Electro-Harmonix reveals the full line of NYC DSP Series pedals. This series consists of a pack of nine pico-sized stompboxes that draw from some of the company's most iconic effects.
Pico Pitch Fork
Offering a total of 30 pitch shift options and expanded controls, the Pico Pitch Fork is the next evolution in pitch shifting from Electro-Harmonix. The Mode button selects between Pitch Up, Pitch Down, and Dual Modes, while the Volume and Blend knobs make for perfect multi-voice mixing. The new Sweep control adjusts the pitch sweep speed from instant to 4 seconds. The Pico Pitch Fork offers Latch and Momentary switching functions for bursts of bent tones or retuning capabilities for full songs.
Pico Oceans 3-Verb
The Oceans 3-Verb takes the ever-reliable Spring, Plate, and Hall reverbs from the award-winning Oceans 11 Reverb and offers them in petit package capable of conjuring huge ambient sounds. This pack of essential reverbs comes equipped with flexible controls including pre-delay, spring length, and tone. Additionally, Infinite Reverb can be accessed in an instant by maxing the time control or conveniently pressing and holding the footswitch for an ambient wash of swelling reverb.
Pico Canyon Echo
The Canyon Echo digital delay distills the original Canyon Delay and Looper’s simplicity and versatility into a no-nonsense echo effect with performance ready features and tone. At its foundation, the Canyon Echo is a pristine clean digital echo with up to 3 seconds of delay time. Then we added smart features that any musician can appreciate: Tap Tempo with 3 beat subdivisions, a FILTER knob that cuts treble or bass, switchable delay tails, and a new Infinite Repeats mode which acts as a looped tape machine.
Pico Deep Freeze
Meeting between the original Freeze and Superego pedals is the Deep Freeze Sound Retainer. With the ability to freeze a moment in sound, the Deep Freeze is capable of acting as a sustain pedal for holding chords and notes as backing for your playing or as a platform to manipulate your tone into new sounds impossible with a normal guitar. Features include Latch, Moment and Auto Modes, Speed/Layer, and Gliss controls, as well as 3 bypass topologies for enhanced performance options.
Pico Attack Decay
Known for producing volume and reverse swells, backward tape sounds, artificially short staccato notes, and bowed instrument effects, the Attack Decay reissue brought the vintage effect into the present. Now the Pico Attack Decay takes the signature Attack Decay filter effect and makes it even more pedalboard friendly. Featuring a simple control layout of Volume, Sensitivity, Attack and Decay controls, the Pico Attack Decay also offers the revolutionary Poly mode that gives each note its own attack envelope and makes playing arpeggios and fast leads lines effortless and unique.
Pico Triboro Bridge
The foundations of dirt include Overdrive, Distortion, and Fuzz and all 3 can be found in the new Triboro Bridge multi-mode drive pedal. Taking dirt algorithms from the Platform and Attack Decay, the Triboro Bridge connects the 3 drive styles with a simple and convenient control set of Volume, Gain, EQ controls plus a Gate for the fuzz. An additional Input Contour Mode applies additional EQ at the input for more modern tonal capabilities.
Pico Rerun Tape Delay
Based off the tape delay algorithm found in the Canyon Delay & Looper, the Rerun Tape Delay gives off vintage vibes with modern convenience. Three modes of Flutter and a Saturation knob bring a wide array of Tape Delay tones to this deceptively powerful unit. Cranking the Feedback knob or pressing and holding the footswitch creates runaway tape delay effects that are playable as their own instrument.
Pico Platform
The Pico Platform brings studio-style compression and limiting with advanced options to any pedalboard for a wide array of dynamic control. From subtle tone polishing to super squashed sustain, the Pico Platform offers a whole studio’s worth of compressor and limiter styles in a super-compact footprint.
Pico POG
The Pico POG takes the powerful and lightning-fast polyphonic octave algorithm from the EHX’s acclaimed POG line and packs it into a pico package. Octave Up adds pristine shimmer while the Sub Octave brings the thunder all with super tight tracking and perfect polyphony. Add the new TONE control with 3 filter settings and you get a fresh take on the world’s most popular octave pedal.
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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. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
