Authentic Uni-Vibe-style modulations and slicing overdrive offer tastes of Hendrix, Gilmour, and weirder variations on those dirty, wobbly themes.
Cool and easy-to-use routing and preset options. Rich modulations. Bright tone signature could be an advantage for players with darker-sounding rigs.
Toppy qualities might not be the best fit for some brighter rigs.
$299
Eventide Riptide
eventideaudio.com
I’ve been on a streamlining kick lately. Where stompboxes are concerned, that trend has manifested itself in all kinds of odd exercises, like forcing myself to use no more pedals than will fit in a lunchbox, or on a roof shingle. It’s hard to say what these exercises reveal about my mental state. But I’ve realized one thing: I don’t think I can shrink my pedal rig to much less than a boost, a vibrato, and a delay.
So, the Eventide Riptide is, in some ways, the pedal of my downsizing dreams. It consolidates excellent digital approximations of the optical-circuit-based Shin-Ei Uni-Vibe and variations on that theme, with two digital overdrives. The two effects can be used independently or together, and you can flip the routing of both. The Riptide also allows the player to dig deep into the possibilities of these sounds, offering stereo output, five onboard presets, and expression pedal functionality that enables you to change any parameter, in any direction, with a single expression pedal sweep. There are certainly cool possibilities here that a dedicated overdrive and Uni-Vibe or phaser effect cannot easily cover.
Born of the Mothership
Like the TriceraChorus stomp that Eventide released in 2021, the Riptide has origins in algorithms from the capable and expansive H90—in this case the Weedwacker Tube Screamer-style overdrive and the Even-Vibe Uni-Vibe model, which, together, make up the H90’s Hendrix-inspired Indigo Fog preset. The Riptide features two variations on those algorithms in the form of a less midrange-y red overdrive (selected via the small button above the drive footswitch) and a red Uni-Vibe setting, which is a more phase-forward take on the green Uni-Vibe sound.
On the Uni-Vibe side of the effect, the controls essentially correspond to that of a real Uni-Vibe, with the partial exception of the vibe knob, which at some counterclockwise settings effectively doubles as an effects-level control. At its furthest clockwise position, the vibe knob removes the unaffected signal, taking the place of the vibrato setting on a Uni-Vibe rocker switch and producing pure pitch-vibrato. At noon, the control approximates the sounds of a Uni-Vibe in its more famous chorus mode (which actually functions more like a phaser, but that is a story for another time). This configuration of the vibe control means you can create blends of the vibrato and chorus effect or, on the counterclockwise side of noon, use high intensity modulations at low mix levels. This extends the utility and musical flexibility of the vibe effect significantly. The three knobs assigned to the drive side of the pedal—drive, tone, and level—are the same as the Tube Screamer and other drive pedals.
Watch for Wobbly Drivers
No Uni-Vibe worth its salt is subtle, but the Riptide is extroverted in its own way. It’s unmistakably a Uni-Vibe sound, and a nice one at that, with plenty of chewy, vocal elasticity in the modulations. But compared to real Uni-Vibes I’ve met (memories of which are less than fresh) and the modern optical vibe effect I used for reference, the Even-Vibe section has a slight high-mid and treble emphasis that, to my ear, makes some intense modulations a little less rubbery and vowel-y. There are advantages to this kind of tone profile. Humbuckers sound a lot less muddy with heavy modulations, for one thing, and if you use Fender-style single-coils it’s unlikely you’ll go missing in a mix.
“No Uni-Vibe worth its salt is subtle, but the Riptide is extroverted in its own way.”
The toppier profile also has advantages in many of the blended chorus and vibrato settings, and when the modulations are backgrounded in the mix. In the former, the extra high-end seems to accent some pitch wobble effects, lending complexity and cool whistling overtones to combined chorus/vibrato voices. In the latter application, it contributes a little extra cut to low effect mixes that lends a ghostly presence. The phasier “red” voice, by the way, does strike a cool balance between Uni-Vibe and Phase 90-style tones. But it also offers sounds that exist outside the Uni-Vibe canon that will give more experimentally minded players lots to work with.
The Verdict
There are few modulation textures as liquid or capable of shifting the mood of a song as a Uni-Vibe. The Riptide has the same power to compel and push a song or a player’s approach in soulful, manic, and explosive ways. It has its own tone signature, and for many players that high-mid-forward emphasis will be preferable—particularly, I would guess, for Hendrix and Gilmour fans trying to coax Fuzz Face and Marshall qualities from, say, a Les Paul and a Fender Deluxe. You could argue that $299 is steep for such a specialized effect. But you’ll pay at least that much for an overdrive and a decent Uni-Vibe clone with many fewer routing and customization capabilities. If you’ve never messed with a Uni-Vibe clone before, a world of weird and wobbly awaits. But purists, too, will find plenty of thrills in this smart, compact combination of effects.
Eventide H90 App & Riptide Pedal Demo | NAMM 2024
Bassist Hondo Felder looks for the versatility factor.
I love pedals, of course, and find myself voraciously taking in as many demo videos as I can. They are my first go-to when a new pedal that catches my interest drops. Good demo videos give a full picture of what a unit can do, and even give me ideas of how to incorporate that effect into my own music. The musicians who make these videos are an important part of our community, and, in this two-part column, I would like to introduce everyone to some folks who I think are making some great content across multiple platforms.
First, a question: How often do we get a well-produced, feature-rich pedal demo for bass, instead of guitar? As a bass player, I can tell you: not often enough! Certain pedals just don’t let the tone of your bass come through. It’s a thing. However, it seems like nowadays, with doom being so hot, pedal-makers are designing more bass-friendly circuits. I also see an awful lot of musicians rocking baritone guitars as well as guitarists using multiple 6-strings in various states of down-tuning. For all of the above, there’s Hondo Felder.
Hondo’s videos are primarily geared toward the heavier end of things, and players who love the low end will really enjoy them. He is a self-professed “typical musician with a day job” who is anything but. Hondo is a bass player and audio engineer with an incredible amount of knowledge about all types of gear.
Hondo’s content focuses heavily on the features, different sound combinations, and stacking capabilities of the units he chooses to demonstrate. He uses different guitars with various pickup configurations, and often demos with synths and computer-generated sounds, which offers viewers a complete range of a pedal’s functionality in a very musical way. It also lets us hear and see other gear that we might not have previously considered looking into. It’s great to be able to experience what the versatility factor is for any effect or piece of gear.
I asked Hondo, who lives in San Francisco, how he got into making demos. “Since I moved out from the East Coast in 2015, I lost the ability to work with many of the musicians I’d developed relationships with over the years,” he explained. “That left me with a sizable hunger for creating original music with other people. After about four years, I managed to develop a new set of musical connections and started really getting back into gigging, writing, and recording. Of course, that meant G.A.S.! I went looking online for bass demos of pedals I couldn’t get my hands on and realized there aren’t a ton of bass reviewers out there. Those two things got me thinking that maybe I could make a channel where I use gear in a real mix—with normal playing techniques—and give people enough sound clips and impressions that they could make a gear purchase with confidence, without having the gear in their hands first. At the same time, I thought I could use the channel to build a network of like-minded artists without having to be subject to the confines of physical proximity.
Hondo Felder calls the Skitter reverb and tremolo “inspiration in a box.” See how it pairs with both guitar and bass in his demo.
“I plan to demo every pedal I own, and anything anyone loans or gives to me, so it’s more a matter of which ones I do first rather than which ones I will or won’t do,” Hondo continues. “I will say, though, that if I ever come across a piece of gear that I can’t say anything positive about, or don’t recommend people buying, I won’t demo it. I really want my channel to be a source of positivity and a place where people can come to chill and have conversations about gear, rather than bashing anything. That said, I do particularly love finding gear that is unknown, or not widely used on bass.”
You can subscribe to Hondo’s YouTube channel (look for HondoFelder) to see videos of Champion Leccy’s the Skitter, Mask Audio’s Black Math, and more. And in my February column, I’ll introduce you to two more of my favorite pedal demo creators.