A versatile preamp/boost pedal that's dead simple to use.
Tokyo, Japan (November 28, 2016) -- ZenZero Electronics is excited to introduce the 2KP, the spiritual successor to the One Knob Pony: same MOSFET heart brought to another level.
The 2KPĀ is the onlyĀ preamp/boosterĀ you will ever need. Sweet, clean, and bright, or aggressive, dirty,Ā and warm, theĀ 2KPĀ does it all.
- Place it right in front of your amp and leave it on. Turn back the volume on your guitar to clean it up perfectly and then roll it up to 10 to get all the gain and dirt you will ever need from your amp.
- Use it as a massive volume boost for that searing solo.
- Turn everything up over 3 o'clock to get into fuzz territory.
- Put it after a Tube Screamer to have yourself a high-gain distortion.
Everything is possible and it's super simple and intuitive to use: just a gain and a volume that act exactly like the ones on a tube amp. That's all you need.
The 2KP is handbuilt in Tokyo using only top of the line components.
- Great range of gain, from clean boost to massive fuzz
- Works as an extra gain stage, like an additional tube for your amp to push it to 11
- Simple and intuitive controls, only a GAIN and a VOLUME working exactly as you would expect
- Hand-made in Tokyo, Japan
The 2KP pedal carries a street price of $139.00. It can be purchased directly from our website at https://zenzeroelectronics.com and it ships all over the world through EMS international tracking service.
For more information:
ZenZero Electronics
The Texan rocker tells us how the Lonestar State shaped his guitar sounds and how he managed to hit it big in Music City.
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zachās take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. Heās lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
Get 10% off your order at stewmac.com/dippedintone
Guest picker Carmen Vandenberg of Bones UK joins reader Samuel Cosmo Schiff and PG staff in divulging their favorite ways to learn music.
Question: What is your favorite method of teaching or learning how to play the guitar?
Guest Picker - Carmen Vandenberg, Bones UK
The cover of Soft, Bones UKās new album, due in mid-September.
A: My favorite method these days (and to be honest, from when I started playing) is to put on my favorite blues records, listen with my eyes closed, and, at the end, see what my brain compartmentalizes and keeps stored away. Then, I try and play back what I heard and what my fingers or brain decided they liked!
Bone UKās labelmade, Des Rocks.
Obsession: Right now, I am into anyone trying to create sounds that havenāt been made beforeābands like Queens of the Stone Age, Jack White, and our labelmate, Des Rocs! Thereās a Colombian band called DiamantĆ© Electrico who Iāve been really into recently. Really anyone whoās trying to create innovative and inspiring sounds.
Reader of the Month - Sam C. Schiff.
Sam spent endless hours trying to learn the solo Leslie West played on āLong Red,ā off of The Road Goes Ever On.
A: The best way to learn guitar is to listen to some good guitar playing! Put on a record, hear something tasty, and play on repeat until it comes out of your fingers. For me, it was Leslie West playing āLong Redā on the Mountain album, The Road Goes Ever On. I stayed up all night listening to that track until I could match Leslieās phrasing. I still canāt, no one can, but I learned a lot!
Smithās own low-wattage amp build.
Obsession: My latest musical obsession is low-wattage tube amps like the 5-watt Fender Champ heard on the Laylaalbum. Crank it up all the way for great tube distortion and sustain, and itās still not loud enough to wake up the neighbors!
Gear Editor - Charles Saufley
Charles Saufley takes to gear like a duck to water!
A: Learning by ear and feel is most fun for me. I write and free-form jam more than I learn other peopleās licks. When I do want to learn something specific, Iāll poke around on YouTube for a demo or a lesson or watch films of a player I like, and then typically mangle that in my own āspecialā way that yields something else. But I rarely have patience for tabs or notation.
The Grateful Deadās 1967 debut album.
Obsession: Distorted and overdriven sounds with very little sustaināKeith Richardsā Between the Buttons tones, for example. Jerry Garciaās plonky tones on the first Grateful Dead LP are another cool, less-fuzzy version of that texture.
Publisher - Jon Levy
A: Iām a primitive beast: The only way I can learn new music is by ear, so itās a good thing I find that method enjoyable. Iām entirely illiterate with staff notation. Put sheet music in front of me and Iāll stare at it with twitchy, fearful incomprehension like an ape gaping at the monolith in 2001: A Space Odyssey. Iām almost as clueless with tab, but I can follow along with chord charts if Iām under duress.
The two-hit wonders behind the early ā70s soft-rock hits, āFallinā in Loveā and āDon't Pull Your Love.ā
Obsession: Revisiting and learning AM-radio pop hits circa 1966ā1972. The Grass Roots, Edison Lighthouse, the Association, the Archies, and Hamilton, Joe Frank & Reynoldsānothing is too cheesy for me to dissect and savor. Yes, I admit I have a serious problem.
Diamond Pedals introduces the Dark Cloud delay pedal, featuring innovative hybrid analog-digital design.
At the heart of the Dark Cloud is Diamondās Digital Bucket Brigade Delay (dBBD) technology, which seamlessly blends the organic warmth of analog companding with the precise control of an embedded digital system. This unique architecture allows the Dark Cloud to deliver three distinct and creative delay modesāTape, Harmonic, and Reverseāeach meticulously crafted to provide a wide range of sonic possibilities.
Three Distinct Delay Modes:
- Tape Delay: Inspired by Diamondās Counter Point, this mode offers warm, saturated delays with tape-like modulation and up to 1000ms of delay time.
- Harmonic Delay: Borrowed from the Quantum Leap, this mode introduces delayedoctaves or fifths, creating rich, harmonic textures that swirl through the mix.
- Reverse Delay: A brand-new feature, this mode plays delays backward, producing asmooth, LoFi effect with alternating forward and reverse playbackāa truly innovativeaddition to the Diamond lineup.
In addition to these versatile modes, the Dark Cloud includes tap tempo functionality with three distinct divisionsāquarter note, eighth note, and dotted eighthāensuring perfect synchronization with any performance.
The Dark Cloud holds special significance as the final project conceived by the original Diamondteam before their closure. What began as a modest attempt to repurpose older designs evolved into a masterful blend of the company's most beloved delay algorithms, combined with an entirely new Reverse Delay setting.
The result is a āgreatest hitsā of Diamond's delay technology, refined into one powerful pedal that pushes the boundaries of what delay effects can achieve.
Pricing: $249
For more information, please visit diamondpedals.com.
Main Features:
- dBBDās hybrid architectureļ· Analog dry signalļ· New reverse delay setting
- Three distinct, creative delay modes: Tape, Harmonic, Reverse
- Combines the sound and feel of analog Companding and Anti-Aliasing with an embedded system delay line
- Offering 3 distinct tap divisions with quarter note, eighth note and dotted eighth settings for each of the delay modes
- Pedalboard-friendly enclosure with top jacks
- Buffered bypass switching with trails
- Standardized negative-center 9VDC input with polarity protection
Dark Cloud Multi-Mode Delay Pedal - YouTube
Curious about building your own pedal? Join PG's Nick Millevoi as he walks us through the StewMac Two Kings Boost kit, shares his experience, and demos its sound.