
Unique distortion device gets weird with a white noise generator and low-pass filter.
London, England’s Rainger FX was one the unexpected surprises for us back at Musikmesse 2012. We met head honcho/mad scientist David Rainger, not because he had a booth, but because he was roaming the halls with his creations, enthusiastically plugging them into the rigs anyone willing and curious enough to listen. Rainger was enthusiastic, enterprising, super-smart, and maybe a bit mad—our kind of effects builder! We’ve watched Rainger’s development closely, as have the high-profile guitar-slinging rule-breakers who have fallen for his sometimes demented—but always functional—distortion devices.
Rainger’s latest creation is the Air Traffic Controller (ATC), a low-pass-filter-driven, white-noise-generating distortion capable of massive, filthy, and highly individual fuzz tones that work great in rock settings. The ATC offers a wealth of unconventional, often synth-like tones that reward and invite unorthodox musical techniques and styles.
Roger Tower, Clear the Runway Rainger always takes an irreverent and open-minded approach to his interfaces, enclosures, and other design elements. The ATC is no exception. The canted, oblique, trapezoidal enclosure is like a skewed take on Vox’s odd stomps of the early ’80s. The shape highlights one of the pedals’ most fun features: a set of lights that glows in series like runway landing lights while you play. The lights have a practical function too, helping you see the chicken-head knob for the critical peak/pitch/random control mounted on the unit’s backside.
While some control names are obscure, it’s easy to get a sense of how they work after a few minutes of tweaking. The level control is self-explanatory. Resonance is essentially a Q control for the low-pass filter—clockwise settings make the cutoff more pronounced, while counterclockwise ones blend filtered and direct signals. Air-signal mixes the output of a white noise generator with your guitar sound. Distort sets amount of fuzz.
The peak/pitch/random control, which interacts with the pedal’s low-pass filter, is one of the keys to the ATC’s unique personality. The peak setting configures the filter so that guitar volume and pick attack determine the cut-off frequency. In pitch mode, note pitch triggers the cut-off. In random mode, the cut-off frequencies vary from note to note, at times creating drifting, radio-like undercurrents.
The low-pass filter is situated in the circuit after the air-signal or mix control and the output amp, making the resonance easier to control and minimizing unwanted noise.
Alien Lines of Transmission If you’re only worked with basic fuzzes and distortions, it can be hard to know where to begin with the ATC. One of the best approaches is to start with the peak control, the level and distort at about noon, air-signal around three o’ clock, and the resonance control at its lowest possible setting. This generates a grinding, skanky, but harmonically complex fuzz with a hint of gating and filtering, perfect for menacing garage punk and Stooges riffs. It’s a sound free enough from filtered signal to work as the only fuzz in your line, provided you like your distortion pretty gritty.
From here you can develop a feel for how significantly—and interactively—the controls re-shape your tone. Give the resonance a quarter-turn, and the filter and white noise get a foothold. It sounds like a very deep, vowel-like phaser working in the high-mid frequencies. Move the resonance and air-signal to noon, however, and that phasey, filtered wash becomes a hot, metallic desert wind assaulting a tin shack—a pretty cool texture to have soaring along with your fuzz signal, especially if you’re into industrial sounds or Sonic Youth’s more brutal Mu-Tron Vol-Wah tones. The real beauty of the peak setting is the way it interacts with picking dynamics and your volume control. Rolling back your volume creates progressively more vowel- or wah-like filter effects, perfect for funk leads.
Ratings
Pros:
A wealth of bizarre synth- and sci-fi-style textures. Highly interactive and variable controls. Great, aggressive base distortion tone. Practical, cool-looking form factor and layout.
Cons:
A touch expensive.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$299
Rainger FX
raingerfx.com
The pitch setting interacts less with your picking dynamics and volume, though you experience interesting filter shifts as you move around the fretboard. Some notes ring virtually clear, while others spawn grotesque doppelgangers. The random setting, meanwhile, can provide a lonely, lost-in-space radio signal feel to quieter chord passages and clean leads, provided you keep guitar mix and resonance in their higher ranges. Crank the distortion, and it becomes the uncontrollable Mr. Hyde to your distorted tone’s Dr Jekyll. These are not tones for the faint of heart, or players looking to cop fluid, silky Eric Johnson clean tones.
The white noise generator can be tricky to manage at first. Rainger did a great job keeping the noise and guitar out of each others’ way, which makes the pedal much more functional than it might have been. Some settings, though, could benefit from a more interwoven feel. Interestingly, some of the coolest white-noise applications occur when you crank the distort control and roll back the resonance almost completely. Here lurks the elusive fuzz-in-wind-whipped-blizzard grind of the Jesus and Mary Chain’s Psychocandy LP. It makes any punky rhythm track sound like a Sahara-sandblasted slab of psychedelic haze.
The ATC also works in fascinating ways with other time-based and modulation effects. It sounds great through a slow phase or tremolo setting. And routing those ghostly radio-static type effects through long-feedback delay can be positively haunting.
The Verdict Obviously, the Air Traffic Controller is built for guitarists who like to explore the outer limits. While you can get uniquely gnashing distortion that’s killer for slash-and-burn riffing, the pedal seems designed to probe weirder realms. It gives experimentally minded players the tools to create standout leads, bizarro hooks, and sci-fi sound beds and overdubs. It may be a bit expensive for the casually curious, but it’s a fantastic studio tool. We suspect many intrepid players will find a place for this maniacal little machine in their rigs.
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555’s semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555’s aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ’50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritage’s tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3×3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ’50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
“What a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,” said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. “I couldn’t be more proud to still be here 40 years later.”
With nearly 1,400 of the who’s who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. “The guitars are great. You can’t last 40 years if the guitars aren’t great,” said Mayer. “Many of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say ‘They’re too nice.’ What’s too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes … bad intonation? The product is incredible.”
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.