Hazy, Phasey Origins
Fender built a 4-stage phaser in the 1970s. As far as we know, Waylon never used the Fender Phaser, opting instead for a Maestro PS-1A, various MXRs, and Boss phasers over the course of his career. Without the need to replicate a ’70s artifact that Waylon didn’t use anyway, Fender’s designers were free to create an analog tribute that covers the breadth of Waylon’s phaser tones—from his 2-stage Phase 45, to his 4-stage Phase 90, to his 6-stage PS-1A. That doesn’t mean Fender didn’t aim for a definitive Waylon sound: A “sweet” switch defaults to a voice that’s a little more confined to tasteful modulations. But to Fender’s credit, the Waylon Jennings Phaser is not constrained by strictly Waylon-like textures. Indeed, it’s just as happy to get weird.
Weird Waves on the High Plains
Though complex relative to a 1-knob MXR or Small Stone, the Waylon Phaser’s controls are easy to sort. They work in cool, interactive ways which take some practice to master, but are ultimately easy to wrangle. The interrelationship between the range control (which controls the portion of the frequency spectrum that’s phase shifted), and the feedback control, which governs intensity, is the one that’s most fun to explore. It’s also key to unlocking the pedal’s freakiest tones.
The user guide features a few helpful templates for exploring the pedal’s range. Fender’s recommended PS-1A-style sound, for instance (6-stage setting, rate at 5, range at 4, and feedback at 6), is a bit more rubbery than you might expect, with cool vowelly peaks in the midrange. But just a couple clockwise notches on the range and feedback controls and a slower rate transforms Fender’s version of Waylon’s PS-1A to a lysergic, ultra-elastic wavescape. The user guide’s recommended Phase 45-style, 2-stage setting creates a mellow, tasty pocket for arpeggios and lightly strummed parts, but at advanced feedback and rate settings the 2-stage setting percolates charmingly, lending bubbling animation to psychedelic chord melodies and a demented attitude to funky soul riffs.
The 4-stage mode, which, incidentally, bears the greatest audible resemblance to the sweet mode in most respects, is plenty sweet itself. Here, you can play with fairly intense feedback and rate settings while maintaining a softness in the peaks that doesn’t overpower melodic or rhythmic textures. And just as with the other three modes, you can very easily move from restrained Dreaming My Dreams phase adornments to much weirder fare with a few small adjustments to the other controls.
The Verdict
While 1-knob phasers are easy and often voiced just right, it’s fun to have the extra, but not overwhelming, control the Waylon Jennings phaser provides. There are plenty of weird, wobbling, bubble gum-chewy textures here that have nothing to do with classic outlaw country, that psychedelicists will relish. But the mellower fare that made Waylon’s tunes move is here in tasty plentitude and can be tuned to your own needs with a flexible, interactive control set that’s full of surprises.
Fender Waylon Jennings Phaser Demo | First Look
The dot9 UltraTap is the result of forty years of development that began in 1981 with Eventide's Digiplex and Multitap Delay algorithms for its legendary SP2016 Effects Processor, evolved to become the H3000's UltraTap and culminating in the advanced UltraTap available as both a plugin and H9 algorithm. The new UltraTap pedal further builds on this legendary effect offering 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.
The compact top panel offers direct control of twelve parameters to create simple repeats or morph delays into chorus and reverb. The pedal's Spread function controls the effective distance between up to 64 Taps, morphing from closely spaced at the beginning of the delays, to evenly spaced, then closely spaced at the end of the delays, letting a player dial in song specific rhythmic spaces between taps. Taper controls the level of subsequent Taps either fading them up, down or constant over time. The exclusive and innovative Slurm control can smear or slur Taps together to produce unique reverbs and choruses. The Chop and Speed/Rise/Release controls work together to allow unusual and expressive amplitude modulation of Taps to chop a sound source into stuttered rhythms.
Five presets can be accessed directly from the pedal using the Active and Tap footswitches, with up to 127 in total stored under the hood and accessible via MIDI or the Eventide Device Manager application (EDM). These two footswitches allow full performance control of Active (momentary or latching), Tap Tempo and Preset selection and loading.
On the rear panel, the multi-function Exp jack allows for the connection of an expression pedal, an external single Aux switch or a triple Aux switch for easy preset changing (up/down/load) as well as MIDI over TRS capabilities. Multiple bypass options are available - Buffered, Relay, DSP+FX or Kill Dry. The rear panel USB jack provides a connection to a computer for use with EDM, software updates, and MIDI over USB control. The Guitar/Line Level switch allows level matching with guitars, synths, FX loops or DAW interfaces. The rugged, gig-ready silver UltraTap pedal also features mono/stereo ins and outs.
The UltraTap pedal is available for $279 (MSRP).
For more information, visit eventideaudio.com