Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

​EarthQuaker Spatial Delivery V3 Review

​EarthQuaker Spatial Delivery V3 Review

Fat envelope filter and sample-and-hold effects make the Spatial Delivery V3 a veritable factory of percolating, sweeping, yowling, and vowel-y freak-out sounds.

Huge range of traditional to blown-out envelope and sample-and-hold effects. Easy-to-program presets are invaluable.

It would be cool if you could scroll through presets with the footswitch.

$199

EarthQuaker Spatial Delivery V3
earthquakedevices.com

4.5
4.5
4
4

There are pedals that can get you out of a rut and there are pedals that squeeze your noggin like Silly Putty across some alternate musical dimensions. The EarthQuaker Spatial Delivery V3 tends toward the latter category. On one hand, it’s a cool-sounding envelope filter that can be used in most traditional applications of that effect (Jerry Garcia, Bootsy Collins, etc.). But it doesn’t take much prompting to go from sort-of-groovy to mind-melt. And in this version there are six presets which enable you to traverse its crazy-wide range of sounds by switching on the fly.


There is much room to roam here. Old-school filter and auto-wah sounds (the Edge on Achtung Baby) are easy to summon in the upward-sweep mode, with emphasis on the low-pass side of the filter, and range and resonance to taste. The downward-sweep mode highlights whistling, vowel-y tones and even weird variations of reverse-tape sounds—all of which can be mutated with range and filter controls to sound like AM radio artifacts and rusty space transmissions, or dynamic phase effects. Sample-and-hold mode, of course, harbors the most chaotic sounds, with which you can create rhythmic arpeggio patterns or fractured Morse code sweeps. If you want to be the weirdest person on the stage with the fewest pedals, the Spatial Delivery V3 could go a long way toward getting you there.


On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.

Photo by Anna Azarov

The accomplished guitarist and teacher’s new record, like her lifestyle, is taut and exciting—no more, and certainly no less, than is needed.

Molly Miller, a self-described “high-energy person,” is fully charged by the crack of dawn. When Ischeduled our interview, she opted for the very first slot available—8:30 a.m.—just before her 10 a.m. tennis match!

Read MoreShow less

On this season finale episode, the actor and musician leads a Prine-inspired songwriting session about how few tools we have in our collective toolbox.

Read MoreShow less

Featuring enhanced amp models, a built-in creative looper, AI-powered tone exploration, and smart jam features.

Read MoreShow less

Donner andThird Man Hardware’s $99, three-in-one analog distortion, phaser, and delay honors Jack White’s budget gear roots.

Compact. Light. Fun. Dirt cheap. Many cool sounds that make this pedal a viable option for traveling pros.

Phaser level control not much use below 1 o’clock. Repeats are bright for an analog delay. Greater range of low-gain sounds would be nice.

$99

Donner X Third Man Triple Threat
thirdmanrecords.com

3.5
4.5
4.5
5

A huge part of the early White Stripes mystique, sound, ethos, and identity was tied to guitars and amps that, at the time, you could luck into for cheap at a garage sale. These days, it’s harder to score a Crestwood Astral II, or Silvertone Twin Twelve with a part-time job in the ice cream shop. Back in the late ’90s, though, they were a source of raw, nasty sounds for less than a new, more generic guitar or amp.

Read MoreShow less