Stymon’s new UltraViolet pedal recreates the sound and feel of the original Shin Ei Univibe units from the ‘60s, popularized by players like Jimi Hendrix, Robin Trower, David Gilmour and Doyle Bramhall II, but adds a number of different options that were never available on the original units for greater flexibility.
Housed in the same smaller chassis as Strymon’s recent Cloudburst and Brig releases, Ultraviolet also takes advantage of all of the features of the new platform, including full MIDI implementation and 300 presets, USB-C connectivity, stereo IO on TRS jacks, a rear-panel mono-stereo switch and a discrete JFET input preamp for unmatched touch-sensitivity and tone.
UltraViolet’s simple and responsive controls provide a wider range of sounds than traditional vibe pedals. In addition to the familiar Chorus (50% wet) and Vibrato (100% wet) settings, there is a new Blend setting (30% wet) for an inspiring variety of more subtle effects. A Bias switch gives you three distinct flavors of sweep shape and tone emphasis, allowing for tons of sonic variation.
At slow speeds, the intensity range has been expanded beyond that of traditional vibe circuits to push even further into warmly undulating sonic territory. UltraViolet gives you all the classic vibe tones—and more.
Strymon UltraViolet Vintage Vibe
UltraViolet features a new algorithm in which all the elements of the classic optical vibe circuit (and their interdependencies) have been meticulously recreated for a dynamic playing response. From the effects of bias, speed and LFO waveshape on the pulsing of the lamp, to the response of the light-dependent resistors that set the center frequencies of the staggered phasing filters, the entire system has been duplicated and carefully tuned to produce the very best sounds a vibe pedal can offer.
TRS stereo input and output in a dual mono configuration means you can place UltraViolet at any point in your pedal chain with no impact on your stereo image. Full MIDI implementation with 300 available preset locations ensures that UltraViolet is ready for your MIDI rig. In addition to TRS MIDI, there is a USB-C jack for controlling the pedal via MIDI from a computer or for performing firmware updates. For hands-free control without MIDI you can connect an expression pedal for control over any combination of knobs in any direction. (Expression pedal controls Speed by default.) Or attach an optional external switch for tap tempo or favorite recall. Finally, a high-impedance, ultra-low noise discrete Class A JFET stereo input preamp provides exceptional touch sensitivity, dynamics and feel—all in a rugged and elegantly compact form factor.
Strymon UltraViolet Vintage Vibe – Deep Dive with Sound Designer Pete Celi
Learn more about UltraViolet ► https://strymon.net/ultravioletIn this video, Strymon co-founder and senior DSP engineer Pete Celi takes you on an in-depth tou...“Good grief this thing is addicting to play!”, said Sean Halley, Strymon’s Head of Marketing. “It has all of the low frequency girth that the best pricey boutique big-box pedal versions have, but it can do so much more than the originals could and it’s small enough to fit on any board. It’s the very first digital vibe I’ve ever heard that sounds this big”.
Pete Celi, Strymon’s co-founder and DSP guru adds “After deeply studying a bunch of the best analog units we ended up giving UltraViolet three different Bias settings, so you can really fine-tune the response to fit the music you’re playing. Also, in addition to the traditional Chorus (50/50) and Vibrato (100% wet) modes, the new Blend mode gives you a 70/30 mix of dry and wet, for more subtle versions of the effect. It can totally do the hyper-authentic ‘60s thing, but it can do a bunch of other stuff that makes it much more versatile than the original units.”
UltraViolet is available now directly from Strymon and from dealers worldwide for $259 US.
Strymon Ultraviolet
Much more than a re-creation of the legendary Uni-Vibe effect, Strymon’s UltraViolet Vintage Vibe chorus and vibrato pedal elevates classic rock’s most psychedelic effect with a significantly enhanced control section and modernized features. This pedal starts with an extraordinarily precise digital replica of the original Uni-Vibe’s Chorus and Vibrato modes, then ups the ante with a more subtle Blend mode — a 70/30 split of your dry/wet signal, as opposed to the 50/50 split of Chorus mode. Speed, Intensity, and Volume significantly increase your ability to sculpt and shape Uni-Vibe tones to your liking. Meanwhile, Strymon’s addition of a 3-position Bias switch drastically alters the UltraViolet’s voice by modifying the center frequency of the effect’s sweep. You also get all the cutting-edge benefits inherent to Strymon’s compact pedal lineup, including full MIDI implementation, a premium discrete analog input preamp, 300 presets, USB-C, and mono/stereo operation. Compact, versatile, and beaming with vintage-accurate swirl — Strymon’s UltraViolet is a must-have pedal for any Uni-Vibe fanatic.
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.