stabilized cup core to preserve the unique Clyde McCoy sound while minimizing unpleasant microphonics.
The rest of the CM95ās circuitry is just as faithful to its forebear, featuring thru-hole components built into a classic housing with a premium pot, switch, and jacks. Now, you can take the classic Clyde McCoy sound out on the road and leave your vintage wah wah safely at home.
- Faithfully represents the tone and spirit of the very first wah wah pedal
- Proprietary Halo inductor reproduces the Clyde McCoyās famous vocal sound while minimizing microphonic noise due to its stabilized cup core
- Thru-hole components built into a classic housing with premium hardware
MSRP: $285.70 SHIPPING FEBRUARY 2014
Echoplex Preamp
When the Echoplex EP-3 came out, guitar players were hooked by the way its preamp sweetened up their sound. Soon, the EP-3 made its way onto the records of top guitar playersāfrom Jimmy Page to Eric Johnsonāas much for its tone conditioning ability as its tape echo effect. Now, you can put the EP-3ās legendary secret sauce right on your pedalboard.
Dunlopās EP101 Echoplex Preamp recreates the magic of the EP-3ās front end, featuring a Field-effect Transistor (FET) just like the original and following the exact same signal path. The Gain control allows you to boost your signal by up to +11dB, with light asymmetrical clipping at higher settings for a bit of nice organic grit.
The Echoplex Preamp runs on standard 9-volt power and contains power management circuitry to guarantee constant headroom performance throughout the normal life of a 9-volt battery. With a heavy-duty Phase 90-sized housing, a replica EP-3 knob, true bypass switching and a status LED, the Echoplex Preamp is built to take a beating on the road so you can leave your fragile vintage piece at home.
- The EP-3ās legendary tone conditioning mojo in a Phase 90-sized box
- Adds up to +11dB of gain
- Light overdrive at higher levels
- True Bypass
MSRP: $171.41 SHIPPING FEBRUARY 2014
DVP1XL Volume (XL)
Create incredibly smooth volume swells or control your effect pedal parameters with the Dunlop DVP1XL Volume (XL), big brother to the DVP3. Featuring a larger footprint, the DVP1XL is solidly-built in an aluminum chassis with aggressive non-slip tread. Our patent-pending Band Drive allows for a smooth range of motion without the fear of breakage or change in feel or range, and for maximum comfort and precision, the DVP1XLās rocker tension is fully adjustable.
When using the DVP1XL as an expression pedal, you can use the internal pot to set the minimum level of the parameter youāre controlling with the rocker. If you want to reverse the function of the heel-down and toe-down positions, the DVP1XL has an internal switch that allows you to do so.
Along with Volume, FX and Output jacks, the DVP1XL also features a convenient Tuner output for silent tuning onstage.
- Control your volume levels or effects pedals with exacting precision
- Big brother to the DVP3 Volume (X) for players who want a larger footprint
- Pat. Pending Band Drive for frictionless, highly reliable action
- Fully adjustable rocker tension
MSRP: $171.41
SHIPPING MARCH 2014
MXR Custom Shop Micro Amp +
For more than 20 years, the MXRĀ® Micro Amp has been a staple among the worldās top artists because of its ability to boost and sweeten up your guitar or bass tone and drive the front of your amp. The MXR Custom Shop team has combined those features with a specially-tuned EQ section and low-noise op-amps to create the Micro Amp+.
With its Gain knob, the Micro Amp + allows you to dial up just as much gain as the originalāup to +26dBābut with added EQ controls, you can now finely sculpt your boosted signal. For the classic Micro Amp sound, set the Bass and Treble controls to noon.
Along with these upgrades, the MXR Custom Shop team added low-noise op ampsāso you donāt get any extra noise at super high levelsāand true bypass switching. With the sturdy housing and durable components that MXR is known for, this pedal is ready for the road.
- Up to +26dB clean boost
- Specially-tuned Bass and Treble controls for fine tonal shaping
- Classic Micro Amp sound with EQ controls at 12 oāclock
- Low-noise circuitry
- True bypass switching
- Sounds great on bass as well as guitar
MSRP: $171.40
SHIPPING FEBRUARY 2014
MXR Custom Shop Phase 99
The MXR Phase 90 sits with the Cry Baby Wah Wah and the Fuzz Face Distortion as one of the truly iconic effect pedals in music history, setting the standard by which all others in its category are judged. For years, experimental players have used two Phase 90 pedals side by side to create amazing textures from the way the two circuits interact with one another. Now, you can access the same sounds in a single pedal.
The MXR Custom Shop Phase 99 opens up the sonic palette of the iconic Phase 90 by combining two phase circuits into a single Phase 90-sized housing. Separate rate controls for each circuit allow you to create intense complex phasing, and a Vintage switch toggles between modern and vintage style phasing. Further, the Phase 99 features a P/S switch to toggle signal flow between the circuits from series to parallel, and a Sync switch to synchronize the rate of each phase circuit.
- Two Phase 90 circuits in one Phase 90-sized pedal
- Run both circuits independently or feed one into the other
- Toggle between modern and vintage phase sounds
- Can be run in stereo
MSRP: $214.27
SHIPPING MARCH 2014
MXR Custom Shop La Machine
The MXR Custom Shop La Machine serves up thick, shaggy retro fuzz thatās tailor-made to drive the raw sounds of ā70s-style hard rock and modern garage rock.
Based on a vintage circuit, the La Machine features an Octave switch that adds an octave up tone to your fuzz signal to create a raw, searing sound. Use the simple Output, Tone, Distortion control interface to shape the sound of your fuzz signal.
- Thick, shaggy retro fuzz
- Tailor-made for raw ā70s-style hard rock and modern garage rock
- Octave switch adds searing octave up fuzz voice
- True bypass switching
MSRP: $199.99
MXR Uni-Vibe Chorus/Vibrato
The Uni-Vibe Chorus/Vibrato is one of the most iconic effects in music history. Since the late ā60s, groundbreaking guitar players have used it to expand the tonal and textural palette of the electric guitar.
The MXR team has just remastered the classic effect for modern players. The MXR Chorus/Vibrato delivers the same chewy, Leslie-sounding goodness with a smaller footprint.
With its simple three-knob interface, you can dial up the iconic effect to your taste in short order. First, use the VIBE switch to select either Chorus Modeādry signal mixed with pitch-shifted signalāor Vibrato Modeāonly pitch-shifted signal. Then, use the LEVEL control to set the effect volume, the SPEED control to set the sweep rate, and the DEPTH control to set overall intensity.
The MXR Uni-Vibe Chorus/Vibrato comes in a Phase 90-sized housingāa fraction of the size and weight of the original Uni-Vibe pedalāand features true bypass switching. Perfect for taking this lush, swirly pedal out on the road.
- Legendary effect in a smaller housing
- Chorus mode sounds rich, lush
- Vibrato delivers a deep, shimmering texture
- True bypass switching
SHIPPING FEBRUARY 2014
MXR Bass Preamp
The MXR Bass Preamp combines a pristine bass preamp with a studio-quality Direct Out in a Phase 90-sized box, providing clear tone without hogging precious pedalboard space. Use it to add a new voice to an old passive bass, sweeten up any amp, or put some special sauce on a particular song. Dial it in just the way you want it and send it straight to the houseāpre or post-EQ.
The Bass Preamp features separate Input and Output level controls and a 3-band EQ section with sweepable midrangeāfrom 250hz to 1khzāfor extensive tonal flexibility. Itās all delivered super clean with high headroom thanks to our own Constant Headroom Technologyā¢, and you can use the Pre/Post EQ switch to set whether or not your Direct Out signal is affected by the Bass Preampās EQ section. And of course, the Bass Preamp features a Ground Lift switch in case you encounter ground loop hum.
The Bass Preamp is factory preset to operate in 1/4ā out buffered bypass and Direct Out active. For players who only want to use the 1/4ā out, there are two internal switches that disable the Direct Out and 1/4ā out buffered bypass for true 1/4ā out bypass mode.
- Constant Headroom Technology provides super clean tone
- 3-band EQ with sweepable midrange
- Studio-quality Direct Out
- Pre/Post EQ switch for Direct Out signal
- Ground Lift switch
- Quiet operation
- Lightweight, small footprint
MSRP: $242.84
SHIPPING FEBRUARY 2014
MXR FET Driver Featuring a unique circuit design, the MXR FET Driver captures the rich, creamy sound of an overdriven tube amplifier by cascading an op-amp gain stage into a FET stage. This pedal thickens up lead tones with musical, amp-like distortion and sustain without the fragility and inconsistency associated with tubes.
The FET Driver features a simple but responsive set of controls. Set your volume level with the Output control, and then use the Drive control to dial in the grit, from subtle soft-clipping to early stage distortion. Fine tune the FET Driverās sound by tweaking Hi and Lo boost/cut controls, and push the Hi Cut switch to roll off high end frequencies for a rounder sound or when playing in high volume situations where excess noise is apparent.
- Organic, amp-like overdrive and distortion
- Two-band EQ section for detailed shaping of distorted signal
- Hi Cut switch rolls off high end for rounder, warmer sound
- True bypass switching
MSRP: $214.27
SHIPPING FEBRUARY 2014
Way Huge Havalina Germanium Fuzz
The Havalina Germanium Fuzz from Way HugeĀ® Electronics is a germanium-powered fuzz box inspired by a vintage 3-transitor design was a psychedelic shot-heard-round-the-world for guitar players, ushering in the new sound of rock. Designed around hand-selected Russian germanium transistors and a passive tone circuit, this peccary of a pedal can go from a soft, mellow crunch for meaty chords to a maelstrom of sonic fur that will make every note feel like a summer of love. Prepare to have your mind bent when you ride the Havalina!
- Based on a ā60s UK germanium fuzz circuit
- Simple three-knob layout
- Features hand-selected Russian germanium transistors and a passive tone circuit
- Go from soft, mellow crunch to gnarly sonic fur
MSRP: $171.41
SHIPPING MARCH 2014
Way Huge Swollen Pickle Jumbo Fuzz Dirty Donny Edition
The Way Huge Swollen Pickle Jumbo Fuzz Dirty Donny Edition serves up the same burly high-gain fuzz as the full-sized Swollen Pickle but in a more petite package, featuring a simplified control set up and a corpulently cool new paint job.
The Dirty Donny Edition retains six of the Mark IIās seven controls, and theyāre all on the front of the pedal, so you can tune the portly saturation to your mad heartās content without any fuss. The Sustain control takes you from mild crunch to burning Armageddon, while the Filter control lets you finely sculpt your fuzz tone, and the Loudness control has enough volume on tap to force the surrender of a Panamanian dictator. The Scoop control can elicit the classic Swollen Pickle mid scoop or a flat mid-frequency sweep, the Crunch knob adjusts the compression intensity of the fuzz, and the Clip control varies between two sets of clipping diodes for smooth or opened fuzz sustain.
To top it off, this pedal is emblazoned with limited edition artwork from legendary rock artist Dirty Donny.
- Swollen Pickle circuit in a smaller housing
- Six controls, all on front of pedal
- Limited edition Dirty Donny art
MSRP: $214.27
SHIPPING MARCH 2014
For more information:
Dunlop
The majestic Roland Space Echo is having a bit of a resurgence. Hereās a breakdown on what makes it tick, and whether or not itās right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ā80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the ādelayā effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as āmodulated delay.ā Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
āThis degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!ā
Just as how fuzz and distortion effects were discovered, the āimperfectionsā of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, itās hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the āimperfectionā of a vintage tape echo/delay with magnetic tape that hasnāt been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If youāre considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I donāt mean to instill fear, but the real deal, in my opinion, still canāt be fully emulated into a more practical and future-proof digital format.
So, Iāll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Coryās personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Coryās personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, heās been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Coryās custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Coryās near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Coryās feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lightsāblue for Wah mode and green for Volume modeāmaking live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Coryās custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
Big time processing power in a reverb that you can explore for a lifetime.
An astoundingly lush and versatile reverb of incredible depth and flexibility. New and older BigSky algorithms included. More elegant control layout and better screen.
Itās pricey and getting the full use out of it takes some time and effort.
$679
Strymon BigSky MX
strymon.net
Strymon calls the BigSky MX pedal āone reverb to rule them all.ā Yep, thatās a riff on something weāve heard before, but in this case it might be hard to argue. In updating what was already one of the marketās most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneouslyāin series, parallel, and splitāplus it delivers several other mind-bending features. Given this wealth of goodies, itās impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or āclassicā algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch thatās always available. The rotary ātypeā knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedalās potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
It is utterly hypnotic and addictive once you settle in and work a little more intuitively.
Skyās the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasnāt so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms werenāt added at expense of the old BigSky algos. Thereās no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedalās customers end up being synth artists, engineers, or sound designers of one kind or another. If youāre the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if youāre willing to invest the time, the BigSky MX has the goods to pay you back.
āThe Player II Series represents our continued evolution in design and functionality,ā said Justin Norvell, EVP of Product, FMIC. āWe listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the āoriginal Fender recipeā and will no doubt be a fan favorite - but we didnāt want to stop there. Weāve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.ā
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.