Beautiful, immersive, dreamy and complex echo and reverb blends. Controls have lovely taper and response. Spacious control layout enables cool realtime echo manipulation moves.
Expensive—but only if you disregard the R&D that went into the design.
$349
UAFX Galaxy ’74 Tape Echo and Reverb
uaudio.com
A Space Echo-inspired delay and reverb that offers many of the real thing’s tactile joys—on top of the positively dreamy sounds.
Every effect is, to some extent, its own instrument. But few effects are instruments in the way that the Roland RE-201 Space Echo is a playable, almost living thing. In its original incarnation, the RE-201’s dimensions and layout had much to do with how artists interacted with it. Unlike a stompbox, it was built to sit atop an amp, keyboard, mixing desk, or in a studio rack. And by virtue of that orientation—more aligned with the hands than the feet—and it’s well-spaced, generously sized controls, it compelled users to manipulate its echoes while playing or mixing.
It’s tough to stuff those design attributes of the RE-201 into a stompbox. But Universal Audio’s Galaxy ’74 has much of the touch—if not quite all the ergonomic advantages—that made the RE-201 so compelling to tinker with. And its sounds are deep, rich, and very suggestive of, if not indiscernible from, its analog tape echo inspiration.
“The knobs have a lovely resistance that enables you to turn them simultaneously and easily with one hand, all with a great sense of precision.”
Plug In to Freak Out
The Galaxy ’74 pedal uses the same algorithm that drives Universal Audio’s superb Galaxy Space RE-201-style plugin, though the spring model is new in the pedal. (The Galaxy plugin is my go-to echo, and often my reverb of choice when working in UA’s Apollo environment). Running that algorithm requires an enclosure big enough to accommodate a powerful chip, keep it cool, and run at 9 volts. There is an upside to the larger size though. The bigger enclosure makes the Galaxy ’74 a joy to operate in a hands-on fashion just as you might manipulate a real Space Echo. The controls are comfortably spaced. The knobs have a lovely resistance that enables you to turn them simultaneously and easily with one hand, all with a great sense of precision. There’s also room for two multi-function footswitches, one of which can be held down to simulate the self-oscillating feedback effects that are a Space Echo specialty.
The controls themselves approximate the most vital RE-201 controls. They include echo rate, feedback, echo volume (mix), input volume, reverb dwell, and reverb mix. The bass and treble controls are accessed using the conveniently placed “alt” toggle, which also converts the input volume knob to a tape-age control, which adds virtual wow, flutter, and oxidation. The 12-position rotary switch that selects combinations of the three tape heads on a RE-201 is replaced here by a toggle that clicks through those permutations. The “reverb only” setting can be achieved by reducing the echo volume knob to zero.
Deep Space and Grease Pits
Take this with a grain of salt because I’ve been on a minimalist streak. But it occurred to me while testing the Galaxy that you could quite assuredly go into a session or gig with this pedal alone and create whole worlds of sound. Take the input volume control: While you won’t be able to achieve the same range of drive you’d get from a dedicated overdrive pedal, the input volume adds cool, dirty tape saturation colors that are a smoky, hazy alternative to the same old pedal or amp overdrive. It also lends attitude to greasy slapback tones and a little extra blur and glue to subtle doubling effects—all of which serve as a reminder that the Galaxy is useful for much more than lunatic space-bending effects.
Ah, but how glorious those lunatic space-bending effects are here. The echoes are resonant with beautiful overtones that bloom beautifully at the verge of feedback or situated in the background, subtly adding space and breath to a melodic chord phrase. The sensitivity in the Galaxy’s controls makes these overtones and the interactions between feedback, mix, input volume, and the reverb a thrill to manipulate. There are nearly infinite shades of echo coloration to explore. And the ergonomic way the knobs are laid out—just about everything can be manipulated simultaneously with the fingers of one hand—makes the process of shaping echo, reverb, and drive interactions feel almost painterly. Guitarists that dabble in the world of synths and keyboards are likely to treasure this facet of Galaxy’s functionality too.
As you’d expect from UA, a fixation with authenticity led to replication of RE-201’s quirkiest quirks. Among the coolest of these is the way the Galaxy ramps up or down and changes pitch as you change delay time. On the RE-201, the mechanical lag in this process lends the ramping effect a very unique, ghostly eeriness. (Producer Nigel Godrich is a master at utilizing this effect.) It’s a big part of a RE-201’s personality, and that idiosyncrasy is retained here and can be used to intoxicating ends.
The Verdict
The features described here detail the Galaxy ’74’s core features. But additional functionality, activating delay trails for instance, can be unlocked via the UAFX Control app. And the beauty of the Galaxy ’74 is that everything you need to achieve real Space Echo-grade liftoff is here in an intuitive, easy-to-manage, and easy-to-manipulate package that sounds spectacular.
Universal Audio Galaxy ’74 Tape Echo | First Look
Universal Audio Galaxy '74 Tape Echo & Reverb Pedal
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
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.
Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.