Tasty delay, drive, and modulation come together in an inspiring, unconventional echo machine. The PG Mile End Effects MTHRFCKR=RPTR review.
Unconventional dirty and warped echoes. Control layout is a visual and tactile delight. Cool potential as outboard studio effect.
Expensive for a digital delay. Big if you are pedalboard-space obsessed.
$320
It's funny to consider the time guitarists spend in search of filth. The only thing funnier, perhaps, is imagining legions of old-school audio engineers shaking befuddled heads (or turning over in their graves) as guitarists undo the work of decades spent questing for pure, distortion-free sound.
The Mile End Effects MTHRFCKR-RPTR digital delay, like so many creative modern effects, embraces distortion to an almost perverse degree—probing not just the realms of fuzzy overdrive, but mangled modulations as well. This design motivation is a product of Mile End founder Justin Cober's fascination with cassette tape degradation.
Exploration of tape distortion is not a new concept. Anyone who builds an Echoplex- or Space Echo-inspired pedal usually seeks to replicate the irregularities of the tape medium. But Mile End's take puts the wiggly, mangled, and mutated possibilities of the form front and center. And while it's perfectly capable of lovely normal delay sounds—with dark, modulated delays that would tickle any Deluxe Memory Man devotee—the MTHRFCKR=RPTR shines brightest (or dirtiest) when you use it as a force for weird.
Advantages
Hands-On Advantages
A lot of folks are bound to take one look at the MTHRFCKR=RPTR in its 7.4" x 4.7" Hammond 1590D enclosure and decide that it's too big for their pedalboard. That's fine. But obsessions with pedalboard space sometimes obscure the ergonomic and tactile virtues of larger effects. Take the old Deluxe Memory Man: Its size, control layout, the resistance in its knobs, and the way it fits a player's hands and fingers all conspire to enable creative control manipulation that, in my experience, isn't easily replicated with an expression pedal or small-form knobs arrayed in neat little rows.
Mile End seems to understand much about these ergonomic advantages. The MTHRFCKR=RPTR's knobs are laid out so you can simultaneously manipulate delay time or repeat controls with your thumb, the LFO rate or speed controls with your ring finger, and the volume or gain control with your pinky. If you tend to set and forget your delay settings, this type of functionality probably won't interest you much. But for players that use delay as a second instrument as much as an effect, it cracks open a multitude of expressive possibilities. And it's easy to see how the MTHRFCKR=RPTR could be enormously appealing to experimental and prepared guitar players, keyboardists, and synth artists, or engineers and artists itching to break free from the constraints of in-the-box studio effects.
Space Dirt and Cosmic Dust
Though digitally generated, the sound of the MTHRFCKR=RPTR's echoes should please any old-school analog delay fan. Even before you apply the gain and LFO-driven modulation sounds, you hear soft, blurry decay in each repeat. There can also be a little digital tone neutrality in the repeats—at least compared to true tape and bucket brigade delay devices—but it leaves ample headroom for the copious color that comes via the addition of gain and modulation.
Generally speaking, the controls have conservative tapers, and tone shifts can be subtle—even within a 30- or 40-percent increase or reduction in a given parameter. Players eager to exploit the MTHRFCKR=RPTR's more radical potential might be disappointed by these limitations. But I found the smoother, more subtle tapers to be a big advantage, and more musical, when using the controls interactively.
The Mile End doesn't overwhelm you with tone shaping options. But the wet switch, which removes the dry signal entirely, and the waveform switch, which toggles between random, non-cyclical square waves and uniform sine wave modulation, are simple-to-use additions that can be transformative. The random-cycle square waves best replicate the capstan-motor-gone-wrong and stretched-tape funkiness of vintage tape delay units. At subtle levels it adds authenticity. In heavier doses—and particularly with a fat dollop of gain from the pedal's preamp section—the random waveforms add a dreamlike haze that makes slow, spacious solo improvisations kinetic and rich with color. The all-wet setting has less utility in straightforward playing situations. But for abstract, deconstructed sound collage and improvisation, it's incredibly liberating—especially with generous sides of dirty gain and random modulation. Some of my favorite MTHRFCKR=RPTR sounds dwell within these settings. There's also a soft-relay footswitch for driving the pedal into self-oscillation.
The preamp gain section, which really enhances delay and modulation textures, produces harmonically balanced and very organic overdrive sounds. It can sound a touch fizzy at the very highest gain levels—almost in the fashion of a tweed Deluxe amp cranked to the gills. But it's a delight at most settings, even without the delay or modulation in the mix.
The Verdict
The MTHRFCKR=RPTR is not exclusively or indulgently eccentric. It's a very practical digital delay with a heavy and authentic analog flavor and an extraordinarily fun and creative control interface that sparks unconventional sounds and ideas. It's certainly a digital delay analog heads can love. But it's also likely to find fans among engineers and artists—pro and homebrew alike—that will embrace it's tactile and ergonomic advantages and unconventional tones to unique ends in mix and production tasks.
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.