Phase shifters with expanded control sets aren’t a new concept, but they were rare in the analog days, aside from classics like the esoteric and pricy Lovetone Doppelganger. Tweak-intensive phasers are flourishing in these digital days, however—be they sophisticated software plug-ins like Soundtoys’ PhaseMistress or überphaser stompboxes like Aphazing, a great-sounding and bargain-priced digital pedal from L.A.’s Digital Noize.
Aphazing lives in a large-format folded-steel enclosure (roughly 7"x5"x2"). Inside are two stacked circuit boards populated with modern micro-components and linked by a ribbon connector. Jacks and pots are board-mounted, but the boards are securely affixed to the enclosure, so everything feels perfectly solid. Aphazing runs on a standard 9V power supply (not included). There’s also a sealed battery box.
World of Wooshcraft
Aphazing’s core sounds are terrific: rich, detailed, and convincingly analog-sounding. Both input and output are mono, yet tones feel wide and immersive. Your ear can really get lost in these complex swirls and swooshes.
Aphazing’s other star feature is its wide-ranging control set. For starters, you can select from four phase-stage options. At one extreme, 2-stage phasing provides a straightforward, tape-like sound, while the 12-stage setting is thick and complex. The 4- and 8-stage options split the difference.
Ratings
Pros:
Fine vintage-style phasing. Countless cool and musical variations. Great price.
Cons:
Mono only. No triggered modulation or realtime control. Potentially confusing layout.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$169 direct
Experimental Noize Aphazing
experimentalnoize.com
Even more remarkable are the four phaser-mode settings. Mode A is what most of us think of as a “regular” phase sound, generated by combining your dry signal with a slightly offset and pitch-modulated wet signal. (Yes, you can definitely get traditional phasing tones in the Phase 90/Small Stone vein, though if that’s the extent of your phasing needs, you should probably opt for a simpler phaser with a less tweaker-oriented sensibility.) Mode B blends the signals subtractively for hollow-sounding tones with greater phase cancellation—a cool option for contexts where standard phasing is a bit too “cakey.” Mode C introduces asymmetric modulation with a “fishhook” twist reminiscent of a Uni-Vibe, while mode D is a thinner-sounding subtractive version of Mode C. Between the stage and mode options, Aphazing provides a jumbo-sized crayon box of modulation colors.
In addition to the usual rate, depth, and feedback/resonance controls, there’s another cool tone shaper: a set of high-pass and low-pass filters that narrow the frequency range of the wet signal, enabling subtler modulation effects. (This was a marquee feature of the Doppelganger.) Trim lows, and only the upper frequencies get phased. Trim highs, and you emphasize low frequency phase sounds. I love how Aphazing lets you dial up extravagant effects and then shape the wet frequency range for subtler results.
A Difficult Phase?
The only thing I don’t dig here is the confusing, near-random layout. The traditional rate/depth/resonance controls aren’t grouped together. The dual filter knobs don’t appear in the same row or column. The controls aren’t visually differentiated, and the labels are written in small type above the knobs, making them hard to read from some angles and distances. Meanwhile, the enclosure’s tangle-of-ovals graphic only adds to the confusion. Yeah, you’ll get used to the layout before long. But the visuals might have aided the user, rather than the opposite
The Verdict
Aphazing sounds awesome on everything from simple ’60s-style phasing to weird, wild wobbles. The multiple modes (including relatively transparent-sounding negative phasing) can help you dial in tones to suit a band arrangement or a mix, as do the high- and low-pass filters. The graphics and control layout could be far more intuitive, but that’s not a deal-breaker. You’ll learn your way around after spending some time with the pedal. And guess what? Priced at $169 when purchased directly from Experimental Noize, Aphazing is one badass bargain.
Watch the Review Demo:
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
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
