The Pedal File – More Great Pedals Made by More Little Guys

Hi.
I like pedals.  You like pedals.  He likes pedals.  She likes pedals.  We all like pedals.

Today’s topic is another attempt to bring you up a notch on the pedal popularity scale.  Whenever I find some cool pedals that I think are obscure and/or weird and/or versatile, I like to let you know about it so you can pretend to all your friends you found it first.  Check out these two exciting pedals from two different little guy builders.

Warm Star Electronics – Shape shift Mountain

Scrolling the webs, I came across this pedal and was instantly intrigued.  A compact yet super versatile Filter & LFO pedal?  I’m down like Donald Trump at an all you can eat baby buffet.  (Correct me if I’m wrong, but I assume he eats babies for breakfast, no?)

The Pedal File - Warm Star Electronics Shape Shift Mountain

Shape Shift Mountain is  the first pedal offered by Warm Star (built in collaboration with Delptronics, maker of eurorack modules, interactive music exhibits, PCBs, and other electronic design type stuff), which to me is a hopeful indication of more cool synth style pedals in the future.

At heart, the Shape Shift Mountain is a voltage controlled 24 db/octave low pass filter with an integrated LFO.  It uses the classic SSM2044 filter chip used in a bunch of synths, but most notably the Korg Mono/Poly synths (if Korg used it, it’s gotta be good).homer

As the name implies, applying a multi-faceted filter, plus LFO to your guitar signal can give you mystical mountain sherpa abilities to traverse your guitar (or anything with a 1/4″ output) across precarious tone-scapes you didn’t know existed.  The cool part is that you don’t really have to worry about avalanches.  Unless you happen to have a jam spot right next to a mountain.

How versatile can the Shape Shift Mountain be?  That’s just a silly question.  Well, silly, for starters you could use this thing’s filter as an EQ of sorts to carve and whittle frequencies to boost leads or thin out/fatten up your signal, which are things guitar players do when they really want to cut through the mix.  You could also employ this pedal as a unique distortion and really fuck your signal up with the gain, gnarl, and resonance controls.  Or, you could tame it as the versatile filter and modulation source it is for filter sweeping and vibrato/trill sounds.

Like that mirror in Harry Potter that shows you your biggest desire or something (I don’t remember, I read that book like 15 years ago), the Shape Shift Mountain can show you what it is you desire.  At least as far as filters and LFOs go.  It would probably not be right for anyone looking for a steady, consistent, one-trick pony relationship with a pedal.

There’s only 50 being made in the first run (going now!) so you should probably get over to their page and tell them you want one before it’s too late!

Warm Star’s Demo
https://www.youtube.com/watch?v=O5uG2QovabI

Tweakables
Cutoff – determines cutoff frequency of the filter.  Select the frequencies that shall pass or shall not pass.
Resonance – amplifies or accentuates the cutoff frequency.
Gnarl – in the video it sounds like this knob generates a second frequency one octave below the original signal, but I can’t say for sure.
Gain – the gain seems like it could add an octave as well, but at any rate I’m sure adds gain and distorts the signal.
LFO Rate – rate of the LFO.
LFO Slope – control how the LFO fades in and out.
LFO Amount – depth of the LFO.
CV inputs – control cutoff/resonance via CV signals.
CV out – for LFO.  Integrate this with your synth or CV enabled gear.
Expression inputs – LFO rate, amount, cutoff, resonance.  Control a knob with your foot so you can do synth stuff while you play, like sweep the filter.

Switches
High/low – switch between a high/low octave?
Triangle/Square – waveform selector.

There you have it: a promising first venture out to pedal sea from a fledgling company.  I think I speak for more than just me when I say I look forward to what Warm Star does in the future.

Check out www.warmstarelectronics.com for more info.


Parasit Studios – Into the Unknown Guitar Synth Deluxe

Possibly the synthiest synth pedal ever?

Parasit Studios isn’t just a pedal manufacturer, but a real live Swedish recording studio that also happens to make DIY pedal kits, many of which are pretty unique synth pedal-type designs.  People who produce/engineer records probably have a good understanding of sound, so why couldn’t they make a great sounding pedal (case in point – Recovery Effects)?

The Pedal File - Parasit Studio Into the Unknown Guitar SynthThe Into The Unknown (ITU) is a fine example of the above situation.

According to Parasit helmsman Frederik Lyxzen, what makes the circuit of the Into the Unknown pedal special is ‘that the octave up part is based on a frequency controlled oscillator so it doesn’t scramble chords like [the] usual octave circuit, and it tracks well over the entire fretboard…it can be very controlled, but also make super-glitchy sounds, fuzz, theremin sounds, synthy octaves down and up, flanger-ish modulation, drone-ish noise, oscillation, and more.’

The Into The Unknown’s filter and LFO sounds are similar to the Moog Freqbox, onlyurkel the ITU seems a lot more musical and controllable.  The fuzz on it’s own is one of the closest to sounding like an actual synth I’ve come across.  Be warned, this pedal sounds pretty amazing and will surprise you with it’s satisfying ability to produce sounds that are strange and otherworldly, yet beautiful and inspiring…like Urkel.

Needless to say, when I saw there was a limited run of 25 being sold, I had to jump on it.  Don’t fret though (terrible guitar pun), if you’re handy with a soldering iron, you can always get one of the DIY kits, or you can sign up for the mailing list and be notified of the next run.

Parasit’s demo
https://www.youtube.com/watch?v=O5uG2QovabI

Tweakables
Mix – blends between straight square wave fuzz and the synthesized VCO signal coming from the CD4046 PLL chip.
Sub – how much octave down you add to the signal.
Gate – sets input sensitivity.  Can be very gated or glitchy, and can self-oscillate.
Rate – controls the speed of the LFO.
Level – controls overall output.
Filter – controls cutoff of the resonant filter.  The middle position has a strong resonant peak.  Check out the filter sweeps in the demo video.  Super nice.
Track – controls the tracking speed of the VCO.  Turn it up for a slow attack/decay of the octave up or down for a faster attack/decay.
Warp – the man who built this doesn’t even know how to describe this control.  It’s interactive with the track knob and has a strong effect on the character of the modulation.  Can produce ring mod sounds.

SwitchesThese switches are independent from the mix controls so you can add octaves to either the fuzz signal or VCO signal.
Octave down -Toggles between one or two octaves down (down position – two octaves down, up position – one octave down).
Octave up – The VCO signal will be one or two octaves up depending on the switch (down position – one octave up, up position – two octaves up).
LFO – Wave Shape selector/turn off.

I think you’ll agree this pedal is more than worth it’s weight in synths.

Check out  www.parasitstudios.se for more info.

*Bonus: Interesting Article on LFOs and how they can shape your sound- http://www.emusician.com/gear/1332/the-ins-and-outs-of-lfos/36695

That’s all for now.  Thanks for reading!  Make sure to be quick if you want one to claim one of these fine pedals, and as always, feel free to let me know any thoughts you might have.  Stay tuned for video demos!

Love,

Nick
The Pedal File

The Pedal File – The Time for Pedals is Now

Is there a more beautiful word than ‘pedal’?  I don’t think so.  Say it.  Say it again.  It feels good doesn’t it?  Mmm, pedal.

I love pedals.  I love experimenting with their sounds, tweaking their knobs, caressing their enclosures, rubbing my face against them, etc.  I’m always on the lookout for pedals that are well built, entertaining, unique, strange, experimental, and/or inspiring.  That’s why I’m here today to tell you about two cool pedals and how cool you are for reading this.  No need to thank me, just doing my job.

Keeley Electronics Vibe-O-Verb

The Pedal File - Keeley Vibe-O-VerbLately Keeley has been pumpin’ it out like Bill Cosby in a coma ward.  Seriously they’ve released like 25 pedals (give or take) in the last year.  Keeley must have employed Underpants Gnomes or something to do all this work for them in such a short time.  Pretty clever because they work for underpants, not money.

Anyway, I just caught a glimpse of the brand new Vibe-O-Verb and I was pretty impressed with Keeley’s most recent reverb rendition.  It’s a modulated reverb (usually reverb with chorus on the reverb tail), the likes of which have been around for a while, but the Vibe-O-Verb takes this idea up a notch like it was bammed by that fat greaseball Emeril himself.  With the Vibe-O-Verb you can achieve sounds that would only be possible with a reverb equipped with an effects loop, plus the other pedals for adding modulation to the wet signal; that could be a whole small pedalboard’s worth of space.  The reverb is dense and moody, full of movement, sway, and atmosphere, especially when utilizing the modulation.  You don’t want your reverb to be modulated all the time?  No worries, just turn the depth knob down and all you’ve got is the nice simple reverb to play with.  You Philistine.

fibonacci

Yup, that’s a galaxy and a cabbage.

Did I mention the delay space algorithms are based on the Fibonacci sequence?  If nature follows this pattern, why wouldn’t it be a good idea to model reverb decay time after it?

Tweakables:

Depth – this affects the amount of modulation on the reverb.  Set it low for a little or high for a lot, or turn it all the way down to eliminate the modulation.  I recommend leaving this up.
Rate – Also affects the modulation section.  Set it low for a nice wash, or high for faster rotary or choppy tremolo type stuff.
Decay – Adjusts the length of the reverb.  I’m not sure of the specifics, but based on the video it can be subtle or pretty cavernous.
Blend – blend in your clean signal.  You get to choose how much effect you want.  How liberating.

Modes:

harmonic reverb – imparts some choppy harmonic tremolo (basically like a vintage Brownface amp trem or Keeley’s DynaTrem) on the reverb tail.  Some settings end up sounding like delay as the reverb reverberates and the tremolo chops.
vibrato reverb – can do anything from subtle to extreme chorus/vibrato sounds on the reverb tail.  I don’t get into vibrato too much, but I really like the way it sounds on this pedal mixed with the reverb.  Of course the chorus sounds brilliant and seems perfect for getting all spacey and out there man.
phaser reverb – the most subtle of all.  Adds a notch filter to the tails.  From what I can tell this makes the brightness/darkness of the reverb shift from one extreme to the other.  Honestly it’s hard to detect in the video, but hopefully it’s more apparent when playing in person.

Check out the video from Pro Guitar Shop for a nice taste:

For more info:  www.keeleyelectronics.com

Mr. Black Shepard’s End

The Pedal File - Mr. Black Shepard's EndMr. Black is a small, but reputable company based out of Portland, Oregon.  They specialize in two categories of effects: dirt and modulation.  When I say specialize, I mean Jack Deville (the dude behind the mysterious company name) eats lesser dirt and modulation pedals for breakfast, which fuels his ability to produce effects that are perfect for getting all heavy and psychedelic like your momma on an acid trip.  Snap!

Mr. Black is kind of a big deal when it comes to modulation.  A lot of guitar players (and players of other things) swear by their Eterna reverb for it’s lush tone and I even once spotted a Black LTD Overdriver on the board of Jamie Stillman (owner of EQD).  My point again is that this guy knows pedals and has designed a real paragon in the Shepard’s End Infinite Flanger.

Now y’all should know by now that I think flangers are the shit, and thanks to this golden age of gear we live in there are more and more flangers coming out all the time; I’m only interested in the ones that sound good and/or have something unique to offer, and that’s why I want you to want the Shepard’s End.

The Shepard’s End is unique because it’s an infinite flanger, meaning it’s capable of producing what is called ‘barberpole flange’.  So what the hell is ‘barberpole flange’ you ask?  Well you see kids, in normal flanger pedals, the filter will oscillate, or move up and down, to create that nice pleasant whoosh that is so thrilling to at least my ears.  In contrast the Shepard’s End tricks are based on the Shepard tone or effect.  The Shepard effect creates the auditory illusion of a tone that continually ascends or descends in pitch, but does not seem to get any higher or lower (if you want to learn more about it click here).  Basically it means the flange wave has no beginning and no end (how zen), which means the filter can perpetually sweep up or down.  Like forever, or at least your brain is tricked into perceiving that it does (damn naive brains).  Hence the term ‘barberpole’ being applied here.  It can also do continual ‘through-zero flange’ and also features positive and negative regeneration, so your flange can sound more chorusy-phaser-like or like an imploding metal tubular black hole respectively.  This means that this is probably the weirdest flanger you’ll come across.  In the video it sounds very synthy and at times almost laser-like.

Tweakables:

Wave – adjusts the shape of the flange wave for upward, through-zero, or downward cycles.  Either way it’s gonna get goopy and it’s gonna go on forever, like a signal sent out into space in search of extraterrestrial life.
Speed – Adjusts the rate of the filter sweep.
Regen – Adjusts the regeneration, or the amount of signal fed back into itself anywhere from none to negative and positive.  Lots of tones reside here in this knob I’m sure.

You can find the Shepard’s End and the whole line of Mr. Black pedals at www.mrblackpedals.com

That’s all for now.  Thank you for reading!  As always feel free to leave me a comment about how your day is going.  Or something about pedals is cool too.

Love,

Nick
The Pedal File

The Pedal File: Catalinbread’s Montavillian Ambient Echo

Good day, pedal filers!  It’s official, your favorite source of wacky pedal news can now be found at ThePedalFile.com!  That’s right, I guess I’m here to stay for a little while.  That’s good news for you and bad news for all the pedals I’ve yet to encounter.  May this be their warning…  Anyway, I’d love to tell you what else is new around the luxurious offices at The Pedal File HQ (hint: it’s a pedal) – the Montavillian Ambient Echo by Catalinbread Mechanisms of Music of Portland, OR.  My dedicated staff slaves and I love the creamy space feelings this unit provides, like being engulfed in a UFO tractor beam (what you’ve never felt that?).

Catalinbread has a full line of effects worth looking into, but delay is where they stand up and out, fully erect.  I posted before about their Echorec pedal, which is an impressive recreation of the Binson Echorec, as well their Zero Point flanger and Anchtithon fuzz/tremolo/mushroom pedal.  They also offer the Belle Epoch, their take on remaking the sound of the Maestro Echoplex EP-3.  As you can see, Catalinbread love their classic delays as much as Americans love rehashed music and cinema.  It comes as no surprise then that Catalinbread would be able to engineer a useful delay pedal with features that straddle the line between old school and modern, analog and digital.  (I’m going to coin a new term here – Digilog….  Trademark.)

Your first time with the Montavillian you will become enchanted, paralyzed, unable to escape the comforting trails of delay even though you recognize your own mortality could be at risk because, you know, if you don’t take a break from playing with pedals and at least eat something you may not make it more than a few days.  I barely was able to break myself away and survive.  Always remember, just because your pedals are machines, that does not make you one (Do pedals dream of electric sheep?).

I’m not here to blow smoke or talk in hyperbole (mmmaybe a little, but mostly just in ridiculous and absurd metaphors).  I bought this pedal, and I really love it because of its unique, versatile, and superb aural qualities.   (As you may know, that’s pretty much my checklist for an effects pedal.)

The Montavillian Echo uses the PT2399 chip (used more commonly in lo-fi delays like the Recovery Effects Cutting Room Floor, Caroline Kilobyte, Wampler Tape Echo and many others), but in Catalinbread’s words, “…rather than slavishly following the datasheet, we threw it out and ventured out on our own, using our ears to guide us, and what we achieved is a fantastic sounding delay.”  Indeed they have.  All I can say is their ears must be like freaking sherpas if they led them to such a majestic mountain of delayness.  Maybe I just don’t know shit about designing pedals and pairing components, but I’m surprised that a chip with such a lo-fi reputation could produce a delay so beautiful, so warm, so inviting.

The true Jesus fart (that’s what I call miracles) behind the great tone of this pedal is that this delay does not use companding to process your signal.  Companding is a combination of the words compress(ing) and expand(ing).  Basically, this means that in most analog/BBD-emulating delay pedals, your input signal is compressed, processed, then expanded back to input strength to the output.  Instead of the delay trails getting dirtier as they go, the Montavillian maintains clarity on the delay trails creating an almost reverby, pad-like effect.  (This is my favorite delay to get a realistic spacey synth tone when paired with fuzz and/or octave pedals like the EQD Bit Commander or Iron Ether Subterranea.)  It doesn’t take an engineering degree to understand that the less your signal is processed, the better and more pure your tone should be.  No companding = no strangling then smoothing out of your signal.  Your signal slides in there unimpeded like Bill Cosby at cocktail hour.

Tweakables: Quoted text from the manual

REPEATS“feeds signal from the output of the delay line to the input. This control allows for a single repeat all the way to self oscillation.”  It doesn’t take a lot to make this thing freak out.  In a good way.  Like the equivalent of a bunch of hippies flailing around not being able to control the urge to let their hands chase each other at a Phish concert.  (Okay bad example because nobody likes watching hippies chase their hands at jam festivals…Okay well, I do, for a good laugh.)
MIX“this knob is traditional in the way it mixes into your dry path the amount of echo you want. What is not traditional is the amount of boost it permits you to add… So many echo pedals out there can barely tune the repeat to unity with the gain. This is not at all the case with the Montavillian Echo! You can make your repeats much louder than the dry signal. This comes in really handy for short repeats for a dramatic doubling effect as well as self oscillation freakouts.”  You can impress your friends with these slick delay tricks that can’t be pulled off with everyday delay pedals.  The result can be pretty strange since the repeats are louder than your pick attack; it almost sounds like reverse delay.  Seriously I don’t know of another delay that can do this, but please correct me if I’m wrong.  An extra point shall be awarded for this feature on the official Pedal File Pedestal.
TIME“this knob allows for a wide range of delay times, ranging from around 60ms all the way up to over 600ms max time.”  I prefer 1000ms of delay time, but I realized with this pedal that 600ms is plenty for most delay effects.  I have not really found it to be limiting.
CUT “this knob is a really neato control that I haven’t seen before on an echo. It’s function is to sweep from about 400Hz to about 1500Hz, lowpass filter… When the knee sweeps to the high side it gives a nice little bump in the mids right before the subtle fall off. Tuning this knob allows you to sweep from old school BBD dark filtering to a clear repeat. It gives you the power to adjust your echoes so that they sit in the mix perfectly against your dry signal. This control also functions to EQ the tonality of self-oscillations.”  All of the knobs on this pedal are quite sensitive with a large range of tweakability.  The cut knob is probably the most important as this is how you go from brighter repeats to dark and warm analog style wash.  Herein lies the secret to getting versatile delay tones out of just one pedal.  No matter where you set it, the repeats trail off getting darker as they go, like a low pass filter city going to sleep.  Don’t be fooled, even the brighter settings retain a certain warmness and wrap your ears in a big fur blanket that drags you down by the fire to make sweet love.

There is something soothing about the Montavillian’s tones, more so than any delay I’ve played, like listening to ocean waves, Air (the band), or the cries for help of innocent pedals.  If delay ain’t your thing, but you want an interesting ‘boost’, you can use it like an old school analog delay preamp that can add a perceived boost and a bit of pleasing harmonics to your signal.  It instantly adds more balls to dirt pedals and is perfect for getting all psychedelic up in there.  Whether you drop more acid than Wayne Coyne or you play for Jesus in your worship band, you will love this pedal (and Jesus will too).

The Montavillian is a pedal that you plug into and you can’t make it sound bad, unless you play blues rock.  Or hair metal.  Don’t do that out of the privacy of your own home.  Otherwise you’ll be fine.

Check out www.catalinbread.com for more info

That’s all for now.  Leave me a comment to let me know your thoughts, and thanks for reading!

Love,

Nick
The Pedal File

Pedal Feature: Earthquaker Devices Palisades Overdrive

Ahoy-hoy, y’all!  If it’s okay with you, I’m going to talk about a pedal today.  You know what I like in a pedal, don’t you?  That’s right: versatility!  I like to be in control of a pedal and tell it what to do, the more options for knob fiddling, the better.  That is what I try to focus on in this blog, and for that reason I want to draw attention to what is perhaps the most versatile overdrive pedal on the market, made by one of the most ambitious and quirky pedal companies around – The Palisades Overdrive by Earthquaker Devices.  You may also know I like to really get into a pedal’s insides, and this particular pedal is so versatile it has just about ten vigintillion (yes that is a naughty sounding word for a 1 followed by 63 zeros) features for tweaking, and tweaking, and tweaking some more until you tweak out from being over-twerked (or as I always say, Miley Cyrus-ed).   Okay, maybe it doesn’t literally have that many features, but the point is still valid; this pedal is like totally covered in knobs and shit.

Overview

 

To make a long story short (or longer), The Palisades is an overdrive.  Remember – overdrives are typically transparent as in they don’t add a lot of color your tone, as opposed to distortion.  If you desire a somewhat clean yet gritty edge-of-break-up tone in between a boost and distortion, overdrive is the ticket.  The Palisades is based on the Ibanez Tubescreamer, or as EQD refers to it, the Tubes Creamer (hee hee).  The Tubescreamer was originally touted like 30 years ago by the great Stevie Ray Vaughn (the only guitar player with the chops to back up his layers of scarves), which helped it reach the status of ‘go-to’ overdrive for scores of guitar players even today who would rather sound like something they’ve heard before.

The Palisades is ready to be the ‘go-to’ overdrive for guitar players of the modern era; it takes the concept of the transparent overdrive pretty far, offering such numerous tonal options that only a crazy person would have set out to put them all in one pedal.  This device is much heftier than any comparably wimpy 3-knob overdrive you find out there.  On top of its rugged build (no plastic input/output jacks or cheap switches), it sports two switchable channels of gain that can go from clean to near fuzz, a switchable boost, a bright switch to shine things up, a buffer to tighten things up, a voicing adjustment to select which components are causing the clipping for different types of drive/compression etc., and a bandwidth control for selecting the amount of girth and gain.  As I’m sure you can guess, if overdrive was made of (s)tones, then seemingly none would be left unturned by EQD when the Palisades was brought forth unto this Earth.  Seriously, every jangle-y 60’s punk garage indie blues pop country jazz noise guitarist can find their tone in there.

Enough!  Let’s move to the tweakables, shall we?

Tweakables

Boost: ‘Sets the level of the output boost.’  You can have just a little, or a large helping of boost suitable to feed Honey Boo Boo on pageant night…
Volume: ‘Sets the output level.’  Lots of volume.  See aforementioned joke.
Tone: ‘Brighter clockwise, warmer counter clockwise.’  Aside from Wampler tone controls, this is one of the most versatile tone controls I’ve encountered – it’s quite sensitive and in combination with the normal/bright switch provides you with all you need to find just the right tonal shade you need.  Bright, dark, and everywhere in between.
Gain A: ‘Sets the gain for the Channel A (lower gain).’  It is lower gain than Gain B, but cranked up it gets pretty heavy, especially when set to heavier voicings/bandwidths.
Gain B: ‘Sets the gain for Channel B (higher gain).’  I believe channel B is a totally independent channel.  I noticed that you can make Gain B your low gain channel, if you so desire, by keeping the gain low while cranking the gain on channel A.  (Not that it makes much of a difference, just wanted to point that out.)
Normal/Bright: ‘Normal is a warm full tone, Bright is livelier tone with more chime.’  This is great if you need to add or take away some treble-y bite from your signal or make proper adjustments for dark/bright amps and/or humbuckers/single coils (if you need to go further than the tone knob can go by itself).  The brightness does make your tone livelier and seems to provide more harmonic richness, sort of like a tube amp.
Buffer: ‘Turns the input buffer on or off.  ON is a tighter and brighter tone while OFF is a warmer tone with more sag. The buffer is part of the drive circuit & is only available when the Palisades is activated.’  The word on the street is that you can ‘feel’ the buffer more than you can hear it.  How zen.  But it’s true – there isn’t really a perceivable tonal difference except for maybe in picking response.  Check out my video below to see if you can hear it.
Bandwidth: ‘This sets the overall tone and gain structure of the Palisades. 1 is the thinnest setting with the least amount of gain and 5 is the fattest setting with the heaviest gain. Everything else is in between. This control has a major effect on all the settings of the Palisades, especially the gain and voice controls.’  It will also have a major effect on the pants of those in hearing range, either filling them with poop or causing them to get a little tighter….  Depending on how you set it.
Voice: ‘This sets the nature of the Palisades distortion by changing the clipping diodes.’  EQD could have stopped with this knob.  Even staying on one bandwidth setting and adjusting the voice knob can give you an astounding array of overdrive tonez, brah.
1- No diodes: The most open and least distorted.  This can be used as more of a clean boost or as a way to shine and grit things up a bit.
2- LED clipping: light clipping with a lot of volume.  More of a low-gain, edge-of-breakup sound
3- Mosfet clipping: light gain OD with great harmonics.’ Medium-high gain, I like this setting a lot.
4- Asymmetrical Silicon clipping: Tighter light gain OD closest to stock 808.  This clips the waveform unevenly or asymmetrically providing more compression/clarity.
5- Symmetrical silicon clipping: tighter distorted tone.  Clips the positive and negative cycle of a waveform evenly giving the effect of more distortion (as opposed to asymmetrical clipping).  Everyone knows symmetry equals beauty.
6- Schottky Diode clipping: Looser fuzzy tone.  I had never heard of this diode before learning about the Palisades.  After some research it looks like people traditionally put them directly in their guitar as a way to add a switchable overdrive boost right to the guitar.  Loose and fuzzy is a great description of the tone as well as for the matriarch of your family.  Ba-zing! Seriously though, this setting is pretty fuzz-like for an overdrive.  It gets pretty nasty and nasally the more you crank up the gain and tone knobs.

Check out my video.  By looping a riff and tweaking knobs, I try to give an overview of different tones and show how the controls interact all without boring you with needless talking.

Conclusion

As evidenced by the Palisades, Earthquaker pedals are for tweakers and practically beg to be touched.  The versatility found in them gives one the ability to go exploring beyondThe Pedal File - Scary Carrot Top traditional tones (the Sea Machine & Afterneath come to mind) like a regular Dr. Livingstone (I presume…only the goal is to not make it back from the unspoiled land of new tones).  This ability to cover a fuller spectrum of ‘unusable’ to usable tones makes their pedals perfect for too-cool-for-school noisey noise-makers and square traditional tone hounds alike, which I’m sure is a big part of the success of the EQD pedal line.  I also admire that Earthquaker didn’t buckle to the requests for just another Tubescreamer clone and instead went out on a very large limb and brought to life their own perverted version, like a forsaken monster pieced together from human remains, a.k.a. Carrot Top.  But in pedal form.

If Stevie Ray Vaughn somehow had a chance to check out the Palisades, I think he’d go back in time and let his Tubescreamers take that helicopter ride to oblivion.  Too bad that’s not the way it went down.  No other single pedal more sensitively straddles the line of boost, chimey mid-focused overdrive, and dirty high-gain fuzzyness.  I said it before, but it still stands:  If you need to replace your whole collection of overdrives with one pedal, this one could and should be it.

As always, leave me a comment and let me know what you think about the Palisades, or whatever!  If you really can’t share your thoughts in public, you can also drop me a line via my Contact Page.

For more info on the Palisades, as well as the rest of the EQD pedal line, check out: www.earthquakerdevices.com

Thanks for reading.

Love,

Nick
The Pedal File

 

The Pedal File – NAMM 2015 Pedal Picks

The Pedal File - NAMM pedal news

Hello again.  I know it’s only been a day, but I thought about you all night long.  I had to let you know about mooooore pedals.  As you may know, the 2015 NAMM show just ended and many young supple pedals have just been released into the world.  While there are far too many to list, I picked my five favorites and compiled a list for you to eye-fondle.  Read on, these are in no particular order.  Just don’t get your computer keys sticky…

Source Audio – You might already know the Soundblox line of highly tweakable and progammable effects as well as the amazing Hot Hand Controller to control these pedals with a hand sensor.  Pretty cool stuff already.  This year they brought more stuff to NAMM than I can talk about in one post.  The REFLEX expression pedal really stood out for me and is the coolest expression pedal I’ve seen.  You can send three simultaneous standard expression (or CV) signals, MIDI continuous controller messages, as well as six LFO wave shapes.  With the control panel you can program which outputs are active, the depth and direction of the expression signal, and the curve of the tapers (not sure what they mean, but my guess is the shape of the waveform as it goes down to ‘zero’).  You can also assign one of its six LFO wave shapes with expression control over the LFO speed.  Plus, the Reflex can save up to 128 pedal configurations, recallable via the onboard controls or external MIDI program change messages.  There is so much you can do to your other innocent pedals with that…Just try to tell me that’s not titillating.  These guys have been busy!

For more info: www.sourceaudio.net

DOD (Digitech) – DOD is smart because they realize they need to compete with all these silly boutique pedal companies abound.  They’ve released a few new pedals that show they’re paying attention to the market by adding cooler and more colorful graphics as well as going beyond totally cookie-cutter tones.  The pedal that stands out to me is the new Boneshaker, whose circuitry was designed in collaboration with Black Tone Artworks (again showing their awareness of the rise of boutique).  This looks like a standard DOD-sized enclosure, but with a lot of tweaky features for maximum phalangeal stimulation .  The bonecrusher was designed with drop-tuned or extended-scale guitars, baritone guitar, and bass in mind, so the 3 band parametric EQ gives you a lot of low-end versatility with independent low level, low frequency, mid level, mid frequency, high level and high frequency controls.  The most interesting feature is the depth control.  A depth on a distortion pedal?  I know it sounds weird, but it adds low frequency growl.  Do you want your bass to be mean?  Turn that shit up.  I’m sure it can make even your puny little normal scale guitar sound pretty ripping too.  Check out this demo by Pro Guitar Shop.

For more info: www.dod.com

Moog – Everytime I hear about a new Moog product I feel like Jeffrey Dahmer in a morgue cafeteria.  Man how I love flange…I previously stated on this very blog that flangers would make a comeback.  Lo and behold, there were more than a few flangers being shown at NAMM this year.  The new MF Flange offers two types of flange – vocal comb filter and a more traditional flange as well as control over depth, time, feedback, and rate.  You can also control the time knob with an expression pedal.  If you’ve never invested in a Moog product, now is the time.  Their pedals are top quality both in sound (all analog, bucket brigade chips) and design (sturdy like your fat momma), and the Minifooger line offers an affordable Moog tier for even the most deadbeat of poor-ass musicians.  I’ve owned a Moogerfooger for about 12 years.  It’s one of the tweakiest pedals I own and it works just like the day I got it.

For more info: www.moogmusic.com

Catalinbread – These guys hopefully are on your radar by now because they’ve already made some great stuff.  I’ve talked about their delay pedals, but today I’m talking about the new Antichthon Fuzz Tremolo pedal.  This pedal is pretty nuts, being billed as a dynamic fuzz tremolo, a tone-generator that can be controlled with your guitar’s volume knob, and a harmonic fuzz drive.  With controls for volume, gravity, time, and space I can tell you I honestly have no freaking clue what the latter three controls do.  But I think that is the point.  The Antichthon is designed to be that new sound you’ve been searching for.  This pedal is made to be different every time you play, to surprise and inspire you and take you somewhere else outside our normal realm of existence.  That’s pretty out there, like the guy demoing their stuff in the video.  It reminds me a bit of the Fuzz Factory or Fat Fuzz Factory with all it’s gnarly tones, oscillations, and robot alien noises.  Just watch the video to get a better idea.

For more info: www.catalinbread.com

EQD – Is there any introduction needed for Earthquaker Devices?  If you have any hopes of being cool you should at least smile and nod when someone mentions their name.  Their coolness goes beyond any mere trend or gimmick, however.  Their pedals are totally unique and can play as nice or as bad as you want, making rabid fans out of schooled shredders and know-nothing noisemakers alike.  The most eye-catching pedal for me is their Fuzz Master General.  This is based on the Ace Tone Fuzz Master FM-2 Professional fuzz, but of course with EQD’s mods and in their words ‘re-imagineering’, the Fuzz Master General goes well above and beyond what it’s vintage predecessor can do.  You get a full spectrum of dirt from nearly clean to full-on post-Chipotle fart explosions.  A voicing switch allows you to select germanium or silicon clipping for open fuzz or tight fuzz respectively, or an open transistor drive for ring mod octave up type stuff.  That covers more fuzz territory than yo momma in a wet suit.  Oh snap!

For more info: www.earthquakerdevices.com

That’s all for now.  I hope you feel like you’re keeping your head above the ever-rising waters of the pedal world after this article.  More reviews to come!

Thanks for reading.

Love,

Nick
The Pedal File