Les Pauls, high-headroom British brawlers, and pulverizing pedals push Marcos Garcia into the Masters of Reality Iommi-sphere.
Facing a mandatory shelter-in-place ordinance to limit the spread of COVID-19, PG enacted a hybrid approach to filming and producing Rig Rundowns. This is the 34th video in that format.
Founding Here Lies Man guitarist/frontman Marcos Garcia set aside some gear time and virtually welcomed PG’s Chris Kies into his California tone zone. In this Rig Rundown, he goes over all the surgeries and upgrades his Les Pauls have undergone, details why he broke up with the Ampeg V4 in lieu of other foundation-cracking amps, and explains that his discerning ear is always chasing the sounds (and frequencies) in his head, and because of this, nothing in his setup is sacred or safe.
It may be the understatement of the century, but this year was weird. Even so, the killer gear kept coming. Here are the goods that stood out as extra-great amongst our annual haul of Premier Guitar reviews.
MXR
Clone Looper
With a two-button system for recording and playback, the Clone Looper simplifies many looping maneuvers by eliminating some double-click and hold sequences. But with awesome and trippy features like adjustable playback speed and reverse playback, you can easily take the Clone Looper's simpler looping processes to particularly psychedelic ends.
$149 street
Silktone
Silktone Amp
This handwired 1x12 combo employs a KT66 power tube for its class-A circuitry, resulting in glassy cleans reminiscent of a tweed Champ, and fat and pleasantly compressed high-gain tones without sacrificing shine. Joe Gore was also impressed with its aesthetic and workmanship, as well as Silktone's spring reverb. “It's got the feel of a vintage Fender tank, but with uncommon wetness and depth."
$2,199 street, as reviewed with ceramic speaker (alnico speaker $200 extra)
Fender
Vintera Telecaster '50s
Just about any Telecaster flirts with perfection in form. But Fender did not rest on their laurels in re-interpreting the '50s-styled variation in the new, affordable Vintera series. The neck is lovely, with a hefty deep-U shape, and the alnico 2 bridge pickup delivers the essence of bright, spanky, and rowdy Tele-ness, while maintaining a warm glow around the edges that is a beautiful match for a touch of vintage-style reverb.
$899 street
Fender
Vintera Telecaster '70s
Keith Richards, who could have any freaking Telecaster in the world if he wanted it, has used the Telecaster Custom he bought new in 1975 regularly ever since. When you play the Vintera version, it's easy to understand why. Fender's Tim Shaw worked hard to build a more authentic WideRange humbucker for this instrument, and the work paid off—creating an expansive palette of spanky-to-smoky tones when paired with the alnico 5 bridge single-coil.
$899 street
Yamaha
Red Label FSX3
Adam Perlmutter found that the OM-sized FSX3, which honors Yamaha's much-loved red-label guitars of the '70s, feels better-built than the company's original FG guitars, which is no small compliment. Perlmutter shared that the FSX3, boasting all-solid-wood construction, “feels great, exhibits real versatility, and is free of the old-guitar baggage that comes with vintage examples."
$999 street
TC Electronic
Hall of Fame 2x4
A maximalist expansion of TC's popular Hall of Fame 2 pedal, this reverb machine boasts 10 factory settings, six user memory slots, and eight stored patches, accessible via its four hefty footswitches. “Everything about the Hall of Fame 2 x4 Reverb is exceptional," is the word from reviewer Joe Gore, who welcomed its rich and varied reverbs, as well as the pedal's delightfully simple interface.
$299 street
Origin Effects
RevivalDRIVE
Origin's luxurious stomps feel like outboard studio gear from analog audio's golden age. The RevivalDRIVE, however, has so much tone-sculpting power that it actually tends to function and sound like an old recording console module, too. The EQ is powerful, sensitive, and responsive, and the low-end tones are especially delectable. If you need an overdrive that can fill a very specific mix niche, this tool is worth every penny.
$385 street
Jackson Audio
Bloom
This ultra-versatile multi-effects pedal captivated PG with its ability to control, shape, and expand natural playing dynamics through its five different types of compression, a 3-band Baxandall-inspired EQ, and a 20 dB clean boost. Boasting super-sensitive knobs with finely tailored sweeps, the folks at Jackson Audio topped off the Bloom with MIDI control over all parameters via its TRS input.
$329 street
Electro-Harmonix
Ram's Head Big Muff
Given what a vintage Ram's Head Big Muff costs these days, this new version's $99 price tag alone is cause for celebration. But the tab is extra-impressive when you hear how well EHX nailed a vintage Ram's Head's legendary essence. It's growling, bold in the midrange, and stings like a wasp when you run the gain and tone wide open. If you don't have the bucks for a vintage pedal or a high-end Ram's Head clone, this remarkably economical iteration is a must for rounding out your Big Muff collection.
$99 street
Blackstar
Silverline Standard
This 20-watt, 1x10 combo from the folks at Blackstar got high marks for its retro style, user-friendly, ergonomic control panel, and all points in between. Joe Gore was wowed by the Standard's attractive amp and effects emulations—especially given its modest price tag—and shared that Blackstar's compact 30-pound combo would make for a convenient gig companion or great living room amp.
$429 street
Source Audio
Collider
The Collider, which combines some functionality from the already expansive Ventris reverb and Nemesis delay, seems like it might be a handful to manage. In fact, the Collider's clever integration of its parent effects makes exploring the wide-ranging feature set—which includes new emulations like an excellent Tel-Ray-style oil can delay—an intuitive and fun portal to thousands of huge and rich time-manipulation textures.
$349 street
PRS
SE Hollowbody Standard
The Paul Reed Smith Hollowbody model has become a modern classic since its design was first introduced in 1998. And it's now available (and made much more affordable) as part of the company's made-in-China SE range. But don't let the down-market pricing fool you: Its elegant design, PRS-created hardware and electronics, and excellent playability easily earned the SE Hollowbody Standard a Premier Gear Award.
$999 street
Fender
American Ultra Jazz
As daunting as it is to alter a classic, revered instrument like the J, Fender hit it out of the park with subtle yet significant updates to its look and design. And with passive and active tones at the ready, Victor Brodén lauded the versatility of the Ultra Jazz, which allowed him to effortlessly conjure Marcus Miller-to-Jaco-esque tones.
$1,999 street
This crafty noise gate removes unwanted racket with minimal effect on dynamics. The PG Stone Deaf Noise Reaper review.
RatingsPros:A very effective noise gate that offers routing versatility and is easy to use. Cons: A bit expensive for a noise gate. Street: $160 Stone Deaf Noise Reaper stonedeaffx.com | Tones: Ease of Use: Build/Design: Value: |
Though they’re probably best known for their debut pedal, the PDF-1 (famously used by both Josh Homme and Troy Van Leeuwen of Queens of the Stone Age), U.K.-based Stone Deaf is a pretty inventive builder. Their product line also includes tremolo, delay, and filtered fuzz pedals—most of which generate racket and texture way beyond their most basic functions. But Stone Deaf’s most recent offering, the Noise Reaper noise gate, is not designed to amp up the noise, but to ratchet noise down.
The Noise Reaper is derived, to some extent, from the noise-abating circuitry in Stone Deaf’s high-gain Warp Drive and Fig Fumb distortions. It works by “reading” the signal from the guitar input before it hits any noise-inducing pedals or amp, comparing that signal sensitivity with the noise-bearing signal in the loop, and clamping down on the latter in response, all while preserving a measure of sustain and dynamics in the process.
On the One
The sturdy little 4.25" x 2.65" x 1.25" aluminum enclosure is built around a high-quality, low-noise voltage controlled amplifier and features a single threshold control with which you set the sensitivity of the gate. The bypass switch is a soft-relay type and power is delivered by a conventional 9V DC center-negative input on the crown.
You can very easily just insert the Noise Reaper in your effects line by routing the pedals via the Reaper’s loop. But it can also be operated by sending the Reaper through your amp’s effects loop to eliminate amp hiss and feedback. (A third possible method for crushing noise at the amplifier preamp and in the pedal chain can be achieved by using a second Noise Reaper pedal, but for the purposes of this review—and in the interest of economy—we will focus on the one-pedal solution.)
Shut Up!
I tested the Reaper both in front and in the loop of a Marshall-style Friedman Small Box head with a 2x12 cab, using P-90s and single-coil Rowe/DeArmond gold-foil-equipped guitars, as well as a JHS Angry Charlie overdrive and a Blackout Effectors Musket fuzz.
Routing the rig via the Stone Deaf’s pedal mode (where effects are looped back through the Reaper’s loop), I got impressive results with very little effort. I love the sound of the Amalfitano P-90s in my Novo Serus J, but those P-90s can be noisy at the best of times. Add the Musket fuzz with the gain cranked to the mix and they can be real trouble. But with the Noise Reaper engaged, my rig was practically silent. The presence of the Reaper didn’t impede dynamics or squelch the feedback I like to get from sustained notes, either. And I got so used to the quiet with the Reaper engaged that when I took it out of the mix the massive hum was alarming.
With the Reaper routed through the amp’s effects loop (and the two dirt pedals still between the Reaper and amp input), the Noise Reaper was also extremely effective. It ably removed P-90 hum in clean settings and subtracted hum from the amp’s lead channel at high gain, as well as the noise from the fuzz and overdrive pedals. Used in this fashion, you still hear a little noise from the amp’s front end, but the relative quiet remains very pronounced
As with any noise gate, there are ultimately limits to what the Noise Reaper can do without affecting dynamics to some degree. You’ll need to set your threshold carefully or the tail of decaying notes—even when completely clean—might start to sputter a bit. And if you need to generate swelling feedback without first hitting a note or chord, you’ll need to switch the Reaper off to get there. But the single-knob function makes such adjustments a doddle.
The Verdict
If you need a noise gate, the Noise Reaper is a pedal you should really consider. I found no significant drawbacks in sound or function apart from the inherent limitations that a noise gate creates in trade for killing hum and screech. It’s a creative and well-built twist on the noise gate concept and stands out for both its simplicity and its versatile routing capabilities.
Check out our video demo: