Electrolytic capacitors are your stomps' first line of defense against bad current. Keep them healthy and your tones will be, too.
Feeding clean power to guitar effects is really important. We do our best to buy the highest quality power supplies that we can find for our precious pedals. Once that clean power is fed into the unit from the wall outlet, it often goes through something called a power filter, inside the power supply. This ensures that the pedal's power needs are being met, and allows each pedal to function properly. It also mostly gets rid of ripple.
Ripple (specifically ripple voltage) in electronics is the residual periodic variation of the DC, or direct current voltage, within a power supply using an AC, or alternating current, source, like the electrical outlets in your home or studio. If you're curious, you can read all about DC versus AC current at electrical4u.com/dc-current.
Ripple is wasted power, and has many undesirable effects. It heats components, causes noise and distortion, and may cause digital circuits to operate improperly. Ripple can be reduced by adding the aforementioned electronic filter into the circuitry, to ensure that the pedal is getting the proper juice. There are parts called electrolytic capacitors that do a lot of the heavy lifting in this section of a circuit. You can learn more about capacitors at a variety of websites, including Wise-Geek.com, Techcircuit.org, Beavisaudio.com, and coda-effects.com, and you can see what they look like above.
Ripple is wasted power, and has many undesirable effects.
Those of us who love and cherish old amps know all about capacitors. The first thing I do when I acquire a gem from yesteryear is take it to a qualified amplifier technician to have it thoroughly inspected, and to have the power filter capacitors replaced with new ones. The reason for this is that over time these capacitors can dry out and cause the amp to not function properly, or to just simply stop working. In a worst case scenario, it can even cause electric shock.
When an electrolytic capacitor is going bad, it can appear to be deformed, sometimes bulging out at the ends. If the power filter capacitors—or really any of the electrolytics—look like this, it's a sure sign that it's time to take the amp to a tech for them to be replaced. In some cases, there might not be any visual indication at all when a cap goes bad. Most amp technicians I have dealt with say that a good rule of thumb is to replace these capacitors every seven years or so.
For reference, here's what caps can look like when they're blown:
The electrolytic capacitors in effects pedals also wear out over time. As in amps, caps in pedals are used for multiple purposes. Coupling capacitors let AC pass through them, but not DC. And RC (resistor-capacitor) filter caps cut off frequencies above or below a certain threshold. But the classic role is the one we're discussing here: smoothing out ripples in the power supply. Capacitors have what is known as an "end of life cycle." This means that the manufacturer only guarantees them to remain fully functional for a certain amount of time. That time frame can typically range anywhere from 1,000 to 5,000 hours.
There have been a few occasions when I have purchased a vintage pedal I had been trying to find for ages, only to get it plugged in and find it unusably noisy and/or dull-sounding. I usually re-cap these old circuits before I do anything else to them. This usually brings the pedal's power back to its former glory, ensuring that the unit will behave as it was intended to for another decade or so. I would say nine times out of 10, replacing these capacitors creates a massive difference in clarity and sound. Take a look at one of my recapped circuit boards:
Keeping your pedals healthy internally is a great way to ensure that they will last lifetimes. Having them re-capped is one way to help maintain the integrity of the circuits inside. I am so glad I discovered this when I was early in my career as a pedal user and builder. It has certainly given a few of my formerly fallen soldiers a new lease on life.
The Premier Guitar Eventide MicroPitch Review.
Isolates a classic studio effect in compact pedal form. Great stereo effects. Envelope-controlled modulation enhances interactive feel.
A bit of a learning curve. Expensive.
$279
Eventide MicroPitch Delay
eventideaudio.com
When introduced in 1975, the Eventide H910 Harmonizer was adopted by producers who recognized the signal-thickening power of this very early digital pitch shifter, delay, and modulator. But it didn't take long before some users discovered that two harmonizers might be better than one. And by setting a pair of H910s to shift the pitch of the original signal by a few cents in opposite directions, adding a short delay to each signal, and then panning them, producers successfully fattened and expanded everything they ran through it—from vocals to snare drums.
Eddie Van Halen made the dual Harmonizer strategy particularly popular for guitarists. But as cool and legendary as that technique is, Eventide has never made a dual harmonizer available in a compact pedal format—until now. Eventide's new MicroPitch Delay isolates the fine-tune pitch shifting and delay functionality from the rackmount Harmonizers and delivers vintage-flavored modulation, totally freaked-out stereo effects, and lot of sounds in between.
Layers of Possibilities
The essential recipe behind the MicroPitch Delay is simple: run an input signal through two separate pitch shifters with discrete delay time settings that can be tuned 50 cents sharp or flat. Add mix and modulation controls along the way, and suddenly things sound very expansive.
The MicroPitch Delay offers plenty of excitement when plugged into a single amp. But it really delivers in stereo.
Mild Goes Wild
By playing around with subtle tweaks of pitch, modulation, and delay-time controls, you can uncover spacious rotating speaker–style tones, retro flanger vibes, and warbly delay settings that sound great in small or liberal dosages. As you work your way into the deeper end of those waters, you'll discover warped-tape vibrato sounds and even vertigo-inducing Shepard tone/barber pole tones. The addition of envelope-controlled modulation makes the pedal feel even more interactive and responsive, which is especially fun when digging into its wilder side.
The MicroPitch's layout is similar to Eventide's other recent compact pedal offerings, the Blackhole and the UltraTap. Six knobs control both primary and secondary functions, the latter of which are accessed by pressing a small LED button. The primary controls are for pitch and modulation, and the secondary controls tweak the twin delay signals, so you'll likely be jumping back and forth between the two modes a lot. This isn't the most intuitive effect at first, and it can be easy to get lost as you switch between modes—particularly because there are no readouts like Eventide's larger effects. But it wasn't long before I could use my ears to reliably navigate settings.
The MicroPitch Delay offers plenty of excitement when plugged into a single amp. But it really delivers in stereo. Some settings, in fact, like high-delay feedback, can sound a little flat in mono. But a stereo spread allows every facet of your signal to develop in a fuller, more immersive way. By tweaking the two delay-time settings you can even achieve polyrhythmic Frippertronics- and loop-style effects that become endless rabbit holes for experimental noodling.
The Verdict
Whether you're looking for subtle ways to make your guitar tone pop with vintage flair, add dimension with stereo, or achieve totally freaked-out, modulated pitch mismatches, the MicroPitch has you covered. There's a bit of a learning curve, but the smart, simple controls and settings are easy enough to figure out and manipulate on the fly. And even though many of the sounds you'll seek and uncover are familiar parts of the modern music landscape, there are plenty of surprises just a few tweaks away.