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.
Electro-Harmonix Nano Pulsar Stereo Tremolo Demo | First Look
Can a bona fide funk guru help design a better Klone?
Wide range of gain. Very useful EQ.
Doesn’t do the Klon clean boost as well as original.
$349
Jackson Audio The Optimist
jackson.audio
Jackson Audio’s pedal collaboration with modern funk hero Cory Wong could have taken a few different paths. Considering Wong’s style, a compressor would have been an obvious choice. Instead, the Optimist is a dual overdrive that builds on a Klon-inspired baseline, adds a second overdrive, and has a clever EQ to create a super-flexible overdrive. Named after Wong’s second album, The Optimist suits Wong’s exuberant and fun-loving personality. But it also describes the way you might approach a gig with this pedal in hand. Together, the two separate overdrives and active EQ give you enough tones to cover almost any gig this side of Slayer cover band.
Attacking the Klones
Jackson Audio’s pedals are always practical, and The Optimist is especially so. Each overdrive circuit has dedicated volume, tone, and gain knobs. Just beneath those are a trio of tiny EQ controls that illuminate when you hit both switches at once. And because the EQ can be used independently, you actually get three stomps in one. That’s impressive given The Optimist’s small size.
Modeling a circuit based on the Klon Centaur is nothing new. But Jackson Audio added enough tone-shaping control to make the Klon-inspired OD1 side of The Optimist more versatile than the average klone. Without an original Centaur on hand, I used Electro-Harmonix Soul Food as a baseline, which I used with a Schroeder Chopper TL, Fender Player Jaguar, and a Fender HSS Stratocaster plugged into a Fender Hot Rod Deluxe.
Some Klon users like that pedal’s mid-heavy, medium-gain grind. Others prefer to use it as a robust clean boost. I found that the Klon-inspired side of The Optimist is most oriented toward the first application. With the gain all the way down, it has a bit more bite and grit than the Soul Food. In Clip 1 you can hear an example with the volume at about 1 o’clock and the tone at noon. It’s a very healthy low-gain tone that I can imagine as an always-on, foundational sound for a lot of applications. The range of the gain knob is especially inviting. I couldn’t find a “dead” spot anywhere in the gain control’s range. Maximum gain levels have less high-end sizzle and a bit more overall gain than many klones [Clip 2]. And you sense that Jackson Audio and Wong aimed to find the most musical and versatile possible range of gain tones that a Klon-style circuit allows.
Flat Is Fabulous
The OD2 side of The Optimist gives you flatter frequency response and more transparency. Wong compares this side of the pedal to a Timmy or a ZenDrive. Internally, your signal hits OD2 first then OD1 before the active EQ. Because OD2’s flatter response preserves more of your original tone, it’s a great blank canvas. And with the EQ controls I could easily get more Screamer-like sounds or thicken my lead lines.
Setting all knobs to noon generated a fantastic crunchy tone that paired well with P-90s. As with the OD1, the OD2’s gain and tone knobs have a broad sweep. Neither side of The Optimist would classify as “high gain,” even at maximum values, but there are plenty of nice hard-rock tones available—especially if you use humbuckers.
The Bandaxall-derived EQ engages when you hit both switches simultaneously. And you can boost or cut the bass, middle, or treble frequency bands up to 12 dB from the noon position. Used by itself, this EQ helped me darken the tone of an overly bright Telecaster and tame the woofy low end from a Jaguar. I’ve never used dedicated EQ pedal in my chain, but The Optimist certainly opened my ears to the possibilities.
The Verdict
I remember the first time I played a real Klon. It wasn’t my thing. However, over the years I’ve developed a healthy appreciation for this subgenre of overdrives. At this point there are so many variations on the circuit that authenticity is less important than what connects with your particular playing style. The Optimist takes this more open-minded thinking about a klone’s possibilities, and adds a flat-response overdrive and a nearly flawless active EQ that can help you tailor the pedal to your setup in very specific ways.