
Harmonic tremolo that swims in traditional and trippy directions.
Fat, liquid harmonic tremolo tones that range from vintage to bizarre. Huge range in controls. Interactive controls mean lots of tone variation.
Frequency and resonance controls can feel elusive.
$229
Spaceman Delta II
spacemaneffects.com
More than seven decades on, tremolo remains one of the most mesmerizingly delicious and mysterious textures in music. And while it's now a familiar part of the popular music lexicon, it has lost none of its power to evoke mystery, oceanic depths, faraway lands, and deep space.
Harmonic tremolo is perhaps the most mysterious tremolo of all. Rather than use volume attenuation to achieve its hypnotic pulses, harmonic tremolo uses dual band filtering and LFOs to emphasize high and low frequencies in a rhythmic, alternating pattern. The resulting effect is, generally speaking, woozier than the stuttery textures of amplitude tremoloāand capable of suggesting and inducing very dreamy states of mind.
FenderĀ Telecaster into Delta II, black panel Fender Tremolux head, and Universal Audio OX tweed Deluxe cabinet emulation. All modulation and filtering are manipulated and generated via the Delta II.
Harmonic tremolo emulations are relatively plentiful these days, but few are as fun and capable of spanning old-school sounds and twisted textures as Spaceman's new Delta II. It generates the deep, woozy, pitch-stretching modulations that make early-'60s-style harmonic tremolo so fundamentally appealing. It can also stretch the effect to extremes with little likeness to tremolo at all.
A Deep Weave
The Delta II walks the line between complexity and simplicity adroitly. The interactive nature of Delta II's controls might frustrate players used to fast, predictable results from one of two knobs. But it's worth investing the time to grok how they work together, because those relationships can be the ticket to very distinct and individual variations on harmonic and amplitude tremolo.
Even the two most recognizable controls on the Delta IIāthe depth and rateābehave in comparatively unusual ways. Much of the first third of the depth's range, for instance, is subtle enough to be imperceptible at certain settings. The rate knob, meanwhile, hits the maximum modulation rate of a Fender amp tremolo before you even get to the 12 o'clock position, and at extremes it pulsates at rates so fast that it sounds more like ring-modulated fuzz than tremolo. On some pedals, these expansive parameter ranges might be annoying, but the Delta II's precise pots make it easy to find sweet and familiar settings.
The small lower left knob called lag enhances the Delta II's flexibility considerably. It shifts the phase relationship between LFO outputs. At full counterclockwise, the two outputs are in phase and produce less phase-y amplitude-tremolo-style pulses. As you twist it clockwise, the phase relationship changesāinducing ever wobblier variations on the harmonic tremolo flavor. It's a smart addition for players who occasionally like the directness of amplitude tremolo.
At extremes, it pulsates at rates so fast that it sounds more like ring-modulated fuzz than tremolo.
Even more tone variations are available via the 3-position voice switch. In the left position, the LFO modulates the high-frequency and dry signals. In the middle, it modulates high and low frequency signals. And in the right position it modulates the low-frequency and dry signals. The latter two of these tend to sound the most immersive, while the high-and-dry settings tend to sound a touch thinner and more focused.
All three of these voices can be recast depending on how you use the resonant filter (regulated by the "freq" control) and the resonance knob. And much of the real magic in Delta II's control layout is down to how effectively the frequency, voice, and resonance controls work together as a very powerful EQ section. In the studioāor as you refine a live band mix or arrangement for a given songāyou can use various combinations of these controls to carve out very specific harmonic spaces. And given how deep these tremolo throbs can be, the ability to effectively emphasize a frequency band here and cut another there opens up many arrangement possibilities. Once you master the practice of fine tuning them, you can make tremolo pulses more integrated or distinct within the sound of instruments occupying a given frequency range.
The Verdict
Billing the Delta II as a harmonic tremolo nearly undersells what the pedal can do. Apart from generating liquid modulations that would tickle any brown-panel Fender or Magnatone fan, the Delta II can dish synthy ring-modulated chirps, rotary speaker-like colors, and snorkely filtered pulses. Studio hounds will be thrilled with how the frequency, resonance, and voice controls enable surgical sculpting of trem tones so they can be situated in very specific harmonic spaces.
The Delta II isn't without its quirks. You can easily go down a rabbit hole searching for ideal EQ, filter, and resonance profiles. But it takes just a modicum of practice to get a lot of extra mileage out of those controls, and they are full of surprises. If you're looking for classic harmonic tremolo formulas exclusively, there are more direct and inexpensive ways to get there. For more curious tremolo fans, however, the Delta II is a treasure chest of sweet, deep, and demented modulations that can be fantastically transportive.
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In a career defined by evolution, Joe Bonamassa is ready to turn the page once again. The blues-rock virtuoso has just announced Breakthrough, his most adventurous and genre-blending studio album to date, out July 18th via his own J&R Adventures.
At the heart of the announcement is the release of the albumās powerful title trackāāBreakthrough' āa soulful, hard-hitting anthem about letting go, moving forward, and finding your fire again, available today on all streaming platforms.
Crafted across multiple continents and infused with a worldās worth of inspiration, Breakthrough marks a bold new chapter for Bonamassaāone that leans on fiery solos, emotionally rich storytelling, groove-driven arrangements, and stylistic exploration. Produced by longtime creative partner Kevin Shirley (Iron Maiden, The Black Crowes, Journey), the album was shaped by sessions in Greece, Egypt, Nashville, and Los Angeles, resulting in a vibrant sonic tapestry that shifts effortlessly from funky blues and Texas swing to acoustic ballads and swaggering hard rock.
Joe Bonamassa āBreakthroughā - Official Lyric Video
Watch the official lyric video for "Breakthrough" by Joe Bonamassa
āI think this album, Breakthrough, marks a shift in the styling of Joe Bonamassaās recording output,ā says Shirley. āWhile there are plenty of guitar solos on this record, his emphasis has been on songs primarily. Each time Joe undertakes a new recording project, he seems to access a different part of his vast library of music genre from the jukebox-in-his-head! This album is a round-the-world musical tripāfrom Little Feat funkiness to Texas swing, from hard rock power to acoustic singer/songwriter-style songs.ā
The newly released single āBreakthrough,ā co-written with longtime collaborator Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), captures the emotional core of the recordāan uplifting anthem about transformation, persistence, and letting go of the weight that holds us back. With gritty vocals, melodic guitar lines, and lush instrumentation, the track embodies Bonamassaās signature blend of power and finesse while ushering in a bold new direction.
āBreakthroughā follows the success of Bonamassaās recent singles āStill Walking With Meā and āShake This Ground,ā both of which hinted at the adventurous spirit behind the full album. āShake This Groundā delivered a moody, introspective edge, while āStill Walking With Meā leaned into warmth, gratitude, and classic soul. Each track reflects a different facet of Bonamassaās evolving songwriting approach, rooted in emotional honesty and anchored by his unmistakable guitar work.
The album announcement caps a stretch of extraordinary momentum for Bonamassa. Next up, Bonamassa recently began his extensive *European Spring Tour, followed by a June run with his powerhouse supergroup Black Country Communion* (featuring Glenn Hughes, Jason Bonham, and Derek Sherinian). After another round of summer dates across Europeāincluding sold-out shows in Irelandāheāll return stateside for his just-announced* 2025 U.S. Summer Tour*, a limited amphitheater run featuring stops at The Greek Theatre, Red Rocks, and more iconic venues.
With over 50 albums, 28 #1 Billboard Blues albums, and a lifelong commitment to evolving the genre, Bonamassa shows no signs of slowing down. Whether headlining iconic venues, mentoring rising artists through Journeyman Records, or supporting music education via his Keeping the Blues Alive Foundation, Bonamassa continues to shape the future of blues-rock with every note.
For more information on Breakthrough, tour dates, and VIP packages, visit jbonamassa.com.
Delicious, dynamic fuzz tones that touch on classic themes without aping them. Excellent quality. Super-cool and useful octave effect.
Canāt mix and match gain modes.
$349
Great Eastern FX Co. Focus Fuzz Deluxe
Adding octave, drive, and boost functions to an extraordinary fuzz yields a sum greater than its already extraordinary parts.
One should never feel petty for being a musical-instrument aesthete. You can make great music with ugly stuff, but youāre more likely to get in the mood for creation when your tools look cool. Great Eastern FXās Focus Fuzz Deluxe, an evolution of their trĆØs Ć©lĆ©gantFocus Fuzz, is the sort of kit you might conspicuously keep around a studio space just because it looks classy and at home among design treasures likeRoland Space Echoes, Teletronix LA-2As, andblonde Fender piggyback amps. But beneath the FFDās warmly glowing Hammerite enclosure dwells a multifaceted fuzz and drive that is, at turns, beastly, composed, and unique. Pretty, it turns out, is merely a bonus.
Forks in the Road
Though the Cambridge, U.K.-built FFD outwardly projects luxuriousness, it derives its ādeluxeā status from the addition of boost, overdrive, and octave functions that extend an already complex sound palette. Unfortunately, a significant part of that fuzzy heart is a Soviet-era germanium transistor that is tricky to source and limited the original Focus Fuzz production to just 250 units. For now, the Focus Fuzz Deluxe will remain a rare bird. Great Eastern founder David Greaves estimates that he has enough for 400 FFDs this time out. Hopefully, the same dogged approach to transistor sourcing that yielded this batch will lead to a second release of this gem, and on his behalf we issue this plea: āTransistor hoarders, yield your troves to David Greaves!ā
The good news is that the rare components did not go to waste on compromised craft. The FFDās circuit is executed with precision on through-hole board, with the sizable Soviet transistor in question hovering conspicuously above the works like a cross between a derby hat and B-movie flying saucer. If the guts of the FFD fail to allay doubts that youāre getting what you paid for, the lovingly designed enclosure and robust pots and switchesānot to mention the pedalās considerable heftāshould take care of whatever reticence remains.
Hydra in Flight
Just as in the original Focus Fuzz, the fuzz section in the Deluxe deftly walks an ideal path between a germanium Fuzz Faceās weight and presence, a Tone Benderās lacerating ferocity, and the focus of a Dallas Rangemaster. You donāt have to strain to hear that distillate of elements. But even if you canāt easily imagine that combination, what you will hear is a fuzz that brims with attitude without drowning in saturation. Thereās lots of dynamic headroom, youāll feel the touch responsiveness, and youāll sense the extra air that makes way for individual string detail and chord overtones. It shines with many different types of guitars and amps, too. I was very surprised at the way it rounded off the sharp edges made by a Telecaster bridge pickup and AC15-style combo while adding mass and spunk. The same amp with a Gibson SG coaxed out the Tony Iommi-meets-Rangemaster side of the fuzz. In any combination, the fuzz control itself, which boosts gain while reducing bias voltage (both in very tasteful measure) enhances the vocabulary of the guitar/amp pairing. That range of color is made greater still by the fuzzās sensitivity to guitar volume and tone attenuation and touch dynamics. Lively clean tones exist in many shades depending on your guitar volume, as do rich low-gain overdrive sounds.
The drive section is similarly dynamic, and also quite unique thanks to the always versatile focus control, which adds slight amounts of gain as well as high-mid presence. At advanced focus levels, the drive takes on a fuzzy edge with hints of Fender tweed breakup and more Black Sabbath/Rangemaster snarl. Itās delicious stuff with Fender single-coils and PAFs, and, just as with the fuzz, itās easily rendered thick and clean with a reduction in guitar volume or picking intensity. The boost, meanwhile, often feels just as lively and responsiveājust less filthyālending sparkle and mass to otherwise thin and timid combo amp sounds.
Among this wealth of treats, the octave function is a star. It works with the fuzz, drive, or boost. But unlike a lot of octave-up effects, you neednāt approach it with caution. Though it adds plenty of the buzzing, fractured, and ringing overtones that make octave effects so wild and distinct, it doesnāt strip mine low end from the signal. The extra balance makes it feel more musical under the fingers and even makes many chords sound full and detailedāa trick few octave effects can manage. With the fuzz, the results are concise, burly, and articulate single notes that lend themselves to lyrical, melodic leads and power chords. In drive-plus-octave mode, there are many hues of exploding practice-amp trash to explore. The boost and the octave may be my favorite little gem among the FFDās many jewels, though. Adding the octave to boosted signals with a generous heap of focus input yields funky, eccentric electric-sitar tones that pack a punch and are charged with character in their fleeting, flowering state.
Ā The Verdict
Itās hard to imagine adding extra footswitches to the Focus Fuzz Deluxe without sacrificing its basic elegance and proportions, and without elevating its already considerable price. Certainly, there would be real utility in the ability to mix and match all three excellent gain modes. On the other hand, the output level differences between fuzz, drive, and boost are pretty uniform, meaning quick switches on the fly will shift texture and attitude dramatically without delivering an ear-frying 30 dB boost. And though itās hard not be tantalized by sounds that might have been, from combining the fuzz and/or boost and drive circuits, the myriad tones that can be sourced by blending any one of them with the superbly executed octave effect and the varied, rangeful focus and output controls will keep any curious tone spelunker busy for ages. For most of them, I would venture, real treasure awaits.
Why is Tommyās take on āDay Tripperā so hard? And what song would Adam Miller never play with him? Plus, we get Adamās list of favorite Tommy Emmanuel records.
We call guitarist Adam Miller in the middle of the night in Newcastle, Australia, to find out what itās like to play with Certified Guitar Player, Tommy Emmanuel. Miller tells us just how famous Tommy is in Australia, and what it was like hearing him play from a formative age. Eventually, Adam got to open for Emmanuel, and theyāve since shared the stage, so we get the firsthand scoop: Why is Tommyās take on āDay Tripperā so hard? And what song would Miller never play with him? Plus, we get Adamās list of favorite Tommy Emmanuel records.
Adamās newly released trio album, Timing, is out now.
Plus, weāre talking about new recordings from Billy Strings and Bryan Sutton, as well as Brooklyn Mediterranean surf party band Habbina Habbina.
Peavey Electronics announces the Decade preamp pedal. The internet and social media have been abounding with chatter about the current recording secret of the modern-day guitar gods ā the Peavey Decade practice amp.
The discontinued amp has reached unimaginable demands on the secondary markets. So much so that small pedal builders have made attempts to capitalize and duplicate the proprietary designs themselves. Tone chasers can now rejoice as the Decade preamp pedal now brings those highly sought after tones back to market in a small, compact footprint.
Guitar players will find a single input, single output preamp pedal straight forward and easy to navigate. Faithful to the original Decade circuitry (circa 1980), the control layout will be identical to the original amplifier. The GAIN section features PRE and POST controls. PREGAIN sets the gain of the input circuitry. POST GAIN sets the gain before the out. Built off the legendary Peavey Saturation patent, the new, switchable SATURATION allows tube-like sustain and overload at all volume levels, suitable for bedrooms, rehearsals, stadiums and apparently, those very expensive recording studios. The traditional BASS, MID, and HIGH equalization controls provide the tone shaping enhancements any guitar should require. Upgraded pedal features include an internal 24v supply from the standard 9v supply/battery and worldwide EMC/FCC compliance approval.
To learn more, visit online at www.Peavey.com
Street $199.99 USD