Strymon Brigadier Delay, Orbit Flanger, Blue Sky Reverberator, and Ola Chorus & Vibrato Pedal Reviews
Four new pedals from Strymon combine old and new technology to recreate vintage-style sounds without the pitfalls.
Most of us can remember the first piece of
gear that made a lasting impressionāwhether
it was an old Strat in a pawnshop or a
classic Marshall calling from across the room.
For me, it was an old Ibanez AD9 Analog
Delayāits warm sound and funky look drew
me in immediately. But it was a temperamental
beast, and thatās an understatement.
The delay time was way too short because
of its older ābucket brigadeā chips, which
were also used in the other analog delays of
the period, like the Boss DM-2 and Electro-
Harmonix Memory Man. The bucket brigade
term came about because of how the echoed
signal was produced. The signal was passed
from one capacitor to another like buckets
being passed man to man in early firefighting
brigades. Even though these chips
sounded great, the delay time was usually
very short because, as the signal was passed
from one capacitor to another, clarity was
lost. Adding more capacitors would have alleviated
this issue, but at the cost of fidelity.
Strymon seeks to correct these headaches
with a combination of modern and old-school
technologies. Their aim was to design a
digital chip that recreates the entire analog
bucket-brigade chipātonal nuances and
allāand that drastically increases delay time.
Strymon calls the technology dBucket, and
theyāre using it in three of their five pedals in
an attempt to combine the best of the analog
and digital worlds. Here weāll take a look
at all three dBucket pedalsāthe Brigadier
Delay, the Orbit Flanger, and the Ola Chorus
& Vibratoāas well as the gorgeous-sounding
Blue Sky Reverberator. Each features an
attractive, anodized-aluminum case, front
panel jacks, and a 9-volt DC adapter socket.
Brigadier dBucket Delay
Download Example 1 Long Delay, No Bucket Loss, Min Mod | |
Download Example 2 Short Delay, 3/4 Bucket Loss, Max Mod | |
Clips recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon 35 combo. |
To test the Brigadier, I used a Nick Huber Orca singlecut and a Vox AC30 reissue with the reverb switched off. With all knobs at noon, Mode set to medium, and Tap set to quarter notes, the Brigadier immediately showed what it was capable of, tonally. The pedalās delay tone isnāt a dead-on representation of an old analog delay, but it has strengths beyond its analog ancestors. One of the biggest frustrations of older analog delays is how dull they can sound in a mix. The Brigadier has that cool, lo-fi vibe, but with a much stronger, healthier projection in its repeats. Even with the Bucket Loss control cranked to maximum, the delay tone was much more vibrant than most vintage and vintage-reissue analog delays Iāve come across. In their quest to craft a delay that captures prized analog tones while remedying their faults, Strymon seems to have come across a distinctive new sound. And the more I dug into the strings to push the envelope of clean fidelity, the more I was convinced that was the case. There are lots of analog delay modelers on the market, but most of them donāt provide the feel of playing a true analog delay. The Brigadier nails it. youāre in the market for a fantastic digital delay with a unique analog voice.
Buy if...
youāre in the market for a fantastic digital delay with a unique analog voice.
Skip if...
youāre after a softer analog delay tone with a mushier voicing.
Rating...
Direct $299 - Strymon - strymon.net |
Orbit dBucket Flanger
Download Example 1 Half Regen, 3/4 Manual, Pos Feedback, Lin LFO | |
Download Example 2 Hi Regen, Max Manual, Neg Feedback, Log LFO | |
Clips recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon 35 combo. |
But the three-position LFO switch is the Orbitās coolest control. It selects between a logarithmic sweep (even frequencies), a linear sweep (which speeds up through the high bands and slows down through the lower ones), and Thru 0, which phases in and out of high and lower fidelities. Fittingly, you can save your favorite setting by holding down the Favorite footswitch, and you recall it by simply stomping on the switch again. You can also use the Favorite switch to assign the expression pedal. Hold it down while plugging in the pedal, and the first knob you turn is the one the expression pedal will govern. That means any control can be assigned to the expression pedal, which opens up the possibilities for morphing from subdued to wild even further.
For my tone testing, I warmed up the Vox AC30 reissue once more and pulled out a Fender Road Worn Telecaster. With the knobs at noon, Feedback set to positive, and LFO set to logarithmic, I achieved a fairly convincing early-ā80s flange tone. The Speed and Regen controls are highly sensitive, yet what really opens up the potential is the combination of the Width, Feedback, and LFO controls. Using the switches in tandem with moderate changes in Width can dramatically change the response, tone, and feel. I like my flange to have a lot of air and movement, but not be too overbearing. The negative position on the Feedback switch adds a lot of quack, which is perfect for funk styles, but I was able to quickly cut it out by flipping to the smoother sweep located in the positive position. For a wider tone, I liked setting LFO to the logarithmic position. When LFO is set to linear, the Orbit lends itself to more aggressive flanging tones, a la Smashing Pumpkins and early ā90s grunge. For players who like heavy distortion and a subtle flange sound (think My Bloody Valentineās Kevin Shields, who is a master of using flangers and phasers to belch out a seasick wave of sound) the Thru 0 position is perfect.
Buy if...
you need an all-in-one device to satisfy your flanging jones.
Skip if...
you need something simple or your flanging needs are negligible.
Rating...
Direct $299 - Strymon - strymon.net |
Ola dBucket Chorus & Vibrato
Download Example 1 Half Tone, 3/4 Depth, Chorus Type, Normal Mode, Half Speed | |
Download Example 2 Half Tone, Half Depth, Max Mix, Vibrato Type, Norm Mode, Half Speed | |
Clips recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon 35 combo. |
In addition to the chorus mode, two more modulation types can be selected with the Type switch: Multi is a three-phase multi-delay chorus (as opposed to the standard single delay) that avoids the warble associated with older analog chorus pedals, and the last is for vibrato. The Mode control is unique in that its effect varies depending on your playing style. In the envelope position, the circuit reacts to your pick attack. The lower you set the Ramp|Env knob, the harder you have to pick to hear the effect (kind of like how a noise gateās Threshold knob works). In the ramp position, the effect is only activated when you hold down the footswitch. Imagine playing a solo or a single-note riff and throwing in a little fast vibrato for only one or two notes. Itās a useful feature that inspired some pretty creative moments when I was playing around with it. Modeās ramp and env modes can be tailored with the Ramp|Env knob. With Mode set to ramp, the speed of the effect increases the further clockwise you turn Ramp|Env. With Mode set to env, the envelope opens with less pick attack the more you crank Ramp|Env. Because the pedal is so versatile, the Favorite footswitch is included here, too, so you can save your go-to setting.
Buy if...
you need a feature-laden chorus and vibrato pedal with classic tones.
Skip if...
you want the added versatility of having separate chorus and vibrato pedals
Rating...
Direct $299 - Strymon - strymon.net |
The Blue Sky Reverberator
Download Example 1 3/4 Low Damp, 3/4 High Damp, Norm Mode, Plate Type | |
Download Example 2 No Low Damp, Half High Damp, Shimmer Mode, Room Type | |
Clips recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon 35 combo. |
Using a Nick Huber Orca into a Quidley 22 head and Quidley 2x12, I gave the spring reverb sound a run with Mode set to normal, Pre-Delay at minimum (so I could hear the reverb immediately after striking the strings), and all other knobs set at noon. I was pleased to hear that there were no latency issues, and even more pleased to hear how great the spring algorithm sounded. More importantly, I was astounded at how accurately the Reverberator interpreted my pick attack. Picking softly summoned a softer, subtler reverb than when I picked harder. The squeaking and squealing noises that a good spring reverb gives off when you dig in were also there, and they had a very authentic feel. I could hear the emulated springs shake and quiver louder and more violently the harder I picked, especially when palm muting.
After flipping to the room type, I turned Pre-Delay to 10 oāclock and dumped some of the low end using the Low Damp knob. This was especially useful when the Orcaās humbuckers pumped out some overbearing bass frequencies. What was really impressive about the room setting was its range. Using the Low Damp and High Damp controls in conjunction with the Decay and Pre-Delay knobs made it easy as pie to design a convincing emulated room, whether it was a carpeted basement or a concert hall.
The plate type is the darkest-sounding of the three, and itās perfect for Ennio Morricone-style single-note riffs. When you use plate with the mod Mode setting, you get a much eerier mood. It would have been nice I could have altered the modulation, though. There are no controls for modulation speed or depth, so youāre pretty much stuck with one voicing. Itās a great, usable sound, but I would have liked to be able to slow the rate down a little.
Shimmer mode, on the other hand, leaves nothing to be desired. The upper octave crept in ever so slightly when I was playing either chords or single notes, and using it with the spring setting yielded my favorite sounds of all. Playing with the Mix and High Damp controls maxed out was ghostly soundscape heavenājust the thing for guitarists from the Robert Fripp school. The effect is almost like a volume swell. When used with the room reverb, itās very reminiscent of the long-discontinued (but very coveted) Boss PS-3 Pitch Shifter in mode 7. In fact, I like the Blue Skyās shimmer mode even because you can dial in just the right amount of highs and lows.
Buy if...
youāre looking for an extraordinary, compact reverb.
Skip if...
your reverb needs are simple or your ampās built-in reverb gets the job done.
Rating...
Direct $299 - Strymon - strymon.net |
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIRā¢, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex
PG contributor Tom Butwin dives into five clever, gig-ready tuner optionsāsome youāve seen, and at least one you havenāt. From strobe accuracy to metronome mashups and strap-mounted stealth, these tools might just make tuning fun again.
Korg Pitchstrap Guitar and Bass Strap Tuner - Black
KORG Pitchstrap is the worldās first strap-mounted tuner and features a state-of-the-art technology that allows the tuner to detect the pitch of the guitar or bass from the strapās vibrations.
Peterson StroboStomp Mini Pedal Tuner
The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format.
Peterson StroboClip HDC High-definition Rechargeable Clip-on Strobe Tuner
The StroboClip HDC features a high-definition, color backlight display, rechargeable battery and over 65 Sweetened Tunings. With tuning accuracy of 0.1 cents, the StroboClip HDC is the ultimate clip-on tuner.
Cherub Pix Tune (WST-915Li)
The latest Cherub Pix Tune (WST-915Li) offers 16 vibrant display modes, allowing users to customize their tuning experience to match their own styles. There are 5 meter styles, 3 animal cartoon styles, 2 sports styles, and 6 user customizable styles. You can conveniently upload your boot-up animation and tuning display pictures through the accompanying APPs. With its engaging visuals, tuning has never been this enjoyable!
Taylor Beacon Digital Clip-on Tuner - Black
The Taylor Beacon combines a tuner, metronome, timer, and flashlight in one compact device, offering five tuning modes, 12 time signatures, and up to 100 minutes of practice timer.
The Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, weāre talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ā84 to their shared guitar journey and how they both thought about gear. And in case youāve heard otherwise, Kurt was never a Melvins roadie!
Osborneās latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborneās life. We dig into that and how it all relates and much more.
Adding to the companyās line of premium guitar strapsand accessories, Fairfield Guitar Co. has introduced a new deluxe leather strapdesigned in collaboration with Angela Petrilli.
Based in Los Angeles, Petrilli is well-known to guitar enthusiasts around the world for her online videos. She is one of the video hosts at Normanās Rare Guitars and has her own YouTube lesson series, the Riff Rundown. She also writes, records and performs with her original band, Angela Petrilli & The Players, and has worked with Gibson, Fender, Martin Guitars, Universal Audio, Guitar Center and Fishman Transducers.
Angela Petrilli's eye-grabbing signature strap is fully hand cut, four inches wide and lightly padded, so it evenly distributes the weight of the instrument on the shoulder and offers superb comfort during extended play. The front side features black "cracked" leather with turquoise triple stitching. The "cracked" treatment on the leather highlights the beautiful natural marks and grain pattern ā and it only gets better with age and use.The strapās back side is black suede for adhesion and added comfort, with the Fairfield Guitar Co. logo and Angela's name stamped in silver foil.
Features include:
- 100% made in the USA
- Hand cut 4ā wide leather strap with light padding -- offering extra comfort for longgigs and rehearsals.
- Black suede back side avoids slipping, maintains guitarās ideal playing position.
- Length is fully adjustable from 45ā - 54ā and the strap has two holes on thetailpiece for added versatility.
The Fairfield Guitar Co. Angela Petrilli signature strap is available for $150 online at fairfieldguitarco.com.