Another week, another 6 chances to win! You could grab pedals from Eventide, Xotic Effects, Walrus Audio, J. Rockett Audio, Neon Egg, or Maxon in this week's Pedalmania giveaway! Enter before September 30 for your chance to WIN!
Enter here:
Pedalmania 2024 Week #3Eventide Ultratap Delay/Reverb Multi-Tap Effects Pedal Silver
UltraTap is a unique multi-tap delay effects pedal offering rhythmic delays, reverb and modulation. It's perfect for staccato leads, swelling chords, and other evolving effects — everything from reversed reverbs to the sound of ripping it up in the Grand Canyon! UltraTap features the ability to add as many virtual tape heads as desired along with the ability to expressively control head position and output level enabling new and unprecedented effects.
Xotic XW-2 Wah Pedal - Limited-edition Blue
The wah tone and EQ are dialed in to perfection making accessing the perfect wah sound easier than ever. With plug-and-play simplicity, you can achieve the finest wah sound that will truly elevate your creative ingenuity. The pedal features custom wound inductor, pot and circuit which not only captures the pure essence of vintage Clyde McCoy (as XW1 did), but also breathes an evolved essence (of wah) that goes beyond vintage. As with the XW-1, the pedal has a relay-based true bypass switch and adjustable rocker tension to optimize your rocker pedal to your liking.
Walrus Audio Sloer Stereo Ambient Reverb Effects Pedal Blue
The Slöer Stereo Ambient Reverb builds on our popular Slö lineup but adds two additional reverb algorithms, stereo width control, two additional modulation wave shapes, and the ability to control the sample rate. Now you can create immersive, lush, modulated, sleepy, and ambient soundscapes with more width and depth than ever before.
J. Rockett Audio Designs Blue Note Select Boost/Overdrive Pedal
Transparent, organic, dynamic — J. Rockett’s Blue Note Select all but embodies these sought-after overdrive qualities, improving upon J. Rockett’s self-admitted “favorite circuit” with a fresh look and tone. Like previous Blue Note series pedals, it skillfully skirts the lines between dirty boost and overdrive to deliver the same lively feel of a hot tube amp. And just like a traditional amplifier, this pedal’s 4-knob setup — consisting of Volume, Gain, Tone, and Fat controls — provides a straightforward and intuitive tone-shaping experience. However, Sweetwater’s Blue Note aficionados find that this V2 variation’s most significant change is found in its harder-hitting low-end response, which impacts both standard mode and the screaming sound of Hot mode when you engage the middle switch. The Blue Note Select fits the bill for the guitarist who requires an uncompromisingly amp-like response from their gain pedal.
Neon Egg Planetarium 3
The Planetarium 3 is a stereo reverb and/or chorus, running into a delay with stereo modulation, running into a compressor with an external sidechain input. It lets you turn any sound into a sea of modulated ambience, then make it pump in time with the music (without the need for a computer or click track).
Maxon Od-9 Overdrive Effects Pedal
The Maxon OD-9 Overdrive Effects Pedal may look like your old favorite but that's where the similarity ends. Improved circuitry with a new chip yields the ultra-smooth dynamic overdrive guitarists crave. Drive and Level controls tweak the intensity and volume while the Hi-Boost/Hi-Cut tone controls adjust brightness. Features true bypass switching, a die-cast zinc case, and 3-year warranty. From subtle cries to shattering screams, the Maxon OD-9 delivers a huge range of tones.
Features
Improved circuitry with a new chip yields ultra-smooth dynamic overdrive
Drive and Level controls tweak the intensity and volume
Hi Boost/Hi Cut tone controls adjust brightness
True bypass switching
Die-cast zinc case
AC/DC operation (order optional Maxon AC210N adapter)
Product Specs
Input: 1/4" mono jack
Output: 1/4" mono jack
Power: 9V DC, 6 mA, center pin minus (not included)
Dimensions: (WxDxH) 74 mm x 124 mm x 54 mm
Weight: 580g
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
Get 10% off your order at stewmac.com/dippedintone
Hats off to Carmen Vandenberg of Bones UK, our celebrity Question of the Month respondent.
Guest Picker - Carmen Vandenberg, Bones UK
The cover of Soft, Bones UK’s new album, due in mid-September.
A: My favorite method these days (and to be honest, from when I started playing) is to put on my favorite blues records, listen with my eyes closed, and, at the end, see what my brain compartmentalizes and keeps stored away. Then, I try and play back what I heard and what my fingers or brain decided they liked!
Bone UK’s labelmade, Des Rocks.
Obsession: Right now, I am into anyone trying to create sounds that haven’t been made before—bands like Queens of the Stone Age, Jack White, and our labelmate, Des Rocs! There’s a Colombian band called Diamanté Electrico who I’ve been really into recently. Really anyone who’s trying to create innovative and inspiring sounds.
Reader of the Month - Sam C. Schiff.
Sam spent endless hours trying to learn the solo Leslie West played on “Long Red,” off of The Road Goes Ever On.
A: The best way to learn guitar is to listen to some good guitar playing! Put on a record, hear something tasty, and play on repeat until it comes out of your fingers. For me, it was Leslie West playing “Long Red” on the Mountain album, The Road Goes Ever On. I stayed up all night listening to that track until I could match Leslie’s phrasing. I still can’t, no one can, but I learned a lot!
Smith’s own low-wattage amp build.
Obsession: My latest musical obsession is low-wattage tube amps like the 5-watt Fender Champ heard on the Laylaalbum. Crank it up all the way for great tube distortion and sustain, and it’s still not loud enough to wake up the neighbors!
Gear Editor - Charles Saufley
Charles Saufley takes to gear like a duck to water!
A: Learning by ear and feel is most fun for me. I write and free-form jam more than I learn other people’s licks. When I do want to learn something specific, I’ll poke around on YouTube for a demo or a lesson or watch films of a player I like, and then typically mangle that in my own “special” way that yields something else. But I rarely have patience for tabs or notation.
The Grateful Dead’s 1967 debut album.
Obsession: Distorted and overdriven sounds with very little sustain—Keith Richards’ Between the Buttons tones, for example. Jerry Garcia’s plonky tones on the first Grateful Dead LP are another cool, less-fuzzy version of that texture.
Publisher - Jon Levy
A: I’m a primitive beast: The only way I can learn new music is by ear, so it’s a good thing I find that method enjoyable. I’m entirely illiterate with staff notation. Put sheet music in front of me and I’ll stare at it with twitchy, fearful incomprehension like an ape gaping at the monolith in 2001: A Space Odyssey. I’m almost as clueless with tab, but I can follow along with chord charts if I’m under duress.
The two-hit wonders behind the early ’70s soft-rock hits, “Fallin’ in Love” and “Don't Pull Your Love.”
Obsession: Revisiting and learning AM-radio pop hits circa 1966–1972. The Grass Roots, Edison Lighthouse, the Association, the Archies, and Hamilton, Joe Frank & Reynolds—nothing is too cheesy for me to dissect and savor. Yes, I admit I have a serious problem.
