A pair of overdrives with vintage aesthetics and tones to match.
Rugged build. Sweet saturation.
Can sound ragged around the edges at high gain.
$149
Warm Audio Warmdrive
warmaudio.com
Many recording enthusiasts know Warm Audio for their well-regarded and affordable takes on otherwise unattainable classic studio microphones, preamps, and processors. Most of these imitate the handsome aesthetics of those units along with their functionality, which adds to the allure. Warm Audio ventured into pedal building a few years back with lovingly rendered versions of the Roland Jet Phaser and Foxx Tone Machine. This time out, though, they’ve taken on two less obscure pedals, the Lovepedal/Hermida Zendrive and Klon Centaur, in the form of the Warmdrive and Centavo, respectively.
Some of the language Warm Audio uses to describe the Warmdrive and Centavo pedals—like “accurate recreation” and “true reproduction”—is bound to raise eyebrows among circuit snobs. Yet both pedals are ruggedly built. Plenty of attention is paid to the cosmetic details. Both circuits are put together using sturdy through-hole boards and populated with reputable components. And there’s a general air of quality about them, both inside and out, that promises real road reliability which should squash a lot of the chagrin from naysayers.
In some ways, the company’s decision to build clones of two pedals that have been copied many times over is a curious one. But Warm Audio’s attention to aesthetic details will no doubt entice cost-conscious enthusiasts chasing both the sound and visual cachet attached to these historically important effects.
Warmdrive
The original Zendrive was created by Alfonso Hermida in the mid ’00s as an attempt to re-create Robben Ford’s hallowed Dumble-driven lead tones in an overdrive pedal. That remains a lofty goal. But many players agree that Hermida succeeded just about as well as one could. The results were good enough for Ford himself, who frequently uses a Zendrive with non-Dumble amps (often a Fender Twin Reverb).
The Warmdrive control layout is identical to that of the Zendrive, and includes gain, volume, tone, and voice knobs. The latter is a versatile control that moves the pedal’s overall character between dark and bright tones in a more expansive way than you experience using a typical high- or low-pass-filter-based tone knob. Signal-sweetening gubbins include 1N34A germanium diodes, 2N7000 MOSFETs, and an NE5532 op-amp. The steel enclosure and true-bypass switch feel more than solid enough to survive repeated stomping. The cosmetics, in typical Warm Audio fashion, imitate the original.
Dum Dum Drive
With a Gibson Les Paul, Fender Telecaster, ’66 Fender Princeton combo, and 65amps London head and 2x12 cab, the Warmdrive was a fast track to the kind of Dumble-y, creamy saturation that’s kept players drooling through the decades. I suspect even cynics will be smiling when they slide into sustain-driven fusion improvs.
The Warmdrive is a thick, chewy overdrive at heart, but moves easily from smooth and warm to crisp and crackling, depending on where you set the voice knob. And there’s lots of room to fine-tune further using the tone control. There’s also plenty of range in the gain and level controls, which makes the pedal capable of much more than full-on lead tones. It’s a surprisingly good low-gain drive as a result. Even so, the real treats are in the near pedal-to-the-metal settings. Setting the gain around 2 o’clock, the volume around 11 o’clock, and tone and voice pretty close to noon makes a sound I could truly get lost in. I didn’t think about its Dumble-imitating origins, or how it sounded compared to a Dumble, or for that matter a Zendrive. I just knew it sounded great. If you want to feel like Robben Ford for a few minutes, this is an easy way to get there.
Centavo
Cloning a pedal that’s unavailable in its original form (and prohibitively costly when you find one) is generally a service to the guitar community. In the case of the Klon, however, there are enough klones, and hype around them, that the addition of yet another will probably induce a few eye rolls. That said, the ongoing, often raging, debate over which klone clones the Klon best, indicates there’s still room for anyone that wants to take a shot at building a better, more accurate one.
To date, only one klone I know of comes in an accurate die-cast enclosure like the box that houses the Centavo: the well-regarded Centura from Ceriatone Amplification of Malaysia. So, Warm Audio’s insistence on vintage accuracy will be a boon for players seeking the original’s handsome look at a fair price. The 6.75" x 5" x 2.25" dimensions, though, mean itmight be less appealing to those eager to conserve real-estate on crowded boards.
Elsewhere, Warm Audio chased authenticity pretty relentlessly. Like the original, the Centavo uses buffered bypass, TL072 op-amps, and a charge-pump voltage regulator. The oxblood pointer knobs for gain, treble, and output are another nice vintage touch that looks great. Warm Audio did take one very practical liberty with original design in the form of a MOD switch, which is situated between the input and output on the pedal’s crown and extends the circuit’s low-end response.
Chasing Mythical Beasts
Tested via the same guitars and amps used for the Warmdrive evaluation, the Centavo provides many reminders of why the original Klon became so beloved in the first place. For me, at least, the tastiest function, just as on the original, is when it’s used as a near-clean or just slightly dirty boost. Even at unity gain it sounds excellent, which is apparent just as soon as you turn it off. If the Centavo had a photo filter equivalent, it would be one that illuminates everything with golden-hour light. Everything you hear is essentially the same—just somehow more magical.
When you wind up the gain for a more lead/overdrive setting, the Centavo doesn’t disappoint. It can sound a touch furry and woofy at times and is occasionally a little ragged around the edges. Yet it still adds loads of character to lead lines. Though purists might be bummed by its inclusion, I found the low-end lift from the MOD switch useful—particularly at lower gain settings, where it fills out the bottom end especially well. In general, though, the MOD switch’s effect on the output is subtle and doesn’t overpower the Centavo’s basic voice. If there are any noteworthy audible differences between the Centavo and an original Klon, it might be the Centavo’s lack of midrange glimmer, a quality that, for me, distinguishes the Klon Centaur. Maybe that’s why originals are $5,000 these days. But, man, that’s a lot of money for a little extra midrange!
The Verdict
Both of these new pedals from Warm Audio are well-built and carefully executed renditions of their inspirations and deliver very close approximations of the target sounds. If they aren’t dead on, and few clones ever are, they certainly get very close for extremely reasonable money, both yielding dynamic overdrive regardless of price. That they do so much to deliver the visual appeal of the originals only sweetens the deal.
Better Than the Klon & Zendrive?! Warm Audio Centavo & Warmdrive Demos | First Look
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In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
Big time processing power in a reverb that you can explore for a lifetime.
An astoundingly lush and versatile reverb of incredible depth and flexibility. New and older BigSky algorithms included. More elegant control layout and better screen.
It’s pricey and getting the full use out of it takes some time and effort.
$679
Strymon BigSky MX
strymon.net
Strymon calls the BigSky MX pedal “one reverb to rule them all.” Yep, that’s a riff on something we’ve heard before, but in this case it might be hard to argue. In updating what was already one of the market’s most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneously—in series, parallel, and split—plus it delivers several other mind-bending features. Given this wealth of goodies, it’s impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or “classic” algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch that’s always available. The rotary “type” knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedal’s potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
It is utterly hypnotic and addictive once you settle in and work a little more intuitively.
Sky’s the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasn’t so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms weren’t added at expense of the old BigSky algos. There’s no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedal’s customers end up being synth artists, engineers, or sound designers of one kind or another. If you’re the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if you’re willing to invest the time, the BigSky MX has the goods to pay you back.
This reader solicited the help of his friend, luthier Dale Nielsen, to design the perfect guitar as a 40th-birthday gift to himself.
This is really about a guy in northern Minnesota named Dale Nielsen, who I met when I moved up there in 2008 and needed somebody to reglue the bridge on my beloved first guitar (a 1992 Charvel 625c, plywood special). Dale is a luthier in his spare time—a Fender certified, maker of jazz boxes.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.
This convenient, easy-to-use controller can open up an entire world of sonic shape-shifting. Here are some tips to either inspire you to try one or expand how you’re currently using this flexible, creative device.
If you’re not yet using expression pedals, you should consider them. They have the power to expand and control your sonic universe. For the uninitiated, expression pedals are controllers that typically look like volume or wah pedals. Of course, traditional volume and wah pedals are expression pedals, too, but they are dedicated to controlling only those two effects.
Modern expression pedals allow you to assign and control parameters of your stomps or modelers by moving the expression pedal as you would a volume or wah. Dunlop, Boss, Ernie Ball, Yamaha, Behringer, Mission Engineering, and other manufacturers make these handy devices.
Many, but not all, of today’s stompboxes and modelers have expression pedal inputs that allow for manipulation of one or more parameters of those devices. In the past, this required bending over and turning a knob, or trying to turn a small knob with your foot—both of which can hamper your playing. The freedom of an expression pedal is the control you have over more aspects of your sound, especially in a live setting.
Although some of the uses for expression pedals below can also be accomplished by creating multiple presets, that will not allow real-time control over the parameters like an expression pedal will. Here are some notes about expression pedal use that might get you thinking about how one could help you.
Delay Repeats: Controlling the timing of a delay with tap tempo is very common, but how about controlling the number of repeats? With an expression pedal, by setting the expression control on your delay to control the number of repeats, you can easily go from a few for your rhythm sound to more for your lead sound, and then back off again.
Reverb and Delay Mix: The mix control on reverb and delay pedals allows you to balance the amount of wet to dry signal that you hear. There is often a delicate line to having just the right amount of wet signal with these two effects. If you have too much, your sound can be washed out and undefined. Too little and it can be dry and lack space. The part you are playing, and the venue you are in, can also change the amount of mix you need for these effects. By using an expression pedal for the mix control on reverb or delay, you can alter the sound on the fly to compensate for the part and the room, including turning down the mix for busy parts and up for parts with fewer notes.“Some uses for expression pedals can also be accomplished by creating multiple presets, but that will not allow real-time control over the parameters like an expression pedal will.”
Modulation Depth: The depth of a modulation effect, like a phaser, can drastically alter your guitar sound. A light amount can create a feeling of subtle movement, while a heavy amount can give a thick, underwater-type sound. An expression pedal can help you create a constant feeling of change throughout a song, allowing you to build up and break down the depth for different sections as you see fit.
Tremolo Speed: While the speed of tremolo can often be controlled by tap tempo, using an expression pedal for the same parameter offers other creative uses of the effect. With an expression pedal, you can easily speed the tremolo up to make subtle increases to the energy of a part or slow it down to decrease the energy. You can also create drastic changes in the speed that sound like a fan accelerating or slowing down. Or you can abruptly turn the tremolo off. This last option can be an exciting way to end a song or part.
EQ Change: Every guitar player uses EQ to sculpt their sound—whether via the tone controls on your instrument or amp (modelers included), or a dedicated equalizer used as part of your rig. Subtle tweaks can help you do things like balance out different guitars, cut through the mix more, or compensate for a boomy stage. Real-time control of EQ with an expression pedal is more common in the modeler world than the amp and pedal world, but it does exist in both. For example, increasing the midrange can give you more clarity and cut for solos. Decreasing it can create a flatter sound that can help you stay in the mix with the rest of the band. An expression pedal allows you to have one setting and alter it for multiple situations or guitars as opposed to having separate presets.
While this is a very short list of options for expression-pedal use, it should give you a good place to start. The most important thing is to always be creative, have fun, and find your own voice. An expression pedal can help you do all three.