The featured-packed new delay from Kansas City builder Junior Thomason sounds heavenly, but can be a beast to navigate.
Many beautiful delay tones. Nice, subtle modulation. Double-delay algorithms sound incredible. Big-box functionality in a small footprint.
No delay time knob. Requires a lot of time to memorize its color-coded operations. Difficult to quickly navigate settings on the fly without a MIDI controller.
$299
JET Pedals Eternity
jetpedals.com
Maximalist pedal engineering—the kind that finds dozens of functions crammed into small enclosures—isn’t for everyone. The impressive capabilities of these units test conventional thinking about how much tone shaping power you can fit in a single compact housing. But such pedals can also test your patience if you’re the plug-in-and-go type.The JET Pedals Eternity Delay is likely built with patient tinkerers in mind. It's rich with fascinating delay sounds, but to unlock its ample power, you’ll have to keep your wits and do your work with the manual up front.
Bright Lights
There’s a lot going on in the Eternity. It has two soft-click footswitches for bypass and tap tempo, four control knobs, a 3-way toggle switch, a MIDI jack, two input and two output jacks to run it in either mono or stereo, plus a 9V jack on the right side. These are all smartly arranged, so the Eternity doesn’t feel or look crammed. Its capabilities, however, are almost overflowing.
The Eternity’s four knobs are all clear plastic, and when it’s fired up, you’ll notice that the top two knobs—which control mix and repeats—double as LEDs. Along with the two LEDs above the footswitches, these knobs are the Eternity’s navigational signposts. Clicking and holding the bypass footswitch for one second changes the delay algorithm, which is signaled by a change in color in the repeats knob. There are six algorithms to cycle through: tape, digital, analog, dual, ESD, and JRD.
The Eternity’s preset mode, which is engaged by double-tapping the bypass switch, has room for six saved presets. The presets are cycled by tapping both footswitches at the same time. Presets, too, are color-coded, and indicated by the color of the mix knob. But connect a MIDI controller, and the world’s your oyster. That will allow you to program up to 127 presets, and remotely manipulate each of the Eternity’s controls.
Memorizing numerous color codes and varying LED light patterns won’t be easy for everyone. But the functionality goes deeper still. The Cntrl 1 knob functions differently for each algorithm. For example, in the tape and analog algorithms, it adjusts the level of the preset modulation; with digital mode engaged, it adds grit to the repeats; and in the custom delay modes, it sets the level of one of the two delay programs. Curiously, there is no dedicated time knob to quickly dial in or modify the effect.
Heavenly Sounds
JET Pedals boss Junior Thomason builds pedals for worship guitarists, so it’s little surprise that the sounds here are, well, heavenly. And no matter how you set it, it seems to possess a sparkle and three-dimensionality that turns a bedroom into a cathedral. The pedal boots up on its tape delay algorithm, which is thick and musty, and the adjustable modulation is gentle and tasteful. The otherwise pristine and endless digital delay can be dirtied-up via the Cntrl 1 knob. The analog algorithm nails the dark atmospherics of BBD delays, and the ESD, which stands for echo slap doubler, hits the mark for rockabilly echo.
Where the pedal really shines, though, is in the algorithms that feature two delays. The dual algorithm combines a customizable analog delay with a fixed dotted-eighth-note digital delay. The JRD (JET signature rhythm delay) similarly features a tweakable analog delay with a tight slapback. The dual is the most fun of the two, producing zany ping-ponging rhythms and encouraging attention to timing and phrasing. The JRD, meanwhile, is straight-up grand. It lends so much space and body to chording and single notes alike that it feels like a hack to sounding like a better player.
The Verdict
For the patient and invested user, the Eternity will yield a world of possibility. It’s a powerful pedal with a ridiculous swath of features and full stereo capability. Its delay algorithms sound brilliant and rich, and JET’s original double delay programs are engaging and rewarding. But fitting all of that functionality into a pedalboard-friendly package comes with hard-won compromises in operational ease, so it’s probably best to test the Eternity before you commit to exploring its deep well of sounds and functions.
A range of ergonomic, adaptable pedalboards and updates the popular range of Club, Tour and Pro series of cases.
Anaheim, CA (January 31, 2017) -- MONO – an IDSA Award-winning company that makes innovative and inspiring instrument cases and accessories – is taking its first leap from the green room to the stage, releasing a range of ergonomic, adaptable pedalboards and updating the popular range of Club, Tour and Pro series of Accessory Cases. MONO is unveiling these new products at NAMM 2017.
“A fully loaded pedalboard represents a meaningful investment, often greater than the cost of a guitar itself. MONO's Cases set the standard for mobility and protection across the industry, and the combination of MONO's Pedalboards and Gear Cases represent the ultimate solution for the working musician on the move,” says MONO Director of Sales, Randy Couvillon.
“MONO fans have been using our best-in-class pedalboard cases to carry their effects set-ups for years. By studying the everyday demands of these users, MONO identified a real need in the market to create a pedalboard that was truly responsive and designed for how the modern mobile creator operates in the real world. At MONO, We’re incredibly proud to release a range of sleek but durable pedal boards that will really add a new dimension to the set-up for our community of musicians around the world. At the same time, we’re also updating our Accessory Cases to not only be a perfect fit for our new MONO pedalboards, but also the newer Pedaltrain pedalboard models, and other models with dimensions similar to these popular sizes,” says Mr Couvillon.
Lead Industrial Designer, Peter Boeckel says “Our new range of five pedalboards are all cut from a single piece of 3mm anodized aluminum to be lightweight and durable. At MONO, we always design with the daily realities of creators in mind - and we know that people need to travel light and like to customise their pedalboards to suit their own needs. We worked hard to find the right balance between structure and openings, bending the sides and the overall material thickness in order to achieve the right combination of stability and portability. As a result our pedalboards feel streamlined, elegant, and effortless.
“We’ve designed the cut-outs on top of the board to accommodate any custom cable routing configuration that you desire - and every pedalboard is shipped with 3M dual lock to make sure have the best material to affix your pedals to the board. Our pedalboards are flat or set at a ten degree incline, so are designed for ergonomic stomping and easy reach. This means that creators can spend less time on their balancing act and more time creating their signature sound,” says Boeckel.
MONO’s new pedalboard range includes five sizes from the Lite measuring 14 x 5.25 x 1.25 inches up to the Large measuring 32 x 16 x 3.5 inches. Laser cut from 3mm anodised aluminum, these Black Anodized and Silver Anodized pedalboards are light and easy to travel with; they’re also tough wearing and look great on stage.
MONO’s full range of PedalBoards is as follows: Lite (14 x 5.25 x 1.25 inches; no angle of elevation): Super lightweight for easy transit. Can mount common compact power supply units
Features:
- Laser cut aluminum, bent from single sheet, chemical polished, anodised either black or clear.
- Anodizing is an electrochemical process that converts the metal surface into a decorative, durable, corrosion-resistant, anodic oxide finish.
- Laser engraved logo
- Rubber feet for stability and shock absorption
- Lightweight for ease of travel
- Lite+ (18 x 5.25 x 1.25 inches): All the benefits of the Lite with additional space so you can fit that extra pedal
- Small (18 x 12.5 x 3.5 inches): Double the size of the Lite+, accommodates any power solution including AC. Front cable opening and a mix of openings for flexible cable management
- Medium (24 x 14.5 x 3.5 inches): vertical cable outlet in centre of board to give more flexibility to wire up your pedals. Two front openings for cable access and management.
- Large (32 x 16 x 3.5 inches): Two vertical cable outlet in centre of board to give more flexibility to wire up your pedals. Two front openings for cable access and management. Not available for retail, only available for partnerships and collaborations.
MONO’s Updated Pedalboard/ Gear Case sizes are as follows:
- The Club 2.0: Fits MONO Pedalboard Small and PT Classic Jr & 2 (18 x 12.5 x 3.5 inches)
- The Tour 2.0: Fits MONO Pedalboard Medium and PT Novo 24 (24 x 14.5 x 3.5 inches)
- The Pro 2.0: Fits MONO Pedalboard Large and PT Classic Pro (32 x 16 x 3.5 inches)
- The Tick 2.0 : Fits MONO Pedalboard Lite and PT Nano (14 x 7 x 3.5 inches)
All new products will be available Spring 2017 at monocreators.com and through select dealers.
For more information:
MONO
The new Vertigo Acoustic includes the Boot—the patent pending molded rubber sole—for vertical drop protection.
Larkspur, CA (December 23, 2015) -- MONO expands its groundbreaking Vertigo Series Top-Loading hybrid cases with the Vertigo Acoustic Case. Like the Vertigo models for electric guitar and bass, the new Vertigo Acoustic includes the Boot – the patent pending molded rubber sole – for vertical drop protection. Inside, MONO’s patented Headlock neck suspension system ensures that acoustic guitars stay well protected from rear and side impact as well.
$315 MSRP
For more information:
MONO