Nashville, TN (January 16, 2015) -- Pedaltrain, the world’s most popular pedal board brand, has reinvented its product line for 2015 and beyond. In a private meeting with some of Nashville’s top professional guitarists and bassists, the company revealed its new product range to resounding applause.
New models include the Nano+, the three-model Metro Series, the three-model Novo Series, the refined Classic Series and its new large-format flagship pedal board, Terra 42. All will be released in early Spring 2015.
“We are true pedal-junkies,” says Pedaltrain President John Chandler, “we are deeply invested in our community and the needs of musicians who trust Pedaltrain to support, enable and protect their valuable gear. Our commitment is demonstrated in what we believe are absolutely the best Pedaltrains we’ve ever made.”
Pedaltrain highlighted unique design improvements like its new modified rail system, which improves the stability of smaller-sized pedals. The company also demonstrated its portable grab-and-go Metro series and the true-bypass-switching-friendly Novo Series.
The company’s vastly improved soft cases and new strength-weight optimized tour cases were a big hit, especially when it was revealed it’s new professional-grade cases now weigh up to 35% less than previous models.
“We enjoy a close relationship with our customers - from the touring professional to the student jamming in a garage band,” says Chandler. “Our new products incorporate their valuable feedback; each new model meets specific player needs. Only Pedaltrain has this deep domain expertise.”
For more information:
Pedaltrain
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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.
