
Phase and envelope filter swirl as their own flavors and in many shades of a fascinating, functional whole.
Many cohesive mashups of modulation and filter. Forgiving envelope filter. Cool, compact size. Easy to operate.
Phase voice may be too flat for some.
$199
Way Huge Attack Vector
jimdunlop.com
No Marriage of the Meek
I’d love to know what kind of records are on the turntable at the home of Way Huge designer Jeorge Tripps. I might even like to know what he’s eating for breakfast, because, between the recent excellent Atreides Weirding Module and the Attack Vector, he seems extra focused on the interrelationship between envelope and phase. Yet, the way those two effects are used on the two pedals yields very different results, and we should not assume that the phase and filter effects on the Atreides, which also offers fantastic, hair-singeing fuzz, can be used interchangeably. In fact, the two devices behave and create sound in wildly different ways. Given the range in color of the phase and envelope effects that reveals itself, it’s easy to hear how Tripps became intrigued with such possibilities.
“Of the two effects, the Phaser strays most clearly from familiar analog templates.”
Depending on your perspective and tasks at hand, you can argue the Attack Vector is a much more practical and flexible application of the two effects. On the Atreides, the strong personality of the fuzz and EQ effects (and the inability to remove them entirely) makes more familiar applications of phaser and filter harder to achieve. The Attack Vector, however, will willingly play the part of circa-’77 Jerry Garcia or a trippy Phase 90 in ways the Atreides cannot.
Of the two effects, the Attack Vector phaser strays most clearly from familiar analog templates. It’s not as classically chewy as a Small Stone, an Ibanez PT9, or an MXR Phase 90, which is, of course, a cousin within the Jim Dunlop family. There’s a possible reason for this: The Attack Vector’s envelope filter can generate intense peaks, and pairing those spikes with a phaser that modulates with its own intense resonant peaks can create ugly volume irregularities and odd, hiccup-y, phase cancellations, which happened when I mated the Attack Vector filter to a particularly resonant vintage Phase 90 clone. The Attack Vector’s phase cycle seems competitively flatter and a little less elastic. In isolation, this quality can be very practical. For instance, you can tailor more phase textures that leave more room for picking dynamics or especially abrasive fuzz. Some players might miss the extra rubbery qualities of more classic phasers. Others with less dogmatic views of what proper phaser vintage tone is could find a lot of utility in its voice. The modulation frequency, by the way, ranges to hyper-fluttery extremes, which can work to bizarre ends with the filter in the mix.
The Quack in the Room
In pure envelope-filter mode, the Attack Vector is forgiving, agreeable, and easy to work with—even if the effect is an unfamiliar language. I particularly love it with single-coils, where it can sound extra snappy and nasty with a range setting that favors higher-mid peaks and a full-clockwise sensitivity setting. But its also very happy with the rounder edges from PAF-style humbuckers.
In tandem, the filter and phaser potentially yield much weirder fare. And if you’re the kind of player that bores fast with well-worn tone templates, there’s a lot of ways to get in trouble here. Using those same clockwise sensitivity and high-mid resonance settings on the filter with full-clockwise peak settings and a slow-to-medium rate from the phaser creates mutant electric sitar sounds that could underpin a memorable solo or work to double a less interesting one. Slowing the phase rate, backing off the phase resonance, and pairing with smoother, more vocal filter settings creates a composite that showcases the most classic version of each effect in a beautifully dovetailed whole.
The Verdict
Individually, the envelope filter and phaser on the Attack Vector are cool. And I could see many players picking the unit up primarily for the easy-to-use envelope filter. It’s a bummer that you have to reach down to toggle between the three modes, because I could imagine many applications where switching between effect combinations would add effective and distinctive drama to song sections and solos. But maybe that’s a small price to pay for more compact dimensions on what, for many, will still be a niche effect. That said, the beauty of the Attack Vector is that it probably won’t seem niche-y to the open-minded. There are many conventional phase and filter tones that make this pedal practical and full of possibilities—and a ton more that are guaranteed to make a very profound impression.
Way Huge Attack Vector Phaser & Envelope Filter Demo | First Look
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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.
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.
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).