
Need to wrangle a pile of pedals? These 10 options can put an end to your tap dancing.
Gone are the days of expensive custom controllers. It's never been easier to harness the power of MIDI to get the most out of your pedalboard.
Jet Pedals MCX
If space is a consideration, this compact 3-button setup could be the answer. It's designed around eight banks, each with a unique identifier that gives up to five presets per bank. It can be powered via USB or a standard 9V power supply.
$190 street
jetpedals.com
BehringerĀ FCB1010
Express yourself with this full-featured controller that houses a pair of built-in expression pedals along with 10 assignable control pedals. It can send five program-change commands simultaneously.
$149 street
behringer.com
MorningstarĀ MC6 MkII
Inside this modestly sized box sits a powerful MIDI control station that offers 30 banks of 12 preset slots, two omniports with TRS MIDI out, and a robust online editor.
$229 street
morningstarfx.com
RocktronĀ MIDI Mate
With three different modes (bank, instant, and controller), this slender MIDI controller allows multiple program changes on different channels. The fully editable setup can arrange presets in a setlist order, change settings on the fly, and send phantom power via MIDI.
$219 street
rocktron.com
RJM Music TechnologyĀ Mastermind LT
This rugged MIDI controller can store up to 768 presets via 16 different pages that can be totally customized. Each of the seven buttons have a multi-color LED, plus it offers support for expression pedals.
$399 street
rjmmusic.com
Matthews EffectsĀ The Futurist
This 4-button controller is a compact way to handle a smaller stash of pedals. The accompanying online editor allows for deeper programming and the unit is expandable up to seven buttons.
$230 street
matthewseffects.com
Singular SoundĀ MIDI Maestro
A sleek unit made of anodized aluminum that features customizable labels for each of the six buttons. You can have 10 active pages per preset and it works directly with Beat Buddy and Aeros Loop Studio.
$299 street
singularsound.com
Source AudioĀ Soleman
You can easily end the tap dancing by utilizing one of the unit's three modes: scene, setlist, or panel. It can also control DAWs, virtual instruments, or plugins via the USB/MIDI interface.
$249 street
sourceaudio.net
MeloaudioĀ MIDI Commander
This 10-button controller can run up to 40 hours via a pair of AAA batteries. It's compatible with a wide range of MIDI units and houses two power modes. Includes six host modes to work directly with JamUp, Bias FX, Kemper, and more.
$160 street
meloaudio.com
Voodoo LabĀ Ground Control Pro
Recalling the days of Bradshaw-designed rigs, this expansive, roadworthy controller offers 12 switches for patches, can process up to eight devices, and gives you stompbox-style control over your rig.
$430 street
voodoolab.com
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Voxās Valvenergy Tone Sculptor
Two new pedals from the Valvenergy series use a Nutube valve to generate unique dynamics and tone ranges that can be used to radical ends.
When tracking in a studio or DAW, youāre likely to use compression and EQ on most things. Many enduringly amazing and powerful records were made using little else. And though many musicians regard both effects as a bit unglamorous and utilitarian, EQs and comps are as capable of radical sounds as more overtly āweirdā effectsāparticularly when they are used in tandem.
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they arenāt useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about ācinematicā effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcockās Psycho than Ridley Scottās Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
āRadical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.ā
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdriveāeffectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this testāa recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models canāt deliver? Well, for one thing, I found it relatively quiet, which is nice whether youāre shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuitāgenerated, presumably, by the Nutube. āColor,ā in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualitiesātypical of studio EQsāthat enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impactās use of Nutube engenders certain expectations. Itās easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. Thatās a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agentāadding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like youāve bled every trace of overtone from your signal.
The Smooth Impactās controls arenāt totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag modeās compression is more like what you get from tube saturation, and itās useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they donāt always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedalās sometimes studio-like personality.
Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedalās extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format thatās designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modesāPreset,Scene, and Stompāfor instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaarās electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trioās latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashvilleās Brooklyn Bowl, where Harrington broke down his complex signal chains for PGās Chris Kies.
Brought to you by DāAddario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with DāAddario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harringtonās backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, thereās less loss of definition and competition for frequency space.
Dave Harringtonās Pedalboards
Harrington says he never gives up on a pedal, which could explain why heās got so many. Youāre going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLĆN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slƶer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harringtonās beloved Line 6 DL4āhis desert-island, must-have pedalāalong with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.
Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ā70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wongās new collaboration with Ernie Ball Music Man scratched an itchānamely, the itch for a humbucker-loaded guitar that could appease Wongās rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmateās namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. Thatās where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ā90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I canāt remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay IIās curves seemed designed for comfort and speed. Now, letās talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wongās preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce thatās rich with ES-335 vibes. Clean tones are punchy and brightāespecially with the Vibroverbāand dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldnāt fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wongās love for ā90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I donāt think Iāve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ā70s George Benson tones and the hammering power chords of ā90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, itās not out of line. Wongās involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic modelāan admirable accomplishment considering EBMMās long and storied history.