A diminutive modulator dishes distinctive phase tones that stand out in a mix.
Distinctive, prominent phase tones that pop in a mix. Cool 6-stage voice. Small size makes it practical for less frequent phase users.
Less transparent voice may not appeal to players that quest for pristine tones.
$119
Ibanez Phaser Mini
ibanez.com
Ibanez has an unusual phase legacy. While they never built a phaser as wildly popular as MXR's Phase 90 or Electro-Harmonix's Small Stone, they issued memorable and innovative swirl devices—from the outlandish FP-777 Flying Pan to the simpler, more utilitarian PT-999, PT-909, and PT9.
Tiny dimensions aside, Ibanez's new analog Phaser Mini outwardly pays homage to the latter two pedals, which emerged from the Maxon-built "0" and "9" series pedals from the late '70s and early '80s. As on those phasers, tones are shaped by depth, feedback, and rate controls. The Mini also riffs on the PT-909's elegantly hip enclosure shape and graphics. Unlike the blue 909, the Phaser Mini is an orange-red that's closer to the PT9. (Yes, color matters on pedals that look this cool!) In a more practical deviation from tradition, the Phaser Mini also features a switch that selects 4- or 6-stage phasing—adding an extra-warpy dimension to the smooth 4-stage foundation that propelled the PT-909 and PT9.
Red Shift and Weird Wobble
When the Phaser Mini's closet relatives the PT-909 and PT9 first appeared, the 1-knob MXR Phase 45 and Phase 90 and the 1-knob/1-switch EHX Small Stone ruled the roost. Ibanez had even built a 1-knob phaser of its own in the form of the PT-999. The appeal and design motivation behind the older 1-knob phasers is obvious. They were simple to use and build. (It's probably also safe to assume that many psychedelicized phaser users in the 1970s were ill-equipped to operate much more than a single knob.) Ibanez probably saw opportunity in a phaser offering a little extra measure of control. They might have also heard the intense colorations of Mu-Tron's Phasor III and wondered if there was a way to deliver that pedal's wiggly, wobbly potency for less dough. Whatever the motivation, the 3-knob PT-909 was soon Ibanez's flagship phaser.
Anyone who has ever listened in frustration as a phaser goes missing in a mix will love the Mini's propensity to stand out proudly via its pronounced treble peaks.
The Little Guy Speaks Up
Like the original PT-909 and PT9, the Phaser Mini doesn't offer worlds of additional control—at least not by the standards of today's super-tunable boutique phasers. But the depth, feedback, and 4/6-stage switch open up the tone palette considerably and generate aurally striking phase textures.
One of the Mini's most ear-grabbing attributes is its slightly less transparent voice. Compared to a favorite vintage Phase 90 clone, for instance, the Ibanez adds more coloration to fundamental guitar tones. It often sounds relatively bright and bigger in the bottom end compared to other analog phasers, and it can feel extra-sensitive to drive from hotter or trashier pickups like P-90s. This isn't necessarily a bad thing. These slightly overdriven shades add a compressed cohesiveness to the output. And anyone who has ever listened in frustration as a phaser goes missing in a mix will love the Mini's propensity to stand out proudly via its pronounced treble peaks. As a result, I preferred working from the cleaner baseline tone of a Telecaster and using my guitar tone and volume knobs to taste. But if you're less concerned with headroom for other effects or achieving optimum pick articulation, humbuckers and P-90s (particularly in the bridge position) can lend a thrilling, brash Band of Gypsys tonality and attitude to the Mini—particularly when you add the extra warp of the 6-stage voice. Church of Gilmour-goers will probably prefer a cleaner phase that lets more transient tones shine through. More agnostic aspiring Jonny Greenwoods, Graham Coxons, and Kevin Parkers will dig the less immaculate swirl.
The Verdict
While phase is an essential effect for heavily psychedelic players and many Hendrix and Gilmour devotees, a lot of guitarists use it as an occasional splash of bold tone color. The Phaser Mini is a practical, compact, and colorful solution for players that use the effect more occasionally. It offers a lot of characterful analog modulation flavors in a small package, including very classic, go-to textures for Floyd and funk. For those less bound by tradition, the Phaser Mini is a distinctive alternative to the most prominent phaser types and the many upmarket clones that mimic their tones.
Why? Yeah, they're smaller, but they can also offer brighter, clearer, more focused tones than their full-sized cousins.
Whether you’re rehabbing a Les Paul Deluxe or an Epiphone Sheraton, or simply working on a different model or project that calls for mini humbuckers, we’ve rounded up 10 contemporary options to wire up, drop in, and rock out.
DIMARZIO
PG-13Originally developed for Paul Gilbert to deliver the sonic versatility he needs, this pickup was designed to combine the noiseless operation of a ’bucker with the focus and clarity of a single-coil.
$99 street
dimarzio.com
LACE
Drop & Gain Mini HumbuckerIntended for drop-D tunings and high-gain rock, these humbuckers have two discreet coil functions: one to drive output and the other for punch, crunch, sustain, and fast articulation.
$115 street
lacemusic.com
DRAGONFIRE
Mini BuckerThese vintage-wound pickups use alnico-5 magnets to achieve rounded and dynamic rhythm and lead performance for everything from blues to classic rock.
$45 street
dragonfireguitars.com
LOLLAR
Mini HumbuckerCompared with a vintage mini, these pickups are reported to be fatter and hotter without extreme microphonics, and, next to a full-size humbucker, brighter and tighter.
$175 street
lollarpickups.com
RIO GRANDE
Baby BBQ DawgbuckerFeaturing oversized polepieces and available in a number of different finishes, these double-wax-potted pickups were dreamed up to offer more power and presence than their vintage predecessors.
$170 street
riograndepickups.com
SEYMOUR DUNCAN
Seymourized Mini HumbuckerThese handmade neck minis were designed to provide more midrange and clarity for clean tones that are clear and snappy, and distorted tones with a pleasant mid-based growl.
$109 street
seymourduncan.com
CURTIS NOVAK
Mini-HumDesigned to deliver distinctive, harmonically rich tone with no shrillness, these old-school humbuckers are handwound to vintage specs, but can be custom wound upon request.
$160 street
curtisnovak.com
EMG
Mini Hum M-50For those in the active camp, this alnico-5 mini was designed to provide plenty of inductance and a beefy sound—great for driving a Marshall, but also good for playing slide through a Deluxe.
$99 street
emgpickups.com
KLEIN
Mini HumbuckerWound to vintage specs, these mini humbuckers are reported to be brighter than their full-size counterparts, with more depth and presence, and offer plenty of bite and grind when dug into.
$150 street
kleinpickups.com
GIBSON
Mini HumbuckerThis vintage replica from the company that introduced the mini humbucker in the ’60s uses alnico-2 magnets for its bright and focused output, but still retains Gibson’s well-known humbucker performance.
$155 street
gibson.com
How small guitars have become a big chunk of the acoustic market.
Small guitars weren’t considered a big deal 25 years ago, but whether you label them as baby, parlor, piccolo, travel, or kids’ models, undersized guitars have been the fastest-growing segment of the acoustic guitar market in the new century. It’s not that “big” guitars don’t sell anymore, and you’re certainly not going to see anybody strapping on a baby or parlor model when fronting a bluegrass band, but what happened?
Some attribute the new popularity of little guitars to specific artists, such as Ed Sheeran and his preference for pint-sized Martin LX1E models. And let’s not forget about Canadian astronaut Chris Hadfield, who became a YouTube sensation by singing David Bowie’s “Space Oddity” with a Larrivée parlor in hand—while floating in space. But even before such high-profile appearances, small guitars had been growing in popularity as players got tired of lugging around heavy cases just to take a guitar lesson or work out a new tune during their lunch break. Whether you like to play sitting up in bed or in the back seat of your car, bigger isn’t always better. And when traveling, of course, too often it’s a choice between bringing a quite small guitar or not bringing one at all.
Grand concert-size acoustics have long been the default choice for a small guitar, but these classical-sized steel strings, usually a bit over 14" wide in the lower bout, still left room for improvement if you wanted to get close and comfy with your instrument. For one thing, the typical 00 or GC model has a string scale just under 25", which meant that with a 14-fret neck, a player’s fretting hand is still a long way from his or her lap when playing in first position. To be both more portable and more comfortable when played sitting in a scrunched position, a very small body with a full-sized neck just isn’t as effective a design.
Although small guitars had been around for years, the number of new entries in the field really heated up in the early 1990s. One of the first steel-strings marketed with the word “parlor” was the Larrivée P model, which featured 12 frets clear of the body and a 24" string scale. With its short neck and small body, it was a very cuddle-friendly design. Martin won the how-small-can-you-make-it contest with their Backpacker model—which really could fit in a backpack—but for everyday use and travel that didn’t include hiking trails, many players opted for something larger that delivered more guitar-like tone. Taylor’s Baby models, introduced in 1996 and pictured on the Taylor catalog cover with infants in diapers, were initially pitched as guitars for children. Most Taylor dealers, however, found that customers more often used their kids as an excuse to buy a handy little guitar for themselves.
Soon it was clear that many guitarists wanted more deluxe woods and appointments in a very small instrument. Music industry insiders scoffed at the idea that players would pay premium prices for a guitar not much bigger than a baritone uke, but were proven wrong when Collings began offering a Baby model in 1994 that sold for the same price as a full-sized guitar of the same style. The success of the late Bill Collings’ Baby proved what vintage-guitar fans had known all along: A lightly built little steel-string acoustic can sound very much like a full-sized guitar, but with the volume turned down a couple of notches. Another revelation was that people devoted to the guitar are always ready to embrace a new type of guitar that expands their ability to enjoy playing. And those accustomed to top-shelf instruments won’t flinch at paying for the same quality in a much smaller format.
It’s not surprising that small-production workshops looked to expand sales by offering very small models, and there are enough little guitars on the market now to offer players a wide selection. These small guitars vary much more than standard sizes because the guitar builders aren’t all following the same playbook. Line up a half-dozen rosewood OMs by different makers, and the differences in tone are subtle since all the instruments are the same size and shape. But try the same with a Wee Lowden, Santa Cruz Firefly, Collings Parlor, and a Bourgeois Piccolo, and the tone and feel of each is distinctly different. That’s because nearly all those four guitars have in common is that they’re small.
Acoustic stalwarts Martin and Taylor have continued to fuel the small-guitars revolution with models slightly larger than their aforementioned pocket-sized examples from the early ’90s. And compared to a full-sized acoustic, these models offer better tone and volume while still being far more portable when stuffed in a gig bag. Martin’s D Jr. is an 0-size dreadnought model, but with a much shorter string scale, while Taylor’s GS Mini (as the name suggests) looks like a very small jumbo. Thanks to modern pickup technology, such “bigger than too little” acoustics offer a very credible plugged-in tone that expands their useful range.
Considering all the options now available, the question becomes not just when you need a guitar, but given the time and place and how you get there, how much guitar do you really need?