Fly high with a ticket to ethereal and outrageous reverbs.
The Strymon Cloudburst is a reverb pedal designed to stand out, all wrapped in a smaller form factor that houses full stereo I/O, TRS MIDI and USB-C connectors on the back panel. Coupled with the powerful ambience processing is a brand-new Ensemble engine, capable of creating pads and soundscapes that follow your playing organically - so if you change pickups or play in a different place on the neck you get different results. It’s unlike anything you’ve ever heard or played before, all wrapped in a smaller form factor that still manages to house full stereo I/O, TRS MIDI and USB-C connectors on the back panel. Prepare to be inspired!
Smooth, articulate germanium and silicon overdrive that respects your tone and style—and your budget.
Smooth, articulate overdrive that respects the character of your tone and playing. Germanium and silicon options, with nice surprises on the silicon side. Great price!
Fans of higher-gain germanium circuits may be disappointed in quiet germanium side. No setting for blending the germanium and silicon diodes.
$99
Earthquaker Devices Special Cranker
earthquakerdevices.com
It’s pleasing when a device with a little braggadocio in its name lives up to its claim. EarthQuaker’s new Special Cranker is, indeed, special. It’s a warm, ultra-touch-responsive medium-gain overdrive that EQD designed to sound and respond like you’ve added another tube to your amp’s preamp section. The result: The character of your core tone remains vital and intact, but bristles with articulate, controlled snarl and sustain. And if that’s not special enough, there’s also a toggle that lets you switch between germanium and silicon diodes, for two classic flavors of fur.
Recognizing the Speaker
The Special Cranker is an update on the Akron-based company’s out-of-production Speaker Cranker, which had just one knob, labeled “more.” The Special Cranker literally offers more—control, that is, with the addition of an output level control and tone dial that helps shape some of the extra gain on tap, among other things.
The more dial cranks the gain by adjusting the bias of the transistor, and it can be a little noisy when you twist it, but EarthQuaker says that’s normal for this circuit. The level adjusts the output signal and can get pretty outrageous—it seems to double the volume when fully cranked in silicon mode. Unity, for my Zuzu 6-string with coil-splitting, was between 9 and 10 o’clock, so there’s lots of headroom. The tone wrangles treble: more to the right and less to the left, naturally. I found flat response at about 2 o’clock with the Zuzu, which produces Les Paul-like tones in humbucking mode and sounds like a Stratocaster in single-coil settings.
Your core tone remains vital and intact, but bristles with articulate, controlled snarl and sustain.
The circuit board inside is clean, elegantly executed, and home to the pedal’s two flavors of diode. The original Speaker Cranker utilized a single asymmetrical clipping silicon diode. Typically, asymmetrical diode clipping sounds less compressed and clearer than symmetrical clipping. Special Cranker’s switchable silicon and germanium clipping sections, however, enable you to experience two very different flavors of asymmetrical clipping. Germanium clipping, of course, harkens back to the earliest days of fuzz. It is, typically, warmer, darker, and produces less gain than silicon.
Cranking the Cranker
Plugged into a Carr Telstar amp, the Special Cranker is a little demon—especially in silicon mode. With level at noon, more at 2 to 3 o’clock, and tone also at 2 to 3 o’clock, humbuckers produce warm sounds that sustained elegantly, living up to EarthQuaker’s promise of lucid tones. That clarity helps chords flower, while single notes took on a sinuous character and hung in the air—ripe, full, and singing. It was much the same with single-coils, albeit brattier and more snarling. And while the output is aggressive and quite loud, it’s still warmly sculpted and manageable—even with the gain and level turned to maximum.
I’m a germanium fan, but to my surprise I fell hard for Special Cranker’s silicon side. I love gnarly, high-gain germanium tones, but with its medium-gain ambitions, the Special Cranker sounds grittily sophisticated rather than head-rattling. And where the germanium-driven tone had less low-mid content than I’m used to, which was a tad disappointing, the silicon side filled in and fattened the low mids—which I hadn’t expected—creating a robust, blooming sound I adored. The silicon side also made my guitar brighter, bolder, and well-defined, even with extended chords. The rangy tone control is valuable for fine tuning the extra gain and high end (though I was also very happy simply setting it flat). It’s also very helpful when searching for more brightness on the darker, quieter germanium diode.
The Verdict
The Special Cranker is an exceptional medium-gain overdrive with tube-like character, offering plenty of easy-to-control, warm distortion and boost. The germanium side may be too tame for some players. But the silicon side has a full, fat voice that is perfectly responsive to picking technique and preserves the integrity of complex chords. That alone makes the $99 price a bargain. I’d love to see a setting for blending the silicon and germanium diodes, even though that would bump the price. But players looking for a more articulate and colorful alternative to TS and Klon tones should crank up the Special Cranker and tilt an ear.
Your ticket to riding waves of trad-to-freaky modulations on the cheap.
Immersive modulation sounds that range from smooth to warped. Stereo functionality. Useful volume control
Controls can feel twitchy and elusive in the get-to-know-you phase. No tap tempo.
$103
Electro-Harmonix Nano Pulsar
ehx.com
I loved the first few iterations of the EHX Pulsar tremolo—particularly the stereo version that appeared in the early 2000s. Two decades ago, there weren’t that many pedal-tremolo options. But the Pulsar didn’t just stand out for lack of competition. I thought it sounded ace and not a million light years away from the optical tremolo in the black-panel Tremolux that I used most at the time. If it didn’t quite nail the sound of real amp tremolo, it sounded mighty fine in a band context and with other effects. And the fact that the tremolo on the old Tremolux worked as irregularly as it did meant I got pretty well acquainted with the Pulsar. I came to love the way it sounded, its name, and the way it looked hooked up with my Big Muff and Small Stone. (Note to self: Revisit that chain at the earliest possible opportunity!)
The new Nano Pulsar is the latest old-guard EHX pedal to receive the shrink-ray treatment. And while I miss the look of that big enclosure, the Nano’s small size and volume control arguably make it a pedal of much greater utility.
Mass Reduction Plan
Over the years, original Pulsars (along with quite a few other pedal tremolos) have been criticized—unfairly in most cases—for what users perceive as volume loss. I never experienced the phenomenon in my own 2000s Pulsar. But to make sure they don’t hear any such beefs going forward, EHX has included an output-volume control that ensures users don’t mistake the volume attenuation intrinsic to tremolo as signal loss. The amount of available extra volume isn’t huge, but it’s considerable. And if you set your tube amp at the verge of its distortion threshold, it’s enough the make the amp perceptibly dirtier. There’s a lot of range for reducing the output volume of the tremolo’d signal as well. That may not sound very useful at first, but as I checked out these volume-attenuated settings, a little ditty based on tremolo’d quiet verses and un-effected louder choruses practically wrote itself. No matter how you use the volume effect, it definitely extends the dynamic potential of the Nano Pulsar.
As I checked out these volume-attenuated settings, a little ditty based on tremolo’d quiet verses and un-effected louder choruses practically wrote itself.
Rock Throbster
The controls elsewhere are pretty sensitive, which means it can be hard to dial in a just-right depth or rate setting at times (this will almost certainly stoke the ire of tap-tempo addicts—there is no such option here). But though it’s trickier to find given depth and rate recipes on the Pulsar than it is on the Fender Vibrolux I used for comparison, practice made perfect. After a few go-rounds with the Nano Pulsar, I was able to intuitively find the settings I wanted or used regularly. Remember, too, that some of the sensitivity in the rate and depth controls is attributable to their greater range. There are things you can do with the Nano Pulsar that you can’t do with amplifier tremolo. The rate control, for instance, ranges from a preposterously slow 20-seconds-per-cycle (which sounds super cool with amp feedback) to super-fast sounds that sound like ring-modulated robot gibberish.
The depth control, too, is much quirkier than the depth control on an amp. Much of its lower range generates pulses that verge on imperceptible. And the most traditional sounds generally reside within the 10 o’clock to 1 o’clock range. Beyond that point, the pulses modulate between positive and negative phase, which gives the waveforms a twitchier personality. To my ear, these sounds are especially effective at advanced rate settings, which highlight the hanging-in-the-flying-saucer-engine-room sensations you can produce here. They are even cooler when you work the wave-shape knob, which shifts the wave peak from center to form asymmetric rise and fall rates. As with many facets of the Pulsar’s performance envelope, finding the wave shape that precisely suits your needs and musical vision might take patience, but the search can yield bountiful surprises.
The Verdict
Though I’m pretty familiar with the quirks of the old Pulsar, the Nano reminded me that the controls can feel pretty unconventional compared to amp tremolo controls or those on more straight-ahead tremolo pedals. That shouldn’t be a deterrent to exploring what the Pulsar has to offer though. The trad sounds are rich and satisfying, while the weirder fare is fun, sparks musical ideas, and can be utilized in subtle or freaky and intense settings. The simple stereo capabilities yield big payoffs when you introduce a second amp, and even if this isn’t a practical move in performance, it’s a blast to use in recording situations. At just a click more than 100 bucks, it’s a very inexpensive way to enrich your library of modulated tones in a big way.