pedal issue 2014

This studio-quality reverb in a box is a piece of cake to operate.

The last four years have seen a veritable explosion of incredible-sounding reverb pedals, starting with the Strymon BlueSky Reverberator, and followed by stuff like the mind-bogglingly powerful Eventide Space. But the overriding philosophy of most manufacturers seems to be that reverb fans fall into two camps—dyed-in-the-wool spring devotees or those who want a command center filled with a jillion algorithms.

Neunaber’s Wet Mono Reverb falls into a logical, largely neglected middle ground: Designed and built in Orange County, California, it offers a single, studio-quality digital reverb in a roughly MXR-sized box with a simple, 3-knob layout and no distracting bells or whistles. Two Wet Mono versions are available: The standard v4 (tested here) features buffered bypass, while the v4tb has true-bypass switching.

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Photo 2 — I built my PG Distortion into a pre-painted and pre-drilled enclosure and decorated it with stickers. Because stickers!

Build a killer distortion pedal customized for your style. It’s easier than you think!

Building stompboxes from scratch is easier than you might expect. So is customizing the circuits to suit your style and taste. This project walks you through the process step by step. When you're done, you'll have a killer distortion pedal—and enough knowledge about using and choosing stompbox components to build countless other pedals.

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Order and chaos live side by side in a wildly expressive digital delay.

Death By Audio doesn’t really care what people think. Commonplace notions of what fuzz, overdrive, delay, and reverb are supposed to sound like mean little to them, and many musicians that treasure their effects couldn’t be happier with that stance. Because where a lot of pedal builders build variations on established templates, Death By Audio builds for iconoclasts. It’s always fascinating to see what these mad scientists have conjured in their lab.

One of the latest offerings is called Ghost Delay. It’s an appropriate moniker because it doesn’t take many knob turns to extract a wealth of supernatural sounds. The idea is simple enough: cascade three delay circuits into each other, and let chance do some of the work. And unlike other multi-taps, there’s no emphasis on synching, or subdividing.

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