Hello, his name is FELIX!

Gear of this quality is always a blessing to come across, especially when one is an acoustic guitar player. Years and years of trial and error have tuned me to the do's and don't of playing acoustic instruments live on stage. While there are many amazing mic preamps out there designed to give you great microphone sounds both in and out of the studio - And rack mount gadgets, pedals, and amps for building just about every sound imaginable for your electric instrument needs. The same does not fly when speaking on acoustical platforms. When out hunting for great sounding gear that is truly built for your acoustic needs the pickings can be slim. As a acoustic guitar player and mainly singer/song writer the past decade I have personally had trouble finding great sounding and simple to use preamps to gig with live. What if all we acoustic playing cats could get something in a pedal format that doesn't act like just any other pedal, but instead like a proper pro level piece of gear? Thanks to the minds at Grace Design the game has just changed and this answer has been made clear. May I introduce you to FELIX - the best buddy your acoustic tone will ever have.

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 The FELIX

2-Channel Acoustic Preamplifier 

Features/Controls (Top Panel)

• Gain Controls (ch 1 & 2)
• Signal/Clip LED Indicator (ch 1 & 2)
• High Pass Filter / Notch Filter (ch 1 & 2)
• Low Frequency Shelving Cut and Boost (ch 1 & 2)
• Parametric Midrange Cut and Boost (ch 1 & 2)
• Parametric Midrange Frequency Select (ch 1 & 2)
• Parametric Midrange Q Factor (ch 1 & 2)
• High Frequency Shelving Cut and Boost (ch 1 & 2)
• Boost Level (Global)
•  Mix Control
• A/B Footswitch
• Boost Footswitch
• Amp/Tuner/Headphones - Output Level
• Mute/Tune - Footswitch

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Features/Controls (Back Panel)

•  Universal 100-240VAC Power Input
• Ground Lift Switch
• DI Output (ch 1 & 2)
• DI Output Source Select (ch 1 & 2)
• DI Output Line/Mic Level Select (ch 1 & 2)
• External Footswitch Input
• Amp Out
• Tuner Out
• Effects Insert
• Amp Source Select Switch
• Ch 1 Input Mic/Line Switch
• Ch 1 Mic Input
• Line Inputs (ch 1 & 2)
• Input Impedance Select (ch 1 & 2)

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Features/Controls (Side Panel)

• Dip Switch Location Diagram
• Ch 1 48V Phantom Power
• Phase Reverse (ch 1 & 2)
• DIP Switch Controls
• 1/8 Mini Headphone Jack

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Just looking at this masterpiece of a pedal can be intimidating. I found myself stunned at the shear beauty of the FELIX! Honestly I had no idea what to expect at first, and once I made up my mind to just plug in and go, the picture of what this little baby was capable of was very clear. Anyone with a little know how and bit of patience will quickly find themselves mastering the very unique and superbly beneficial qualities of this pedal. I chose to run the FELIX through it's paces in a couple different scenarios - One being out in a live setting where was able to hear what the pedal was capable of from an audience standpoint - Also from a studio arena where I was able to really dig in and fiddle around with every knob, button, and switch. I also plugged in for some recording sessions but more on that later. As I mentioned before, a little noodling around with the FELIX and you find yourself in acoustic tone heaven. Let's get into just how this pedal was able to bring us sheer tonal heaven.

First I tried the Felix at home both through my little studio setup and monitors, then later had it tested in a live on stage. My go-to acoustic guitar is my Alvarez DY-38, an amazing under rated acoustic that has always delivered in more ways than one. On board my guitar has an LR Baggs I-Beam saddle pickup and at the moment I'm using a DiMarzio DP-136 Super Natural soundhole pickup. I also ran the pedal without the soundhole pickup and switched it for a couple different microphones. I began with one channel at a time to get myself too overwhelmed with the pedal. Learning one section of the pedal at a time is how I recommend anyone should learn what the Felix can offer and is capable of. I began with channel one carefully adjusting my gain control. The clip led was really helpful with letting me find my sweet spot. Next I dove into the amazing eq system onboard. With the cut and boost features for both the high and low, I was able to get a quick and great sounding foundation for where I was to take the overall tone. I found both these controls capable of delivering many different types of sounds, but most important able to shape the natural tone of my guitar where it needed to and sounded best. I then began fiddling with the mid controls of the pedal, and this is where I found so much magic! Having a high quality parametric midrange section I could control at my fingertips was like something out of a fairy tale. I had the option to cut or boost my basic midrange tone, then with the find which midrange frequency worked best with my pickup and guitar through the pedal's frequency select switch, and last dial in my high mids with the Q factor control. You might be saying to yourselves right now, "Wow, all that, really?" Yes all that control and it didn't end there. I moved on to the next channel where I was able to dial in an entirely different and equally as stunning sound for my acoustic. The feature works great for many reasons. 1. To simply have a different tone for your guitar, which gives you access to another sound at the stomp of a switch. This came in handy when I layered some guitar recordings. 2. It's great for when you have more than one guitar with you on stage and each one needs it's own special attention. And 3. If you're an experimental cat like myself, can set the second channel with effects to switch in and out of for your guitar. All in all very cool stuff. The quality of a couple quick recordings is what keeps coming into mind, I couldn't write enough good things about how easy it was for me to get my guitar sounding top notch. I've played with so many different pedals, rack equipment, plugins, mics, preamps, etc... And this little pedal was by far the easiest and quickest way to achieve high quality tone all in a compact stompbox format. Genius if you ask me! And still it isn't over yet, the pedal still delivered in many more ways. Another great feature the Felix delivers on is it's ability to blend channels A & B for an ultimate supermondo "who's your daddy?" acoustic sound. Here is where I began messing with my soundhole pickup and B3 microphone. Having landed on a tone I was happy with in channel 1 for my saddle pickup, I know focused the 2nd channel into shaping something for the soundhole pickup to deliver on. Here I once again discovered how useful the highpass filter feature came in handy. For those for those of you who play with or have played with soundhole pickups you know how much of a nightmare dialing in and cutting out certain frequencies can be. My DiMarzio is great, don't get me wrong. But on certain stages, when playing with certain instruments, sometimes it can start acting funny. The amazingly kickass quality of this pedal's preamps and it's insanely cool eq system made my little soundhhole pickup sound like a million bucks. When blended with the first channel I got out of my guitar a sound so huge and beautiful I was blown back into disbelief. Setting the pedal from A/B mode, to Mix Mode, and so on was super easy too. With the dip switches on the side on the Felix I was able to move back and fourth without any confusion. For some more flavor I finally ended my man handling of this pedal by running the 2nd channel through a Studio Projects B3 mic and a SM-81 Sure mic. Both mics sounded great. The pedal is extremely user friendly and played well with every piece of gear I through at it. I was able to get crisp'n'clean acoustic tones great for that shiny bright guitar sound - boomy punchy acoustic tones for some more country, blues, and folk sounds - and some really impressive in your face chunky'n'fat tones for completely rocking my butt off. Recorded it sounded killer, mixed with other instruments you can really hear where this pedal/preamp separates itself from the rest. It gave me a wide range of options to play with and sounded fantastic through every guitar I've plugged into it.

 My next encounter with the Felix was through listening to it's beauty from the standpoint of the audience. I was able to accompany my friend and his band to their sound check which gave me an idea of how easy and quickly a good tone is attainable live on stage. The venue itself had a decent sized room and my buddy had a proper sized band behind him. The band consisted of electric guitar, bass guitar, drums, keys, and acoustic guitar. I played in a band of this exact makeup back some years ago and always had such a bitch of a time finding simple ways to achieve really good onstage sound for my acoustic guitar. At the sound check I could very easily hear just how high quality the preamps in this pedal were. The guitar used was a D-15 series Martin dreadnought with a LR Baggs pickup system. My partner also used the second channel to blend in a SM-57 microphone for the ultimate sound. With the pickup system alone we were able to dial in a really good acoustic sound - the Felix's high quality preamp and EQ system made it pretty easy to quickly find a great overall root tone. The capabilities of the pedal's EQ system is unlike anything I've ever seen before on a piece of gear this compact. On stage my buddy Steve was quick to dial in an impressive sound that stayed with him for the entire night. Song after song I enjoyed hearing the clarity the Felix was able to push, and amazed at how loud the guitar was capable of rising without feedback or unwanted frequencies. Here is where we tested out the boost option, which was so cool and so necessary! How many times have you been playing a gig when you suddenly realize your band is going into a 5 minute exit jam? Both Steve and I were impressed from the beginning of the sound check to the end of the gig.

Anyone who has gigged as an acoustic guitar player or has had acoustic guitars in their band knows the trouble of dialing in a great tone. Either the house/club/venue you're playing just doesn't have proper preamps, the sound guy isn't very friendly, your acoustics pickups won't play nicely, and the list goes on an on. With an electric guitar you simply plug in and play, and if any adjustments need to made you just reach back at your amp and tweak away. Same with guitar pedals. With the Felix I was able to get the simplicity of a stompbox and the quality of a professional piece of equipment. This is what makes the Felix such a kickass piece of gear. The only other thing I can say about listening to the Felix live from a stage is that it kicked major ass. I could definitely hear the difference and my buddy was absolutely sold. Not only did the rest of my friends band agree that they were able to hear their acoustic guitar more clearly, but the it made the sound guy's job easier which had him singing the pedal's praises as well. Since having the Felix I have played around with putting it through bass guitars, stand-up bass guitars, keyboards, and have played around with using it to mic up different instruments. It doesn't fail to deliver in any area so far and I doubt it ever will. It's a no brainer with this baby. I'm yet to see anything like it on the market and nothing like it has every come into the blog's hands. I give you guys at Grave Design two thumbs up for sure. Keep on rocking the crazy cool gear and please keep on letting us at AWC run it through it's paces.

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For more info on the Felix or Grace Designs go to www.gracedesign.com

Xotic Effects New Limited Edition Pedals

New - Limited Edition RC Booster Scott Henderson Model!

Contact your nearest Xotic dealer to order: 

http://store.xotic.us/dealers/  

Xotic Effects announces the release of the new Limited Edition RC Booster Scott Henderson model.  This package will be limited to only 1,500 chrome and 1,500 copper pieces worldwide! 

Designed in conjunction with jazz fusion and blues guitarist Scott Henderson, the RC Booster will come with a free download card of Scott's new CD "Vibe Station" and certificate of authenticity along with special packaging.
 

PRICING:

Same as a regular RC Booster

 

SHIPPING:

Chrome editions will ship on 11/20 and Copper editions will ship in December to Xotic dealers all over the world.

SPECS: 

• Channel 1 Gain, Channel 2 Gain, Treble, Bass and Volume configuration
• True Bypass Switching
• Can be powered with Battery or 9/18 volts power adapter
• Gain 1 or 2 footswitch, Bypass footswitch
• Compact chrome or copper case
• LED Indicators

News and Updates. Oct 2015

New from CE Distribution 
ApexTM Tube MatchingTM

 

CE Distribution is pleased to announce Apex Tube Matching - a new proprietary state-of-the-art power tube matching system. ApexTM Tube Matching is performed entirely in-house on our brand new custom-built tube matching system using our custom-designed software testing and matching methodology. What this means is we are not matching your tubes on inferior matching hardware or using outdated equipment. Rather, we are using state-of-the-art equipment designed and built to our specifications using our years of experience in the music industry. Our systems are highly robust and extremely accurate, measuring current and voltage to provide the best possible matching for our tubes. These systems are a result of many, many years of experience and an incredible amount of planning, design, prototyping and testing, resulting in the best tube matching available in the entire industry. We know you'll find our tube matching exceeds your expectations in every way! Power tubes are electrically matched so each tube will have the same amount of “idle” plate current and amplification characteristics when plugged into an amplifier. This is done so the tubes can work together in your amp giving you optimal sound quality and tube longevity. Matched tubes also receive extra quality checks to reduce the possibility of getting a faulty power tube that may have slipped by the manufacturer. ApexTM Matched Tubes are a product of CE Distribution, LLC and are available exclusively through CE Distribution and its authorized retailers. For more detailed information, please visit.

www.apexmatching.com  

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New From MOD tm Kits DIY

The Suspended Chime

Chorus/Chorus-Delay

  

The Suspended Chime pedal kit is the first multiprocessor kit offered by MOD tm Kits DIY. The Suspended Chime has two effects in one pedal - chorus and chorus/delay. 

The Suspended Chime features a blend knob which allows you to go from subtle to lush chorus effect in either setup. Using the selector switch, you can add a 190 millisecond delay to the chorus introducing special depth to your tone. Varying the dry/wet mix can fatten your rhythms or produce a shimmering 12-string sound. The Suspended Chime kit comes equipped with an LED indicator and industry standard 9 volt center negative power jack.

MOD tm Kits and Assemblies are designed to give novice and experienced musicians the opportunity to build or modify their own amps, effects pedals and guitars. All kits come with easy to follow instructions and use pint to point wiring. All effect oedaks abd amplifiers come with a pre-drilled enclosure and all necessary parts are included. All you need to provide are hand tools, a soldering iron and solder. The effect pedal operates on a 9V battery for longer lasting option. A 9V adapter can be purchased separately.

For  a complete listing of kits available and sound samples from MOD tm Kits DIY go to the link below.

www.modkitsdiy.com

Who Said Fuzzing Wasn't Easy?

Vintage FX is one of the first pedal companies I got friendly with when I first started my blog. It quickly became a favorite and I even served on their artist roster back when I was still gigging religiously. Dave Archer has a passion for building these little boxes that rivals anyone in the scene. I mean anyone who's down to work with The Warlocks (Heavy Deavy Skull Fuzz) is way too cool for school! Below is his take on the very popular and super hip Mosrite Fuzzrite, a pedal that dates back to the psychedelic days of the 60's. I've used this pedal on my boards for heavy gigs and every time it's turned heads and popped cherries. When plugging into a fuzz box it's got to be serious biz and even more serious fuzz... this pedal meets those qualifications with flying colors.

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Fuzzriot

FEATURES

• Machined aluminum knobs
• Sturdy 1590BB style enclosure
• Super bright LED indication
• True bypass - 3PDT switch
• Third stage added for increased volume/sustain
• Silicon/Germanium hybrid
• 9vdc Standard style adapter jack
• Based of the Mosrite Fuzzrite of the 60's

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There's nothing like a simple great sounding fuzz pedal. One without complex or odd controls, simple to use, and delivers when it counts the most. The Fuzzriot is probably one the easiest plug-in-and-go fuzz pedals I've ever encountered. It's as easy as grabbing your favorite guitar and finding the amount of grit'n'grime you want, dial in the tone, and match levels to your jam session or show. I was fortunate to have had the chance to gig with this pedal a number of times and used it in some recording sessions as well. My go-to guitar is and always has been my Tele with neck humbucker, but the Fuzzriot really sounded amazing through Strat's, Les Paul's, and P90 style guitars! Going through the controls you'll notice it's pretty freaking easy to figure this pedal. The Volume knob regulates the amount of output you want from the overall sound of the pedal. The Tone knob is actually really special! Sometimes fuzz boxes can slightly color your tone both in the bright and low areas, sometimes this is wanted and sometimes not. The tone control on this pedal gets you right where you need to be without stealing the tone you've worked so hard to get, but it can send you off into new adventures with just a twist of the knob, matching or making your tone something different. The Depth knob is superbly killer. Dave created this pedal as a germanium/silicon hybrid, meaning the fuzz effect is tight and blurty as hell. I enjoyed using this pedal in low depth levels already in some sort of mild overdrive. This gave me the perfect rhythm guitar sound for kickass rock and roll tones. It sounds great in a band setting pushing the bass player's sound and doesn't cut through the vocals or drowns out the drums. In higher fuzz levels this pedal can hijack a room and send jam sessions and gigs into a spiral of psychedelic bliss. There's a sustain you get from this pedal that seems top last forever, blend it in the right and you got something really epic. Higher fuzz levels can be easily manipulated and can be bent to create the strangest undertones, screeches, and howls. It's all good! Grab your favorite guitar and amp, plug in and play, enjoy and create. God bless this silver little box. 

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For more info on the Fuzzriot and Vintage FX go to www.vintagefx.com or just click the banner!

 

The Brooklyn Stompbox Exhibit

FOR MORE CLICK THE PIC!!!

The Green Forrest Comp - Making the world a better place

There's a reason why the Mad Professor has been around so long. I imagine some long white haired old man sitting behind a collection of giant fluorescent tubes and lightening, creating taboo music devices for the masses. With every new invention he'd hoop, jump, and click his heels as if to have lost his mind. Then presto! The perfect pedal. And it's that easy my dear readers.

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Forrest Green Compressor

Specs/Controls

* Supply Voltage Range: 9 to 18VDC 
* Current Consumption @ 9VDC: 14ma
* Input Inpedance: 1 M Ohm's
* Output Impedance: 20K Ohm's
* True Bypass: Max input -10dBV Ohm's - Hardwired true bypass

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* Level: Comp Mode controls overall level and can be used as booster. Sustain Mode controls sustain

* Compr: Sets the amount of compression and sustain

* Tone: Used to fine-tune compressed sound with great transparency

* Comp/Sustain Switch: Comp Mode standard compressor - Sustain Mode attack sustained for great dynamics

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So any compressor addict is gonna know the origins of the magnificent pedal, but for those of you a little newer to the game the Forrest Green Compressor is the cousin of the super popular and limited numbered BJFE Pine Green Comp. Like the it's kin the FGC is very transparent and packs the ability to deliver insanely cool dynamics. You can get boost capabilities with this pedal but where it really shines is in it's compression talents. I got to put this pedal through a few of my favorite amps and guitars, the outcome was short of perfection!

By far the best combo was a my modded Fender Deville and Tele with neck humbucker. I'm a big fan of the spanky Tele sound and this pedal was able to take it to another level. Most compressors will drain your sound of dynamic and feel, which makes your playing suffer. The FGC beautifully kept my dynamics intact while at the same time tightening and creating blooming chords. Another area this pedal thrives in is in it's ability to keep your original tone transparent and true to the core. A lot of compressors tend to eat away at your tone when cranking them up or blending them with certain amps tones and other pedals. I have a sound I've created called The Screaming Banshee which consists of a great compressor and a few others pedals I won't give up,. The Forrest Green Compressor gets along in that situation like gold. Guitars players forget how much they an actually get out of a great compressor, and this why I always try and push my buddies into experimenting with as many combinations as possible. You find a good comp to throw on your board and the results are like having a new pedalboard, capable of new heights. Then we come to the boost capabilities of this pedal. By cranking the Level knob the FGC will hand you close to 100% untainted boosts, and it does this without very little noise even at really high levels. Finally there's my favorite feature, the Compression/Sustain Switch. This little buddy of a switch kicks the pedal into two different modes; In Comp mode the pedal dishes out high ration levels. This lets you smash your notes into the pavement, creating really amazing tones and sounds! The sustain in this setting also thrives helping you get the most out of any note or chord. In Sustain mode the pedal creates more subtle compression effects which work great for just about any situation. Overall the pedal just does a great job, like all Mad Professor pedals they sound nice and play well with others. Do yourself a favor and go out and try this little gem!

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For more info on Mad Professor go to the links below or just click the banner on the site.

www.mpamp.com

News: Analog Alien releasing new pedal!

Analog Alien is proud to announce the release of it's first single effect guitar pedal in the Fall of 2015. The Bucket Seat is the junior version of the already released and supremely popular Rumble Seat. The official release of the Bucket Seat will be on October 15, 2015. MSRP will be at a super affordable $199 USD.

The Bucket is the same Rumble Drive circuit that is found in our 5-star pedal the Rumble Seat - which is herald by artists like James Burton (Elvis Presley), Stevie Wonder, and Joe Walsh (James Gang, The Eagles, Ringo Starr & His All-Starr Band). Everything from mild overdrive to a full on high assault is possible with the Bucket Seat.

The sound of the Bucket Seat is never harsh or brittle. It has a smooth break up and retains a lot of the guitar's dynamics even at high overdrive settings. Adjustments can be made on the output, tone, and gain controls.

For more info on Analog Alien please follow the links below. 

Twitter/Instagram: @analogalien

Facebok: facebook.com/pages/analogalien

Hashtags: #fuzzbuble45 #alientwister #rumbleseat #analogABS #JWDC #bucketseat

Staying True to your Tone

I'm stoked to be back and super stoked to do so with this awesome and very popular pedal from our friends at Xotic Effects. I'm sure many of you have had experience with the "Tremendous Trio" that is the BB Preamp, AC Booster, and this here champ of a stompbox the RC Booster. The Reason behind these pedals success is simple - great tone! I have been fortunate to have had the chance to try just about every Xotic Effects pedal out there, and to this day I can honestly say I have not been disappointed. What makes these pedals such winners isn't a ton of bells and whistles, it's their simplicity and straight to the point control layout. Combine any of these pedals with a proper amp, your favorite guitar, and they will make your already cherished tone that much better. The RC Booster does exactly this and does it with it's own heavenly tonal touch. Let's take a closer look shall we? 

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RC Booster

• Active Treble, Bass, Gain, and Volume controls allow for limitless tone shaping.
• 20dB+ of transparent clean boost, with +- 15db 2 band active EQ.
• Solution to sound degradation caused instrument cables and/or long effect chains.
• True bypass for eliminating any signal interference when switched off.
• Can be used with AC adaptor (optional) or 9V Battery.

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So what does the "RC" stand for you ask? It stands for "Real Clean", meaning this pedal will keep your sound pure and sweet. This isn't to say the RC Booster isn't capable of some gritty goodness cause it is. Whether it's boosting your already spanking clean tone to a higher level or taking that clean tone to the next plateau - the RC Booster will do it and do beautifully. On board this pedal you will find controls for Gain, Volume, Bass, and Treble. The gain on this pedal being splendid! The RC Booster makes it easy to boost your clean signals, boost those slightly gritty tube amp tones, or use it to straight out slam the front-end of any amp or already overdriven tone to get some even hairier tones, all with no problem. The volume control will keep your tone in it's original state from the lowest of settings to it's highest levels. You can dish out anywhere up to 20dB's of juice, and with it's bass and treble controls the RC Booster gives you the choice to either boost or tame your high and low frequencies, helping adapt this pedal to any room or venue. 

I went ahead and tested this pedal through everything from very clean tones, crunchy'n'grimy rhythms, and through allout overdriven tube amps. Each time was a gift. I began with a clean AC 15 based amp and a Stratocaster. I first set my amp to a punchy thick clean sound then carefully matched the pedal's character to the tone. I set the pedal with it's gain as low as possible, it's volume slightly hotter to the amp's output, and the treble and bass controls just a hint more pronounced than the amp's root tone. I played through some licks with the pedal off - then with it engaged. Engaged my tone stayed perfectly intact and came through with more power and attitude. The feeling of my tone while playing through the RC Booster is what stood out the most. I could feel my little amp thumping at my back, feet, and at the walls. Some boosters and overdrive pedals can deaden your sound, or even worse take it in a completely different direction. This pedal does not do this. What it does instead is enhances all the natural amp and guitar's character already existing in your sound. If your thing is big'n'boomy - it gets bigger and boomier. If you like that silky smooth spank - you get mucho more. And if you like slamming your favorite amp into ear drum slpitting goodness - this is the perfect pedal. The super spanky and bouncy Strat characteristics flowing from my guitar only became that much sweeter when stacked up with the RC Booster. I went from pickup setting to pickup setting and got great results each time. All across the guitar's settings the pedal was able to pull from them their very best. Rolling up the gain control the pedal began to heat up the amp's signal creating more grit and more grime. By tapering back the treble control and adding in some of the bass - the pedal was able to give my Stratocaster a warmer thicker tone. This worked nicely when playing through overdriven and high gain tones, making lead tones much more powerful. I also cranked my little 15 watt amp to a beautiful creamy crunch. I began using the RC Booster as a typical booster, but as I rolled up the pedal's volume and gain I started noticing I was able to get some very new and interesting sounds from my amp. The fully overdriven on it's own really only gets me so far, which is a perfect classic low/med driven sound. With the pedal boosting the signal I could get some really over the top grit. But one of my favorite tricks this pedal does well is it's ability to act as a buffer. For those of you who run long cables and lots of pedals you simply leave this pedal at the front of your chain with it's bass and treble controls at noon and wahlah! Overall the RC Booster is a great simple pedal perfect for pushing our tight, neat, transparent tones. If you're looking for something quick and simple to get the job done outright, go with this puppy, you won't be sorry.

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For more info on the RC Booster or Xotic Effects go to www.xotic.us or click the Xotic logo in our links section. Stay tuned for some more on Xotic and it's current line of effects.

Analog War Cry is Back!!!!

Hello kids,

The long long wait is over. I will be posting reviews and featuring cool new gear companies once again, full time. I'm done recording for a while and will be focusing my time at bringing you guys the best gear I can hunt down. If you have any companies you'd like me to look into please shoot me an email with the name and link to the site. Stay tuned for a couple delayed posts which should have gone up a while back, again I apologize to you all and I hope to have everyone back reading and writing in.

-Alfie

Top Finds of 2011/ Tone Blue Custom FX

Hello my dearest of readers. First let me say Happy New Year and I hope everyone had a great Christmas. I'm sure many of you got yourselves and got from your loved ones some pretty cool gear. Last year was an another amazing year for unique and marvalous music equupment, and I'm sure this year will be just as good if not better. I wanted to start this new year with some of my favorite finds of 2011, and this first feature I know you guys will absolutely love!

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Every time I think nothing more can be done to the overdrive pedal comes along a stompbox  that turns my thinking in the opposite direction. Ladies and gents - let me introduce you to Tone Blue Custom FX. This my friends is a pedal company with some very impressive original and modified builds. On the TBCFX website you will come across everything from boosters, trems, verbs, loopers, fuzz's, to comps, chorus's, wah's, power supplies, and a handful of cool upgraded familiars. It's quite obvious these guys know what they're doing by the extensive and beautiful collection of stompboxes that they offer. Thank god for cool companies like these!

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 Mighty Drive

My first encounter with the mighty world of TBCFX came to me in the form of a versatile little black box by the name of the Mighty Drive. Simple this pedal may be with it's Gain, Volume, Treble, Middle, and Bass controls - but I assure you it owns within it more than just one sweet spot giving you a wide range of useful and inspiring tones. For me it was the Mighty Drive's simple and straight to the point control layout that sold me from the start. The pedal's circuit itself being designed so well makes it one of the easiest dirt boxes to dial in and tweak, and one that works with many different setups and styles of music. For the hardcore tone purist guitar slinger this pedal will be an absolute dream come true.

The beginning of my Mighty Drive experiment started with a Les Paul Standard and 22 Watt Blackface amplifier. I began with a simple dry tone, no verb, and all of the amp's controls straight at noon. I began by setting the pedal's gain to a mild mellow setting. The pedal's eq stack I tried to match as close to the amp so I could get the most transparent boost possible. The Mighty Drive's volume I took to about 50%, which gave me an awesome amount of natural gritty yumminess. Right from the get-go the pedal worked beautifully as a booster and mild overdrive. The tones I got in it's mild overdrive settings reminded me of some of my favorite classic tube amps. The quality of the tone was rich, thick, and pleasing to the ear. I was able to convert the low watt amp into a grimy rock and blues machine. With the Les Paul's humbuckers thrown into the mix everything came together perfectly. I was able to go from bridge pickup to neck pickup and get a great balance of punchy highs and fat lows. The character of the pedal's sound came through with flying colors. As I went up into higher overdrive territories I began noticing the dirt getting tighter and fatter, making it sit in the mix beautifully and easy to work with. Cranking the 22 watt amp into a big and loud natural overdrive and stacking the Mighty Drive on top of it did a few cool things. First I used the pedal's volume to push the amp into a wonderful dirtier overdrive. Making it work more as a lead and distortion machine. With the pedal's middle and treble controls I was able to dial in tones that sliced through and punched with lots and lots of attitude. Rolling back the mids gave me some really cool heavy distortion tones. Along with the low watt Blackface amplifier I also plugged it into a 4x10 60 watt Hot Rod Deville with Jensen Blackbirds and Tornado's. Each of the 10" speakers in my Deville are 100 watters giving them lots of headroom which is perfect for a great sounding overdrive pedal. The Mighty Drive seemed to work like magic with this amp. I was able to crank in the pure tone of the pedal's mojo with just the amp's pure clean tone blended in. This brought out all of the pedal's feel and character. The big bouncing creamy sound of the alnico speakers mixed with the cutting edge sound of the neodymium magnets created absolute heaven. I plugged in a handful of guitars into this pedal and amp to see just what types of sounds I would get and to see if the Mighty Drive would work well with each pick and guitar style. I used a JR style guitar with a single Lollar P90, Les Paul with hand wound humbuckers, a Strat with top notch 60's style single coils, and a Tele with a classic style bucker in the neck and broadcaster style pickup in the bridge. It seemed as if the Mighty Drive were made for each guitar, pickup, and amplifier that I paired it up with. Each of the guitars' tonal styles came through and were accented by the Mighty Drive's unique and special circuit. In light settings the pedal pushed the amp's clean signal to give me more juice and more oomph. Using the pedal as an overdriver turned the amp into a rock and roll monster that worked for all typed of musical styles, including classic, blues, alternative, country, and punk. Cranking the pedal's gain to full blast, setting the volume at around 70%, then taking the eq stack and setting it to push the amp's highs/lows/ and mids made for a great experience. Strumming the strings I could feel lots of harmonics and sweet balance. The pedal sang with smooth and creamy overdrive/distortion. Last I did try this pedal with some other stompboxes, checking to see for noise or any other unpleasant ticks. I was very happy with the outcome. It it these types of pedals that a pedal junky like myself looks forward into running into to. In the end my experience with TBCFX was nothing short of amazing. The Mighty Drive was one that didn't take much effort to dial in nor did it eat away at any of my guitar's, amp's, or pickup's characteristics. I will say this - I am looking forward to see what more magic lies in store inside the Tone Blue Custom FX collection.

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For more info on FBCFX go to www.toneblue.com/tbcfx/ Make sure to stay tuned for more features from Tone Blue Custom FX to come in the near future. Remember.... Let'em hear you scream!!!

Xotic Nite at NAMM

Prosound Communications Inc Presents

XOTiC NiTE @ NAMM

KIRK FLETCHER, ERIC GALES, with Special Guest from Japan YUYA KOMOGUCHI

Monday January 23, 2012 Doors at 7:30PM
Tickets: $10 at the door

Lighthouse Cafe
Address: 30 Pier Avenue, Hermosa Beach, CA 90254, Phone: (310) 376-983

Out of this World

All you drooling right now continue to keep on drooling - cause this pedal sounds as good as it looks! I'd like to introduce to those of you who aren't familiar with Analog Alien to one of the coolest pedal companies I have ever come across. I will tell you - I have been one lucky son of a bitch to have run across these cats. There are a lot of people building pedals out there today, and many of those people very talented. We have come across a stompbox revolution of sorts. A time where tone is everything again, and where what you play and say are two different things. Music is once again making a come back in a beautiful way - thanks to all the wonderful gear that is out there to motivate and inspire us. It is cool little companies like Analog Alien that sit in the front lines making sure we have the weapons needed for the battle. This is what happens when a couple of dedicated tone hungry cats get together to make a pedal. I bring your the...

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Fuzz Bubble-45

 Specs:

•  PETE SIDE
• Out: controls effected output level
• Year 66'-77': controls gain amount sent to pedal's OD circuit
• Tone: this switch helps roll back lower frequencies

• JIMI SIDE
• In: controls amount of signal coming into the pedal
• Out: controls effect output level
• Haze: controls fuzz intensity
• Tone: functions identically to Pete side circuit

•  Bypass Switch: switches pedal On/Off
• Effect: switches between Pete and Jimi sides
• Power: runs on either single 9Volt battery or 9V adapter

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The first time I saw this pedal was one of those moments when I said to myself; "Holy crap, now that's a pedal!". Boy was I right. This is baby is built extremely well, was designed to be user friendly so you can get the tones you want quickly, and ships with a very cool mini lunchbox which it is stored in! This is a two channel stompbox which lets you choose between a Pete side (overdrive/distortion) and a Jimi side (distortion/fuzz). What more can you ask for? The Fuzz Bubble-45 is the pedal for that classic rock tone addicted player. For those of you who dig those marvelous 60's-70's tube amps. For those who listen and grew up with those insanely great sounding rock gods of yesteryear.

(PETE)

Getting a great sound of this was as easy as plugging it into a decent tube amp and guitar. I went with my semi-hollow body Hagstrom Viking and modified Hot Rod Deville. The handwound humbuckers and 4x10 Jensen's seemed to take to the pedal like a hand and glove. I began by setting the amp to a big warm clean tone, with all of it's controls set at around 7 and reverb circuit turned completely down. I started with the Pete side, setting it's Out knob to 50% , Year knob at 67', and it's Tone switch in the left position. Once engaged the pedal pushed out a very smooth'n'cruncy natural sounding classic rock dirt tone. The sound had lots of defined grit which made each string come through with spectacular delivery. This tone was perfect for an get-go all around rock tone. I played some of my favorite classic, blues, and alternative rock tones and got nothing but magic. Chords especially sounded good, along with double stops and string bends. The big'n'beefy overdrive produced by the Pete side reminded me of my favorite golden era rock tones. As I went up on the Year knob and added more gain the pedal continued to give me more mojo and inspiration. One thing which I really dug about the Pete side was how well it owrked with my guitar's volume. Using my guitar's volume knob I was able to control not only the amount of grit, but also the feel, response, and character of my tone. I next flipped the Tone switch to the right side and like an atomic bomb my pickups pushed out more low-end muscle. My riffs sounded bigger and stronger, and chords even beefier and dirtier. The Tone switch I imagine would be the perfect little feature for either cutting through a mix or adding more body to an overall band's sound. In both positions the Fuzz Bubble-45's Tone switch was able to keep it's definition and smooth feel. Switching the pedal up to year 77' really made a difference not only in the amount of gain, but how it all worked with your pick attack and overall sound. Here I got more aggressive overdrive tones which really became more like distortion. But unlike modern distortion the Fuzz Bubble-45 is able to maintain a very velvety creamy classic feel. Along with the semi-hollow body I also played this pedal with a Strat, a Tele, and a Les Paul (of course). Each one of the guitars created it's own special collection of rock tones, making this one of the most user friendly circuits I've ever used.

(JIMI)

Switching over to the Jimi side was an entirely different ballpark. Here I got a wide variety of very useful fuzz tones. I began by plugging into my partner's Les Paul and 7/15 watt amplifier. Now, on it's own this amp of mine has always produced some pretty sweet rock tones. It has been one of my favorite amps to plug fuzz boxes into and one of the best recording amps I've ever used. The Fuzz Bubble-45's Jimi circuit quickly and beautifully produced some of the best classic fuzz tones I've come across. I began with both the In and Out ch in the knobs at around noon, the Haze knob at around 15%, and the Tone switch in the left position. The pedal kicked out rockin' good subtle yet powerful fuzz tone that made my little amp sound much bigger than it actually is. Sliding up and down the neck playing blues and rock licks felt and sounded like something from another time. I was able to hear, and better yet feel, a big stack of harmonics and string ringing goodness. The softer I plucked the strings, the less the pedal growled. The harder I smacked down on the strings, the more the tone came to life and the more it knocked out big'n'bad fuzz. With the In knob I was able to tame and mellow out the sound of the fuzz, making it easy to tailor to whatever style of music I was playing. As well as the In knob working nicely, my guitar's volume knob gave me even more control and let me tap into even more crazy good rock tones. Some vintage fuzz boxes when doing this do one of two things; #1. They either become too thin and brittle, or #2. Just waste away the entire feel and vibe of the fuzz effect. The Jimi circuit I assure does non of these things. With my Strat I was able to use the pedal to dial in the biggest and meanest sounding fuzz tone, and by rolling down the guitar's volume able to get back to my jangly signature Strat sound. I was able to get some super cool feedback effects and strange ambiances just by holding the guitar in the right direction or playing the strings in a certain fashion. All you psychedelic rock monsters will appreciate and dig the hell out of this pedal. There's nothing better than blasting down in a rad collection of single note fuzz riffs. This pedal lets you beef up your licks or make them cut like razors. With the Tone switch giving you even more variety to choose from. I also played the Strat and Fuzz Bubble-45 through a Super Lead, which indeed was something to write home about. I will just say this - Everyone in the lockout studios was quite jealous that day. I had the walls ringing and shaking as if they were about to come down. I dialed in the Super Lead to a killer natural ovedrive, and stacked on top of it the fury of the Jimi side. If you've heard the best Marshall and fuzz tones combined you have an idea of what I was able to dial in. I found it easy to match both sides so that switching back and fourth was cinch. I know I get frustrated trying to find the right combination of overdrive and fuzz to bring out on gigs. With this pedal you get the best of both worlds all in one very cool looking box. All in all you can't go wring with this pedal, and I in fact found nothing I disliked about how it sounded or worked. The guys over at Analog Alien definitely own a special gift that lives in a few. I would kill to see what else crept into their minds, what else they'd be pushed to build.

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For more info on the Fuzz Bubble-45 or Analog Alien go to www.analogalien.com You ill find some cool info on the history and making of this pedal. There are also some pretty cool vids out there for those of you that want some audio of this monster. Use our Youtube search engine to hunt down some oft hose vids. We will be sure to keep you guys posted if more comes out of this unique and talented pedal company.

Treat Yourself to Something Reeeaaal Nice

 Next on our list of killer pedals is a little number from the talented and amazing people of Aguilar Amplification. Last year I had a chance to try out a bunch of these pedals on bass guitar and was blown away by the quality in tone and wide range of sounds I was able to get. It didn't end on bass guitar either... no sir. I in fact also plugged some of these pedals into a bunch of my guitars and guitar amps and the outcome was nothing short of amazing. I also had a chance to meet the good folks from Aguilar at NAMM last year which really tuned me into what they're doing and the direction they are headed in. Let me just say this: Go out and try these pedals - you will not be sorry and very glad you did.

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TLC Compressor

Specs:

• Threshold Control: variable from -30 to -10dBu
• Slope Control: variable from 2:1 to infinity
• Attack Control: variable from 10ms to 100ms
• Level Control: -infinity to -3dBu
• Low Distortion: (<0.2%)
• Gig-saver Bypass: signal passes even if your battery dies
• Power: 9 volt battery or optional universal power supply
• Enclosure: heavy-duty steel construction
• Battery Life: 100 hours
• Inputs: one 1/4 jack
• Outputs: one 1/4 jack

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How about that for a gem of a compression pedal? Here is an area where us musicians cannot afford to skimp out on. Compression when used the wrong way can be the killer of all tones. So where does one go when in need of some proper quality compression? Well, the TLC Compressor is a beautiful place to start, and a beautiful place to end. This powerhouse of a pedal is capable of giving your bass tones (and guitar) all the spank, thump, boom, bang, and bottom you will ever need. The control layout on this pedal is genius! And each one of it's controls capable of so so much. With the guitar it works equally as good. This is a pedal that does not discriminate and loves to play well with others (pedals). The TLC Compressor (just like our last Aguilar review) kick much ass. The one word that comes to mind is quality - quality - quality. Make sure to run back in our archive for more Aguilar reviews. 

Round #1 (Bass Guitar)

My first experiment with the Aguilar TLC consisted of a P Bass and a Ampeg SVT. I dialed in a simple signature snappy P Bass tone, with lots of rounded corners and plenty of punch. I began with some subtle settings, tightening up the overall sound and getting more definition. The TLC quickly dished out more clarity making things sound sweeter and richer. I started first with a medium low level and ended up cranking the amp just about full blast. At low to medium settings the pedal accented all of the bass guitar's and amp's magic and mojo. Then once cranked things really became noticeable. My experience with most compression pedals has been they don't hang in there when in comes down to gigging or recording. Either they become too noisy or they just can't cut it. This is why studio compressors are so praised and so useful. The TLC was more than able to hold it's own. One very nice thing about this puppy, something I really dug, was it's low noise output. This is probably the one thing that turns me off to most comp pedals. With this pedal I was able to blast my bass amp and thump away at my bass guitar's strings like a madman. In the end the pedal stayed chill and quiet. I got no unwanted hissing or white noise. But more importantly was how quiet the pedal was when I wasn't playing. Here is where this pedal comes in handy for those of you looking for a proper gigging compressor. I also plugged the TLC into a higher output bass which worked equally as good. What I liked about playing this pedal through the higher output bass pickups was how well it helped roll off the high end sounds and jagged corners. This brought a lighter fluffier attack to my overall tone which made things sit much nicer when jamming with other instruments. I did also gig with this pedal, and on stage the pedal did more than it's job, falling beautifully into the mix and standing out just enough to accompany the guitar, bass drum, and vocals. Setting the compression to the club's room was cake! On the other side of the spectrum, in more extreme settings, the TLC also did a great job. The pedal's threshold takes care of a huge range of sounds and tones which helps you achieve just any sound or musical style you're going for.

Round # 2 (Electric Guitar)
For me finding a good compression pedal to team up with my guitars seems to something I've always had lots of trouble with. Really there has only been a handful of comp pedals that I've enjoyed. The TLC quickly became one of the few. I broke out my trusty bucker equipped Tele and my buddy's Princeton Reverb. The goal was to dial in a solid plunky country tone with plenty of meat and potatoes. I help back on the amp's reverb and rolled the eq straight up the middle. With a little meddling of the TLC's controls I was able to quickly get the sound I wanted. The guitar sang out lots of spanky goodness making each string sound like it's own thing. I was able to hear every little nuance and accent I played. My chords sounded off with lush clear projection, which made everything sound absolutely beautiful! Smoothness was the name of the game when playing through this pedal. The Tele jangled and chimed through the amp's big'n'bright tone. I was able to get plenty of sustain from my playing without any of the unwanted extreme sappy sounds. The TLC maintained my pick attack and left my guitar's natural character intact. While playing around the guitar I began fooling around with other pedals, such as overdrivers and distortion pedals. With overdrivers the pedal added a chunky ring to the overall sound that made things sound bigger and badder. I noticed my lows became rounder and warmer, with the highs becoming clearer and easier on the ear. I also got beautiful string balance that cut right through like a razor. In minimum compression settings the pedal gave the guitar's sound that hint of juice that helps bring one's tone to life. By adding in some of the pedal's level control I was able to naturally bring the amp's tubs into some pretty sweet gritty overdrive. This sound worked nicely for craning down on some classic country rock chord play. Blues and funk also sounded quite nice. I ran through some sweet licks and rifs and was able to hear every note with absolute authority. There is no doubt on my mind this pedal can hang with al types of music styles. Anyone hunting for a killer all around comp box would do themselves proper by grabbing one of these.

Some compressors squash your tone much too much, or just bloom and rise in the wrong ways. Something we're all too familiar with. The TLC's control layout made things very easy and user friendly. It took a bit of playing with the TLC's controls but once I began trusting my ears everything fell into place. This is what I tell my readers when the write in asking how to use compression, just trust those ears. Another great use I got out of this pedal was recording with it. I was able to get these very balanced, steady, and defined bass and guitar tones which were very easy to work with when mixing. The TLC is also very transparent, and instead of adding color to your tone - it brings what is already there to life.The magic in this pedal all comes from it's control layout and the quality of it's sound. This is what makes this little baby stand out from many others. Aguilar Amplification really did some number when designing this pedal and it shows right off the bat once you plug in and play.

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For more info on Aguilar Amplification go to www.aguilaramp.com Make sure to also check out Aguilar's awesome amps, pickups, preamps, and cabs. We will be featuring more and more of Aguilar's gear in the near future so make sure to keep them eyes peeled. Hit up our Youtube search engine to hunt down some cool Aguilar pedal vids!

The Mighty Verb

Yes yes I know it's been a while since the AWC has been in any kind of action. First let me apologize to both our loyal readers and the awesome gear companies that have kept us afloat. Your patience and contributions have been nothing short of highly appreciated. Let me say this, it was worth the wait! For all you gear addicted tone hunting fiends - do we have some off-the-wall knock your socks off pieces of gear to share with you. We'll be bringing you reads from both familiar and brand spankin' new companies, we've hunted down a handful of great bands to turn you guys onto, and have some new features that will give you guys even more insight into our world of lovely'n'strange musical gear. There is a lot of catching up to do so let's get to it shall we?

We start our comeback with a sexy little number from our good friends at MOD Kits DIY (formally known as Mod Amp Kits). For those of you unfamiliar with the MOD collection they make some of the most fantastic sounding and easy to build DIY kits out there. MOD's pieces are the perfect introduction into the pedal building world for those of you looking to get your hands dirty. These pedals come stacked with quality parts and components, come with straight forward easy to follow building maps, and best of all are all reasonably priced. A perfect way to add some quality kickass sounding gear to any respectable tone arsenal.

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 The Verb

Reverb Pedal Kit

• Based on Belton Digi-Log module.
• Adds quality reverb to any guitar rig.
• Enclosure is 1.35 in height, 3.70 in width, 4.70 in length
• Recommend 9-volt adapter for use with this pedal

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The Verb pedal kit comes stacked with everything you'll need to build a killer sounding digital reverb pedal. Once assembled you'll find it kicks out plenty of mojo and warmth, and lots of clean cut definition. The Verb sounds and works great with loads of different stompboxes, guitars, pickups, and amplifiers.This is the perfect build for those newbie DIY rookies looking to up their chops. Just bring to the table a little soldering experience and a bit of patience - and you'll have yourself a rockin' good reverb box that'll be capable of plenty rockin' good tones. Mod provides really easy to read/follow directions (and this goes for every one of their kits) making the Verb's build go by smoothly and without flaws. I was able to knock this build out and have the pedal singing sweet reverb in about an hour.

The first obvious test was to run the Verb pedal solo, through a nice clean amp tone with no other effects/pedals in the chain, to help me see just where this puppy was gonna be capable of taking me. The first amp candidate was my modified Hot Rod Deville. I set the amp's controls straight up the middle, killed the amp's reverb, and plugged into the 2nd input for a hotter beefier signal. For a guitar I pulled out the neck bucker Telecaster with the coil splitting switch and Broadcaster style bridge pickup. I started in the neck pickup position with the humbucker split, picking out a bunch of big open voiced chords. With the pedal bypassed the tone had plenty of sparkle, tight lows, and focused mids. I wanted to compare the tone's weight with both the pedal on and off. Many reverb pedals kill the meat of one's tone, making everything sound hollow and overly flat. Then I clicked on the Verb pedal and to my wonderful surprise found all of my amp's sweet sweet tone still singing with plenty of juice. In fact, the Verb gave my highs more sparkle, my mids more ooohmf, and my lows more snap. This was especially true when I split the buckers coil or switched to the single bridge pickup. In it's low to medium reverb settings the Verb worked great for just a handful of situations or musical styles. The single output/amount knob made it all super duper easy. Before I go on I must say I think it is a great idea to have a reverb pedal with just one control that handles both the output and amount. This makes for no sitting and debating whether you've got the right sound or not. Just plug in and go! I began with some subtle bluesy guitar licks and had the Verb help maintain and hold my notes out in the air just a little bit longer. I noticed no ghostly reverb effects and no loss in the tone's character. Smacking down on some big beefy chords also sounded insanely good, especially when adding in a hint of overdrive. I was able to accent all of my pickings character and style. When chugging away at my axe I could really feel and hear the pedal really do it's magic. It sounded warm and smooth, instead of harsh or too square waved. I then added in a bit more reverb setting the pedal at about 50%. Here I got even more sweet ambiances and accents. Me personally I like extreme reverb thing when messing around with different pedals and effects. The Verb pedal let me get the reverb signal just where I wanted it and never threw my overall tone down the drain. One favorite trick of mine is to take a great sounding reverb pedal and mix it with a big nasty fuzz box. This is how I get lots of my psychedelic fuzz tones. If you've ever heard the band The Black Angels you can get an idea of what type of sound I'm talking about. At full blast the Verb pedal dipped into these frequencies with ease and flawless control. I was able to hold my notes as if playing through compression. Which brings me to another favorite effect of mine - reverb, fuzz, and comp. The Verb pedal worked great with a handful of comp pedals and fuzz boxes I ran it with, and even helped me get some tones I'd had trouble achieving. This quickly made this an all time favorite reverb pedal of mine.What made this such an easy pedal to dial is again it's one knob system. Once I was satisfied with the tones I got from my suped up Deville it was time to plug into something a bit more powerful and classic. Here is where the Super Lead came into play. This amp was the perfect mate for pairing this pedal against. The huge Marshal tone and Les Paul that I played the Verb with all worked splendidly together as if they were made for each other. I first dialed in a natural sounding room reverb effect by cranking in the pedal's knob to about 3-5%. This gave my tone an organic room reverb sound that gave my playing a bit more room and space. I then dial in a big'n'dirty lead tone by pushing the amp's tubes and rolling in like 30% of the Verb's effect. For a digital pedal this little box really did dish out plenty of warmth! Adding in more and more reverb as I played along I began stepping into awesome sounding spring reverb tones. This gave those quick licks and riffs some very very tasty effects. No matter if I played the amp soft or hot, the Verb was able to deliver with spot-on efficiency. Last I used the pedal through one of my amp's effect loops. Here the pedal once again worked beautifully. For those of you tone conscience freaks this is a perfect option. I've played through some very expensive effects processors and much more complex reverb pedals. The Verb was able to respectfully hold it's own with flying colors. In the end I was able to use this pedal in just about every way I wanted. Use it with great amps and guitars, pickups and pedals, and many different musical styles. With the Verb you get great sounding reverb throughout it's entire sweep, giving you quick and simple settings, whether gigging, recording, or practicing. It makes for a sweet go-to reverb box....... and all with simple control. 

For more info on this pedal and the rest of MOD's gear collection go to www.modkitsdiy.com Make sure to stay tuned for more features from our good friends at MOD, and make sure to use our Youtube search engine at the bottom of our site to see some of these pedal in action. Stay tuned for more folks!