Source Audio has been capturing the hearts and minds of effect-hungry low-enders. They’ve delivered wobble-bass and synth-like tones to devotees of dubstep and other EDM styles. And now they’ve taken things to the next phase (pardon the pun) with the Soundblox 2 Manta Bass Filter.
Ray of Hope
The Manta is a powerful multi-effector with a varied and impressive palette. Real estate is precious on any pedalboard, so I was happy to see that the Manta is only about half the size of previous Soundblox pedals. The aluminum enclosure is sturdy, and purple is the perfect color for this funkified animal.
The pedal lets you shape tones with straightforward parameters, providing a dynamic collection of useful sounds. The layout is fairly easy to navigate, though it did take time for me to figure everything out—this is not your typical two-knob filter pedal! The Manta features 12 filter effects and eight distortions. Once you select an effect, you can specify its envelope, speed, and depth. The option-select button provides additional control, including resonance, effect mix, and drive type.
The Manta supports MIDI control via both standard controllers and Source Audio’s Hot Hand controller (not included). Sound a bit daunting? It can be. But when you have so much textural control, it’s no surprise that it takes some time to get up to speed.
Ratings
Pros:
Wild yet useful tones. Inspiring effect combinations.
Cons:
Only two presets available without external MIDI hardware. Some settings can be a bit harsh sounding.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$169
Source Audio Soundblox 2 Manta Bass Filter
sourceaudio.net
Make Your Mantra
The central control knob is the starting point. Here you can dial in a number of effects, organized by filter type. The pedal’s extended mode provides additional options for a total of 24 filter variations. Especially interesting is the mod-source control, which can alter the attack and decay of the envelope follower or transform the LFO wave shape from a smooth sine to a jagged sawtooth. The modulation characteristics blend as you move between settings, so you can tailor in-between tones to taste.
With so many parameters, it can be difficult to change tones mid-song, and without an external controller, you can only access two presets via the pedal’s footswitches. But with the right MIDI controller, you can have random access to 128 presets.
Running through an Eden CXC210 combo amp, the pedal paired well with both active and passive basses. (My active 5-string Warwick Streamer was my favorite vehicle for delightfully nasty lower-register experimentation.) The phaser is great, and when I added a touch of dirty drive via the option select control, I realized that the Manta could replace at least two other pedals. I particularly loved the square-wave LFO setting with tap-tempo and an inspirational delayed/dirty/phaser effect that helped me discover different places to make noise with my fretboard.
The Manta is an endless source of quirky, left-of-center tones. That said, it isn’t exactly a “scroll till you find it” pedal. It helps to know what you’re looking for, and to invest the time needed to conquer the Manta’s learning curve.
The Verdict
You don’t have to be a virtuoso soloist or a dubstep master blaster to enjoy this pedal. If you need a dirty boost or alternatives to keyboard bass, you’ll find plenty of options here. I like the Manta’s modernistic approach, especially in a world where everyone else seems to pine for vintage effects. I suspect that many bassists will find creative uses for the Manta, especially given its modest street price.
Watch the Review Demo:
Phat Machine
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Galloup’s Plek tech Adam Winarski preps a Yamaha acoustic for the machine.
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.