The Hartman Analog Flanger promises to be a faithful recreation of the old seventies EH Electric Mistress Flanger/Filter Matrix, based on a supply of the original chip type (SAD1024).

Hartman Analog Flanger
The Hartman Analog Flanger promises to be a faithful recreation of the old seventies EH Electric Mistress Flanger/Filter Matrix, based on a supply of the original chip type (SAD1024). Before plugging it in, I opened it up to inspect the build quality. The originals were poorly built and had lots of problems, but they did sound great when they worked. Based on my experience with other Hartman products, I was not surprised to see a well-laid-out circuit board with top-of-the-line construction techniques, along with quality carbon comp resistors and metal film caps. This should last a lifetime, unless you drop it off a building.

The unit has three knobs (Speed, Depth, Color), and a flange/filter switch, allowing you to stop the internal sweep generator and fix the pedal at any point in the sweep. The unit produced extremely clear, transparent flanging effects. Increasing the rate with the Depth down and a bit of Color gave a nice Leslie-type effect. With the Speed on a lower setting, I was able to get that smokey, mysterious flanging tone of the seventies. The Speed control has a very wide range, from super slow to a faster rate than many flangers. The Color knob is basically a regeneration control. At its maximum setting, it yielded the expected robotic sounds, but because of the impeccable quality of the unit I could not get a very good “And the Cradle Will Rock” tone—just not enough noise in the unit to do that well. It doesn’t sound like an MXR, but it’s not intended to. This is an extremely pleasing, and very musical sounding flanger. – KR
Buy If...
you’re looking for clear, sparkling flange tones.
Skip If...

you’re looking for more noise-based effects.
MSRP $245 - Hartman Electronics -

A compact pedal format preamp designed to offer classic, natural bass tone with increased tonal control and extended headroom.

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Fig. 1

Here’s a different way to unleash the beast within your tracks.

Welcome to another Dojo. Last month I explained in detail how to set up and use sidechain compression techniques to get that classic pop/EDM pumping sound on your rhythm guitar parts and other instruments in your mix. This time, we’ll use the same setup techniques but, instead of sidechaining a compressor, I’m going to show you the benefits of using a gate.

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In high cotton: Charlie Musselwhite is thoroughly content with his return to the Delta. “We love living here,” he says. “It just makes sense, and it feels like the blues is alive and well in the Delta and you can just feel it rising up from the earth, it’s so present.”

Photo by Rory Doyle

On his new album, Mississippi Son, the harmonica giant steps out on guitar, evoking the legends of country blues 6-string and earning his place among them.

For Charlie Musselwhite, the blues isn’t just a style of music. It’s a sacrament. And Musselwhite is one of its high priests. With a palmful of bent notes on the harmonica—the instrument on which he’s been an acknowledged master for more than a half-century—or the fat snap of a guitar string, he has the power to summon not only the blues’ great spirits, but the places they rose from. If you listen closely, you can envision the Mississippi Delta’s plantation lands, where the summer sun forms a shimmering belt on the low horizon and even a slight breeze can paint your face red with clay dust. It’s a place both old and eternal—full of mystery and history and magic. And the music from that place, as Musselwhite sings in his new song “Blues Gave Me a Ride,” “tells the truth in a world full of lies.”

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