An undersung rhythmic vibe enhancer gets a compact and capable reissue.
Unique, inspiring, and fun effect. Stereo functions open up lots of potential. Works well with other effects.
Compact footprint makes it hard to access some essential functions. Can be confusing to learn.
$169
Boss Slicer
boss.info
One of my favorite gear discoveries in recent years is the original Boss Slicer SL-20. A friend hipped me to its wild percussive magic and what I call “big vibe.” When the first dual-pedal version came out as part of the company’s 20 series, I was under the impression it was a fancy tremolo. That might be the closest classic guitar effect, but the Slicer lives in its own world: The effect chops a signal into preset rhythmic patterns and applies filters and pitch shifters to create everything from propulsive grooves and melodies to glitchy, warbled tones.
Lead parts played in the single and dual settings with the tempo cranked and a lower attack setting evoke a broken-Leslie kind of sound, especially in 3D modes.
The Slicer is a unique effect that’s more in line with what you might find on synths and drum machines than a pedalboard. That, plus an original production run that lasted just a few years, has made it kind of a deep-cut, sleeper favorite. What a surprise, then, that Boss is reissuing the effect in their standard—and much more compact—enclosure.. Even better, the new SL-2 features deeper functionality. So, does it live up to the hype surrounding the original?
Clip 1 – High attack and duty settings, single type.
Clip 2 – High attack and low duty settings, full wet, harmonic type.
Clip 3 – Low attack and high duty settings, tremolo type.
Clip 4 –High attack and low duty, various tempo settings, sfx type.
Clip 5 – Example of how the Slicer can fit into a track. Recorded with two guitars (each with various other effects) each with different Slicer modes (rhythm is stereo, lead is mono).
Deep Functionality, Limited Space
The SL-2 fits a lot of functionality in very little space. It would be impressive just to squeeze all the features of the much larger original unit into the new one. Yet the SL-2’s 88 preset rhythms exceed the original’s 50, and they can be swapped out via USB with Boss’ Tone Studio app. Two stacked knobs cover balance (mix) and tempo as well as attack and duty (sample length). Another single-function knob selects effect type. These include options for a single signal-slicing path, dual signal-slicing paths, tremolo, a harmonic mode (pitch modulated rhythmic patterns), and an SFX mode (multiple effects on each pattern). Another knob selects 11 possible variations on each effect. The Slicer also features dual-jack stereo ins and outs, a MIDI input for syncing with external devices, and an expression/footswitch input.
That extensive list still doesn’t cover all the Slicer’s functions. And to access the rest, things get trickier. Using the pedal’s stereo functionality is critical to making the most of the effect, but to access those seven settings, you may need to keep the manual nearby. For example, if you turn the first four knobs to the right, the type knob to the eighth position, and power up while holding down the footswitch, you can use the variation knob to choose a corresponding stereo setting. Sound confusing? It can be. And there are several of those footswitch tricks to master. Another example: you can set the output volume can range from -7 dB to a very hot 20 dB, which is helpful. But as I learned the hard way, you can easily set the too hot, and it can only be adjusted by holding down the footswitch and turning the tempo knob, which gives you no visual reference for the setting. You’ll also do a lot of footswitch tapping to access tap-tempo settings.
Flying Blind Is Fun
The best way to understand what the Slicer is capable of is to try everything. It’s not particularly intuitive, and it can feel hard to discern differences in some sounds. But there’s some method to the madness. Starting with the relatively straightforward single setting—which chops the signal without additional effects—and trying each variation explains a lot. But there’s no comprehensive list of what effects or rhythms each setting will feature, so you’re flying blind when you work through the variation and type knobs. This led to lots of fun discoveries, though. And I rarely failed to find a pattern that inspired something new in my playing.
Plugging into a stereo rig opens up the Slicer’s capabilities. There are seven stereo settings: fixed (both amps get the same signal), efx/dir (wet/dry), random, ping-pong, auto (which pans across the stereo field), 3D cross, and 3D rotation. The two 3D settings are the most psychedelic, creating the illusion of a forward/backward kind of movement as sounds pan across the field. Any of these settings can change the feel and impact of a pattern or setting, so there’s a lot of room for experimentation.
Inspiration Machine
With such a wide range of capabilities, the Slicer is an inspiration machine, and it can be used in a lot of ways. For the most part, I found myself playing sparsely and letting the Slicer do most of the work, especially when using delay or reverb.
Each effect type offers a wide range of fun. Using harmonic and tremolo effects with slow to medium tempos creates lots of ambient space. Using the ping-pong stereo setting, sometimes feels like multiple guitars. Lead parts played in the single and dual settings with the tempo cranked and a lower attack setting evokes a broken-Leslie kind of sound, especially in 3D modes. But for recording, I preferred this kind of sound in mono, where I captured more direct, glitchy sounds.
The Verdict
The Slicer is a fun effect, and if you’re into exploring ambient ideas, glitchy rhythms, minimalism, or any other kinds of sounds with room for movement, you’ll probably find sounds you love. You also might find new ideas to refresh your playing, like I did, which I think is the ultimate reward. The many pedal and knob combinations that you’ll need to remember in order to access key features can make the SL-2 confusing. I’d prefer the larger footprint of the original with the added functionality of the new model. But at $169, there’s not much room for complaint. The SL-2 is a powerful, creative effect that delivers.
A bold fusion of Santa Ana and Fullerton styles yields a wide range of vintage-to-modern sounds.
Daring styling. Transparent onboard electronics. Powerful tone controls.
No passive operation. Hard to access upper frets.
$699
Jackson X Series Concert Bass CBXNT DX IV
jacksonguitars.com
I remember the extreme reactions when the PRS Silver Sky was introduced. The mashup (some might say, clash) of two well-known and classic designs was an earthly manifestation of sacrilege to some. The Jackson X Series Concert Bass CBXNT DX IV could be the Silver Sky's bottom-end equivalent: design elements from two legendary instruments fearlessly thrown together to create something new. The mix already has folks talking. But the real question is whether there is more to this bass than the mix of Fender-style P/J and Rickenbacker visual cues?
What Comes From Where?
The X Series Concert Bass clearly takes inspiration from Rickenbacker's 4001 and 4003. The pickguard, neck profile, chrome bridge pickup cover, control layout, shark fin fretboard inlays, and Jacksons own "Bass Bacher" through-body bridge all nod heavily to Rick. The poplar body profile and pickups, of course, are a nod to Rickenbacker's old neighbors, Fender.
That's the breakdown on the most obvious style moves. But look closer and you'll find features that make this instrument unique. I immediately noticed that the Jackson seemed slightly longer than some basses in spite of the standard 34" scale length. One reason is that putting the Rickenbacker-style bridge on a Fender-style body situates the bridge further forward so the eye perceives the neck as a little longer.
The most unique aspect of the instrument's deign, perhaps, is the pickup placement. The J-style pickup in the bridge position is located further from the bridge than a standard P/J, and the P-pickup in neck position is located much closer to the neck than I am used to. Outwardly, the pickup positions may not seem to represent a huge change, but they make an audible difference.
Tone Twists
The Jackson's departure from the two basses that inspired it become more obvious when you plug in. To start, the Jackson has active electronics and a flexible set of treble, mid, and bass tone controls. But the Jackson doesn't just thump in the hi-fi voice of a typical active-pickup-equipped instrument. The circuit also does a great job of delivering vintage feel in the top end, as long as the treble EQ stays below the 75-percent mark. Such tone-shaping flexibility is rare, and Jackson deserves kudos for being sensitive to the vintage-loving player via these tone controls. On the other hand, the Jackson could have featured a bypass that enables passive operation. That's a big plus for me in any active bass—especially one with such clear vintage ambitions—and it is missed here.
For anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The X Series Concert Bass' very flat and wide 12"-16" compound-radius neck took some getting used to. I expect it will be an adjustment for anyone accustomed to slimmer, J-bass-style neck profiles. But for anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The Old Door
The Jackson's voice exhibits a prominent and very honky midrange. And in spite of the P/J pickup configuration, the Jackson has much of the midrange of a Rickenbacker. The extra mids are especially noticeable when soloing the bridge P-style pickup. And getting something close to Chris Squire's tone is surprisingly easy with all that available midrange. The extra mids show up in the neck pickup, too, adding a pleasant woody bark to the output, and at times I could almost hear hints of an old door squeaking, which I mean in the most complimentary way. The laurel fretboard might also contribute something to this pleasant, woody personality.
The Jackson isn't all about midrange. Carve out a chunk of that midrange with the flexible 3-band EQ, engage both pickups at full volume, and it can confidently enter the sonic territory occupied by a more conventional P/J bass. The warm low end gets more room to speak, and that sound lends itself beautifully to playing with a pick. And even when digging in, the relatively transparent active circuitry never gets overbearing.
The Verdict
After living with this bass for a few weeks, it really grew on me. I love that Jackson green-lighted this fusion of design ideas—especially when some traditionalists on both of sides of the Rickenbacker/Fender aisle are bound to consider it a pretty wacky blend. But looks aside, the diverse sonics created by combining two legendary designs are interesting and fun to explore. I applaud big statements in general. And in the world of bass, this Jackson pronouncement is as loud and proud as they get.
Deep functionality yields seemingly infinite phase colors.
Almost infinite phase-shaping power. Impressive build quality.
Controls can feel too sensitive and interactive at times. Steep learning curve.
$319
Thorpy Pulse Doppler
thorpyfx.com
One of the most satisfying developments of the boutique pedal age is the quality and attention to detail we see from the best small builders. Another benefit is the leeway for small-batch builders to play mad scientist and build for tastes and creative tendencies that fall outside the mainstream.
Thorpy delivers a tip-top quality phaser/vibrato that is both practical and experimentally aligned with the all-analog Pulse Doppler. Inspired in some measure by the UniVibe and David Gilmour's custom-built Doppola rotary speaker, it's a phase nerd's dream—with functions for inverting phase notches, high-pass filtering, and an interactive control set that is complex, but which yields seemingly infinite micro-shades of phase. The merits of this deep functionality may elude casual one-knob phaser fans. But it will open up whole planes of possibility for detail-oriented sound sculptors, engineers, and producers, and players that relish the hunt for lush and off-kilter modulation tones.
Thorpy Pulse Doppler Review by premierguitar
All tracks are a Fender Telecaster through a black-panel Fender Tremolux and Universal Audio OX with tweed Deluxe and AC30 cabinet emulations. All modulation generated by Thorpy Pulse Doppler.
Control Freak
While there is appeal in a stupidly simple phaser, using one regularly tends to reveal the homogeneity in its modulation colors. The Pulse Doppler's control set, however, is most certainly conceived to avoid sameness. Apart from the vibrato switch—which removes the dry signal—and the wet/dry blend, rate, and depth knobs, the controls are somewhat unorthodox.
The enhance control, which emphasizes resonant peaks by feeding phased signal back into the circuit, will be familiar to phaser users that have evolved beyond the caveman stage. But other controls take more time and practice to sort. The manual knob is the trickiest of these. In simple terms, it enables you to shift notch filter frequency emphasis. In practice, it's much harder to pin down, and it can drastically affect output level and phase intensity, depending on where you situate the other controls. For most players, the noon position, which yields the fullest phase effects, will be the best place to start. But it's illuminating to turn down the depth entirely and sweep through the manual control's range to see how it shifts frequency emphasis. Once mastered, it can help sculpt unusual and mix-specific phase sounds.
Though the Thorpy can feel temperamental in the get-to-know-you stage, it's easy to find varied and harmonically complex conventional phase textures.
The dual/figure 8 toggle is another source of mystery at first. In the figure 8 position, it inverts filter notches so they move in opposition to each other instead of in sync. At many manual settings, this results in a smoother, clearer phase sound that seems to foreground the dry signal. But at manual settings that emphasize higher frequency notches, that relationship is inverted, and this position yields more intense throbs.
The 3-position invert/pulse/normal switch yields more predictable results. At modest depth, blend, and rate settings, the invert position produces more syrupy and elastic phase textures that are both cohesive and trippy, while the normal setting creates harder, almost percussive pulses from within a more natural, full-spectrum voice. Thorpy attributes these differences to the straight and phase-shifted waveforms being in phase in normal mode and out of phase in inverted mode. The pulse position, meanwhile, acts as a high-pass filter, yielding highly focused modulations that can be fashioned into intense tremolo-like textures—particularly at high depth and wet blend settings.
Though the Thorpy can feel temperamental in the get-to-know-you stage, it's still easy to find varied and harmonically complex conventional phase textures. But because the controls all have very wide range, it's important to start with conservative settings. And exploring the wet/dry blend, feedback, and depth controls within the lower half or lower third of their ranges reveals many deep, immersive, and familiar phase tones.
The Verdict
The Pulse Doppler is an extremely powerful phase tool. Once you master its highly interactive and sensitive controls and get a feel for its more unconventional functionality, the possible tones, musical applications, and creative prompts become myriad and thrilling. If you intend to use the Pulse Doppler in a live context, you'll want to put in the time to learn it backward and forward. Very small alterations to the highly sensitive controls can shift the phase texture drastically. And without preset capabilities, you'll need to mark your favorite settings very carefully or have a pretty precise and unfailing memory. The upside is that all this range means that you can readily move from deep, liquid variations of familiar phase tones to intense and weird modulation colors that can make a pedestrian riff unforgettable. Gigging players may want to seek simpler solutions, but as a creative studio tool, the Pulse Doppler is a phaser with few rivals.