Eau Claire, WI (November 16, 2016) -- Dwarfcraft is proud to welcome back two old friends, with great new improvements! Known for their wild and experimental pedals, Dwarfcraft delivers the best of both worlds with this latest release.
The Baby Thunder is a slimmed down version of their flagship Eau Claire Thunder, their best selling distortion device for bass, guitar, and everything else. The original Baby Thunder has been providing fuzz for artists such as Juan Alderete, of The Mars Volta, and Dylan Carlson of Earth. This new release will be suitable for anyone in need of a huge, full bodied fuzz tone in a smaller box.
Features:
- Straight ahead fuzz circuit with clipping options (“Timewarp”)
- Tone bypass (“Toneblast”) provides volume boost, and a more even frequency response
- Loads of sustain and plenty of gain
- 125B size enclosure (4 5/8” x 2 1/2” x 1 1/2”) for minimal footprint
- “Trim” knob attenuates any incoming signal to avoid “blow out” from hot signals
- Powerful bass response
- MSRP $200
The SheFuzz is also back in a smaller enclosure, with more control, and the original voicing. Previous iterations of the SheFuzz (also known as Shiva) have been a mainstay on stage and in studio for Wata of Japanese metal giants Boris, and was the main touring fuzz for Ben Chisolm of Chelsea Wolfe. SheFuzz is ready to work for anyone looking for a rough and tumble new sound or some intense, noisy exploration.
Features:
- Grinding fuzz with short to medium decay
- 125B size enclosure (4 5/8” x 2 1/2” x 1 1/2”) for minimal footprint
- Vintage tinged octave up sounds activated by “stab” toggle
- Power starve (“Spells”) activated by toggle switch (“Hex on”) or momentary footswitch (“Magic”)
- “Smash” toggle engages super compressed response in all settings and high frequency oscillation in starved settings
- “Shape” control varies decay time in all settings, changes oscillation pitch in starved settings
- MSRP $175
Both units are true bypass, and run on the industry standard 9v center negative power supply, and will start shipping November 2016.
For more information:
Dwarfcraft Devices
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Diamond Pedals Dark Cloud
True to the Diamond design ethos of our dBBD’s hybrid analog architecture, Dark Cloud unlocks a new frontier in delay technology which was once deemed unobtainable by standard BBD circuit.
Powered by an embedded system, the Dark Cloud seamlessly blends input and output signals, crafting Tape, Harmonic, and Reverse delays with the organic warmth of analog companding and the meticulous precision of digital control.
Where analog warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
