Showing posts with label guitar effects. Show all posts
Showing posts with label guitar effects. Show all posts

Sunday, December 9, 2012

Line 6 Tone Port UX2 Review

Line 6 Tone Port UX2
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Out of all the equipment that I have for my home studio, is is by far my favorite. Basically the Line 6 TonePort UX2 is a USB audio interface. As you can see from the picture it has multiple connections for your instruments, pedals, microphones and speakers.
What you may not know is that the device has its own built-in ASIO drivers, which essentially means you can use the device as an external sound card. The ASIO, IMO, is about as good as you are going to get in this price range. It does a considerably better job than my laptop's built-in ASIO (Sony Sound Reality) at reducing CPU load while minimizing latency.
This port also comes with its own software, GearBox, but that has already been phased Line6's Pod Farm. It comes with an updater so you can get the software for free, however if you want it in VST format you are going to have to shell out another 50 bucks. Pod Farm has a myriad of effects and amps and tons of presets for bass, electic and microphone. I am running this software on Windows Vista and I have not had any compatibility issues.
One thing you should note is that like any sound hardware you do have be conscious of your grounding otherwise you will hear feedback (buzzing).

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Saturday, December 1, 2012

MXR Flanger Effect Pedal Reissue Review

MXR Flanger Effect Pedal Reissue
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I was looking for an original from the 70s initially, but found that they tended to cost even more than the reissue, so for pure convenience I went with the reissue and I was not disappointed.
It seems very well built, with solid metal casing and quality pots. The only thing that feels at all cheap is the thin dc power adapter cable, but it seems far more convenient than the original fat AC cable coming out.
The sound range you can create is quite versatile for a flanger. Once you get the hang of what each pot does you can quickly create anything from classic tough sweeping jet plane sounds, to softer "chorus" type effects.
It seems to really excels at its job when you provide it with a noisy or distorted signal. Such as in a chain after a distortion pedal or with a synth using a very open filter or with a noise source added to the signal chain. Part of this is probably that the effect is very easy to hear in the higher register, so the more complexity you add in the high end the more you can hear it chew that signal.
I would say it has some very specific classic uses and clearly isn't for everyone, but it does what it does extremely well.

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Tuesday, November 13, 2012

Jim Dunlop M169 Mxr Carbon Copy Analog Delay Review

Jim Dunlop M169 Mxr Carbon Copy Analog Delay
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I had the privilege of using an original Echoplex delay box that was lent to me years ago. After returning the Echoplex, I've relied on an inexpensive digital delay pedal that recently began to bomb out on me. After reading a lot of info and positive reviews on the MXR Carbon Copy Delay pedal, I decided to take the plunge and purchase it online at Amazon. I must say that I was pleasantly surprised.
The pedal is nice and compact...no bigger than a phase 90. Sound-wise it's not quite an echoplex...but does have warm tonal characteristics that remind me of the old school delay sounds. The modulation button is a nice touch and does sound similar to the tape warble heard on the echoplex. It basically varies the speed of the echo...creating a chorus effect when heard along with your original signal. This is a very subtle chorus sound...but that's how I remember (and like) it. The pedal will also self oscillate when the repeats are pushed to the max for some crazy sounds...just take care not to blow up your speakers. I did notice some very minor noise on the longer echos when playing clean bright tones, however, I've read that this is not an uncommon thing with analog pedals.

My only gripe with pedals like these are the internal controls. Personally, I think the whole trimpot concept is barbaric anymore. It just doesn't make sense to make the user disassemble an entire pedal to access additional controls. I doubt it would take much for Dunlop to drill an additional 2 holes into the housing to accommodate these features. Also, take care when disassembling these things. The jack threads are made of plastic...which can cross thread very easy if the metal nut fastener is tightened too much or incorrectly.
Overall a really nice pedal. I was initially concerned that the 600ms delay wouldn't be long enough...but as it turns out...it's actually a little more than I need. Sounds cool, looks cool, and not too pricey. I think most musicians will find this a valuable addition to their setup.


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Wednesday, November 7, 2012

Jim Dunlop ECB05 Dunlop 12-Volt Adaptor Review

Jim Dunlop ECB05 Dunlop 12-Volt Adaptor
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you can buy a universal adapter at radio shack for same price that fits everything. duh.

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Saturday, November 3, 2012

Zoom G2.1U Guitar Effects Pedal with USB Interface Review

Zoom G2.1U Guitar Effects Pedal with USB Interface
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I've had this unit for over a year now, and have used it for practicing (mainly through headphones, occasionally plugged in to my little Marshall MG15-CDR), a few jam sessions, and a bit of recording into GarageBand on my MacBook Pro.
On the positive side:
- Very solid construction.
- USB audio interface works great with GarageBand, both for input (guitar signal going to MacBook) and monitoring (listening to already recorded tracks plus the track you're recording via the G2.1u's headphone output). When connected via USB, it gets power via USB too.
- Runs for several hours on 4AA batteries. I use rechargeables. (Never bothered with an external AC adapter).
- Excellent sound quality. All the fx sound quite good. The ZNR soft noise reduction really handy if you've got a bit of low-level hum/buzz from single-coil pickups.
- Pretty easy to dial in your own sounds.
A couple of downsides:
- No aux input! IMO this is *the* single missing feature that limits this unit's usefulness for practicing. I would love to be able to plug in an iPod. (Thinking of buying a Line 6 Pocket POD for this).
- The cabinet / mic modelling doesn't sound very convincing to me.
- With only two foot switches for stepping up/down through your list of patches, it can be awkward switching patches in the middle of a tune (e.g. between rhythm and lead settings) unless you've stored them on adjacent patch numbers. Really no way around that without having a bigger box with more footswitches.
All in all, a nice unit, and good value. Probably most useful as a recording interface using the excellent USB audio interface. OK for for live use (with caveat about limited footswitches) and for practicing (as long as you don't want to jam along with your iPod).
..............
Update December 2008: I got myself a Vox Amplug AC-30 a while back. Fun little unit (if a bit overpriced for what it does) - plug it into your guitar, plug in a mp3 player & some headphones, and jam away. Turns out it can also be used to get around the G2.1u's lack of an Aux input.
Just plug the Amplug into the G2.1u's output, and connect your headphones and mp3 player to the amplug. With the right settings on the Amplug (at least the AC-30 version), the Amplug runs pretty clean, so at the Amplug's headphone output you hear essentially the same as you'd hear if you plugged your headphones directly into the G2.1u.
Obviously this is a bit of a kludge, but if you happen to have both units, this is an option...

Click Here to see more reviews about: Zoom G2.1U Guitar Effects Pedal with USB Interface

The G2.1u pedal offers two algorithms: One for live and one for recording. The sound you created at practice or in the studio can now be brought straight to the stage. Or take the sounds you worked out during a rehearsal and apply them seamlessly in the recording studio. Your creative scope has suddenly doubled.

96 kHz sampling brings out authentic sounding tube amp harmonics Everyone knows that the sound of tube amplifiers is the ultimate in guitar tone. By employing high-accuracy sampling at 96 kHz, G2.1u pedal faithfully model these sonic properties, right up to the highest harmonic register. Dynamic range is also excellent, thanks to 24-bit A/D/A conversion. These extremely high levels of digital processing also make your playing sound cleaner and clearer thanks to the fast processing speeds.
ZFX-3: A new-generation DSP from ZOOM The heart of any multi-effect device is its processor and decoder section. Zoom has reached a new level with its newly developed ZFX-3 chip. 32-bit architecture ensures smooth and detailed signal processing. Accuracy and speed bring out the character of your instrument without restrictions.
54 high-quality effects made possible by 32-bit processing A total of nine effects modules are included, including dynamics, ambience, drive, and modulation. Together they offer 54 types of effects. The Harmonized Pitch Shifter lets you play along in key. Use long delays or multi-tap delay of up to 5000 milliseconds. Select dynamic flanger and have the effect level controlled by picking intensity. Select from three types of modulation waveforms for the tremolo. A multitude of high-performance choices opens up totally new territory in this class. Touch up the harmonic register with the six-band equalizer. The cabinet simulator gives a choice of mic positions. The G Series has in incredible level of flexibility and the ability to create an awesome array of great tones.
Latest modeling technology supports 16 different drive sounds By digitally simulating the clipping action of analog devices such as tubes and diodes, the G Series faithfully duplicates the distortion of tube amps and vintage effects. This includes not only the superficial sound character but also elements such as depth and dynamics. As you start using the G Series, you will be amazed by the realistic balance between fundamental notes and harmonics that is essential to a great analog tone.
The right tools for the job: Editing controls with analog feel The three rotary knobs let you tailor three different parameters at the same time. This could be the equalizer bass/midrange/treble, or the chorus depth/rate/mixing level, or the delay time/feedback/mixing level. It's like having an array of stomp boxes ready for action. In play mode, the three knobs are assigned to drive effect gain, tone, and patch level. This lets you quickly match the unit's performance to the guitar or amp type, room acoustics, or other factors. Delay time and modulation rate settings can be made directly via the intuitive TAP key input.
Preset patches ready to use for recording or live performance The unit comes preprogrammed with a total of 40 preset effects patches. 20 pairs of similar sounding and similarly named effects are optimized respectively for use with a guitar amp on stage or for recording with DAW software or a mixer. There are settings for duplicating well-known amps and stomp boxes, settings that are modeled on the signature sound of famous guitarists, as well as totally original Zoom creations. There is also enough built-in memory to store up to 40 of your own effects patches.
World's fastest patch change speed: 5 ms Thanks to the speed of Zoom's new processors, that annoying interval when switching patches has been all but eliminated. With its amazing speed of 0.005 seconds, the G Series pedals never miss a beat. When changing from rhythm to lead, you no longer need to press the switch slightly in advance. Simply push the foot switch and start playing the solo phrase. No more fear of losing the rhythm when making patch changes.
Built-in auto-chromatic tuner for guitar The guitar tuner can be called up instantly by pushing two foot switches together. High-brightness LED indicators make the note readout easy to see also on a dark stage. The calibration range is 435 to 445 Hz, and mute tuning without sound output is also possible.
ZNR makes those playing pauses silent Zoom Noise Reduction (ZNR) was developed specifically for guitar. While keeping any alteration of the original sound to an absolute minimum, ZNR shuts out unwanted noise in the playing pauses. Even the tails of long sustain notes come out beautifully, with natural release. Additional flexibility is provided by two noise gates. The vintage type DIRTY GATE is a great match for fuzz sounds, while the high-speed muting of the GATE setting brings heavy riffs into clear focus.
Integrated drum machine with PCM sound sources Realistic drum sounds derived from PCM sources are arranged in a variety of rhythm patterns for different musical genres. The 40 rhythm variations include the steady 8-beat of Rock and Pop, funky 16-beat, a "Jazzy" 4-beat, some great shuffle riffs for blues sessions, and many more choices. Rhythm training is a cinch, and the rotary knobs let you quickly make tempo or level adjustments.
Ultra low noise design: 120 dB SN ratio and -100 dB noise floor Specifications such as a signal-to-noise ratio of 120 dB and noise floor of -100 dB demonstrate a level of performance that is unsurpassed in this class. Background noise is a thing of the past, leaving the unit free to produce only its own superbly transparent sound. Especially when using reverb effects such as Hall, Room, or Spring, the low noise floor combined with 96 kHz sampling and 32-bit processing results in breathtaking performance.
Sturdy metal chassis and rubber damping for superior toughness and durability The combination of a solid metal chassis with shock-absorbent rubber damping ensures that the unit can stand up to the rigors of use on stage. Take it on the road or into the studio, the G Series will not let you down.
Two-way power allows use just about anywhere Thanks to its circuit design optimized for low voltage operation, the unit will run for more than 7.5 hours on a set of four IEC R6 (size AA) batteries. A separately available AC adaptor (AC-0006) can be plugged in for extended studio work, whereas on stage you never need to worry about AC power.
Optional foot switch allows versatile remote operation With an optional foot switch (FS01) you can set tempos for delay time and modulation rate. Other selectable functions include bank switching, drum machine start/stop, and delay hold on/off switching.
Expression pedal adds further versatility to your guitar play The built-in expression pedal is a great way to control effect parameters in real time. Control the vintage wah, pitch shift, or adjust the volume dynamics. Go beyond conventional pedal effects by varying drive gain or modulation rate, and adjusting the mixing ratio of delay and reverb. The dedicated PEDAL ASSIGN key and status LED indicators make it a cinch to select the effect to control. Effect on/off switching is also possible by pushing the pedal fully down.
USB port enables computer recording The USB port allows the unit to function as an audio interface for a computer. Simply connect a USB cable to utilize the high-quality sound of the G2.1u in a computer-based recording system. The high-performance DAW application "Cubase LE 4" comes bundled with the unit, so you can start creating sophisticated music straight away. Because playback from the DAW application can be monitored at the G2.1u itself, there are no latency problems during recording. Powering the unit from the computer via the USB bus is also supported.
What's in the Box Zoom G2.1u Pedal, AC Adapter, User's Manual, Cubase LE Install Disc

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Wednesday, October 24, 2012

MXR Bass Envelope Filter Effect Pedal Review

MXR Bass Envelope Filter Effect Pedal
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this pedal is just great !
I compared it with the EBS and the MXR sounds much, much better with MY basses and amps !
you defenitely have to have the chance to compare before you buy !

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Friday, October 12, 2012

Jim Dunlop M115 Mxr Distortion Iii Review

Jim Dunlop M115 Mxr Distortion Iii
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This lovely little box from MXR receives five stars from me. It's durable, well-made, and easy to dial in everything from a subtle overdrive to a vintage-sounding crunch. Unlike some other pedals I have used, there is no constant hum while it is switched on. This pedal is also true-bypass and does not blanket the natural tone of your axe.
This is a great little pedal - just be sure you know what you're getting into. This pedal is not fuzzed out or metal. What it does it does well though!

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Wednesday, September 12, 2012

MXR M103 Blue Box Octave Fuzz Distortion Pedal Review

MXR M103 Blue Box Octave Fuzz Distortion Pedal
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well made. when you roll the right knob all the way to 5 o'clock you get a fuzz sound .. roll it to 7 o'clock you get a octave, everything between both is a mix of fuzz & octave.. the left knob controls the output volume. it also mixes the fuzz octave sound , it also changes very fast i mean one second fuzz and the other oct .. that fast.. from oct to fuzz you can hear it way on the back but it's there.. its hard to describe but if you're reading about it maybe its for you. the only thing i dont like is that if im playing the clean channel and then activate the blue box with the volume set a maximun, the sound coming out is lower than that when playing clean .. therefore youre gonna sound lower when you turn it on.. to solve that i use a compressor but i'd still have to press one first and then the other in order to get the same amount of volume as playing the clean channel alone.

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Wednesday, August 15, 2012

Fender Accesories 023-9994-000 Guitar Tuner Review

Fender Accesories 023-9994-000  Guitar Tuner
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This pedal works fine, but it's not nearly as sturdy as the Boss TU-2. I actually went out to purchase the Boss, but a salesman talked me into this one since it was cheaper (also, the markup on Boss products is very small, despite the higher price tag). I took it on tour with me and very shortly thereafter one of the LEDs busted- they sit exposed poking out, just asking to break. About four years later, the pedal part broke off, now I have to reach into the casing and poke the little button with my finger.
This is a decent pedal at a decent price, but I wish I had bought the Boss- they last forever. If you don't have the 90$ though, this is a good deal.

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Saturday, June 30, 2012

MXR 10 Band Graphic EQ Review

MXR 10 Band Graphic EQ
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I bought this for bass, so I could take down tones that would compete with guitarists and bring the bass up to a dynamic level that would mesh well in a group. I have been playing on this for a year now, and I highly recommend it for bassists
That being said, I also dabble in guitar, and this pedal is amazing in the respect as well. It brings out a lot of nice tones, and when you couple it with any other effects, especially distortion, you open up a whole realm of different sounds. My guitarist had been staring at mine for a while and the other day I let him try it out. I nearly had to pry it from his fingers. He had been trying for ages to bring out a certain sound using just his Amplifier EQ knobs, but when he tried this he nearly broke down in tears because he could finally dial in exactly what he was looking for, and he could modify that sound to his liking as well.
This is a very effective pedal for Bass, Guitar, and for vocals! I have a mic that requires phantom power, but I have found that running it through this gives it enough boost to record into my non-phantom computer interface.
Versatile, well constructed and easy to use. I feel one mistake I made was not getting the KFK version with two outputs, but this is a professional piece of equipment and I guarantee that in 5 minutes anyone will find a setting that brings their sound out in amazing ways.

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Friday, June 22, 2012

Dunlop M148 MXR Micro Chorus Review

Dunlop M148 MXR Micro Chorus
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Well worth the [...] bucks i paid. Analog with true bypass. Easy to use with one knob. And has nice high quality chorus effect. MXR built like a tank. Works with my Boss DS1 AC adapter too.

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Thursday, June 14, 2012

MXR Eddie Van Halen Phase 90 Pedal Review

MXR  Eddie Van Halen Phase 90 Pedal
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This musical unit has ability to switch between the 70's script logo Phase 90 and the more modern Block logo Phase 90. The Script setting is quite a bit smoother in the upper register harmonics. It has the EVH striping which looks cool to most guitarists over 25. Its a good solid unit but a bit pricey compared to the standard Phase 90 so 4 of 5 starts. If you need a really a versitile phaser look at the Phase 100.
You can deffinitely get that Atomic Punk sound out of this unit but remember to use a short slap back delay to match the intro. When it sounds like the palming speeds up Eddie is really just tapping the delay on then off and keeping the wiping speed constant.
Have Fun,
;}~

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Friday, April 27, 2012

SKB Pedalboard 9v Adapter Cable Kit Review

SKB Pedalboard 9v Adapter Cable Kit
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The cables had what i needed in it and i knew what i was getting. I was looking for one kinda of cable but this product was all i could find. it worked.

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Tuesday, March 20, 2012

Jim Dunlop MC401 MXR Boost/ Line Driver Review

Jim Dunlop MC401 MXR Boost/ Line Driver
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When I hear live bands and the guitar player takes a lead I want to hear it LOUD AND CLEAR but that is rarely the case. Oh, yeah, the band might be loud but it's not the volume that matters, it's the difference between the band and the soloist that matters; the ability of the lead to stand out in front. I notice very little difference between a player's volume when they're playing rhythm and when they're playing lead. Some of that may be their own lack of understanding but if any of it is due to electronics, the problem is OVER. The MXR MC-401 BOOST/LINE DRIVER is a stunning piece of equipment. In the off position it is a clean, true by-pass, just passing your existing signal through without any coloring or distraction. In the on position it gives you a clean, uncolored signal boost, able to add up to +20db with the click of a push button. The lone dial on the unit is variable from 0db to +20db which means that whatever volume you are at, the MC-401 will raise the volume instantly, when engaged, the number of plus db you have dialed in. (Your amp must have the ability to handle the increase. It's like an instant volume dial.) After experimenting slightly at rehearsal I got the general feel of this thing but when I actually used it at a gig, HOLY COW!!!!! This thing is GREAT! Small, compact, rugged as all MXR, simple, and EFFECTIVE. Powered off my existing pedal board power supply (typical 9v) my leads were instantly OUT IN FRONT the way leads sound on recordings. And since it varies from 0db up, it is effective in any size room at any volume. The pedal doesn't care what volume you're at - super loud or super soft - it just does its thing: It makes you louder when it's on compared to when it's off and the amount is consistent with how you set the db boost dial. Also works off 9v battery. Bright blue display light signals when unit is engaged. At $100 or less this pedal is indispensable and virtually priceless!

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Monday, February 27, 2012

Dunlop The Original Crybaby Pedal Review

Dunlop The Original Crybaby Pedal
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This is the standard wah. This thing sounds great! There are a lot of wah pedals with a wider range out there but if you are looking for the traditional wah sound, this is the way to go. No other company has sucessfully replicated THIS sound. Other wahs are cool because of additional features and for their own affect (yes that is the spelling I intended). I gave this a 4 for the lack of features. If you buy this, a try adjusting the pot (read the instructions). Most people do not know about this feature but you can really change the voicing of this wah wah.

Click Here to see more reviews about: Dunlop The Original Crybaby Pedal

When people talk about wah pedals, they're talking about the Crybaby. This is the original--the one that created some of the most timeless sounds in rock.

The Original Wah The CRYBABY has been a standard in the world of music since its introduction in the late 1960's. Its rugged construction and efficient design have graced the foot of Jimi Hendrix, Eric Clapton, Buddy Guy, David Gilmour, and many other guitar greats.
Wah Versatility By rocking your foot back and forth on the pedal, you can change the effect that the CRYBABY has on the tone of your instrument instantaneously. Toe down will give you more treble, heel down will give you more bass. The speed and amount of effect you use depends on your style of playing.
When placing the pedal in one position, you will hear a boost in that particular frequency. This boost can be used to add sustain and create feedback of a desired overtone.
Solid Construction The CRYBABY features a heavy, die-cast construction, for a road-ready wah pedal that'll provide years of reliability.
Hot Potz Potentiometer The original CRYBABY boasts a 100K ohm Hot Potz potentiometer, built to last and providing you with a quick, abrupt wah sound.
Powering Options Power the CRYBABY with a 9-volt battery, or grab an optional Dunlop ECB-003 AC Adapter for powering via outlet.
One-Year Warranty Dunlop provides extra peace of mind by offering a one-year warranty from date of purchase.
What's in the Box Dunlop Original Crybaby Wah, User's Manual

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Friday, February 3, 2012

Line 6 DC1 Power Supply Review

Line 6 DC1 Power Supply
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I bought one of these for my Line6 Tonecore UberMetal Pedal, because it ate Duracells like they were going out of style!
If you play a lot, it will save you it's own cost in batteries in a matter of weeks.
That is all. What else can I say about it? It's a generic 9v power supply, it has no special tricks it can do.

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Tuesday, January 24, 2012

Jim Dunlop M152 Mxr Micro Flanger Review

Jim Dunlop M152 Mxr Micro Flanger
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I use it in my pedal board. It is quiet, sounds professional, not gimmicky. You can adjust it to very subtle flanging or a whole lot, but it's never really over-the-top.
Very useful for coloring passages on the fly or recording.

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