These pedals all feature stereo I/O, designed to deliver more realistic and clear sound effects with a sense of depth and width in the spatial aspect.
The emerging Singaporean audio brand ALABS Audio releases four guitar effect pedals, including Reverb, Delay, Modulation, and Pitch. After a small-scale market test, it received universally high praise from everyone involved. “Chorus of angels”, ”Offer a whole new range of tones I have yet to come across…” They rated it as follows.
These pedals all feature stereo I/O, delivering more realistic and clear sound effects with a sense of depth and width in the spatial aspect. Also, each of them features analog dry through to avoid signal loss and latency caused by digital conversion, reducing compression and distortion. They are also equipped with digital control analog gain circuits, allowing parameter control for MIX even in analog dry through mode.
In terms of unique features, the Adam Adventures Series offers and ∞ Mode that is perfect for sparking new inspiration when musicians feel creatively stuck. This mode is essentially an automated expression parameter control that can simultaneously record and save the numerical changes of four parameters within a 5s timeframe. These saved variations can be triggered by holding down the footswitch and activating the stored change curves.
Apart from sound and ∞ mode, the design is also a fantastic highlight. The screen printing on each piece represents one of the astronaut Adam's cosmic adventures, making them as dreamlike as their sound.
Each pedal offers the following features:
- Exclusive WAVE (Wizard Audio Virtual Engine) Audio Engine.
- True Stereo Operation & Analog Dry Through.
- Regular & ∞ Mode, Exploring Surprising Possibilities.
- Switchable Relay-based True Bypass & Analog Buffer Bypass.
- Immersive fairy tale illustrations.
- Excellent craftsmanship & stomp-friendly.
Adam Adventures Series | ALABS Audio NOVADRIFT MODULATION Licks Demo
Tame it ain’t, but if smart pitch warping with minimal hassle (and real estate) is your bag, Mike Matthews’ latest is a gem.
Recorded with a Royer R-121 and a Shure SM57 going into an Audient iD44 then into GarageBand with no EQ-ing, compression, or effects.
Clip 1: Curtis Novak Jag-V neck pickup into J. Rockett Audio Archer feeding the Pitch Fork + then an Ibanez Analog Delay Mini then a Sound City SC30 combo. First Pitch Fork + setting uses the right footswitch to ramp up a perfect fifth. Next, the left-hand footswitch is engaged so that when the right footswitch’s momentary function is engaged it ramps up both a perfect fifth and a minor third.
RatingsPros:Yields a plethora of pitch-shifting options in a modest, flexible, and expandable footprint. Cons: Tends to hype and mask your guitar’s voice, even at conservative settings. Chord tracking could be better. Street: $214 Electro-Harmonix Pitch Fork + ehx.com | Tones: Ease of Use: Build/Design: Value: |
Where EHX’s original Pitch Fork was essentially a shrunken, treadle-less DigiTech Whammy competitor, the new Pitch Fork + is like the kid with aspirations to become a board-friendly Eventide H3000 harmonizer. It proffers two independent harmonies, each programmable across a +/- three-octave range by scalar interval (major or minor, not modal), with independent volumes for each voice and the dry signal. You can also program 100 presets (10 are factory loaded), as well as myriad expression-pedal, auxiliary-output, and footswitch-functionality configurations for each preset. Meanwhile, the bypass footswitch can behave as a momentary switch, and the left-hand “user” footswitch can be used to engage add-on effects such as modulation or ring-modulator, or to link multiple presets in a set-friendly preset “jump chain.”
Whether the Pitchfork + is right for you will likely boil down to its strong voice. Players looking to subtly augment a core tone—by creating a simple faux 12-string sound, for instance—may find it difficult to tame that voice, because even at low harmony and generous dry-signal volumes it adds a somewhat artificial-feeling sheen. That said, if loud ’n’ proud harmonized effects are your game, the Pitch Fork +’s intervallic smarts, almost head-spinning array of programming options, and ability to mesh with other pedals, including fuzz, may well make it a favored secret weapon. Particularly as its minimal control complement so deftly walks the line between powerful and simple.
Test Gear: Squier Classic Vibe ’70s Jaguar with Curtis Novak pickups, Sound City SC30.
We all know dead strings can compromise our tone, but so can fret wear.
While it might be easy for players to see, feel, and hear their guitar strings wearing out, it’s less obvious to see worn frets, despite their sharing equal responsibility for each note. Fret and string interaction is fundamental to the function of a guitar, but many players give little thought to the influence frets have on the way our guitars work, and how we play them.
Though the earliest frets were little more than pieces of string tied around a neck and slid into position by the player, guitar frets have been made from metal for centuries. For much of this time, a fret was a simple, straight-sided length of metal hammered into a groove sawn into the fretboard. This method worked well—particularly with relatively large-diameter gut strings—because the player’s fingertip was largely on top of the string and didn’t contact the abrupt, straight-sided fret much.
As smaller-diameter steel strings became increasingly common, the player’s fingertips contacted the sides of the fret more than before, creating a distinctly bumpy, ridged feeling on the neck. In response, wire makers created what we think of as a modern T-style fret, characterized by its larger semi-circular top section held in place by a slender straight portion, and, often, small teeth embossed in the sides to bite into the wood fretboard. This style of fret makes for a smoother playing feel and is easier to install at a uniform height. That’s thanks to the built-in stop that bumps into the fretboard’s surface when fully seated.
Regardless of the fret’s exact cross-section, the most critical aspect is that the top of each fret is exactly the same level as those in front and behind it. If not, the vibrating string is likely to contact the unwanted high spot and create a buzz or incorrect note. The frets don’t necessarily require identical height between the fretboard surface and the top of each fret—only that the tops of all frets fall in an even plane with each other. In fact, this is a typical scenario for a guitar.
The issue is that when two metal things rub together, they wear. Mostly, the harder metal will wear away the softer metal. Guitar strings and their differing alloys and construction styles have a wide variety of hardness, as do fret wires. Frets are bound to wear unevenly as we play, progressing to the point where an often-played note is measurably lower in elevation than a less-worn fret, preventing the string from playing accurately. The remedy is to grind the tops of all the frets into a uniform lower plane with respect to the intended radius of the fretboard, and then reshape the sides of each fret to a semicircular cross section to restore accurate pitch and consistent playability to every note. Since frets in the lower and middle portions of the fretboard are typically subjected to more wear than the highest notes, each successive fret-leveling operation tends to result in slightly shorter frets near the nut, and slightly taller ones at the dusty end of the fretboard.
After establishing a uniform plane across the tops of the frets, a second consideration is the overall height of the fret. The distance between the depressed string and the fretboard surface significantly changes the feel and playing style of a guitar neck. Put simply, smaller frets will tend to offer more accurate pitch for each note, while larger, taller frets can offer more expressive notes.
When a string is pressed to the fret, our fingertips subtly bend the string sharp as we push toward the fretboard surface. And as our fingertips contact the wood fretboard, the extra finger pressure is distributed, preventing the player from raising the pitch any further. This bending effect is minimized with small frets since they somewhat limit the player from pressing too much and raising notes higher than the intended pitch. In contrast, tall frets can exaggerate a deviation from the intended pitch, but they also allow for a myriad of expressive effects. This is because the player’s fingertips have a high degree of control to bend down toward the fretboard or sideways to alter the nuance of each note.
Regardless of the style or metal alloy, frets will wear over time. They can be leveled a number of times, but once they’re too low to play comfortably, it’s time to replace them to restore playability and expression to your guitar.