Stompbox Gear Finds: Feb 2022
Need a new Stompbox? Find your next effect in this month's Gear Finds!
Inspired by the classic Tri-Stereo Chorus and stompbox choruses of the 1970s and early 1980s, the TriceraChorus pedal pairs rich Bucket Brigade-style chorusing with Eventide’s legendary MicroPitch detuning for a lushness that rivals the jungles of the late Cretaceous Period. TriceraChorus features three chorus voices and three unique chorus effects which can be used to create a wide stereo spread with pulsing waves of modulation. The innovative “Swirl” footswitch adds psychedelic flanging, phasing, and Univibe-style tones. It has never been easier to dial in syrupy smooth, deep modulation on guitar, bass, synths, strings, vocals, and more.
Maestro Original Collection
To be called “legendary” is to have shaped music as we know it. From the Rolling Stones to the Raconteurs. From Pete Townshend to George Harrison and from Clapton to Frampton. They strived to coax the truest expression from their instruments - the sound they heard in their heads and their hearts. Their signature sound - so uniquely shaped by effects that it changed everything. It’s the Fuzz-Tone FZ-1 that fuels the groundbreaking riff in the Rolling Stones’ “(I Can’t Get No) Satisfaction” and the funky wah filter that anchors the “Theme from Shaft.” While the impact they had on the lineage of music is also unique, many have one thing in common—Maestro. So, while not everyone has heard of Maestro, everyone has heard Maestro.
Maestro, the “Founder of Effects,” is back with an all-new line of effect pedals - the Maestro Original Collection. Five new pedals, designed, voiced, and styled for the musician looking to shape their unique sound. A tribute to the sound and style of the brand’s much-beloved classic models of the 60s and 70s, with modern features, expanded versatility, and advanced tone-tweaking capabilities. Each function as an innovative “two-in-one” pedal, with a single toggle that switches between two distinct modes. Each features a straightforward three-knob setup, true bypass switching, and an ergonomic, pedalboard-friendly wedge profile.
It doesn’t matter what you play. As long as there are sounds being made, new legends will emerge. Maestro is back to help you SHAPE YOUR SOUND.
Electro-Harmonix Intelligent Harmony Machine
The EHX Intelligent Harmony Machine instantly creates matching harmonies to what you play. It’s like having one – or even two – guitarists jamming with you at the same time and always in perfect sync. The Intelligent Harmony Machine opens a door to the music of great multi-lead guitar bands and multi-part harmonized solos. Plus, its ability to apply harmonies ranging from simple to sophisticated will totally transform what you play. Of course, it also boasts EHX’s renowned impeccable tracking and genuine musical tone.
MESA/Boogie Drive Pedals
MESA® Drive Pedals are built by the same artisans that create the award-winning Mark Five™ and the legendary Dual and Triple Rectifier® amps. They stand ready to serve up all rock genres with cut and aggression while retaining much of the signature warmth and organic sonic quality found in our amplifiers. Ranging from high to lower gain applications, including classic rock or howling blues, we have a drive pedal that will help you achieve the sounds that so many artists have employed in our amps to create the world’s heaviest guitar tones!
Progressing along the gain spectrum, the transparent boost/overdrive CLEO™ is joined by the vintage-inspired, medium gain DYNAPLEX™ and the higher gain GOLD MINE™. The CLEO is a transparent boost/overdrive design focusing on vintage-inspired low to medium gain overdrive sounds packed with dynamic nuance, lively attack, and a wide variety of essential clip sounds. Moving on to medium gain, the DYNAPLEX is all about the “British Crunch” style with classic mid punch, chirping harmonics, and the chime players desire for classic rock sounds and beyond. Progressing to the higher end of the gain spectrum, the GOLD MINE is focused on mid to high gain sounds, classic heavy chunk, and rich gain with harmonic complexity, soaring single note sounds, and the liquid gain and girth that gain lovers expect from MESA.
Like every MESA product, our pedals are built using the same quality components, craftsmanship, and inspiring performance as our custom amplifiers...all hand-built in Petaluma, California, USA!
Electro-Harmonix Pitch Fork+ Polyphonic Pitch Shifter
Dual engine pitch shifting with nearly endless possibilities and expansive control options! The EHX Pitch Fork®+ features two independent pitch shifting engines with full control over each. Both will transpose your pitch up or down over a +/- three octave range and detune +/-99 cents. With rock solid tracking, an organic, musical tone and extensive control, it’s your ultimate harmonizer.
Pedal Pad CUSTOM PEDALBOARDS : BUILT TO ORDER!!
Pedal Pad pedalboards are hand-built for YOU in Coatesville, Pennsylvania! Our boards feature an ALL-IN-ONE solution where the board is also the case. Just pop the top and PLAY! Our ordering interface allows you to configure any board with a plethora of options. More options or requests? Just email or call and we'll make it happen! Most custom orders ship within 2-3 weeks!
Electro-Harmonix Nano Big Muff Pi Fuzz
EHX took the Big Muff Pi circuit and simply shrunk it without changing its rich, creamy, violin-like sustain and sound. The EHX Nano Big Muff Pi works and sounds identical in every way to our classic NYC Big Muff Pi. Get a piece of the pi for yourself!
Implementing the HD digital modeling technology accumulated throughout years of the Valeton team's diligent efforts, the GP-200 delivers hundreds of re-editions of tones from world-classic amplifiers and stompboxes with a comprehensive upgraded algorithm. Combining 140 legendary amplifiers and cabinets simulations and 100 renowned stompbox effect pedals, plus 20 factory cab IR slots, the GP-200 will guarantee your consistently great sound on stage.
Electro-Harmonix Ravish Sitar Emulator
Transform your electric guitar into a sitar! Very few instruments offer as much harmonic and dynamic flexibility as a sitar. Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice and tunable sympathetic string drones that dynamically react to your playing. With the EHX Ravish Sitar Emulator, you can create your own custom scales for the sympathetic strings while you set the decay time for the lead voice.
Two expression pedal inputs allow you to bend the pitch of the lead voice and control the volume of the sympathetic strings simultaneously. These unique controls offer the player the ability to program the Ravish to become a totally unique and organic instrument unto itself.
The Ravish is truly a design with the flexibility to be a crossover tonal wonder.
VOX Valvenergy Pedals: Mystic Edge
Iconic amp sounds for your pedalboard. The Valvenergy series valve distortion pedals offer the warmth and harmonics of amp distortion in a compact pedal format. The all-analog signal path and Nutube allow for genuine overdrive and distortion tones with the feel of a real tube amp, while internally boosted voltage gives greater headroom and dynamics. Three output modes allow you to use this as a standard pedal, a line-level preamp, and a direct amp-sim using the built-in analog cabinet simulator.
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Acorn Amplifiers F#%k Face Fuzz
The F#%k Face is a triple gain stage fuzz with thick and meaty sustain that sounds huge in front of a slightly cranked tube amp. Baseball card collectors from the late 80’s will immediately recognize the infamous ‘error card’ graphics of the same name. The circuit is based on the legendary Fuzz with a different Face, but with an additional silicon transistor gain stage and voiced to retain more useable and dynamic fuzz tones all along the sweep of the two controls. In the front of your pedal chain, the F#%k Face will add dynamic interactivity to the volume controls on your guitar which enable a sweep from slight grit to full ripping-velcro breakup.
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Blackstar Amplification Dept. 10 Pedals
Brought to you by Blackstar’s R&D division responsible for blue-sky innovation and design, Dept. 10 are the most advanced valve pedals in the world. Meticulously designed and engineered by a team of musicians for musicians. At the heart of each Dept. 10 pedal is an ECC83 triode valve, running at more than 200V internally like a valve amp, which allows them to deliver organic tone, dynamics and break up. Dual Drive and Dual Distortion include Cab Rig, our next-generation DSP speaker simulator that reproduces the sound and feel of a mic’d up guitar cab in incredible detail. Deep-dive using our free software and capture the incredible tones via low latency USB, XLR D.I. out or headphones. Choose from Boost, Dual Drive or Dual Distortion to help you craft your perfect tone.
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The ODR-mini delivers creamy, natural overdrive – Everything from pushed clean amp tones to gain filled stacks! It has the same tones as its legendary brother – the ODR-1. You‘ll love the warm mid-gain tones for rock and blues, and the screaming hard rock sounds from the ODR-1 Mini. Plus the mini features true-bypass switching, the SPECTRUM pot with mid-click, fluorescent pointers on the “GitD“ – knobs (Glow-in-the-Dark). Guaranteed to be a BIG part of your sound while a small part of your pedal board.
Mono/Stereo: Mono In, Mono Out
Control: Drive, Tone, Level
Bypass Modus: True Bypass
9-18 Volt, center negative
Consumption 25 mA
Dimensions (WxLxH / mm): 42 x 93 x 50
Weight: 175 gr
Country of origin: China
Solid metal housing
Low current consumption
Requires stabilized power supply 9-18 Volt DC, with min 100 mA, 2.1 mm plug, center negative, (not included)
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Darkglass Electronics Alpha Omega Photon
Versatility, empowerment, limitless options, and ever-demanding tools at the disposal of every musician and composer are today on demand. A call for inventive devices continues to make musicians more inspired, clever and connected. The Alpha·Omega Photon combines Darkglass' signature Alpha·Omega parallel distortion with the versatile format of the Aggressively Distorting Advanced Machine. In addition to powerful distortion and studio-quality compression, the Alpha·Omega Photon is capable as an audio interface via USB-C or an amp replacement using cab sim IRs and XLR DI output.
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George L's Effects Cable Kits
Enhance the tone and clarity of your pedalboard with award winning sound.
The George L’s effects kit.
The kit comes with 10’ of cable, 10 right angle plugs and 10 stress relief jackets.
Available in black, vintage red and purple.
As easy as 1, 2, 3 no soldering!
Cut, poke and screw your way to 47 years of sound excellence.
SurfyBear Metal Reverb Unit
The Holy Grail of guitar reverb effects, the Fender®-style spring reverb, has been finally revisited with modern features!
Try it and discover why most surf guitarists and the truly reverb addicted are turning to SurfyBear.
★ exclusive SurfyPan type-4 spring reverb pan by Accutronics® and Surfy Industries
★ aluminium body with removable feet on the bottom side for better positioning on pedalboards
★ clean boost to adjust the volume when the effect is on
★ innovative dual-LED on/off button
★ true bypass functionality to keep your signal intact when the effect is off
★ external footswitch possibility though the dedicated 1/4" jack (footswitch not included)
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Gibson G-Bird Review
Subdued style takes nothing away from the feel and function of this future-leaning, performance-oriented flattop.
Excellent build quality. Player port provides an intimate playing experience. Super-smooth and inviting playability.
Some traditionalists may find the midrange-forward voice brash. Player port will be one style compromise too many for some.
Gibson’s reputation as a builder of iconic electric guitars sometimes obscures its reputation as a builder of iconic flattops. But even among an acoustic lineup stacked with legends, including the J-45, L-00, and J-200, Gibson’s Hummingbird is an instrument with pop-culture star power. And even music fans that don’t know a Gibson from a Goya recognize and are attracted to its extroverted beauty.
Lacking the Hummingbird’s striking cherry sunburst finish and pickguard etched with flora and namesake avian adornment, the G-Bird, from Gibson’s Generation Series, is unlikely to spur the same sense of recognition among more casual guitar spotters. But it’s a well-made, walnut-and-spruce-bodied guitar made entirely in the company’s Bozeman, Montana, facility. It’s the first dreadnought from the Generation line I’ve played. (I didn’t get to play the G-45 or G-Writer cutaway when I reviewed the smaller G-00 and larger G-200.) But it is certainly the most balanced and satisfying of the Generation series I’ve encountered.
Mr. Fancy Sheds Its Frills
Gibson’s introduction of the Hummingbird in 1960 was almost certainly a response by Gibson to Martin’s reliably successful dreadnoughts. And though the round-shouldered J-45 dreadnought that preceded it was an unqualified success, Gibson must have felt the square-shoulder profile was a key to chipping away at Nazareth’s domination of the dread market. Clearly, Gibson also felt that a little flash would go a long way in distinguishing their own square shoulder, and the Hummingbird was born.
If you’ve spent years longing to cradle the Hummingbird in its showiest guise, I suppose the G-Bird could be something of a letdown. But if you’re into the purely functional end of guitar design, the G-Bird’s virtues are apparent from the start. The satin finish feels inviting rather than a concession to a more accessible price. The neck, which is fashioned from utile, an African mahogany alternative, is textured in a very noticeable way. It’s not rough exactly, but it’s not satin-smooth either. It can take a minute to get used to, but in the end it tends to feel welcomely worn-in rather than unfinished. All the same, curious shoppers used to flawlessly smooth necks should spend some time with the guitar to see if it is a bother. Texture preferences aside, the advanced profile neck feels great in hand. It’s thicker than Gibson’s slim-taper profile—most noticeably toward the nut. But it is hardly chunky, and the soft U shape of the profile feels like a great compromise between some of Gibson’s fatter vintage shapes and the slim profile, which can feel a little slender.
The fretboard, with its comfortably rounded edges, uses a flatter 16" radius rather than Gibson’s standard 12" radius. I suppose the flatter radius leaves room for lower action, which will be nice for players more inclined to a softer touch. The action felt great as it came from the shop floor, however, and it left a lot of room for digging in and strumming with a vengeance without inducing fret buzz. The striped ebony fretboard also looks great, and the Generation Collection’s signature single-bar inlays are a cool touch of modernity that zest up the instrument’s otherwise austere aura. Construction details, by the way, reveal close attention to detail. And where I saw less-than-perfect kerfing and glue work on the earlier Generation Collection guitars I reviewed (bracing, kerfing, and other internal construction are easy to see through the player port), the build quality is close to immaculate here.
A Provocative Port Promotes Play
Gibson could have made the Generation Collection of guitars satin-finished, no-frills takes on their classic shapes and been assured of some degree of marketplace success. But the design and marketing of the G-Collection, as it also known, focused to a significant extent on the player port, a bass-side, player-facing second soundhole that Gibson says was considered as far back as 1964. Upper-bout soundholes are common in small-batch, high-end acoustic circles. They are less common among large-scale production acoustics. In pure style terms, they are a polarizing element. And I’m inclined to agree with those purists that like to look down and see a pretty expanse of uninterrupted wood grain on the upper bout. But while the rubber-ringed port (and the constant peek at the guitar’s innards that it affords) can be jarring, there is no doubt that it makes for a more immersive playing experience.
If you’re strictly old-school and accustomed to a single soundhole, the effects of a first, forceful strum can be a touch disorienting. The G-Bird, by virtue of its spruce top and walnut back and sides, already has a midrange-leaning voice that can, at times, sound almost brash compared to the combatively mellow, strong-in-the-fundamentals sound of a mahogany-backed Hummingbird or J-45. The player port emphasizes that mid-forward tone signature, and if it’s not your cup of tea, you could end up put off in the space of a few strums. But time spent with the G-Bird reveals much about the player port’s upside. Light, even tentative play—the kind that often goes with the songwriting process—feels more immediate and alive. And in a related way, fingerstyle dynamics are enhanced in a manner that encourages focus on technique and harmonic nuance. Interestingly, the player port can also teach a performer a lot about what an engineer hears and what might sound good in front of a microphone. And the way the port gives immediate feedback about your dynamic touch reinforces lessons about how to approach a recording situation.
At nearly $1,800, the G-Bird is not a bad deal for a U.S.-made flattop that reveals a careful eye for quality and detail. It’s a super-smooth player. The L.R. Baggs Element Bronze electronics are simple and elegant in sound and function. The walnut-and-spruce tonewood recipe is balanced, but very midrange heavy. This makes the guitar a nice fit for many contemporary recording settings and methodologies, but it might sound a bit bright for those who associate the Hummingbird with earthier mahogany tones. Finding out how the G-Bird fits into your musical universe really demands a trip to a shop where you can play one. But players less bound by tradition—on both the sound and style front—may well revel in the tone alternatives the G-Bird puts at one’s fingertips.
Gibson G-Bird Demo | First Look
Gibson Acoustic Generation Collection G-Bird Acoustic-electric Guitar - Natural
Designed and built in Saskatchewan, Canada, the Cortado features four reverb programs designed to go from short and minimal reverb to long and ambient soundscapes.
Coffee Shop Pedals announces its new CortadoReverb, a versatile multi-reverb that offers many features not often found in a small pedal format. With features like three presets, trails and spillover between different reverb types, andMIDI input, the Cortado delivers a surprisingly powerful range of options.
Trails and spillover between presets and programs open up a world of possibilities with the Cortado. Trails allow for smooth transitions when changing sounds as well as playing over infinite trails as a backing track.
Changing presets Cortado can be accomplished simply by pressing the pedal’s Preset and Bypass footswitches simultaneously – the same format as Coffee Shop’s Affogato Fuzz. Presets are now even easier to use with the added MIDI input. With MIDI, you can save and recall up to 20 presets and load them in any order you want. As well, you can save any reverb program to any preset - allowing for so much customization.
Cortado Reverb key features:
- Four unique reverbs (hall, spring, tremolo verb, and octave) selectable by Program knob
- Preset spillover (between presets and reverb types)
- 3 savable presets to save your favorite sounds
- MIDI input for saving and recalling up to 20 presets
- True stereo inputs and outputs
- 9-volt standard external power; no battery compartment
- Soft-switches and true-bypass option
The Cortado Reverb is available now at coffeeshoppedals.com at the retail price of 249 CAD, approximately $ 182 USD..
For more information, please visit coffeeshoppedals.com.
Cortado Reverb: Demo
Port City Amps Releases the Anzu
The Anzu is designed to serve as a clean, all-tube, hand-wired circuit that can bring new life to the drive pedals in your rig.
For years we have been asked to make a dual channel amp. After years of requests we are pleased to offer the Anzu. (The Anzu is a mythical animal that can breathe both water and fire.)
The two independent channels are essentially two separate amps in one. Many dual channel amps treat the clean channel as an afterthought. Ours lays the foundation. The clean channel is our Pearl circuit, the second channel is our take on a British style, heavily modded gain circuit.
The Port City Anzu features:
- Two independent channels with interactive Treble, Middle, and Bass controls (footswitchable)
- Bright Switch for High-end Frequency Tone Shaping on the Clean channel
- TAD matched 6L6’s
- JJ ECC83 x 3 – Preamp tubes
- JJ ECC83 x 1 – Phase Inverter
- 6112 x 1 - Effects Loop
- GZ34 Rectifier
- USA-made Hammond Transformers
- Tube Buffered Effects Loop
- External speaker jack
- 50 Watts Output
- 4 / 8 / 16 Ohm Impedance Switch
- Weight: 39 lbs (50W) –
- 20″W // 10.5″H // 8.25″D
For more information, please visit portcityamps.com.