Effects Bay

I recently saw a demo of the Electro-Harmonix Ravish Sitar by WeRock TV in Japan. I thought this demo was pretty cool, they demonstrated some classic/traditional Sitar sounds but also included an atmospheric vibe as well. Also, the demo includes tab, so those of you that are thinking of getting a sitar intro but have no idea on what is a good scale, etc., this might be quite handy.

The Electro-Harmonix Ravish Sitar is definitely a ‘hot’ pedal in 2011/2012. Seems to have a lot of interest. Any of you that own it currently, would love to hear your thoughts and opinions. My biggest question about this pedal, are there uses for it beyond the sitar simulation? The demo below seems to have answered that question in the 3rd piece where it sounds very keyboard-like. I think it would be cool to hear some interesting applications of this pedal.

Currently, there is a bundle deal on the Electro-Harmonix Ravish Sitar at Amazon, for $239.25 you get the Ravish Sitar plus 2 free Struckture 6″ patch cables, 1 10′ Struckture instrument cable and 1 18.6′ instrument cable. Normally the Ravish by itself if $239.25, so to get some bonus items is a nice plus!

Here is the video by RockinfTV:

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A little while back, the kind folks at Pigtronix sent over the FAT Drive for us to take on a test drive. They unleashed the FAT Drive at NAMM this year, it’s great to get a new unit to demo! The FAT Drive is an overdrive that uses CMOS clipping with the standard controls you’d expect from a overdrive – Volume, Gain and Tone, but also has something a little extra. A toggle switch simply called ‘More’. The ‘more’ toggle changes the gain structure.. for more goodness. The pedal can be powered via 9volts, but comes with a 18v adapter for increased clarity and output.

Here is the official description from Pigtronix’s web site:

Pigtronix FAT Drive is thick and juicy, dripping with touch sensitive overdrive that responds to every nuance of your playing style. Multiple cascaded
gain stages enable the FAT drive to cover sounds ranging from slightly overdriven to rich saturation, all while retaining musical dynamics and the original character of your instrument.

FAT Drive takes a futuristic analog approach to create complex crunch tones using CMOS clipping and a variable low pass filter for tone shaping. Bringing the tone control all the way clockwise takes this filter completely out of the circuit for total transparency and robust low end. Rolling the tone control back smooths out the highs, leaving ample mid-range bloom and bottom end punch.

A Hi / Lo toggle switch brings additional versatility to the FAT Drive’s wide-ranging palette of overdrive tones, altering the gain structure for enhanced crunch and soaring leads. The FAT Drive features true bypass switching and runs fine on standard 9-volt power but ships with an 18-volt adapter for superior headroom, clarity and overall output.

For the demo we have my good friend Jimmy Rolle on guitar duty again. He’s playing his trusty Gibson Custom Shop Les Paul Elegant into a Germino Lead 55 head through a Marshall 4×12 cabinet. There is nothing between the guitar and amp besides the Pigtronix FAT Drive.

You can listen to the high quality MP3 clip via SoundCloud

The FAT Drive is available for purchase, and is a great value. It’s only $139 at Amazon!

Make sure you check out Pigtronix on the web, Facebook and Twitter for more information on their great products!

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A while back I began corresponding with Jim Normandy of Normandy Guitars. Some of you may know I have a thing for aluminum neck guitars, and during some random searches I came across his site. Normandy Guitars makes some beautiful aluminum body guitars. I mean awesome looking. Seriously worth a look. But, he also makes an overdrive pedal – the Normandy Guitars O-CB Overdrive / Boost. He was kind enough to send one over for a demo, and here we are today.

The Normandy Guitars O-CB is a dual mode pedal offering overdrive on one side and a clean boost on the other side that will give you 30dB of signal gain. It’s a great sounding overdrive / boost and is available at Amazon for $225.00

Here is the official description of the Normandy Guitars O-CB Overdrive / Boost:

- An incredibly versatile overdrive
- Integrated cleanboost pedal up to 30db
- True bypass switching
- Heavy duty construction
- Made in the USA
- Single opamp design
- Classic 1N60 germanium clipping diodes
- Tantalum caps

The Normandy O-CB pedal is a must have for those on the quest for the Holy Grail of tone… an overdrive pedal and a clean boost pedal all wrapped up into one box of versatile tone heaven.
A powerhouse made with the highest quality parts, the incredibly versatile O-CB allows you to dial in an exceptionally wide array of overdrive variants. From bright shimmery highs to growling, crunchy, chunka-chunka-funk to warm, smooth and bluesy tones. All of this classic ear candy courtesy of a single opamp design, classic 1N60 germanium clipping diodes, and tantalum caps. AND, you have the power to be heard, I mean really heard, when it’s most important. The Boost switch can be used to punch in your lead volume just as loud as you want it – when you want it!

For the demo we have my good friend Jimmy Rolle on guitar duty again. He’s playing his trusty Gibson Custom Shop Les Paul Elegant into a Germino Lead 55 head through a Marshall 4×12 cabinet. There is nothing between the guitar and amp besides the Normandy Guitars O-CB Overdrive / Boost.

You can listen to the high quality MP3 clip via SoundCloud

Please visit Normandy Guitars on the web, like them on Facebook and follow them on Twitter!

Again, if you’re interested in picking up a Normandy Guitars O-CB Overdrive / Boost, they are available for $225 at Amazon.com

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The following is a guest post by A. Bovara. If you are interested in guest posting, please contact me!

Board without Labels

I’ll start off with my first impression of the Pedal Labels once I took them out of the envelope.  I don’t know what they are made of, but is sure isn’t just another paper label with a different type of adhesive.  It’s some sort of plastic or vinyl label.  They are easy to get off the backing paper and feel sturdy.

While I was applying the stickers to some of my pedals, it occurred to me that the single knob labels fit perfectly on top of the Electro-Harmonix knobs. Don’t put the stickers on the actual knob.  Doing this makes it just as difficult to find your setting as not having the label in the first place.  Not that I actually did that…just sayin’.

Board with Labels

It is also imperative to use the right sort of marking tool. Different and bold colors make your settings easy to see. Black, blue, and green look very similar, especially in poor lighting.  I find the best combination of colors, for multiple settings on each label, to be black and red.  They stand out, are easy to see from an arms distance away, and easy to differentiate quickly in the dark. I found that after two different settings per label the markings start to get crowded.  I then started using two labels to spread the settings out in more space.  This keeps the markings clear and easy to read, especially when some markings are very near other markings

The Good

The labels are easy to remove from the pedals once they are applied.  This is particularly important if you are like me and can’t put a sticker on straight with fewer than two attempts.

I’ve seen some questions about how to consider stacked knobs when using these labels.  It’s really quite simple, use a long line and a short line.   It looks like a clock.  However, the label circles do get crowded quickly when using long lines and short lines for stacked knobs.  You could also use a single knob label above or below the main label to indicate a stacked knob setup.

After having the labels on my pedals for seven days, I pulled them all up to see if they affected the pedals in any way.  I have a hand painted pedal, a bunch of standard metal case pedals, and a plastic pedal.  None of the finishes, factory decals, or paint were peeled or damaged in any way.  I was actually very impressed that not even the hand painted pedal, panted with cheap paint markers, had any damage to the finish.  I also put a label on a guitar just to see if the label would damage guitar finish.  It wasn’t.  Even though this is not the original intent, these labels appear to be perfectly safe for common guitar finishes.  So, if you are the type that has a bunch of onboard settings or switches, these could be used to indicate you axe’s control settings as well.



While I was taking all the labels off of my pedals, I put them back on the original backing sheet.  Once I had them all off, naturally, I wanted them back on.  When I put the labels back on the pedals, they held just as strongly as if I didn’t move them from place to place at all.  This gave me the idea that you could have a “library” of labels and settings for the same pedal used in different circumstances.  If I’m doing a college party this weekend, I could put my party labels on.  If I am playing a wedding the weekend after, I could take the party labels off and put my wedding gig labels on instead.  These pedal setting labels have the potential to be much more versatile than initial assumptions make them out to be.

As far as the label assortment goes, I was pretty happy with it.  I hemmed and hawed a little on how to set up the labels on my octave pedal.  I would have had to punch a hole in a three knob label to get around the switch. but then where would I put the switch label?  I figured it out without too much brainpower application, and it works out fine.  The real magic in the label selection is the single knob label sticker and how many you get.  You can augment any other label with a single knob sticker.  Or, if you don’t need each knob to have a label, just use the single labels for the knobs you want.  It is also easy enough to combine multiple labels if your pedal has five or six knobs that need settings marked.

I wanted to test the durability of the labels, so I put one on an effect on/off switch and a few on one of my wah pedals.  After a week of playing on them for at least two hours a day, there was hardly any damage to the switch label and no damage to the wah labels.  You can see in the above Echo Park picture that I put two of the labels on the tap tempo/on-off selector and they look just fine. I wasn’t satisfied with that, so I took some steel wool to the labels on the wah pedal.  I gave each of the labels a vigorous 30 second steel wool scrubbing and they are still perfectly functional.

The Bad
I would like to see seven to ten slider stickers for recording different pedal EQ settings.  That’s all I can really thing of that would be a negative.

Overall.
The pedal labels fill a need that some players have.  If all you are running is a simple overdrive pedal and a tuner, these are not really going to be worth your time.  However, If you are a frequent tone tinkerer and knob twiddler, these labels can be really useful tools for recording your favorite or most used settings.

I am definitely  going to keep the labels on my pedals, they are to useful not to.  I generally remember all my settings, but sometimes I have to mess around with a knob a little too long to get it right where it needs to be, especially on my flanger and Metal Muff EQ section. I am even considering getting a few more sheets of the labels to start the settings library I mentioned before.

Admin Note:
Pedal Labels can be purchased at PedalLabels.com

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The following is a guest post by Jeremy Cohen. If you are interested in guest posting, please contact me!

In my role as a bass teacher, I often am asked, “what effects pedals should I get?”

The simple answer is that bassists really don’t need pedals, but then I follow that up by telling what the most useful effects for bass are. A an octave pedal  is definitely one of these. It is an effect which adds an octave below the note you are playing and it is a simple way to enhance the sound of a bass. Pino Palladino made a name for himself with extensive use of an octave pedal with a fretless bass. You can hear this most notably on the song, I’m Gonna Tear Your Playhouse Down, recorded with Paul Young. Here’s a nice live version (a little faster than the original). Keep listening to hear what he does at the end of the song.

Of course, in my role as a freelance bassist, I often bring a large pedal board with me. This usually causes the other players to groan, “oh, no, please don’t use those!” If I brought every pedal I owned, they would go into shock. However, once I start playing, I use the pedals sparingly. When I use the octave pedal, generally one of the other musicians will turn around and smile at me.

Over the years, I have owned a variety of pedals including the Boss OC-2 pedal and the EBS Octabass. Now that I have had the MXR M288 Bass Octave Deluxe for a while, I can say that this pedal gets the sound for which  I have been searching for years.

One of the features necessary in an octave pedal is good tracking and this pedal definitely tracks well, not only for single notes, but also for double stops (two notes at once). When using an octave pedal, just make sure you don’t play notes below A. The pedal may be able to produce those sounds, but your speakers won’t. I generally try to avoid going below C.

The next feature you need in the pedal is the ability to mix your straight bass sound with the octave sound and once again this pedal comes through using a control which is called Dry. Turning this dial all the way to the left will give you just the octave sound and to the right will give you almost no octave sound. You will want to start with the control and the middle and then adjust it to get the blend you want.

The unique feature of the MXR pedal is that it has two distinctly different octave bass sounds. MXR calls one sound Girth and this is a clean and smooth octave-below sound. The other sound is called Growl. This sound has more bite and to me it sounds very much like a synth bass doubling your notes. The two sounds have independent controls and can be blended together, giving this pedal a wide range of available sounds.

There is also a mid-range boost switch and the particular frequency and intensity of this boost can easily be adjusted with an internal slide switch and trim pot.  I like the sound of this boost the way it was set at the factory, but your mileage may differ.

Other features of the pedal are its extremely small size and internal circuitry which will keep the unit functioning properly even if the battery voltage starts dropping. The pedal is also true-bypass, which means that your signal completely bypasses all internal circuitry when the pedal  is switched off.

The instructions that come with the pedal include three sample settings: Sub Slap, Sub Rock, and …. Playhouse. (hmm…)

The price of this pedal is not out-of-line with that of other pedals of this type, especially since the Boss OC-2 pedal has now become collectible and prices for that one are going up steadily.

I strongly recommend this pedal for anyone who is covering songs on which the original recording had a synth bass part or a synth doubling the bass part You could also use it on a song in which the guitar is doubling the bass part. Then you will free up a guitarist to play a different part.  It also will instantly make any solo stand out. These are uses in which the pedal works for me and you will probably find some more uses once you have the unit.

One more feature I almost forgot to mention is that the pedal is blue so it matches my main bass, a Mike Lull M4V with a custom blue sunburst finish! Next time we meet, I’ll talk about other types and models of pedals which might be useful for a bassist to own. Happy bass playing!

Jeremy Cohen has been playing bass for over 40 years. He works as a bassist in the S.F. Bay area and is first call bassist for a variety of bands. He is known for tasteful, solid playing, sight-reading ability, the amount of preparation he does before gigs, and his ability to walk into any situation (with charts or not) and fit in.

He also has taught many students over the years and is extremely proud of all his students. Read what Matt Freeman of Rancid has to say:
http://www.jeremycohenbass.com/BParticle.09.pdf
Read, listen and see more about him at http://www.jeremycohenbass.com
His CD is on sale at http://www.cdbaby.com/cd/jazzexpress

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The first thing that catches my eye about Lotus Pedal Designs is their simplicity. It’s about what’s in the box, not what’s on the outside. With the exception of one pedal (Desire Boost) all of their pedals are single sized plain enclosures, and the pedals are named after the color of the knobs. No labels on the pedals with the exception of the Lotus name. I dig it!

This is what he says about keeping it simple:

I design Lotus Pedals to be simple, because I want to keep your focus on playing guitar, not fiddling with your gear. Turn the knobs, find a tone that suits your style, and play. It’s as easy as that.

We received the “Red“, a dark overdrive that uses the TS-808 Tube Screamer chip. Very simple pedal – Drive and Gain are the controls. It’s basically similar to a Tube Screamer but you’re able to get some really great low gain fuzz tones as well.

Here is the official description of the Lotus Pedal Designs Red Overdrive:

A dark, dirty overdrive pedal that uses the same chip as the original TS-808 Tube Screamer. Deep, rich tones with more gain than you’ll ever need. This pedal will make your solos hotter than a urinary tract infection.

For this demo I again enlisted the help from my good friend Jimmy Rolle. He’s playing his Gibson Les Paul Custom Shop Elegant into a Germino Lead 55 through a Marshall 4×12 cabinet. Everything is mic’d with a Shure SM57 and Fathead Ribbon Mics. There is nothing between the guitar and the amp besides the Lotus Red Overdrive.

You can listen to the high quality MP3 clip via SoundCloud

The Lotus Pedal Designs Red Overdrive is available directly from their site for $199.95. It’s a great sounding overdrive!

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The following is a guest review by Donny Silva. If you are interested in writing a guest review, please contact me!

My Name is Donny Silva. I play bass in a band called Defy Tolerance. We are a rock band out of Phoenix, AZ. I play Spector basses and Gallien Krueger amps/cabs.

www.defytolerance.com
www.facebook.com/pages/Defy-Tolerance/102358636468140
www.facebook.com/roskotheworshiprocker

Coming from being a guitarist I wanted to use effects. I really wanted to “grunge” up my tone. I soon bought the MXR M80 bass DI+. Here are the features from their website:

- Distortion channel with gain, volume, and blend controls
- Color button
- 3-band EQ
- Phantom power
- 1/4″ and XLR outs
- Parallel output jack

I will keep this simple. The EQ is great. Even though it is only Bass, Mid, Treble, you can get a lot of tone out of this pedal. There is a separate volume control for each channel and a “color” button. This “color” button enables a preset scoop. I think it has a traditional Ampeg tone to it, real middy.

The EQ transfers to the distortion channel when engaged. This is possibly the only downfall of this pedal. The distortion channel has a gate and a blend knob. The gate is nice, you can set the trigger point with a trigger knob. The gain is a little harsh on this pedal. It is very gritty. But what makes it very versatile is the blend knob. This will blend in the distorted signal with the clean signal. I drive the gain at about 2 o’clock and have my blend knob at 7 o’clock. I get a very clear grit to my tone.

There also is a Phantom/Ground button. This is a great feature if you have phantom power from a mixing board.

As a bass player you it is nice to be able to send a direct signal to the front of house engineers. With this pedal you can send the FOH guys your tone and also send the signal to your amp. There is a third “parallel output” . I imagine this is most useful to send to a tuner.

I am loving this pedal, It can really liven up a cheap practice amp or give a great live tone for any performance. I highly recommend it.

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About a month ago I was contacted by Jean-Luc of HEPTODE electronics based out of France. I did an interview with him and we talked about electronics and the company (read full interview here – Interview with Jean-Luc of Heptode Effects). Jean-Luc also sent over a couple of pedals that he wanted to demo, and we got around to demo’ing one of those pedals. This is the HEPTODE Heavy Tone. The Heavy Tone is inspired by the Soldano SLO-100 overdrive channel. He wanted to create a hi-gain sound and developed his dynamic hi-gain preamp called the Heavy Tone.

Controls are broken down to the following: Gain, Level, Bass, Middle and Treble. Additionally there is a CabSim (cabinet simulator) toggle if you plan to use this direct to a console or to a computer interface.

For this demo, we have Jimmy Rolle taking the Heavy Tone out for a drive. He’s using his Gibson Custom Shop Les Paul Elegant into a Germino Lead55 Head through a Marshall 4×12 cabinet. There is nothing between the guitar and the amp except for the HEPTODE Heavy Tone. Audio was recorded with a Fathead Ribbon Mic and a Shure SM57, both close mic’d.

You can listen to the high quality MP3 clip via SoundCloud

For more information about the HEPTODE Heavy Tone, please check out their website. HEPTODE pedals can be purchased via the Mad Ape in the US. There are 34 dealers in France, UK and Belgium (please contact HEPTODE for listing of dealers near you).

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A little while back Pigtronix contacted me asking if we’d be interested in demo’ing a pedal of theirs.  I’ve definitely highlighted their products in the past. They make absolutely great pedals, so I was very interested in what they wanted to send over. About a week later I received the Pigtronix Tremvelope.

The Pigtronix Tremvelope is a tremolo on steroids… and really thought out. First off it’s a optical stereo panning tremolo. For this demo we did not demo the stereo or panning capabilities but focused on the tremolo and the envelope aspect of it. The envelope portion of the pedal is what really caught my ear and what separates this tremolo from others. By adjusting the sensitivity, the tremolo will affect your signal as your signal fades, so it reacts to how you play. The speed and depth are affected by how hard you play. Pretty cool!

Pigtronix set the Tremvelope with all the controls to manage all points of the effect. You can turn the envelope feature on/off, as well as controlling the speed, depth, sensitivity and waveform.

Here is the official description from Pigtronix’s web site on the Tremvelope:

Tremvelope puts a new spin on a classic effect. This tremolo pedal allows the dynamics of your playing to change the speed and depth of the effect. The result brings traditional sound to a whole new level that is intuitive, engaging and totally addictive.

Tremvelope is a versatile, high fidelity optical tremolo with stereo panning outputs. The Tremvelope’s fat sounding audio path is modulated by SPEED, DEPTH and WAVEFORM controls. When the envelope is switched on, the tremolo effect is influenced by what you play. The SPEED and DEPTH knobs can each be assigned to increase or decrease in response to the strength of the signal coming from your instrument. These changes start from where the knobs are set and independently move in the assigned direction.

The ACCELERATION switch adjusts the response time of the tremolo to changes in your playing and the SENSITIVITY knob provides control over the amount of increase it takes to create changes in the tremolo settings. Expression pedal inputs for speed, and vol / pan add external foot control to this animated beast of a pedal. There is also a TRIGGER input for running the Tremvelope late in an effects chain but still allowing your clean signal (or even a different instrument entirely) to control the envelope directly.

Go forth and modulate!

For this demo, we have Jimmy Rolle and he’s using his American Fender Standard Stratocaster into his Germino Lead 55 head through a Marshall 4×12 cabinet. There is nothing between the guitar and amp except for the Pigtronix Tremvelope. Audio is captured using a Fathead Ribbon Microphone and a Shure SM57 Mic, both close mic’d.

You can listen to the high quality MP3 clip via SoundCloud

As you can hear, this is a great sounding tremolo that takes the tremolo effect into a new direction. I can see some guitarists going nuts for this thing. If the Pigtronix Tremvelope is something you are interested it is available for $249.00 at Amazon.

Please check out Pigtronix’s site for their other great products, as well as liking them on Facebook to see what they’re up to.

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I’ve brought up the EHX Bass Blogger in the past. It’s an interesting dirt box for bass guitar. One thing this pedal needs is a really good demo, unfortunately there isn’t much out there, but I came across a decent one by 13th Street Guitars. First let’s talk about what the Bass Blogger is all about.

Here is the official description for the Electro-Harmonix Bass Blogger:

The Electro-Hamonix Bass Blogger’s ultra-subtle distortion creates the perfect dialog with your drummer. Dial in your ideal fuzz with the effect pedal’s no-fuss, three-knob design and fuzz/drive selector switch. Dry/effect outputs.

* Volume, tone, drive controls
* Fuzz/drive toggle
* Dry out
* Effect out

Here is the video demo posted by 13thStreetGuitars:

The Electro-Harmonix Bass Blogger is available for $74.10 at Amazon.com

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