The Stutterbox pays tribute to the buttery sounds of vintage Tremolos while including a few modern features that will help guitarists personalize and refine their own swinging tremolo sounds.
Clip recorded into a 1969 Fender Super Bassman and an Avatar 2x12 loaded with Celestion V30s.
Tremolo is a simple effect in theory—it’s just repetitive amplitude modulation, or in layman’s terms, turning the volume up and down. Making a tremolo effect beautiful sounding is another thing entirely, however.
Tremolo is a feature that has been included in guitar amps built as early as the 1940s. However, Fender may have done more to popularize the effect than any other manufacturer with the introduction Fender’s Tremolux which debuted in 1955, which established one of the real standards for smooth sounding Tremolo. The effect quickly caught on with guitarists and, to this day, the sound of the effect elicits images of flashy cars and slow dances. In that spirit, SolidGoldFX has developed the Stutterbox to pay tribute to the buttery sounds of vintage Tremolos while including a few modern features that will help guitarists personalize and refine their own swinging tremolo sounds.
Two Speeds Are Better Than One
Much like its 1950s predecessors, the Stutterbox is an optical tremolo meaning that it uses a sealed, pulsing light and a photocell as the source of its undulating effect. But while the Stutterbox may emulate a vintage effect, outwardly it’s far from retro. Controls include two footswitches, Speed and Bypass, a two-position toggle switch, Wave, and five control knobs: Speed1, Speed2, Depth, Tone and Gain. The unit is powered by a 9V battery or a 9V DC adapter, and features true bypass switching which is indicated by an intense white LED. There are also LEDs to indicate the status of the pedal as well as the speed of the tremolo.
One of the sweetest features that sets the Stutterbox apart from other tremolo effects is the inclusion of dual-speed controls. This feature uses two control knobs to set Speed1 and Speed2. On the left side of the pedal, the Speed footswitch toggles between the two speeds. With a single stomp it is possible to switch from a slow modulation to a fast modulation, and back again. The exact speed of the throbbing is communicated to two super-bright LEDs, one green and one blue, providing visual feedback to the changing tremolo speed.
The Wave toggle switch is another very cool feature that allows you to select between a gradual tremolo swell and sharper, choppier wave. The harder setting is certainly angular, though nowhere near as drastic as say a digital square wave tremolo. The softer setting is more like the smoother triangle wave tremolos of the 1950s.
The Depth control is super effective for tailoring just the right effect intensity. At the minimum of the Depth control, the tremolo effect is imperceptible. At its maximum, the tremolo swings between full loudness and complete silence. You can really make it as subtle or as drastic as you’d like.
Focus on Tone
Because the tremolo effect is essentially a volume knob that is turning your signal down, tremolo pedals sometimes suffer from a perceived loss of volume and tone. To compensate, SolidGoldFX includes a Tone knob and a Gain knob in the Stutterbox to help you use the effect without sacrificing tone fidelity. The Gain control could fairly be described as a clean boost, though at more aggressive settings there is a perceptible internal overdrive in the Gain control, which introduces perceptible compression and a hint of distortion. With the Gain control at about 8 o’clock, though my signal was essentially clean.
The Stutterbox’s Tone control, meanwhile will alternatively boost the high-mid bite of your signal or completely darken your overall Tone. This cool control makes it possible to more extensively color your effected signal, though it can be quite transparent too. At about 11 o’clock on the Tone control my tone sounded virtually identical to my bypassed tone.
Out For A Spin
With a Stratocaster out front, the essential brightness of the single coils came through loud and clear on a basic tremolo setting. Backing off the Tone control darkened the signal up quite a bit and created for a more subdued, moody vibe. Adding a bit of gain produced an increase in overall volume as well as a bit of overdrive within the pedal. Together, the darker tone and increased gain could give you the feel of an older amplifier tremolo circuit without the loss in volume.
Moving to a faster tremolo speed with a stomp of the second Speed switch illustrated the worth of the Gain and Tone control. Any increase in modulation can result in a drop in volume, and rolling up the Tone control made the bump in gain seem even more pronounced. Flipping to the hard Wave at the same Speed, Gain, and Tone settings produced a choppier, helicopter-like effect that was quite unlike anything you’d find on a vintage, tremolo-equipped amp.
The Verdict
Whether you’re shooting for a classic tremolo effect or something much less traditional, the Stutterbox can get the job done with style. The inclusion of switchable, dual-speed modulation makes the pedal capable of fast, radical switches that tremolo-equipped amps and most standard pedals aren’t capable of. And the ability to boost a signal and add a bit of high-mid content here and there will placate any tone obsessive convinced their tremolo is sucking signal. If you’re looking to add a tremolo effect to your pedalboard, the SolidGoldFX Stutterbox isn’t likely to disappoint—no matter how much you make tremolo a part of your sound.
Buy if...
you’re looking for a tremolo pedal that can go beyond the basics and into more contemporary realms and you’re convinced your old tremolo is sucking tone and signal.
Skip if...
the tremolo on my old Fender Twin works just fine thank you….
Rating...
Street $225 - SolidGoldFX - solidgoldfx.com |
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.