
Four new Universal Audio effects distill greatest hits from larger UAFX devices, emulating the 1176 compressor, EMT 140 plate reverb, Lexicon 224 digital reverb, and Maestro Echoplex EP-3 at more accessible prices.
Authentic smooth-to-nasty drive tones. Adds beautiful body and sustain in clean settings. Intuitive controls.
Highest gain tones exhibit some sizzle.
$199
UAFX 1176
uaudio.com
Itās been just a few years since Universal Audio unleashed the first UAFX effects. These ARM-processor-driven stompboxes borrowed algorithms from powerful plugins designed for Universal Audioās Apollo interfaces. The authenticity and functionality of the UAFX pedals is impressive. But as potent and brimming with tone-shaping options as they are, they are also a significant investmentāclocking in at just under $400 for a single pedal.
Enter the 1176, Evermore, Heavenly, and Orion. These more compact and specialized UAFX stomps are based on the same algorithms that drive effects in their bigger cousins. But by using roughly half the processing power and focusing on emulation of a single effect, UA achieved more digestible prices ranging from $199 to $219. The 1776, Evermore, Heavenly, and Orion model the Universal Audio 1176 compressor, Lexicon 224 digital delay, EMT-140 plate reverb, and Maestro Echoplex EP-3, respectively. Practicality dictates that most of those effects will rarely see use outside of studio environments. So, it can be thrilling to experiment with these emulations in a guitar effects chain. They are captivating pedals capable of deep, rich, authentic sounds, and, in many cases, delightfully unexpected results.
1176 Compressor
The simple, elegant, and timeless 1176 FET compressor is a pillar of Universal Audioās success, past and present. In the studio, many engineers tend to use a few go-to 1176 settings that they tweak slightly depending on the context. But the 1176 is also an awesome blank slate for more creative use and abuse. That capacity is showcased especially well in the 1176 pedal.
Though the 1176 pedal includes a few bonus concessions to modern guitarists, like the useful parallel wet/dry mix switch, the control set effectively replicates the features on the hardware version. There are knobs for input and output level, attack and release controls, and a fifth knob that replicates the originalās push-button ratio presets, including the much-loved all-buttons-in setting. The last of these can be used to generate overdriven textures that often sound and feel different from amplifier or stompbox distortion, and the 1176ās knack for this kind of sweet-to-confrontational overdrive is among the reasons it works so well as a guitar effect. This design strength is highlighted by way of the pedalās 3-way toggle switch. It moves between emulation of a single 1176, or two settings that emulate two 1176s in series. The dual mode models the 1176-in-series technique used by Jimmy Page and engineer Andy Johnsāmost famously on Led Zeppelin IV. The sustain mode, meanwhile, emulates the double-1176 method practiced by Little Featās Lowell George.
āThe 1176ās knack for sweet-to-confrontational overdrive is among the reasons it works so well as a guitar effect.ā
Of the two, the dual mode is the most aggressive, effectively turning the input level control into a gain factory that spans thick overdrive and fuzzy direct-to-desk tones. Itās an awesome alternative to fuzz pedals because it sounds so nasty at civilized output gain levels, lending flexibility in stage and studio settings. But itās also a beautiful thickening agent at lower input gain levels, adding grit and body while retaining dynamic response. The sustain mode is even lovelier in these low-gain signal-thickening applications. It doesnāt have nearly as much fuzzy gain to give, but the overdrive is complex and lends a fluid cohesiveness to lead lines.
The 1176 also excels in the more conventional single mode, adding body, sparkle, and volume without obscuring a guitarās essence. It works wonders with thin single-coils. In fact, I would venture that the 1176 does the job of a clean boost better than any clean boost ever could. That said, the single mode still delivers yummy overdrive tones when you switch to all-buttons-in mode and lean on the input gain.
If you suffer from lifeless amp tones at low stage volumes, the 1176 could be indispensable. Some players will balk at using a digital gain source in front of an amplifier. But open-minded players will be surprised at just how organic this pedal sounds. Just like the hardware version, the 1176 pedal is capable of minor acts of magic.Evermore Reverb
The Lexicon 224 had a profound effect on music in the 1980s. For many of us, its tones are burrowed in our subconscious. As much a mood as a tonality, the 224ās odd combination of icy, diffuse overtones and enveloping space was instrumental in shaping the atmospheres around Vangelisā soundtrack for Blade Runner. And in the hands of production visionaries Brian Eno and Daniel Lanois, who helmed U2ās The Unforgettable Fire, it could sound both unsettling and deeply peaceful. The Lexiconās ability to span so much emotional range and sound so alive is a feat, and the Evermore captures these elusive qualities masterfully.
Chances are good that if youāre curious about the Evermore, itās because of the 224ās reputation as a primo ambiance machine. But the Evermore sounds great in down-to-Earth applications. Trebly room settings, for example, convincingly approximate spring reverb and bathroom-tile slapback. The small hall setting, too, is capable of modest-but-rich reverbs that sit nicely with distortion effects and add thickness and lively overtones to clean sounds.
āThe Evermore sounds great in down-to-Earth applications.ā
The Evermoreās most compelling effects, however, come via the pedalās large hall setting. And itās here that you grasp the vast potential of the pedalās frequency-specific decay time controls. At a glance, you could mistake the bass, mid, and treble knobs on the Evermore for a simple EQ section. In reality, each of these controls governs the decay time for a given frequency range. This capability is a powerful and brilliant facet of the 224s design, and it shines in the Evermore, enabling painterly approaches to soundscaping that shake up preconceptions and stretch your imagination. One could spend days exploring the intricate ways the decay time controls interact with each other and with different instruments. But the way long bass and midrange decay times at high mix levels can generate haunting resonances, feedback, and airy, grainy harmonics within massive spaces is super-compelling, and hearty food for the ear and mindās eye.
Heavenly Reverb
One of the great privileges of my musical life is having had the chance to record with an EMT 140 plate reverb and bathe in its transformative ambience. Capable of ranging from metallic and clanging to soft and ethereal, the wall-sized EMT 140 plate is unlike any other reverb. And though my favorite applications for the EMT 140 are recording vocals, piano, and acoustic guitar, there is no denying the wonders it works with electric guitar. The Heavenly, which has the good fortune to be derived from one of the finest Apollo plugins, makes it easy to experiment with marriages of electric guitar and EMT textures.
Of the four pedals reviewed here, the Heavenly is arguably the most straightforward, and just about anyone that has worked with a stompbox reverb before will be at ease after a quick peek at the instruction card. Ease of operation does not mean, however, that the Heavenly is less capable of complex reverb colors or interesting interrelationships between the controls. Heavenly features three basic reverb voices, selectable from the 3-position toggle. Position A is a vintage bright mode, B is a vintage dark voice, and C is the modern full position. The three voices can be further shaped by the simple EQ control. The pre-delay control, which governs the time that lapses before the onset of the reverb effect, opens up some of the most intriguing possibilities. Setting the reverb for a long decay, the mix just on the dry side of noon, and the pre-delay for a long lag creates a mysterious blend of strong fundamental note and a hazy reverb tail that hits with the percussive impact of a short delay. It sounds fantastic on spare, fingerpicked parts, arpeggios, and sharp staccato chords. While less conventional uses of EMT-style textures are intriguing, most players will probably be content to wade in the wash of traditional plate tones. Heavenly sounds beautiful in these environs. And even modest mix levels reveal a pretty, blooming decay that can sound both subdued and outside the familiar realm of less authentic plate-inspired reverbs.
āThe pre-delay control opens up some of the most intriguing possibilities.ā
The Heavenlyās EMT 140 simulation sometimes seems like an odd match for a guitar pedal, and not just because youāve never seen anyone stick an 8-foot-long EMT 140 on a pedalboard. Perhaps because they sound as accurate as they do, there is a sort of post-production quality to the tones that can sound a bit out of place coming from an amplifier. And the chorus-y modulation, though lovely in some settings, can sound grafted on at times. For players unconditioned to hearing the sound of an EMT 140 blasting through studio monitors in the thick of a mix, however, the potential in these big, luxurious textures will feel considerable.
Orion Tape Echo
If I could only take one effect with me to space, or on some forced exile, it would almost certainly be my Maestro Echoplex EP-3. Like most of the great tape echoes, it is, by virtue of its quirky controls, an instrument all by itself. But above all things, the EP-3 is just plain fun. From the tape head slider to the smartly arranged echo level and sustain controls that facilitate oscillation effects, it is a box of pure musical joy. And just like any analog effect with such bountiful quirks and electro-mechanical idiosyncrasies, it can be a bear to reproduce in the digital stompbox realm. The Orion, however, does a more than admirable job of emulating the beautiful bits and the oddities that make up the EP-3ās weird and wonderful personality.
Four of Orionās knobsādelay, mix, feedback, and control levelāreplicate those on an EP-3. Three additional controls help further shape the Orionās performance envelope in subtle and more overt ways. The wonk knob controls virtual wow and flutter, and its intensity is regulated in large part by the tape age toggle, which selects from emulations of a very old, weathered tape, a less worn but well-used tape, and a fresh tape cartridge that Universal Audio designer James Santiago used for the first time to create the new tape setting. Additionally, a preamp switch on the pedalās crown enables you to select whether the onboard preamp emulation remains on when the pedal is on in bypass mode or removed from the dry signal entirely. When it is on, it adds a mildly colorful boost that fattens the pedalās output and blurs the space between repeats ever so slightly.
āThe Orionās mellowing haze between repeats sounds very authentic.ā
The Orion comes pretty close to sounding like a real EP-3. Itās quieter, less dirty at high record levels, and the wow and flutter are less irregular. But the Orionās mellowing haze between repeats sounds very authentic. It is also very discernibly not a bucket brigade or digital delay. The pedal sounds exceedingly pretty at high mix and feedback levels, especially when you use a light, feathered touch on chords or volume swells (which sound wonderfully spooky). Working the mix, feedback, and delay time controls at the threshold of oscillation is also a delight, made even more satisfying for the just-right resistance in the knobs. These out-there effects also yield some of the Orionās more buried treats, like the simulated tape splice and a slight lag that you hear as you work the delay time control. At $219, the Orion has few peers, and most, save for Catalinbreadās Belle Epoch, are significantly more expensive. All told, itās a relatively affordable path to approximating one of the most beloved and distinctive effects of all time.
- Universal Audio UAFX Golden Reverberator Review āŗ
- First Look: Universal Audio 1176 Compressor, Orion Tape Echo, Heavenly Plate Reverb, & Evermore Studio Reverb āŗ
- Universal Audio Starlight Echo Station Review āŗ
- Universal Audio Announces UAFX Enigmatic '82 Overdrive - Premier Guitar āŗ
- UAFX Enigmatic ā82 Overdrive Special Guitar Pedal Review - Premier Guitar āŗ
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 theyāre 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 āBand Practice,ā āStudio Mic Setup,ā or āQuick Jam,ā making it effortless to jump back in with the perfect sound.
āThese tools are all about saving time and hassle,ā said Patrick Finn, Business Manager at Lutefish. āMusicians want to make music, not spend time rebalancing levels every session. With presets and recall, weāre giving them time back and helping them sound their best, every time.ā
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 deviceāso they will always know whoās 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.
Lutefishās mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriersāwhether youāre jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you donāt 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 āTrembling Level,ā 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.
PGās Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the bandās show at Nashvilleās Brooklyn Bowl for this new Rig Rundown.
Brought to you by DāAddario.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 Hetās Hardwired strings, .011ā.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 thatās been rebadged in honor of its nickname, āDonkey,ā while the Archon, which is like a ārefined 5150,ā runs through an Orange 4x12.
Ryan Primackās Pedalboard
Primackās 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.
Taverās Teles
Vadim Taverās go-to is this cherryburst FenderĀ Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primackās 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 DāAddario 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 Taverās Pedalboard
Taverās 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
Harmonās favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which heās outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ā70s 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 Harmonās Pedalboard
Harmonās 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.
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 Kieselās new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼ā input, XLR and ¼ā outputs, gain and volume controls and extensive equalization. Itās 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 donāt let that hold you back if youāre 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 ¼ā 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 ā important for the instrument most responsible for the bandās 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).