How well does it warm up digital tone?
Have you ever actually tried to figure out how much you’ve spent on gear throughout the years? For those with simple rigs that change little over time, it’s probably not too tough. For insatiable gear heads though, you might as well ask us to figure out cold fusion. Personally, I’ve learned a lot about gear from the process of trading, buying, and selling. But it’s depressing to think about how much money I’ve spent on pedals that weren’t quite right, just to cast them aside for that next big thing.
Electro-Harmonix might help put an end to that cycle, however with the release of the Analogizer, which is designed to lay a thick coat of analog warmth on top of digital effects. After my experience with the unit, I can only imagine how much money I would have saved, and how many stompboxes I might have held onto if the Analogizer had come out years ago. And if you tossed that dusty old digital delay in the corner because its repeats were a little too cold, the Analogizer might be reason enough for you to dig it out and give it another spin.
Blast From the Past
The Analogizer works via a simple principle. It uses an all-analog circuit to process the incoming signal of a digital effect placed a head of it in a chain and adds the subtle lo-fi nuances that analog devices are known for.
The Analogizer uses four controls to shape tone. A simple gain control—ranging from 0 db to +26 db—bumps the volume and overall body of the tone, but it also has a brash vintage voicing at higher settings that works in the capacity of a stand-alone overdrive. The control can also be used with dry guitar to fatten up the tone of thin-sounding pickups.
The Analogizer effectiveness also depends on a delay time control called spread that enables you to add delay ranging from 3.5 ms to 65 ms. At 3.5 ms, the delay time isn’t very noticeable at all, except as a very effective thickening agent. At higher settings the difference is very apparent and when used in conjunction with the pedal’s blend knob, you can conjure a wide range of tones. When the spread control is set higher and mixed with a little dry signal via the blend control, you can get some neat slapback and discordant-sounding tones.
Together, the controls adds and subtract certain frequency ranges, and apply a slightly dirty character to the processed signal’s voicing. And the combination of several subtle differences added together create a larger tone while retaining the essence of the sound you began with.
Analog-y and Ecstasy
With a 2011 Gibson SG Classic, I plugged into a Boss DD-6 Digital Delay, which I then routed to the Analogizer, and into a Fender ’65 Twin Reverb reissue combo. Setting the Analogizer’s Spread control fully counter-clockwise and the Blend at maximum arpeggiated, Edge-inspired chord progressions took on a form that made the DD-6 sound more like Boss’ famous DM-2 and DM-3 analog delays.
Experimenting with this setup also demonstrated how the Analogizer rounds off the low-end on repeats. The pedal’s ability to smooth out the sharper edges of the DD-6’s tone was extraordinary. And dropping the volume and increasing the gain concurrently yielded some fat and wild-sounding delay tones that worked great for soundscape-infused, post-rock guitar work. Eventually, I turned off the DD-6 and had a ball with the Analogizer’s built-in overdrive on its own. It’s a really good overdrive—balanced with plenty of midrange, although I was left more than once wanting a little additional control for tone sweep.
While the Analogizer is extremely useful for warming up sterile-sounding rigs, it wouldn’t be an Electro-Harmonix pedal without some element of pizazz or off-the-wall tone trickery. And working with the pedal’s blend and spread controls in tandem will indeed get you some strange-sounding results. Since the spread knob only changes the time that the effect kicks in on the wet signal, mixing it with the dry can get you into some very off-the-wall, lo-fi spaces. With the DD-6 set for a long delay, the Analogizer’s blend set at 50/50 and the spread at max, the rig sounded almost like a multi-headed tape delay. The contrast between the clean, unaffected guitar and the lo-fi analog processed tone kicking in on the tail of really detailed delay tone was subtler than you’d imagine highly effective and heavy sounding—giving the impression of doubling a track in the studio.
If you’re looking to warm up a rig that’s populated with digital effects, the Analogizer is one of the best—and most inexpensive—ways to do it. It’s extremely simple to use, has a small footprint and has a pretty nice-sounding overdrive tone on top of everything else. There aren’t any options to change the voicing or range of the effect, which is just about the only drawback. And it would be nice to be able to brighten or darken or different guitars and amps. That said, it’s the kind of tool that can save you when encountering an unfamiliar backline that requires a little more spunk or that has a touch too much clean headroom for your digital rig. And for the price and all the dough it’ll save you on pedal replacement, the Analogizer is a steal and a truly practical addition to any board.
you have a collection of effects that, while versatile, could use some analog warmth.
you enjoy the cleanliness and precise nature of digital effects.
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Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters are designed to offer a fat midrange and a smooth top end.
Billy Corgan was looking for something for heavier Smashing Pumpkins songs, so Joe Naylor designed the Railhammer Billy Corgan Z-One pickup. Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters have a fat midrange and a smooth top end. This pickup combines the drive and sustain of a humbucker with the percussive attack and string clarity of a P90. Get beefy P90 tone plus amp-pummeling output with the Railhammer Billy Corgan Z-One.
Patented Railhammer Pickups take passive guitar pickups to a new level with rails under the wound strings lead to tighter lows, and poles under the plain strings offer fatter heights. With increased clarity, the passive pickup’s tone is never sterile.
Railhammer Billy Corgan Signature Z-One Pickup Demo
For more information, please visit railhammer.com.
Designed for utmost comfort and performance, the Vertigo Ultra Bass is Mono’s answer to those who seek the ultimate gigging experience.
Complete with a range of game-changing design features, such as the patent-pending attachable FREERIDE Wheel System, premium water-resistant and reflective materials, shockproof shell structure and improved ergonomic features, the Vertigo Ultra Bass takes gear protection to the next level.
The Vertigo Ultra Bass features:
- Patent-pending FREERIDE Wheel System that allows for wheels to be attached on the case in no time, giving you the option to travel with it seamlessly
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The Generation Collection of acoustic guitars features the exclusive Gibson Player Port designed to offer a unique and immersive sonic experience.
The G-Bird, the newest addition to the Generation Collection--represents the glorious legacy of the Gibson Hummingbird colliding with modern sonic enhancement through the Gibson Player Port to add a new dimension to the G-Bird sound. The Gibson Player Port allows players to hear more of themselves as the audience hears it. With a tone that is crisp and resonant, all of the Gibson Generation Collection acoustics are designed to be comfortable to hold and play for long periods of time. All Generation Collection guitars feature the Gibson Player Port, slim, lightweight bodies, a flatter fingerboard radius, Walnut back and sides, Sitka spruce tops, and a stunning Natural finish. Additionally, the new G-Bird, and the G-200 and G-Writer are equipped with LR Baggs™ Element Bronze pickup systems which amplify deep bass and crystal-clear highs.
The G-Bird represents the glorious legacy of the Gibson Hummingbird with modern sonic enhancement through the Gibson Player Port adding a new dimension to the G-Bird’s sound. The G-Bird features a stunning solid Sitka spruce top and solid walnut back and sides for the ultimate in crisp, resonant tone. This square-shoulder dreadnought delivers all the rich low end and well-balanced mids and highs the original Hummingbird is famous for. The TUSQ nut and saddle, along with chrome Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning. The utile neck, with its easy-playing Advanced Response neck profile, is so comfortable you won’t want to put it down. The G-Bird also comes equipped with an LR Baggs Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird also comes equipped with an LR Baggs™ Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird is available in Natural finish. A gig bag is included.
Modeled after Gibson’s pioneering small-body parlor acoustic guitars from the 1930’s, the G-00 is a top choice for blues and fingerstyle guitar performances. Despite its more compact size, the G-00 achieves a full, balanced sound. The G-00 fills any room with rich tones-which players can hear like never before, with the exclusive Gibson Player Port. Like all models in the Gibson Generation Collection, the G-00 is handcrafted in Bozeman, Montana, by the same highly--skilled craftspeople who make all Gibson acoustic guitars. The G-00 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-00 parlor-sized body is exceptionally comfortable to hold and play. The TUSQ nut and saddle along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-00 is available in Natural finish. A gig bag is included.
The G-45, a round-shouldered jumbo, adds the Gibson Player Port to its famous “Workhorse” J-45 style body, which is Gibson’s best-selling acoustic guitar of all time. On the G-45, players can now hear more clearly than ever how this beloved guitar responds to every style and technique of playing. Powerful one moment and soft the next, the G-45 delivers all sounds with incredible dynamic range in an elegant, medium body size. The G-45 is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-45 features a slightly thinner round shoulder body is exceptionally comfortable to hold and play. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-45 is available in Natural finish. A gig bag is included.
Gibson’s impressive range of square-shouldered guitars have become an expressive standard for rock, pop, folk, and country artists. The G-Writer is known for its wide range of sounds, from gutsy and loud, to soft and sweet; they are superb for all styles and shine, whether strumming chords or fingering intricate solos. The G-Writer comes ready for the stage or studio with an LR Baggs Element Bronze pickup system and the ear-opening Gibson Player Port. The G-Writer is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-Writer features a slightly thinner cutaway body, is more comfortable to play and provides effortless access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-Writer is available in Natural finish. A gig bag is also included.
Gibson built its first “Super Jumbo” SJ-200 as a custom order for country and western singer and film star Ray Whitley, who desired a big, loud, and deep flat-top over which to croon. The SJ-200 quickly became a staple of cowboy singers and horseback troubadours, and then country music, 60’s folk stars, and onto every acoustic guitar genre that has followed. Ray would be proud to hear the booming sound from the Gibson Player Port on the new G-200, which comes ready for the stage or studio with a LR Baggs Element Bronze pickup system. Like all models in the Gibson Generation Collection, the G-200 is handcrafted in Bozeman, MT, by the same highly--skilled craftspeople who make all Gibson acoustics. The G-200 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-200 cutaway jumbo body is exceptionally comfortable to hold and provides excellent access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-200 is available in Natural finish. A gig bag is also included.
G-Bird | Generation Collection
For more information, please visit gibson.com.