The Rivera Sustain Shaman is dynamic, highly tailorable, offers colors from subtle to strong, and has more than a few tricks up its sleeve.
Considering how profoundly a compressor can affect guitar tone—indeed a guitarist’s very approach to playing—it’s a wonder these devices so often fall into disuse. Then again, ask most guitarists to describe how a compressor works and you’re likely to get a litany of abstractions about squish, squeeze, and missing tone. On top of that, the benefit to your sound can be elusive. A fuzz? You can describe that sound with any number of song citations or signature tones. A compressor? Not so much.
Even when the effects of a compressor are clearly audible they can do more harm than good if you haven’t done your tinkering and homework. And the truth is that the best sounding compression you hear on record is probably courtesy of some legendary vintage rack module worth more than your entire freaking rig.
This convergence of forces says a lot about why the compressor is a pedalboard tool of untapped potential. It also explains much about why the Rivera Sustain Shaman, with its 2-channel compressor power, tone shaping tools, and Super Sustain function is so remarkable: It’s dynamic, highly tailorable, offers colors from subtle to strong, and has more than a few tricks up its sleeve.
Burly Build, Secret Sauce
Rivera’s Sustain Shaman is a sturdy stompbox
built with the realities of frequent gigging
in mind. The knobs are arranged in
recessed area to prevent accidental activation,
and the potentiometers have a taut resistance
that keeps you from shifting settings with an
errant boot. That latter aspect of the Sustain
Shaman’s design is especially important,
given the interactivity between the controls
and how critical small adjustments can be.
The heart of the Sustain Shaman is a 2-channel compressor, and each channel has its own familiar-enough controls for attack and sustain. The two channels also share an effect level control. Unlike a lot of compressors, however, the Sustain Shaman has tone and effect blend controls that work for both channels, and they’re some of the real keys to the Sustain Shaman working as effectively as it does in so many situations.
The real secret weapon on the Sustain Shaman is the Super Sustain switch. It’s activated with a small toggle, rather than a footswitch, and it works only for channel B. But with its ability to significantly change the voice, function, and nature of channel B when activated, this switch essentially places a second effect onboard.
About the only aspect of the Sustain Shaman’s design and construction that’s less than brilliant are the decals that label the knob functions. Granted, we’ll take this unit’s top-notch assembly, design, and parts quality over cosmetics, if the alternative significantly boosts manufacturing costs. The good news is that these labels are made of polycarbonate material, which can handle a beating better than screen printing, and they are also replaceable.
Sustain Supreme
While it’s a fairly complex stompbox, it’s
easy to get down to business with the
Sustain Shaman. Where a lot of budget
compressors will seem to add little more
than noise and blunted attack and high
end, it’s almost impossible to get a lousy
sound from the Sustain Shaman.
The attack and sustain controls for each channel are responsive and have a perceptible range. The attack control—this adjusts the speed at which the compressor turns down signals hotter than the threshold—is the subtlest. At slow speeds, pick attack and high end tones will sound blunted, but you can also get a cool backwards-tape-like suction, depending on how aggressively you set the sustain and effect levels. At lower effect levels, the range of the attack control becomes a lot less perceptible.
The sustain control has the most obvious influence on your tone and playing, and is more perceptible at lower effect levels. But with the effect level at a 50-percent split between dry and wet, it’s easy to hear how much range and tone-shaping power it has. Super-low sustain levels will actually have a major impact on gain, picking dynamics, and the range of your guitar’s volume control, though the lower ranges are useful for dialing up a sweet spot for percussive rhythm. Up around noon and 3 o’clock, the sustain starts making your guitar sing a little more, but keeps the best parts of your guitar’s voice intact and beautifully emphasizes high-mid harmonics.
These levels are particularly effective for use with fuzz and overdrive, provided you use the level knob with care—the Sustain Shaman isn’t entirely beyond inducing feedback. Cranking the sustain creates a delightfully sizzling layer of high and highmid harmonic content that adds a swirling, psychedelic wash to 12-string arpeggios and a lingering vocal bite to leads.
Ratings
Pros:
Impressively versatile and effective compression.
Built like a brick. Great tone-shaping control.
Cons:
A little on the expensive side.
Control labels are decals.
Tones:
Playability/Ease of Use:
Build:
Value:
Street:
$299
Rivera
rivera.com
The Sustain Shaman’s rabbit in the hat is the Super Sustain function, and it’s no wallflower of an enhancement. Cranking the sustain and turning on the Super Sustain toggle gives individual notes the droning, sonorous sustain of a church bell. This is a glorious effect for arpeggios on a Telecaster, the bridge pickup of an SG, or a Rickenbacker 12-string—guitars that cut, but become interstellar with a little sustain. Combine this effect with a long or backwards delay, and it’s as if you’re watching time itself melt and stretch.
Setting up the A and B channels with identically aggressive attack and sustain settings, and then engaging the Super Sustain function demonstrates the considerable boost in gain and high-midrange content you get with the Super Sustain control on. This is killer at quiet club levels, but something to be mindful of at loud performance levels. You’ll also notice a slight volume swell when you really hold onto a note, and this is most obvious in spare arrangements.
The Verdict
The Sustain Shaman is one of the most
thoroughly designed compressors you’ll see
outside a studio, and it’s not constrained to
a single voice, thanks to the two independent
channels. The Shaman is also noticeably
less noisy than typical stompbox units.
A lot of the Sustain Shaman’s versatility comes from the tone and effect blend controls— functions that can add another range of color to a given set of attack and sustain settings, and let you accommodate just about any guitar or musical context. The Super Sustain function, however, makes the Sustain Shaman a potent stage weapon and an impressive tool for altering how your guitar, amplifier, and fingers interact.
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.