Formidable distortion/preamp/noise suppressor combo that’s flexible, practical, and explosively potent.
For technique-obsessed guitar players, control is king. But that fixation typically goes beyond the moment and place where fingers and fretboard meet: It’s also about precise equalization and eliminating noise—or just about anything else that gets in the way of perfect note articulation.
If the 14 knobs and three footswitches didn’t clue you in, ISP’s Theta preamp is built for control freaks. It’s a preamp, a 2-channel distortion device, and it includes ISP’s popular Decimator noise suppressor—or, as they like to refer to it, a dynamically controlled downward expander. But that doesn’t mean it’s only effective for session slicksters and metal surgeons. With a little tinkering the ferociously powerful Theta can work wonders for country pickers, fusion jazzers, experimental and classic rockers, and any touring musician who has to grapple with an ever-changing backline.
Beyond Decimation
ISP is probably most famous among guitar players for the Decimator noise-reduction pedal, which metal shredders love for its door-slamming noise gating and the way it enhances chunky, high-gain rhythms and machine-gun note flurries. But the company also builds high-gain amps and concert hall and line-array speaker systems. So they have a very broad perspective on how to make an instrument sound loud and clear, and the convergence of pedal and pro audio design sensibilities are easy to see in the Theta.
Though the many-knobbed Theta reflects a control freak’s mindset, not one of the 14 controls is frivolous or wasted. The six leftmost knobs in the upper row are dedicated to the preamp section, and once you’ve sorted out which is which, it’s as intuitive to operate as an overdrive pedal. All three of the EQ controls—bass, mid, and treble—are cut/boost controls with 15 dB to play with on either side of zero.
The one function that will be relatively tricky for the uninitiated is the sweepable mid section. But if you’ve never tinkered with parametric or semi-parametric EQ (the principle at work here), it takes just a little practice to grasp the essentials: You use the sweep knob to pinpoint the midrange frequency you want emphasized (from 300 Hz to 6 kHz), then use the mid knob to cut or boost that frequency. The additional precision means you can very specifically tailor the Theta to juice the sweet spots on a given guitar or amp, or boost a frequency that’s otherwise absent. This EQ is also perfect for dialing in cutting lead or rhythm tone in the studio before you ever have to tinker with it at the mixing desk.
The 2-channel distortion section uses an identical EQ section, complete with the sweepable mid function. These dual channels, which are selected using the leftmost footswitch, share the EQ section, so you can’t individually EQ the two gain stages. But the respective levels can be set for wildly varied amounts of gain for thrusting a lead to the forefront or exploring soft-to-loud (or loud-to-louder) dynamics in a song.
A simplified version of the Decimator noise control section is controlled via the knob in the upper right hand of the control set, which sets the noise threshold
Box of Brutality
Let’s cut to the chase. The Theta is loud … brutally loud … 160 dB of extra-gain loud when you use the preamp and distortion sections together. That’s the reason a lot of players are going to buy the Theta. And it’s hard to imagine high-gain freaks being disappointed by the output or Theta’s impressive ability to shape and tame the savagery.
Ratings
Pros:
Huge gain range. Effective noise suppressor. Very impressive tone-shaping power—especially in the sweepable mid control.
Cons:
Even the mellower distortion tones have a trace of aggressive edge.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$332.26
ISP Theta Preamp
isptechnologies.com
The latter set of capabilities is especially impressive when you put the Theta out in front of a clean and loud amp like a Twin Reverb. That’s not the most obvious pairing for a pedal geared to the high-gain set, and finding the best distortion and EQ setting takes a little work (aggressive distortion setting with slight boosts in the high, mid, and low end can make the Twin loud and shrill). But feed the distortion circuit with a low-heavy setting from the preamp, drop the high end, and move the sweep control to it’s lower reaches, and the big Fender amp will bellow with a rich distortion that billows with bass depth and overtones, and exhibits the fast pick responsiveness shredders love. In settings like this, the Theta is powerfully transformative.
No matter what amp you use, the Theta’s distortion is aggressive and hot—the nasty, brutalizing stuff of modern metal from the ’90s onward. But introducing the preamp to the distort channel lets you tune in funky, fuzzy sounds from Muff-meets-Rat corpulence, to buzzing ’60s tones, to the strangled-and-mangled sound of an old, compressed tweed driven to its limits.
The preamp gain alone is crazily effective for coaxing organic, harmonic amp distortion. And though there is an essential heat in the Theta’s preamp (even the lowest gain settings give your output a discernable edge, and this makes the sweepable mid control invaluable), the clean output can give clean single-coil pickups a considerable push without adding a lot of dirt.
The Verdict
On the surface the Theta is most appealing to heavy players, yet it’s a pedal that guitarists well outside the heavy realm will find impressively practical. Clever use of the preamp and sweepable mids can transform the savage distortion output into civilized and unique fuzz and low-gain distortion tones. And the preamp overdrive alone is wide ranging, vocal, and responsive enough for classic rockers or modern jazz players that like a little heat on their signal.
Few pedals do such an effective job standing in for the front end of a high-gain amp. That may be what Theta does best, but that it excels at more routine tasks with such a wide range of amps is a testament to how thoroughly and thoughtfully this unit is engineered. And if you’re looking to get more oomph, definition, and control out of the amp you have, the ISP Theta can provide a lot of very interesting alternatives and solutions.
Linkin Park introduce new vocalist Emily Armstrong (of Dead Sara), new drummer Colin Brittain, and share their first brand new music in seven years.
Linkin Park share a new single (HERE) and video (premiering HERE at 4pm PT/7pm ET), for “The Emptiness Machine,” plus a global livestream performance (happening now HERE and available only for 24 hours), and the launch of 6 upcoming arena shows in Los Angeles, New York, Hamburg, London, Seoul, and Bogota as part of the From Zero World Tour. LP Underground fan club exclusive pre-sales start September 6 and general on-sales September 7. Go to LinkinPark.com for more info.
These surprises herald the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.
Tomorrow, Friday September 6th, the band joins long-time friend and Apple Music host Zane Lowe for an in-depth candid conversation about the incredible legacy of Linkin Park, the 7-year long journey to new music and their excitement for the future.
Without expectations, Shinoda, Delson, Farrell, and Hahn quietly began meeting up again in recent years. Rather than “trying to restart the band,” their instinct was to simply spend more time together, and reconnect with the creativity and camaraderie that has been at the core of their friendship since college. During this time, they invited various friends and cohorts to join them in the studio; among the guests, they found a special kinship with Armstong and Brittain. A natural chemistry drew these musicians back into its gravitational pull as they logged more and more hours in the studio. It was the sound of lifelong musicians rediscovering the uncontainable energy of a new beginning once again. Over this season, FROM ZERO was born.
FROM ZERO
FROM ZERO TRACKLIST
- From Zero (Intro)
- The Emptiness Machine
- Cut The Bridge
- Heavy Is The Crown
- Over Each Other
- Casualty
- Overflow
- Two Faced
- Stained
- IGYEIH
- Good Things Go
About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”
Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.
Shinoda elaborated, “The more we worked with Emily and Colin, the more we enjoyed their world-class talents, their company, and the things we created. We feel really empowered with this new lineup and the vibrant and energized new music we’ve made together. We’re weaving together the sonic touchpoints we’ve been known for and still exploring new ones.”
FROM ZERO WORLD TOUR 2024
September 11, 2024 | Kia Forum - Los Angeles, CA
September 16, 2024 | Barclays Center - New York, NY
September 22, 2024 | Barclays Arena - Hamburg, Germany
September 24, 2024 | The O2 - London, UK
September 28, 2024 | INSPIRE Arena - Seoul, South Korea
November 11, 2024 | Coliseo Medplus - Bogota, Colombia
Voltage Cable Company's new Voltage Vintage Coil 30-foot guitar cable is now protected with ISO-COAT technology to provide unsurpassed reliability.
The new coiled cables are available in four eye-grabbing retro colors – Surf Green, Electric Blue, Orange and Caramel – as well as three standard colors: Black, White and Red. There is also a CME exclusive “Chicago Cream” color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The company’s ISO-COAT is a patent pending hermetic seal applied to solder terminations.
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true stack, and just four stomps.
MonoNeon, aka Dywane Thomas Jr., came up learning the bass from his father in Memphis, Tennessee, but for some reason, he decided to flip his dad’s 4-string bass around and play it with the string order inverted—E string closest to the ground and the G on top. That’s how MonoNeon still plays today, coming up through a rich, inspiring gauntlet of family and community traditions. “I guess my whole style came from just being around my grandma at an early age,” says Thomas.His path has led him to collaborate with dozens of artists, including Nas, Ne-Yo, Mac Miller, and even Prince, and MonoNeon’s solo output is dizzying—trying to count up his solo releases isn’t an easy feat. Premier Guitar’s Chris Kies caught up with the bassist before his show at Nashville’s Exit/In, where he got the scoop on his signature 5-string, Ampeg rig, and simple stomp layout, as well as some choice stories about influences, his brain-melting playing style, and how Prince changed his rig.
Brought to you by D’Addario.
Orange You Glad to See Me?
This Fender MonoNeon Jazz Bass V was created after a rep messaged Thomas on Instagram to set up the signature model, over which Thomas had complete creative control. Naturally, the bass is finished in neon yellow urethane with a neon orange headstock and pickguard, and the roasted maple neck has a 10"–14" compound radius. It’s loaded with custom-wound Fireball 5-string Bass humbuckers and an active, 18V preamp complete with 3-band EQ controls. Thomas’ own has been spruced up with some custom tape jobs, too. All of MonoNeon's connections are handled by Sorry Cables.
Fade to Black
MonoNeon’s Ampeg SVT stack isn’t a choice of passion. “That’s what they had for me, so I just plugged in,” he says. “That’s what I have on my rider. As long as it has good headroom and the cones don’t break up, I’m cool.”
Box Art
MonoNeon’s bass isn’t the only piece of kit treated to custom color jobs. Almost all of his stomps have been zhuzhed up with his eye-popping palette.
Thomas had used a pitch-shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.”
Alongside the Whammy, MonoNeon runs a Fairfield Circuitry Randy’s Revenge (for any time he wants to “feel weird”), a literal Fart Pedal (in case the ring mod isn’t weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
Shop MonoNeon's Rig
Fender MonoNeon Jazz Bass V
Ampeg SVT
DigiTech Whammy
CIOKS SOL
The legendary Queen guitarist shared an update on his social media that he noted as a "little health hiccup." "The good news is I can play guitar,” he said.
Brian May revealed that he was rushed to a hospital after suffering a minor stroke and temporarily losing control of his left arm. In a message to his fans, May addresses the events of the past week:
“They called it a minor stroke, and all of a sudden out of the blue, I didn’t have any control of this arm. It was a little scary, I have to say. I had the most fantastic care and attention from the hospital where I went, blue lights flashing, the lot, it was very exciting. I might post a video if you like.”
“I didn’t wanna say anything at the time because I didn’t want anything surrounding it, I really don’t want sympathy. Please don’t do that, because it’ll clutter up my inbox, and I hate that. The good news is I’m OK.”