Chonky Boi
Audiofab introduces two new pedal with vintage tones. The Chonky Boi delivers a wide range of distortion sounds, while the Elektra Amanto captures classic flanger tones.
The Chonky Boi features the following controls:
- Chonk: Crank up this knob and unleash the full fury of the Chonky Boi–everything from light distortion to full-on growl.
- Heft: Adjust the output level with this control. Used in combination with the Scratchswitch you can overdrive your amp for additional distortion.
- Purr: Tailor your tone from bright to dark with the Purr control. Dial in the perfect amount of high-end cut for your sonic needs.
- Scratch: Choose your clipping flavor with the Scratch switch. Select from germanium diodes, silicon diodes, or LEDs. Higher levels of scratch increase the output level of theChonky Boi, enabling amp overdrive for even more sonic mayhem.
- YouTube
Elektra Amanto
Audiofab’s Elektra Amanto captures the essence of classic flanger tones heard from iconic players such as Andy Summers and David Gilmour, but with modern features. With its wide sweep and straightforward control set, the pedal opens new sonic possibilities for players of all styles. And unlike other wide sweep designs that require higher power supply voltages, the Elektra Amanto operates on a standard 9-volt pedal power supply, making it accessible and convenient for all guitarists.
Key features of the Elektra Amanto include:
- True bypass switching to maintain signal integrity.
- Ultra low noise and no volume drop.
- A wide sweep design that delivers vintage-inspired flagging.
- High-quality switches, jacks, and potentiometers for reliable performance. Bi-colour LED indicator that shows the sweep rate of the low-frequency oscillator (LFO).
- Compact and rugged aluminum enclosure for durability and protection.
The Elektra Amanto features intuitive controls, including Rate, Range, Colour, and a Matrix /Flange switch, allowing guitarists to dial in a wide range of flanger effects. From subtle swooshes to intense sweeps, the Elektra Amanto delivers liquidy goodness reminiscent of the classic flanger tones of the 70s.
- YouTube
The Audiofab Chonky Boi and Elektra Amanto are available now from Audiofab or Reverb. Chonky Boi is priced at $CA179 (approximately $137) and Elektra Amanto is priced at $CA279 (approximately $213).
For more information, please visit audiofab.com.
Electro-Harmonix’s Pico Rerun plays the character of tape echo very convincingly in this respect. It hangs with more expensive digital tape echoes at a $137 price tag that’s easy to stomach. Better still, this Pico version is petite and offers unexpected surprises and flexibility.
Beyond the Pico Rerun’s essential enveloping voice, the pedal enables a lot of fairly authentic tape-echo functionality. Manipulating the feedback, blend, and echo rate controls together (which is tricky given their small size) yields flying-saucer liftoff and “Dazed and Confused” time/space-mangling textures in copious measure. These tweaks betray some digital artifacts—mainly trebly peaks that don’t have the benefit of real tape-compression softening, but they hardly get in the way of the fun. Saturation lends welcome drive and haze. And the flutter button adds faux tape wobble in three degrees of intensity. At the most intense setting, long repeats take on a woozy sense of drift. At the fastest rates, however, the flutter function will generate chorus and flange effects that neither my Echoplex, nor my best tape echo simulators, can manufacture.
As a founding member of Jefferson Airplane and Hot Tuna, legendary bass player and Rock and Roll Hall of Fame Inductee Jack Casady’s full driving tone and innovative melodic bass work have defined the role of bass guitar in rock and roll for decades. Liberating the bass from its traditional role as part of the rhythm section, Jack’s pioneering approach to bass brought the instrument to the forefront. The new Epiphone Jack Casady Fretless Bass was and is the culmination of years of experimentation by Casady to find an instrument with superior electric tone and the response of an acoustic bass. It features the Casady-designed JCB-1 Low-Impedance Humbucker, and a three-position rotary impedance control for a wide range of tonal versatility.
Jefferson Airplane’s debut, Jefferson Airplane Takes Off, was recorded in February of ’66 and released in August of that year. “It had somewhat of a local success,” explains Jack. “It was the material that we had been playing as a group around the Bay area for a while. We recorded it on 3-track, all pretty much live performances.” When the original singer, Signe Anderson, left the band to have a baby, it was Jack who convinced Grace Slick, then performing with her own band the Great Society, to join the group. The roster complete, Jefferson Airplane rocketed to superstardom in 1967 on the initial strength of their hits “Somebody to Love” and “White Rabbit,” making them a cornerstone of San Francisco’s burgeoning rock scene. Jack’s ground-breaking bass work was a highlight of Surrealistic Pillow, the Airplane’s 1967 breakthrough album. “That album was really a unique statement,” says Casady in retrospect. “There were a lot of different styles of songs contributed by everybody, including an instrumental acoustic fingerpicking original tune by Jorma called ‘Embryonic Journey.’ It was quite an eclectic album and I think it still holds up today.” Jefferson Airplane subsequently released a string of acclaimed recordings–After Bathing At Baxter’s (late ’67), Crown of Creation (’68), the live Bless Its Pointed Little Head (’69), Volunteers (’70), Bark (’71), Long John Silver (’72), and the live Thirty Seconds Over Winterland (1973). The band was inducted into the Rock and Roll Hall of Fame in 1995.
With the release of his solo album, Dream Factor, Casady opened a new chapter in his ever-evolving career. Featuring 11 songs and an impressive cast of collaborators including Paul Barrere, Ivan Neville, Jorma Kaukonen, Warren Haynes, Box Set, Fee Waybill, and Doyle Bramhall II among others, Casady showcases his signature sound in a variety of settings, traveling through blues, rock, country, folk, funk, R&B and soul influences.
One of the most innovative rock and roll bands in American music, Hot Tuna recorded their latest album, Steady As She Goes, at Levon Helm’s studio with GRAMMY®--winning producer Larry Campbell and captures the energy of Hot Tuna’s live performances. Jack, along with longtime band mate Jorma Kaukonen, teamed up with Barry Mitterhoff on mandolin, Skoota Warner on drums, as well as Larry Campbell on guitar, fiddle, organ, and vocals to deliver an absolute masterpiece.
With sweeping chords and stormy melodic lines Jack’s bass distinguished not only Jefferson Airplane and Hot Tuna but also a variety of solo and side projects and recordings with artists including Jimi Hendrix, David Crosby, Warren Zevon, Country Joe and The Fish, SVT, Rusted Root, and Gov’t Mule.
For more information, please visit epiphone.com.
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