EHX releases their take on the extreme '80s distortion.
The Electro-Harmonix Hell Melter takes distortion to its extremes in their take on the cult classic chainsaw distortion pedal with expanded controls and tonal capabilities. This distortion circuit originally designed as the ultimate in high-gain is now known for the death metal sounds of the likes of Sweden’s Entombed, and the shoegaze wash of My Bloody Valentine. Surprisingly, it’s even been at home in the rig of David Gilmour.
The EHX Hell Melter enhances on the original design with many modern updates and features. More overall output volume is available on tap than the original circuit. The active EQ expands the original single highs control, which controlled peaks in both the treble and upper-mids, into a HIGH control and parametric MIDS LVL control with adjustable MID FREQ ranging from the signature high-mids bark to a low-mids growl. The LOW control rounds out the powerful 3-band EQ. A mode toggle goes from NORM to the new BURN mode which opens up the sound of the pedal significantly by switching to more open clipping options and boosting the internal voltage for more headroom. Additional new features include a noise gate and DRY LVL control, which is useful when using a bass guitar or using an already dirty amplifier. A foot-switchable BOOST section increases the overall gain and volume of the pedal. DISTORTION and LEVEL knobs control the overall gain and output volume of the pedal respectively.
Electro-Harmonix Hell Melter Distortion Pedal
Electro-Harmonix Hell Melter Distortion Pedal
The Hell Melter comes equipped with an EHX 9V power supply and buffered bypass. It features a USA street price of $176.66.
For more information, please visit ehx.com.
Electro-Harmonix Hell Melter Distortion Pedal
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Keith Urban has spent decades traveling the world and topping global country-music charts, and on this episode of Wong Notes, the country-guitar hero tells host Cory Wong how he conquered the world—and what keeps him chasing new sounds on his 6-string via a new record, High, which releases on September 20.
Urban came up as guitarist and singer at the same time, and he details how his playing and singing have always worked as a duet in service of the song: “When I stop singing, [my guitar] wants to say something, and he says it in a different way.” Those traits served him well when he made his move into the American music industry, a story that begins in part with a fateful meeting with a 6-string banjo in a Nashville music store in 1995.
It’s a different world for working musicians now, and Urban weighs in on the state of radio, social media, and podcasts for modern guitarists, but he still believes in word-of-mouth over the algorithm when it comes to discovering exciting new players.
And in case you didn’t know, Keith Urban is a total gearhead. He shares his essential budget stomps and admits he’s a pedal hound, chasing new sounds week in and week out, but what role does new gear play in his routine? Urban puts it simply: “I’m not chasing tone, I’m pursuing inspiration.”
Wong Notes is presented by DistroKid.
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