The penultimate high gain amp is here! Check out the Fryette Deliverance® 120 Series II Plus!
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Fryette Deliverance One Twenty II Plus
The newly enhanced Deliverance preamp section has a richer low gain tonal palette with increased dynamic range, which accounts for its extra touch-sensitivity and excellent guitar volume control response. In addition, devastating high-gain voicings can be dialed up with perfectly balanced timbre via the GAIN I/GAIN II structure by assigning GAIN II to the high-gain "MORE" mode, which adds further overdrive flexibility. In "LESS" mode, GAIN II is now defeated, which greatly expands clean to edge of breakup range to produce truly authentic old school sparkle and power amp bark. Adding a boost or overdrive pedal in this mode produces fearsome jumped-input vintage Non-Master-Volume amp performance with unmatched Master Volume control.
The One Twenty power amp section utilizes four KT88 power tubes for robust low mids and sparkling high end harmonics. It is designed for big round tone and dynamic response at low to medium guitar volumes and a rapid but smooth transition into saturation, turning rich and thick at full guitar volume. This combination of preamp voicing and power amp response makes the Deliverance® amplifier an ideal partner for any instrument, from a vintage Tele to a fully blown 7-string metal axe.
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- An Interview with Steven Fryette ›
It’s Day 26 of Stompboxtober! Today’s pedal from MXR could be yours—enter now and return tomorrow for more!
MXR M309 Joshua Ambient Echo Pedal
The MXR Joshua Ambient Echo is your ticket to iconic sonic sanctuaries, featuring a foundation of carefully concocted tones and textures, highly customizable delay, and other features to help you craft soundscapes worthy of tonal trips out of the ’60s and ’70s and ethereal ambience from the ’80s.
This pedal requires 9 volts (300mA) and can be powered by the Dunlop ECB003 9-volt adapter or the MXR Iso-Brick Pro, Iso-Brick, and Mini Iso-Brick power supplies. This pedal cannot be powered by a battery.
Vintage-style reverb, tremolo, and vibrato sounds abound in a 3-in-1 stomp that might be the only box you need.
The Keeley ZOMA combines two of iconic amp effects—tremolo and reverb—into one pedal.
Key Features of the ZOMA
● Intuitive Control Layout: Three large knobs give you full control over Reverb Level, Tremolo Rate,and Depth
● Easy Access to Alternate Controls: Adjust Reverb Decay, Reverb Tone, and Tremolo Volume withsimple alt-controls.
● Instant Effect Order Switching: Customize your signal path. Position tremolos after reverb for avintage, black-panel tone or place harmonic tremolo before reverb for a dirty, swampy sound.
● True Bypass or Buffered Trails: Choose the setting that best suits your rig.
Three Reverb and Tremolo Modes:
● SS – Spring Reverb & Sine Tremolo: Classic spring reverb paired with a sine wave tremolo for that timelessblack-panel amp tone.
● PH – Plate Reverb & Harmonic Tremolo: Smooth, bright plate reverb combined with swampy harmonictremolo.
● PV – Plate Reverb & Pitch Vibrato: Achieve a vocal-like vibrato with ethereal plate reverb.
Reverb: Sounds & Controls
● Spring Reverb: Authentic tube amp spring reverb that captures every detail of vintage sound.
● Plate Reverb: Bright and smooth, recreating the lush tones of vibrating metal plates.
● Reverb Decay: Adjust the decay time using the REVERB/ALT SWITCH while turning the Level knob.
● Reverb Tone: Modify the tone of your reverb using the REVERB/ALT SWITCH while turning the Rate knob.
Tremolo: Sounds & Controls
● Sine Wave/Volume Tremolo: Adjusts the volume of the signal up and down with smooth sine wavemodulation.
● Harmonic Tremolo: Replicates classic tube-amp harmonic tremolo, creating a phaser-like effect withphase-split filtering.
● Pitch Vibrato: Delivers pitch bending effects that let you control how far and how fast notes shift.
● Alt-Control Tremolo Boost Volume: Adjust the boost volume by holding the REVERB/ALT footswitch whileturning the Depth knob.
The ZOMA is built with artfully designed circuitry and housed in a proprietary angled aluminum enclosure, ensuring both simplicity and durability. Like all Keeley pedals, it’s proudly designed and manufactured in the USA.
ZOMA Stereo Reverb and Tremolo
The first sound effects built into amplifiers were tremolo and reverb. Keeley’s legendary reverbs are paired with their sultry, vocal-like tremolos to give you an unreal sonic experience.
By now, we’re all familiar with the many options out there for amp modeling. Mic modelers are another reliable asset to digital recording tech, and can rapidly grow your inventory with just a few clicks.
As guitarists, we’re very aware of amp-modeling and profiling technologies, such as the Line 6 Helix, Fractal Axe-Fx, Neural DSP Quad Cortex, and Kemper Profiler. While our bases are covered for these (with modelers available for every “holy grail” amp under the sun), we are still missing another vital area of the recording process—microphones—for the acoustic instruments and vocals we might want to capture.
What if we could record them using holy-grail-modeled microphones? This month, let’s evaluate microphone modeling to help you make better-sounding recordings. Tighten up, the Dojo is now open.
The Sincerest Form of Flattery
Microphone modeling is an intriguing advancement in recording technology, offering great flexibility and possibilities for musicians, producers, and engineers. Makers like Slate Digital, Antelope, and Antares make many offerings, from hardware to software.
Universal Audio’s Sphere DLX ($1299 Street), LX ($799), and their six new Standard Mic series have impeccably modeled classic mics, and when coupled with their classic mic pre and compressor plugins, you can enjoy the same highly coveted mic chains appreciated the world over.
How It Works
The technology behind microphone-modeling systems relies heavily on convolution and impulse response techniques. These techniques involve capturing the unique sonic fingerprint of a microphone by recording its response to a wide range of frequencies and sound pressure levels. The immediate benefit is that this means you can grow your mic locker exponentially and gain access to a wide range of legendary microphone tones and textures all from a single mic! Most modeling microphones are usually either small- or large-diaphragm, multi-pattern, condenser microphones that are capable of capturing a wide frequency range and dynamic response. By adding other modeling mics, you can record in stereo or surround, and/or record multiple instruments at a fraction of the cost of owning multiples of the modeled mics themselves.
A Wealth of Options
One significant advantage of mic-modeling systems is their ability to offer a vast array of microphone options within a single session instead of having the time-consuming duty of swapping them out to achieve different sounds. With a modeling system, you can switch between different mic models instantly and audition various mics to find the perfect tone for the recording.
“The same vintage microphone can sound different on different days depending on temperature, humidity, and the voltage from the wall.”
Another lovely bonus is that microphone-modeling systems also offer the ability to swap microphone characteristics after the recording has been made! Want to swap your AKG C12 for a Neumann U 47 long after the recording session is over? No problem! This is especially useful when the initial microphone choice may not have been ideal or when the production requires a different tonal character than originally intended.
Weighing the Pros and Cons
Some audio purists argue digital emulation can’t truly replicate the sound of a physical microphone, especially when it comes to vintage models that have unique characteristics developed over decades of use. The subtleties of these microphones and their aging components shape the way they interact with different preamps and compressors.
After making over a hundred records at Blackbird over the last eight years, I’ve grown quite familiar with a good portion of our 1,800-plus vintage mics, like Telefunken 251s, AKG C12s, Neumann U 47s and KM 84s, Shure SM7s and SM57s, RCA 44s and 77s, and Royer R-121s. These are the very same mic models that most modeling mics are trying to capture. But experience has taught me that not all microphones sound identical even if they are the same make and model (and year). Also, the same vintage microphone can sound different on different days depending on temperature, humidity, and the voltage from the wall (that’s why Blackbird has its own regulated power and all the studios strive for consistent temperature and humidity year-round).
For home studios and smaller production environments, microphone-modeling systems can be a game changer. You’ll get a wide range of high-end microphone sounds without the need for a large microphone collection, and the ability to change microphone models after the fact gives budding producers and engineers greater confidence and flexibility in their work.
In reality, most users find that the convenience, cost savings, and versatility offered by modeling systems far outweigh any potential shortcomings. Finally, keep in mind that even though the mic “profile” you choose (U 47, U 67, SM7, etc.) will be consistent day in and day out, the modeling mic itself is also still a mic and will require you to be mindful of these same issues I mentioned above in order for your mic “profile” to be as accurate as possible.
Until next time, namaste.