Gently undulating modulation and hard-choppin' tremolo come together in a harmonic trem with copious control options.
Lush, complex harmonic tremolo. Easy to shape extreme modulations into serviceable textures. Well-integrated gain control generates cool dirt tones and compression. Well built.
Controls can feel overly sensitive.
$259
JAM Pedals Harmonious Monk
jampedals.com
Harmonic tremolo deserves its own effect category—perhaps one without "tremolo" in the name at all. Harmonic tremolo (which modulates bass and treble frequencies separately before recombining them to very wobbly ends) and amplitude tremolo, (which attenuates volume at various rates) sound like siblings in many settings. At low effect levels, casual listeners might have trouble discerning a difference.
In more prominent settings, however, harmonic tremolo is audibly more fluid and full of breath. Because there is no volume attenuation, it colors and fills the spaces between modulation peaks while achieving many of the same animating sensations as tremolo. Its essentially less-choppy voice makes it well suited for complex chord voicings and slide. And it also enables you to color your tone with a light touch of phase—an effect that typically reads as pretty heavy handed.
JAM Pedals' Harmonious Monk delves deep into the possibilities of harmonic tremolo textures, with controls that enable extra-fine tuning of rate, intensity, effect mix, output volume, and even the EQ makeup of the modulation. But it's also equipped with a very fine amplitude tremolo mode, which means you don't have to commit to a single tremolo style—or two tremolo pedals. If you like really digging for unusual or specific tremolo textures, you'll love the Harmonious Monk's power to shape them.
Straight, Many Chasers
JAM designed the Harmonious Monk with input from Dan Steinhardt and Mick Taylor from YouTube's That Pedal Show. Given the collective enthusiasm for pedal minutiae among that crew, it's little wonder that the Monk is built for hyper-precise modulation shaping. The depth, speed, output level, and effects-mix controls each have extensive ranges, are pretty sensitive, and are interactive. When you're just getting to know the pedal—or just into an intuitive, fast-moving workflow—that range and sensitivity can make the controls feel vague and induce option fatigue, particularly when you add in the very cool speed-doubling and LFO intensity switches to the mix. But once you get the feel for a few favorite settings, the extra control can feel as satisfying as a fine-tipped paintbrush.
While the Monk's most classic sounds are luxurious enough to keep you rapt for hours, it can be instructive to explore backwards from its most extreme settings. And many of the sounds that make the Monk extra fun and unique are found there.
The extra control can feel as satisfying as a fine-tipped paintbrush.
Super-low modulation rates mated to the more intense LFO and heavy depth settings yield hypnotic phase variations that strike a perfect balance between presence and mystery at lower mix levels. You can further soften the pulse of these slow modulations by adding gain from the output level, which very seamlessly compresses the peakiest parts of the modulation wave and conjures some of the pedal's most cohesive and swirlingly heavy sounds.
Savory Swell​
The Monk's most vintage-hued and user-friendly sounds are generally situated with the depth and speed somewhere between 10 and 2 o'clock. These modulations most effectively realize harmonic tremolo's lovely capacity for bridging the heartbeat pulse of bias and optical tremolo and the doppler-ish swirl of a rotary speaker or phaser. They are silky, complex, and a joy to get lost in. But the mix, output level gain, and LFO intensity switch invite and enable many hip variations on these sounds. Here, too, the gain from the level control has a beautiful compressing effect that makes the modulation waves more elastic and cohesive.
The Monk's amplitude tremolo is beautiful as well. Nuances like finger vibrato and pitch bends shine more clearly through these modulations. And the hard pulses you can create with heavy mix and depth settings can generate thumping rhythm hooks if you have a steady strumming hand. There's also many familiar black-panel Fender-style tremolo textures on tap when a song calls for more straight-ahead and streamlined modulation.
Both tremolos, by the way, benefit enormously from the Monk's three internal trim pots, with which you can regulate treble, mid, and bass EQ settings. Heavy bass settings, in particular, can really change the feel of the modulation—yielding super-deep pulses than can be used creatively in song arrangement and mixing.
The Verdict
The Monk excels at the kind of subtle modulation that can near-subliminally animate and enliven simple and complex guitar phrases alike. But it can also create intense undulating textures that can completely re-cast a dull riff into a song-defining hook. The sensitive controls—and the extent to which they sometimes seem to overlap in function—can lead you down rabbit holes. Generally, though, the pedal's depth of control is an asset that makes the Harmonious Monk a potentially invaluable performance, studio, and songwriting tool.
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Revv Amplification's limited-edition G-Series V2 pedals offer three fresh flavors of boutique Canadian tone, with V2 circuit revisions.
Celebrating 10 years of Revv & 5 years since the release of the G2, Revv is debuting V2 circuit revisions of the G2, G3, & G4, implementing new designs for more tone in 3 little pedals, in a limited edition colorway.
The Revv Amplification 5th Anniversary G-Series V2 Lineup features:
- 3 Fresh Flavors of Boutique Canadian Tone - G-Series pedals are sonic recreations of 3 of Revv’s boutique amp channels used by Nashville session stars & metal touring artists alike.
- The Standard, Redefined - V2 circuit revisions are based on the Generator 120 MK3 Rev. B & incorporate new design elements for the most tube-like response & tone ever.
- Limited Edition - Exclusive new colorway featuring a black enclosure w/ custom graphics, embossed Revv badge, & color-coded knobs.
- Find Your Sound - The G2 is a powerful & versatile overdrive capable of everything from touch-sensitive boost to organic vintage stack tones, taken from Revv’s Green Channel.
- High Gain Clarity - The G3 utilizes Revv’s legendary Purple Channel, a tight & responsive high gain tone perfect for drop tuning & cutting through any mix.
- Fat Solo Tones - The G4 is based on Revv’s thick & saturated Red Channel, the ideal sound for chewy crunch, modern rock wall of sound, & liquid sustaining solos.
- Made in Canada - 100% analog circuit w/ top jacks, true bypass, & 2 year warranty.
Revv’s G-Series pedals have a street price of $229 & can be ordered immediately through many fine dealers worldwide.
For more information, please visit revvamplification.com.
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
G3 Purple Ch Preamp/Hi-Gain Pedal - AnniversaryGuest picker Carmen Vandenberg of Bones UK joins reader Samuel Cosmo Schiff and PG staff in divulging their favorite ways to learn music.
Question: What is your favorite method of teaching or learning how to play the guitar?
Guest Picker - Carmen Vandenberg, Bones UK
The cover of Soft, Bones UK’s new album, due in mid-September.
A: My favorite method these days (and to be honest, from when I started playing) is to put on my favorite blues records, listen with my eyes closed, and, at the end, see what my brain compartmentalizes and keeps stored away. Then, I try and play back what I heard and what my fingers or brain decided they liked!
Bone UK’s labelmade, Des Rocks.
Obsession: Right now, I am into anyone trying to create sounds that haven’t been made before—bands like Queens of the Stone Age, Jack White, and our labelmate, Des Rocs! There’s a Colombian band called Diamanté Electrico who I’ve been really into recently. Really anyone who’s trying to create innovative and inspiring sounds.
Reader of the Month - Sam C. Schiff.
Sam spent endless hours trying to learn the solo Leslie West played on “Long Red,” off of The Road Goes Ever On.
A: The best way to learn guitar is to listen to some good guitar playing! Put on a record, hear something tasty, and play on repeat until it comes out of your fingers. For me, it was Leslie West playing “Long Red” on the Mountain album, The Road Goes Ever On. I stayed up all night listening to that track until I could match Leslie’s phrasing. I still can’t, no one can, but I learned a lot!
Smith’s own low-wattage amp build.
Obsession: My latest musical obsession is low-wattage tube amps like the 5-watt Fender Champ heard on the Laylaalbum. Crank it up all the way for great tube distortion and sustain, and it’s still not loud enough to wake up the neighbors!
Gear Editor - Charles Saufley
Charles Saufley takes to gear like a duck to water!
A: Learning by ear and feel is most fun for me. I write and free-form jam more than I learn other people’s licks. When I do want to learn something specific, I’ll poke around on YouTube for a demo or a lesson or watch films of a player I like, and then typically mangle that in my own “special” way that yields something else. But I rarely have patience for tabs or notation.
The Grateful Dead’s 1967 debut album.
Obsession: Distorted and overdriven sounds with very little sustain—Keith Richards’ Between the Buttons tones, for example. Jerry Garcia’s plonky tones on the first Grateful Dead LP are another cool, less-fuzzy version of that texture.
Publisher - Jon Levy
A: I’m a primitive beast: The only way I can learn new music is by ear, so it’s a good thing I find that method enjoyable. I’m entirely illiterate with staff notation. Put sheet music in front of me and I’ll stare at it with twitchy, fearful incomprehension like an ape gaping at the monolith in 2001: A Space Odyssey. I’m almost as clueless with tab, but I can follow along with chord charts if I’m under duress.
The two-hit wonders behind the early ’70s soft-rock hits, “Fallin’ in Love” and “Don't Pull Your Love.”
Obsession: Revisiting and learning AM-radio pop hits circa 1966–1972. The Grass Roots, Edison Lighthouse, the Association, the Archies, and Hamilton, Joe Frank & Reynolds—nothing is too cheesy for me to dissect and savor. Yes, I admit I have a serious problem.
Diamond Pedals introduces the Dark Cloud delay pedal, featuring innovative hybrid analog-digital design.
At the heart of the Dark Cloud is Diamond’s Digital Bucket Brigade Delay (dBBD) technology, which seamlessly blends the organic warmth of analog companding with the precise control of an embedded digital system. This unique architecture allows the Dark Cloud to deliver three distinct and creative delay modes—Tape, Harmonic, and Reverse—each meticulously crafted to provide a wide range of sonic possibilities.
Three Distinct Delay Modes:
- Tape Delay: Inspired by Diamond’s Counter Point, this mode offers warm, saturated delays with tape-like modulation and up to 1000ms of delay time.
- Harmonic Delay: Borrowed from the Quantum Leap, this mode introduces delayedoctaves or fifths, creating rich, harmonic textures that swirl through the mix.
- Reverse Delay: A brand-new feature, this mode plays delays backward, producing asmooth, LoFi effect with alternating forward and reverse playback—a truly innovativeaddition to the Diamond lineup.
In addition to these versatile modes, the Dark Cloud includes tap tempo functionality with three distinct divisions—quarter note, eighth note, and dotted eighth—ensuring perfect synchronization with any performance.
The Dark Cloud holds special significance as the final project conceived by the original Diamondteam before their closure. What began as a modest attempt to repurpose older designs evolved into a masterful blend of the company's most beloved delay algorithms, combined with an entirely new Reverse Delay setting.
The result is a “greatest hits” of Diamond's delay technology, refined into one powerful pedal that pushes the boundaries of what delay effects can achieve.
Pricing: $249
For more information, please visit diamondpedals.com.
Main Features:
- dBBD’s hybrid architecture Analog dry signal New reverse delay setting
- Three distinct, creative delay modes: Tape, Harmonic, Reverse
- Combines the sound and feel of analog Companding and Anti-Aliasing with an embedded system delay line
- Offering 3 distinct tap divisions with quarter note, eighth note and dotted eighth settings for each of the delay modes
- Pedalboard-friendly enclosure with top jacks
- Buffered bypass switching with trails
- Standardized negative-center 9VDC input with polarity protection
Dark Cloud Multi-Mode Delay Pedal - YouTube
Curious about building your own pedal? Join PG's Nick Millevoi as he walks us through the StewMac Two Kings Boost kit, shares his experience, and demos its sound.