The Milanese monster of magnetic echo returns in DSP form.
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RatingsPros:Superb sounding pseudo magnetic- and tape-echo effects. Great sonic range. Quality build. Cons: Not easy to master, due to multi-function knobs and cryptic key combinations. Street: $399 Strymon Volante Magnetic Echo Machine strymon.net | Tones: Ease of Use: Build/Design: Value: |
Volante is Italian for āflying,ā as in disco volante, or flying saucer. The choice of language reveals the pedalās key influence: the Binson Echorec, a magnetic delay popularized by the Shadows and Pink Floyd. The first version was created in Milan in the 1950s. (āBinsonā was an anglicized version of creator Bonfiglio Biniās name.) In recent years, several stompboxes have attempted to reincarnate its sound digitally, but the Volante may be the most accurate replica yet.
Still, the pedal is more than an Echorec clone. Itās equally adept at mimicking latter-day tape units such as the Echoplex and Roland Space Echo, as well as relatively hi-fi studio tape delay. The Volante sounds especially rich and realistic because it replicates not only the delay portion of the sound, but also the coloration introduced by tubes and transistors in those antique circuits. In a sense, the Volante is part distortion pedal.
Drum Roll, Please
Note that the pedal is called a āmagnetic echo machine,ā not a ātape echo machine.ā Thatās because the best-known versions of the Echorec use magnetic drums as their recording medium. An array of recording and playback heads surrounds the drum, their relative distances determining the delay times. In a way, it was the first multi-tap delay. But part of the original machineās allure is the complex tube circuitry surrounding the echo element. It gives the device a warm, gooey character thatās difficult to mimic digitally.
Other digital peals inspired by the Echorec tend to be good at copying the rhythm and treble loss of the originalās delays, but they donāt aspire to reproduce the elusive ābaked-inā quality provided by the originalās lengthy analog signal path. The Volante does better. Its input level control excels at mimicking analog saturation and flat-out signal-fry. When you push the input level, delay and reverb tones get positively vicious. Two additional controls, mechanics and wear, simulate an inconsistent disc motor and the attenuated highs of ancient tape.
Other digital delay pedals simulate these effects with simple LFOs and low-pass filters. Stymonās controls are more nuanced and random-sounding. Thatās not to say the Volante sounds exactly like an Echorec, assuming you could even determine the āofficialā Echorec sound. (Originals, now 50 to 60 years old, vary in sound from unit to unit.) But the Volante goes further in capturing that loose, smeary warmth.
Tape, Too
The Volanteās ātypeā switch toggles between drum, tape, and studio modes. The latter adds subtle tape compression and warmth with less sonic mutilation. Tape mode splits the difference, with more coloration and distortion, but not as much as in drum mode. Between the five controls on the pedalās left-hand side (input level, wow, treble-loss, plus a low-cut control), you can specify the character and degree of analog ādamage.ā Thereās a lot of range hereāand we havenāt even discussed the delay section yet.
A central knob sets the principal delay time. You choreograph the four delay taps via two banks of four buttons. Touching a top-row button activates a delay tap. The bottom-row buttons specify whether each delay tap sounds only once, or feeds back according to the global repeat setting. You can set all delays to equal volume, or have each tap be half the volume of the one that precedes it. The ability to set feedback independently per tap permits complex rhythmic patterns you simply canāt get from most delay pedals.
Meanwhile, a āspacingā control specifies whether echoes are metrically precise, arrayed in triplet rhythms, or clumped together in more complex configurations. Thereās also a separate spring reverb simulationāand a damn good one. (Echorecs lack this option, but itās a cool feature on the Roland Space Echo.) Volante can do delay and reverb simultaneously, while providing a palette of complex multi-tap delays that seem to split the difference between the two effects.
All Mod Cons
The Volante is no slave to the past. Itās packed with modern updates. Itās true stereo. (I recorded the first demo clip in mono through an analog amp. The second clip is in stereo, heard through an amp modeler.) Thereās tap tempo and full MIDI implementation. You can toggle between forward and reverse playback.
The expression-in jack has many uses. You can connect an external tap-tempo switch (not included). Or you can plug in Strymonās Multi Switch Plus (not included or tested) to change presets or control the transport of the Volanteās single-track looper. Or connect a controller pedal (not included) to morph between any two sets of parameters. Morphing can create mind-altering effects of the āwhoa, did you ever look at your hand? I mean, really look at it?ā variety.
Pedal Smarts
You donāt have be a genius to edit sounds on the Volante, but it helps. There are 21 top-panel switches, pots, and buttons. Even so, many functions require two-handed control combinations, or powering up while pressing various buttons and switches. Example: Itās awesome that you can set the panning independently for all four taps. But youāll need to remember that you set panning by holding down one of the feedback buttons while turning the time knob. Simply switching presets (without the optional controller pedal) is a two-handed move. Deep editing requires much secret-handshake button pushing and rebooting while holding down various controls. Keep that PDF manual right on your computer desktopāyouāll need it.
The Verdict
This echo box has a personalityāone I adore. It does more than replicate the old Echorecās functions. Bitchinā distortion algorithms spawn all manner of greasy, unstable echoes. The spring reverb simulation is both deep and aggressive. Thereās a stiff learning curve, but I say itās worth it. Thereās just so much creative potential here. And if youāre accustomed to working with complex digital stompboxes with hidden parameters and multi-function knobs, donāt sweat the cautious āease of useā rating. The Volanteās sound quality is superb. Its tones are perfectly imperfect. This ambitious delay pedal soars like a ā¦ disco volante?
Watch the First Look:
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555ās semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555ās aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ā50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritageās tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3Ć3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ā50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
Stretching the boundaries of reverbās realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musiciansānot least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in itāan attitude thatās manifest in the companyās Auto Series pedals, which includes the Auto Reverb.
Thereās no reason you canāt use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirationsāand Iād be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverbās level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual piecesāand invites many themes and compositional ideas within those formsāit can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. Itās fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.