Recorded with a Fender Stratocaster, ‘68 Fender Bassman, Apogee Duet, Shure SM-58, and Apple Logic.
Identical figure is played in various clipping configurations, followed by a single first-position chord played in various clipping configurations.
RatingsPros:Unique smooth to fractured fuzz tones. Excellent build quality. Cons: Esoteric clipping technology adds up to a little extra cost. Street: $235 Nanolog Orbital Fuzz nanologaudio.com | Tones:  Ease of Use: Build/Design: Value:  |
In 2018 we reviewed the excellent WaveFunction from Canadian company Nanolog Audio. Apart from sounding great, WaveFunction distinguished itself via proprietary “molecular junction” or “nano-molecular sandwich” diodes. In that pedal, which also used silicon and germanium clipping diodes, the nano-molecular diodes were comparatively bold, fat, hot, and aggressive. In the new Nanolog Orbital Fuzz you can choose molecular junction or silicon clipping for each of the two gain stages. The results range from full and hot to gigantic and hotter, and many unique textures in between.
In general, dual nano-diode settings are warm and round, with Big Muff-scale mass. (Nanolog says the Big Muff was a primary source of inspiration for this design). Dual silicon-diode settings, meanwhile, are feral and toppy with hints of silicon Fuzzrite and silicon Fuzz Face. The two settings that mix diode types, meanwhile, range from heated and huge to a more focused, relatively low-output fuzz. The tone control has enough range to recast any of these sounds in significant ways, but it’s the gate control that most drastically reshapes the voices, turning each into a more chaotic, sputtering and trashy version of itself. I loved these sounds. And when you add in the fatter, singing, and sustaining voices, the Orbital Fuzz adds up to a most versatile and unique buzz machine.
Test gear: Fender Telecaster Deluxe with Curtis Novak Wide Range-style Humbuckers, Rickenbacker 330, ’67 Fender Vibrolux Reverb
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
