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LEHLE MONO VOLUME S
With the LEHLE MONO VOLUME S you get an active and wear-free volume pedal, which is lighter and smaller but not less efficient: Equipped with the proven and evolving magnet sensor VCA technology of the other LEHLE VOLUME pedals, you control the volume of your instrument precisely.
As it has no mechanical potentiometer, the typical noise, endlessly expensive repairs and complicated adjustment can be avoided.
Your foot is just moving the magnet, while the Hall-sensor measures the distance, with great precision and very fast. An ARM Cortex CPU processes the data of the sensor in a matching, musical taper and controls the VCA. Here, the signal path is always kept completely analogue – and in your hands.
Over the entire control range the LEHLE MONO VOLUME S transmits the full sound spectrum of the connected sound source. The input and output impedance always stays the same, ensuring that unlike with potentiometers, there will be no damping of higher frequencies.
The input voltage coming from your power supply (9 – 15 V) is internally rectified, then filtered, stabilized and transformed to 30 V, thus achieving a total dynamic range of 120 dB. The high-end preamp with discrete Class-A input stage brings every little sound nuance to life – your tone becomes touchable.
There are no initial difficulties with the LEHLE MONO VOLUME S: Low-friction bearings of a high-performance polymer bed the shaft gently into the aluminium enclosure and reduce any mechanical stress towards zero – thus, it runs mechanically extremely smooth and steady. By means of an adjusting screw the tension of the pedal can be modified with great precision from feathery to Vintage Car.
In addition to the mains output, a second also buffered direct output is available: Without affecting the sound negatively, you can provide a signal to a tuner, to a DAW or even a second amp.
Epiphone’s Joe Bonamassa 1955 Les Paul Standard features the same Copper Iridescent color, a pair of Epiphone P-90 PRO pickups wired to CTS potentiometers and Mallory capacitors, a Custom ’59 Rounded C neck profile, a long neck tenon, and a “Nerdville” graphic hardshell case. This Epiphone 1955 Les Paul Standard is a passionate testament to Bonamassa’s unwavering commitment to the blues and its profound influence on his music.
The Epiphone Joe Bonamassa 1955 Les Paul Standard release is a nod to a pivotal period in the evolution of the Gibson Les Paul, in a finish guaranteed to turn heads. Whether you’re a Joe Bonamassa fan, a Les Paul enthusiast, or a musician seeking an instrument that stands out in both tone and appearance, the Joe Bonamassa 1955 Les Paul Standard is the perfect addition to your collection.
This partnership with Epiphone celebrates the timeless synergy between the brand and Joe’s musical trajectory. Joe’s latest release Live At The Hollywood Bowl immortalizes Joe's first-ever performance at the iconic Hollywood Bowl in August 2023. Accompanied by an impressive ensemble of 40 orchestra members, Bonamassa delivered an unforgettable performance. Live At The Hollywood Bowl With Orchestra showcases Bonamassa’s virtuosic blend of blues and rock, but also elevates fan-favorite tracks with grandiose orchestral arrangements by some of Hollywood's finest – David Campbell, Trevor Rabin, and Jeff Bova. “Very few gigs represent my journey in music more than the Hollywood Bowl. I moved to Los Angeles in 2003 in search of opportunity and cheaper rent than New York City. My first gig at The Mint was attended by 5 of my friends. We have played The Greek Theatre many times since, but the Bowl has always been a dream. The orchestra and the sheer scale of the event and venue are something I will never forget. I am so grateful that we filmed this special event in my life,” reminisces Bonamassa.
For more information, please visit epiphone.com.
Joe Bonamassa Introduces the Epiphone 1955 Les Paul Standard - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Epiphone Joe Bonamassa 1955 Les Paul Standard Electric Guitar - Copper Iridescent
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
