Tone Report Weekly - Issue 81 - 2015 - June 26

TONE REPORTW E E K L Y

P L A Y T I L Y O U R F I N G E R S B L E E D

J U N E 2 6 T H , 2 0 1 5

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TABLE OF CONTENTS ISSUE 81 JUNE 26TH

42 CHASE BLISS AUDIO GRAVITAS

46 SOLIDGOLDFX SASORI FUZZ

50 CAROLINE GUITAR COMPANY WAVE CANNON MK II

SUPERDISTORTER 54 BLACK ARTS TONEWORKS

SARCOPHAGUS FUZZ

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16 24 36

5446 50

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8 TONE TALK 8 ONE KNOB WONDERS

16 TONE TALK 7 THUNDEROUS BASS

DIRT BOXES 24 TONE TALK

ANYONE CAN PLAY GUITAR: THE GEAR OF RADIOHEAD 36 TONE TALK

SCRAMBLED WAVES: CLONES OF THE INSANE AMPEG SCRAMBLER

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Guitar effects have come a long way since their inception. Some modern effects are essentially miniature computers built

entirely around a sound card with the guitarist in mind. Stompboxes can do more than ever before, and theyre doing it more efficiently. Companies such as Strymon pack a wealth of technology into a box with two switches and a handful of knobs, featuring secondary functions and advanced capabilities. Analog delays now come with tap tempo and presets. Digital and multi-effects units have gone from the laughing stock of the guitar world to incredible machines capable of producing authentic, quality tones. In short, its a good time to be an axe-slinger. And while these incredible new advancements should by all means be used and appreciated, there are far simpler mechanisms of sound that should not be ignored. If youve ever looked at a pedal with two knobs and thought it was one too many, youre in luck. If youre looking for great tone and simplicity, look no further than these one knob wonders.

WORDS BY SAM HILL

"Stompboxes can do more than ever before, and they,re doing it more efficiently.

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Electro Harmonix Small StoneOne of the first pedals I ever purchased, the old school EHX Small Stonecomplete with wooden boxamazed me with its swooshy goodness. Capable of both slow, dramatic phasing and dramatic ray gun effects straight out of a 50s B-movie, the Small Stone covered every phase need I could imagine. The Color switch gives it even more versatility. Historically known to have a volume drop issue, these can be modded (I highly recommend Analogman), although it seems some suffer from this worse than others. Currently EHX produces a Nano version of this box and it seems to get generally favorable reviews. If youre looking for a rock star endorsement, the Small Stone has long been a staple of Radioheads Jonny Greenwood, among others.

TC Electronic Hall of Fame MiniThere are a few one knob reverb pedals, but the TCs stands out due to its ability to morph into a different animal via the TonePrint function, and you can also create your own reverb via the TonePrint software. Despite its diminutive size, the HoF Mini can conjure up huge, cathedral-esque verbs and ambient soundscapes. Its a perfect option if youre tired of reverb pedals with multiple variables to control. While it stands on its own as a great pedal, it is a fantastic backup to stow away in your gig back in case your other pedal(s) fail or your amp reverb goes kaput. I even used it on vocals at a gig and it sounded fantastic.

10 TONE TALK // 8 One Knob Wonders

TC Electronic Spark Mini Booster While were talking about TC, they deserve another shout out for their shrunken Spark Booster. The original Spark is a stellar pedal that offers a wide and useful range of clean boost to fat drive. With the mini, theyve removed everything except the single level knob. With 20db of available boost, you can kick your amp into overdrive, add extra grit and body to your other dirt pedals, or cleanly raise your overall level when you need to be heard during a solo. Its unique Primetime switching allows for momentary level boosts, a very handy feature if you only need to stick out for a brief passage. Also, the artwork on it is coolwhats not to like?

Nick Greer Black Fuzz Athens, Georgia based amplifier and pedal builder Nick Greer produces a bevy of dirt boxes worth looking into, not least of these is the Black Fuzz. It was the first fuzz pedal I ever owned and I loved it. Greer accurately describes the sound emanating from the box as an amp being pushed with a bit of fuzz on top. Whether youre running an amp squeaky clean and need some dirt or have it broken up and want to add more thunder, the Black Fuzz will get you there, and all you have to do is set that single knob where you want it. It sounded glorious through a Kay 703 amp, and I used that pair along with a Line 6 DL4 and a Telecaster exclusively for several monthsa personal record in gear stability for me.

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Earthquaker Devices Speaker Cranker Earthquaker is quick to label this as not a clean boost, perhaps due to its one-knob nature. The Speaker Cranker adds grit to your signal and is a great option to push other drives and is also a great standalone dirt pedal. Also, there is an awesome picture of a speaker shooting out lightning bolts. I repeat: the speaker is shooting out lightning bolts.

TC Electronic Ditto Looper While this isnt an effect per se, it has become one of the most popular pedals on the planet since its introduction. The single knob controls loop level, and it provides five minutes of infinite layered loops. If youve avoided loopers because they appear too clunky and complicated, the Ditto is a godsend. Just tap the footswitch when youre ready to record and away you go. Although TC has produced different Ditto variations, the original remains my favorite and has become almost as essential to me as a tuner. I dont always use it for live performances, but it is an incredible songwriting tool and theres no reason you shouldnt have one on your board or in your gig bag.

12 TONE TALK // 8 One Knob Wonders

MXR Phase 90 As much as I want to avoid having an effect repeat on this list, it is unavoidable. The Phase 90 is perhaps one of the most recognizable guitar effects, and it is certainly one of the most popular. Available in various incarnations such as artist signature models and a handwired, true-to-vintage spec version, the Phase 90 produces smooth, classic phase sounds. Having owned both, I can tell you its a completely different beast from the Small Stone. Used by countless recording artists, this little orange and black box is most certainly up for consideration to be sculpted onto the Mt. Rushmore of guitar pedals.

Lovepedal Echo Baby For the sake of rounding out a potential one knob pedalboard, I had to include a delay on this list. The Echo Baby features one knob that controls delay time up to around 700 milliseconds. Im bending the rules slightly to put this in the company of the others because it features internal trimpots. That being said, once you set and forget those, youve got yourself a formidable one-knob echo machine. If you dont need tap tempo or special rhythmic subdivisions, the Echo Baby is a great sounding, functional, and space saving delay that allows room on your board for the rest of your gadgets.

Great pedals dont always have to be complicated. While one-knobbers clearly have limited flexibility and options, they may be the perfect choice to finally round out your pedalboard for good (yeah, right). Despite their simplistic nature, these stompboxes deliver in every way and in the writers opinion leave nothing to be desired. Whether youre an endless knob tweaker or the simplest of simpletons, these pedals are worthy of your consideration. Oh, and, if you own any of these pedals and are unsure of how to use them, I am concerned about your guitar-playing future.

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D ocumented uses of bass distortion have been in the public eye since the early 60salmost as long as distortion for electric guitar. However, four-string fuzz has existed on the fringe of effectology since then, and is only now being fully utilized.

There was a dark time in historyread: 19612008 or sowhere bass effects were frowned upon within the mainstream unless a potential user was some type of hallowed bass visionary. Then and only then was it OK. Players like Larry Graham and Bootsy Collins were given the proverbial ticket to ride the effect train simply because they transcended average Joe status. If a regular bass player showed up to the gig with anything but a tuner, DI and maybe one other pedal, they were given a wedgie on site. Im sorry, I dont write the history, I just tell the tales.

However, it is only within the last decade or so that anyone not playing bass in a band lifted the pedal sanctions on rhythm sections everywhere. Band members realized that players like Al Cisernos of Sleep and others of his ilk used bass dirt to great effect. Nowadays, bands like Muse have seriously pushed bass dirt within reach of the six-strung pedestal. I invite you to take a trip into the seven best bass dirt boxes.

Z. VEX WOOLLY MAMMOTH The very first box on this list was designed back in the 90s, before bass distortion was a widespread phenomenon, and the Mammoth is one of the harbingers of the movement. Gaining popularity due to Chris Wolstenholme of Muse, the circuit has come to be the true face of bass fuzz, due in part to the ubiquity of Z. Vex products and being on the pedalboard of one of the poster children for bass distortion. The circuit features four knobs: Pinch, Wool, EQ and Volume (although the earliest versions had no EQ control); Pinch is essentially a gating control and Wool acts as fuzz. Plugging a bass into the Mammoth, and the Mammoth into an amp with some headroom is almost a religious experience for any effects-shy bassists, its just that good. The pedal has always been made available in Z. Vexs hand-painted line which puts it out of reach of the more miserly bassist, but a more wallet-friendly Vexter version is on the way.

18 TONE TALK // 7 Thunderous Bass Dirt Boxes

MXR BASS DISTORTION Players have been using the RAT pedal on bass guitar for a long time, way before using pedals on bass was met with a smile rather than a look of disgust. Stoner rock and doom bands have known about the magical qualities of the RAT for years and years, however it took until 2015 before Ryan Ratajski of Fuzzrocious Pedals and the folks at MXR got together to release the quintessential bass distortion; one so potent it could only bear the name Bass Distortion. The Bass Distortion is based on the RAT with updated features and a more bass-friendly component set, consisting of two crucial knobs, Wet and Dry, which let users truly dial in the boom. These two controls allow bass players to control just how much distortion enters the output, and how much clean low end enters as well. Its much more comprehensive than a simple blend control and it lets thundergunners set the Bass Distortion to a light crackle or full-blown meltdown. If youre the type of person to play in a band with a tube-amp-equipped bassist, hand this to them and head for the hills.

MOUNTAINKING MEGALITH Straight from the tear-your-face-off file, the Mountainking Megalith will eat your signal for breakfast and beg for seconds. At its core, its a super-high-gain two-transistor fuzz box with a built in boost. Theres plenty of toneshaping options on the Megalith, from a three-position Notch Shift switch to actual Notch and Slope controls. This group of three dials lets potential planet smashers dial in an ultra-specific midrange for all the boost or scoop one could ask for. And with crazy fuzz like this, mids are one of the most important things. If destroying galaxies simply isnt enough and one wishes to simply destroy the entire universe, the More Heavy switch activates a gnarly boost circuit, where the amount is controlled by the appropriately-named More Heavy knob. With the More Heavy control set to zero, the eponymous switch still gives off a slight oomph, but if a player decides to redline it, he or she should probably notify the Pentagon in advance.

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HUMAN GEAR ANIMATO Another from the archives of Muse, the Human Gear Animato is a pretty rare box from the Far East. Human Gear, the brand, actually makes a large array of boxes, yet the brand is relatively unknown. Unknown, that is, until Muses Chris Wolstenholme got ahold of one and used it as his always-on tone. The brainchild of Human Gear is Hiroshi Yagi, and the companys pedals have stuck to a few design tenets: Aesthetically, theyre all the samerelatively no-frills. Theyre a dull yellowthink MXR Script Distortion+and feature a plain black font for model name, controls and jacks. The insides of all Human Gear pedals are built to withstand the apocalypse, as the circuit boards are fortified within large bricks of epoxy, making them impervious to cloners and whomever else. The Animato is a pretty dynamic fuzz with the same controls as a Big Muffthough its not a Big Muff. Utilizing a germanium front end, the Animato can get spongy before the silicon section shreds the signal. The Tone control is much improved, as it is a tilt typethe same kind found in immeasurably expensive hi-fi tube amps. The price might turn some players away, but it is a pretty original sound.

EARTHQUAKER DEVICES FUZZ MASTER GENERAL Back in the 70s, Japan had thick, unrelenting fuzz down to a science. Everything made over there in this era could rip an amplifier asunder and laugh about it later. Japan is responsible for the Univox Super Fuzz, the Shin-Ei Companion, the Roland Bee Baa and Double Beat fuzz, the Kay Fuzz, the Honey Special Fuzz and the Ace Tone Fuzz Master. Nearly all of these will get a bass amp cooking really well, but finding modern equivalents is a pretty arduous task. Enter: the EarthQuaker Fuzz Master General, a modernized version of the Ace Tone Fuzz Master, and one hell of a bass fuzz. The original Ace Tone version was pretty straightforward, with three knobs and full-on fuzz dominance. However, the good folks of EQD outfitted the Fuzz Master General with a three-way toggle switch that drastically changes the character of the fuzz; the right and left sides of the toggle introduce different clipping options that scoop the frequencies in some very musical ways, whereas the center position makes the General an extremely open and in-your-face amp kicker.

The Raster a digital delay with three pitch shifting modes.Controls are carefully tuned for exploration of self-oscillation and feedback. Delay time extends from 20 to 750 ms with multiple feedback arrangements, including reverse delay.Repeats can be pitch shifted in semitone steps, detuned, or phase shifted to create a wide variety of new sounds.

SOUNDSCAPES

Harmonized delays Shifted echoes Tuned feedback Infinite noise loops Atmospheric textures Chaotic self-oscillation

20 TONE TALK // 7 Thunderous Bass Dirt Boxes

SMALLSOUND/BIGSOUND TEAM AWESOME FUZZ MACHINE The flagship box from Smallsound/Bigsound, the TAFM is a germanium fuzz at heart featuring the magical two-word phrase that brings bass players to their knees: clean blend. Only three of the boxes in this list have it, even though its often seen as a must-have feature. For those not in the know, clean blend sets the balance of the dry and effected signal in order to retain the maximum amount of low frequencies. Nearly all pedals designed especially for bass feature the elusive clean blend circuit. However, this isnt to say the TAFM is on this list just because it has a Clean control. In fact, the character of the pedal is so great and adaptable to all instruments that it likely would have shoehorned itself into this piece even without the Clean control. Either way, the TAFM has every bell and whistle a bass player could want, including fully-adjustable mids, an input gain knob and a phase correction switch, which is, surprisingly, a pretty unique feature. Add it all up, and the TAFM earns its name and then some.

ELECTRO-HARMONIX DELUXE BASS BIG MUFF Its pretty tough to imagine a dirt box thats more tailor-made for bassists than the Deluxe Bass Big Muffit has so many options that bassists crave, in a relatively diminutive box. Lets list them, shall we? In addition to the ubiquitous Big Muff Volume, Tone and Sustain knobs, there is a control for Blend, an adjustable noise gate, an input pad for passive or active pickups, a footswitchable filter crossover section, a dedicated DI output and a direct output for parallel processing. Of course, features are worthless without good source material, and the Deluxe Bass Big Muff delivers. The core circuit is based on the original green Russian Big Muff, which bassists and guitarists pay top dollar for on the used market. The original Russian Big Muff delivers thunderous, dirty lows despite not being designed specifically for bass guitar. However, the Bass Big Muff is, and it includes a Blend control to coax even more low end from your amp, Simply put, the Deluxe Bass Big Muff is a monster and should be considered if youve ever even thought about plucking the bass.

The Raster a digital delay with three pitch shifting modes.Controls are carefully tuned for exploration of self-oscillation and feedback. Delay time extends from 20 to 750 ms with multiple feedback arrangements, including reverse delay.Repeats can be pitch shifted in semitone steps, detuned, or phase shifted to create a wide variety of new sounds.

SOUNDSCAPES

Harmonized delays Shifted echoes Tuned feedback Infinite noise loops Atmospheric textures Chaotic self-oscillation

www.dod.com

freqout

ANYONE CAN PL AY GU ITAR : THE GEAR OF RAD IOHEAD

PH OTO C R ED I TS :

R a d i o h e a d M o n t a g e : M i c h e l l Z a p p a a n d J e s s e A a ro n S a f i r /

W i k i m e d i a C o m m o n sT h o m Yo r ke : R OY J B A R O N / S h u t te r s to c k . c o m

J o n ny G re e nw o o d : N o r t h fo to / S h u t te r s to c k . c o m

Ed O B r i e n : N o r t h fo to / S h u t te r s to c k . c o m

C o l i n G re e nw o o d : J e s s e A a ro n S a f i r / W i k i m e d i a C o m m o n s

24 TONE TALK // Anyone Can Play Guitar: The Gear of Radiohead

ANYONE CAN PL AY GU ITAR : THE GEAR OF RAD IOHEAD

Since being lumped in with grunge bands of the 1990s with the debut release Pablo Honey, Radiohead has evolved into one of the most innovative musical acts in the world, releasing such masterpieces as the alt-rock-tinged OK Computer, groundbreaking electro-rock hybrid Kid A and the beautiful In Rainbows. Because of the bands tendency to experiment and write music in various genres, some debate whether Radiohead belongs in the rock n roll canon at all, arguing that pure rock n roll bands and British contemporaries like Oasis and Blur trump them with their straight-ahead, no nonsense attitude, although that argument seems to come mostly from music writers looking to get attention. Plenty of listenersthe author includedlove all of those bands and appreciate what they all bring to the table. So today, let us focus on the gear that drives the sounds of one of the greatest and most beloved bands of the modern era. Even the casual fan is aware of the vast amount of vintage synths and software the band uses, but because this is a guitar-centric publication, well be focusing on Radioheads guitar gear (and since we wont be discussing him at great length, let me just put it out there that Phil Selway is one of the best drummers of all time, and an all-around phenomenal musician who plays nearly every instrument in the studio on his solo records). Its not easy to be a three-guitar band, and Radiohead executes it flawlessly. Keep in mind that their gear rotates and Im referencing what was used on the latest King of Limbs tour. For your convenience, Ive broken the gear down according to band member.

WORDS BY: SAM H ILL

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Resident singer/songwriter/gyrating dancer Thom Yorke uses a relatively simple guitar setup. He is a master composer and, not unlike a great basketball point guard, excels at creating space for and assisting his fellow bandmates. Weaving intricate fingerstyle acoustic and electric rhythms in and out of Greenwoods abrasive riffage and OBriens eerie sonic landscapes, Yorke is at the wheel of each song. As with each member, his gear has varied somewhat, but as of late, Yorke relies primarily on two 60s Gibson SGs with humbuckers, a Gibson ES-330 and ES-125Teach equipped with P90sand two Fender Jazzmasters. For acoustic work, he has a Gibson B25 and Hummingbird and a Martin 000-18. His main amp is a 1962 JMI Vox AC30/6. He has the following effects on his boards: Line 6 DL4, Electro-Harmonix Stereo Memory Man w/Hazarai, Boss RE20, Akai Head Rush E2, TC Electronic Nova Reverb, Telenordia Kompressor, Telenordia Treble Booster, Crowther Hotcake, Electro-Harmonix Holy Grail (original big box version), and a Death by Audio Interstellar Overdrive. He also has a pair of MXR 10-Band EQs. Everything is powered by multiple Voodoo Lab Pedal Power units.


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Three weeks into his study of music and psychology at Oxford Brookes University, Radiohead signed with EMI records and Jonny Greenwood abandoned his studies to focus on the band. He is the only classically trained musician in Radiohead, yet he has perhaps the most unrefined sound. With his jagged, unruly riffs (see: Electioneering, Bodysnatchers, Go to Sleep, etc.) he gives Radiohead a rock n roll edge that borders on unsettling at times. He also laces various songs with beautiful, smooth, jazz-infused arpeggios and polyrhythmic jangle. His main six-string tool is a Fender Telecaster Plus with Lace Sensor pickups, specifically a Blue single coil in the neck and double Red humbucker in the bridge. He has a few of these guitars and has removed the coil-tapping feature from the bridge humbucker so it always remains in humbucker mode. Instead, he had a momentary kill switch installed to give him a choppy sound when he presses on it. When hes not using his Telecaster, hes jabbing at his original Fender Starcaster. A unique, short-lived entry into the Fender lineup (Fender recently reissued it with a few changes), Greenwood uses it on songs like Optimistic, In Limbo, Knives Out and Give Up the Ghost. The guitar has not been modified. Greenwood also uses, on occasion, a 70s Gibson Les Paul Standard, and a Rickenbacker 360. He runs these through a pedalboard that includes an Electro-Harmonix Freeze and Small Stone, Demeter Tremulator, DigiTech Whammy, Marshall Shredmaster, Boss OD-3, Boss RE-20, Boss RV-3 and an Akai Head Rush. He uses Boss LS-2 Line Selectors to control his signal path, which routes pedals between a solid-state Fender Eighty-Five and some variation of a Vox AC30. His dirty sound consists of the Shredmaster through the Eighty-Five while cleaner tones come courtesy of the AC30. He also uses a Korg Kaoss Pad in conjunction with his guitar and laptop. On acoustic songs, Greenwood has recently been using a Martin D35.

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The tallest member of Radiohead at 64, OBrien is often seen looming over his substantial pedalboard, tweaking knobs to orchestrate ethereal soundscapes that float in the background like a moody cloud. OBrien employs a Fender Eric Clapton signature Stratocaster with three Lace Sensor Gold single coils. The guitar has been modified to include a Fernandez Sustainer system which is used on tracks like The National Anthem and 15 Step. Another staple is a 1967 Gibson ES335, used extensively during the In Rainbows era. Lately, he has also been using Fender Johnny Marr signature Jaguars. He plays these through his pedalboard into a pair of Fender Vibro King amplifiers.

Now, about that pedalboard. With its mixture of boutique and vintage units, his rig is sure to make tonehounds the world over drool like theyve just left the dentist on Novocain. It has been assembled by Daniel of The Gig Rig and includes complex switching options, enabling the signal to be split to multiple amps for studio and live use. The board holds a Fulltone Clyde Wah, Dinosaural Opticompressor, Klon Centaur (yes, the original version), CSL Super Fuzz, Wampler Euphoria, DigiTech Whammy V, Diamond Tremolo, MXR Flanger, Eventide H9, Strymon Timeline, and the venerable Electro-Harmonix Deluxe Memory Man. He uses Molten Voltage switching units to control his Whammy and Timeline. A whole feature could be written on OBriens board and all its capabilities, but those are the basics.


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Perhaps the least visible member of the band, Greenwood hovers near Selway to complete one of the best rhythm sections in modern music, keeping the groove absolutely airtight. His fundamental sound is reminiscent of Motown soul artists, but he too uses effects to keep up with Radioheads sonic exploration. Although he uses others from time to time, his main bass is a 1972 Fender Precision Bass. It is completely stock with the exception of the volume pot and one tuner, which wore down due to heavy use. It runs through an Ampeg SVT-CLU and an Ampeg 8x10 cabinet. That setup is augmented with an Ashdown ABM 300 EVO II with 4x10 and 1x15 cabs. His pedalboard includes a Shin-Ei FY2, Lovetone Big Cheese, and a Tech21 SansAmp Bass Driver (for his direct signal). He has used delay on occasion, but for the most part he plays clean and smooth with the occasional chaotic fuzzed-out bass line for songs like The National Anthem and Myxomatosis.

While not a comprehensive library of every tool the band has ever usedthey seem to evolve with gear the same way their music has evolvedthis covers the essentials of Radioheads three-pronged guitar attack and attentive bass lines. Theyre one of the most formidable bands of all time, and they certainly have the resources to obtain whatever gear they want, yet much of what they use can be purchased off the shelf from a local music store. If you need to be inspired, look no further than the bands catalog. When I listen to Radiohead I am not listening to songsI am fully immersed in a full-fledged musical experience. And if you ever find yourself frustrated when youre trying to finger a particular chord shape, just rememberanyone can play guitar.

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SPRING REVERB

36 TONE TALK // Scrambled Waves: Clones of the Insane Ampeg Scrambler

Back in the days before every pedal circuit ever designed had been thoroughly decoded and made readily available in clone or kit form, the legendary Ampeg Scrambler was one of the rarest and most lusted-after of vintage octave-up fuzzes. First produced around 1969, the Scrambler was only manufactured for about a year, with production numbers totaling less than 2500 by most reputable accounts. It was never a big hit with guitarists, though a few notable playersincluding Jorma Kaukonen of Jefferson Airplane, John Cippolina of Quicksilver Messenger Service and Jim McCarty of Cactuscreated some ferocious lead tones with it.

Over the years, legends of the Scramblers uniquely nasty upper octave attack and increasing rarity jacked up the pedals market value to astronomical levels, with individual examples going for 1000 dollars or more. Seems a bit outrageous for a two-knob fuzz pedal, no? High-profile users like The Edge and Jon Spencer further reinforced the Scramblers reputation and value.

Though original Ampeg Scramblers still sell for around a grand, modern fuzz fanatics need not scour the furthest ends of the Earth and blow a stupid wad of cash to have this pedals bewitching sting under foot. As it turns out, its a pretty basic circuit, and can be cloned with relative ease. Fancier modern versions sometimes even add a third knob to control volume, which solves the perceived volume drop issue experienced by some Scrambler users. Todays fuzz fanatics really have no good excuse for not adding a Scrambler to their arsenal, given the availability and affordability of this singular circuit, so here are a few of our top picks to satiate a bad Scrambler hankering.

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AMPEG SCP-OD SCRAMBLER REISSUE:

One of the best and most satisfying Scrambler clones came from Ampeg itself, when the company reissued the pedal in 2005. Ampegs reissue is extremely well-made, with true bypass switching and standard nine-volt power requirements, housed in a hefty steel enclosure identical in every way to the original. And most importantly, it sounds identical to the original as well. Nice work, Ampegif only all reissues were as well executed as this one was. They even managed to sort out the volume drop situation, as the reissued pedal boasts significantly more output than vintage Scramblers ever had, yet still managed to retain the classic two-knob topology. If youre really into the whole Scrambler thang, looks and all, then this is the one to have. Unfortunately, Ampeg doesnt make them anymore, and they can be difficult to track down second-hand. When one can be located, however, they usually go for between 200 and 300 bucks, about the same as the new selling price. Monetary value aside, Id take a reissue Scrambler over a vintage model any day of the week.

FREDRIC EFFECTS SCRAMBLED BRAINZ:

North Londons Fredric Effects builds a bunch of wonderful and interesting noisemakers (including TWO Interfax Harmonic Percolator variations!), and its Scrambled Brainz fuzz is one of the most highly regarded Scrambler clones available. Housed in a compact, MXR-sized enclosure, Fredric has also updated the design with industry standard nine-volt power, true bypass switching, a status LED, and a boost circuit with a volume control to give this beast some extra oomph. The Brainz nails the harsh, uncompromising charm of the Scramblers ring mod-ish upper octaves in a solid, neatly constructed package, and at around 140 bucks American, its a solid bargain as well.


NORTH EFFECTS THE SCRAMBLER:

Also in London is North Effects, a minimalist sort of pedal company with a business model based on hand building high quality, high-spec guitar pedals (mostly fuzz, it seems), but without the usual attention paid to graphic adornments. The result is a plainly utilitarian, but excellent sounding and lovingly constructed, pedal that costs a whole lot less than one would expect. For around 90 American bucks North Effects will part with its Scrambler fuzz, a faithful two-knob Ampeg Scrambler replica wired by hand with true bypass switching, Neutrik jacks, Alpha pots, and standard nine-volt power. The Scrambler handily mimics the original Ampegs somewhat mellower range of dirty tones, as well as its infamous nasty side, and it sounds pretty gnarly on bass too.

CREEPY FINGERS PINK ELEPHANT:

Who better to entrust with building a robust, vicious sounding fuzz pedal than a member of Fu Manchu? These venerable pioneers of SoCal stoner rock are well known fuzz freaks from way back, so it is only natural that the bands bassist, Brad Davis, has a side gig building amazing fuzz pedals under the Creepy Fingers moniker. The companys Pink Elephant is a bitchin Scrambler clone that sounds equally good on guitar or bass, and is outfitted with true bypass, Alpha pots, and a bright pink LED to complement its pink sparkle paint job. Creepy Fingers also adds a boost circuit with a volume control, which is great for defeating the perceived volume drop this circuit is known for, and lets the Pink Elephant get a wider range of somewhat less aggressive tones as well. Its forte is still wild, hairy octave-up fuzz, though, so dont get the wrong idea.

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BYOC SCRAMBLED OCTAVE:

If you are somewhat DIY inclined and want to save a few shekels, Build Your Own Clones Scrambled Octave kit is the way to go. With 70 dollars and a little time with a soldering gun, bam, youve got yourself a spot-on replica of an Ampeg Scrambler, only in a reasonably sized housing with an LED, true bypass switching, and industry standard nine-volt power. The build is pretty easy, making this is an excellent kit even for inexperienced builders, and BYOC has sourced all of the original Scrambler parts, including NOS BC169B transistors, so the tones are totally legit and supremely satisfying to ears that are finely attuned to the beguiling splendor of vintage octave fuzzes. In addition, the Scrambled Octave is not afflicted with the volume drop problem like some other clones, keeping the pedals output healthy and plentiful enough for any application.

If youre a fuzz nut and youve been sleepin on the Ampeg Scrambler, nows the time to introduce this fantastic circuit into your lineup. Though it can certainly be abrasive, and is a bit of an acquired taste for some, the Scrambler is also possessed of a remarkably

dynamic nature that is missing from a lot of similar designs. Its touch sensitivity and rich upper harmonics are unique among others of its ilk, and it is asurprisingly versatile fuzz

that serves up a wealth of tonal flavors from a verysimple recipe.


Reverberation Machine Analog Octave UpMini-Ultimate Overdrive Dual Resonant Filter

Hand Made in Akron, Ohio | www.earthquakerdevices.com

Sometimes, the best place to start is at the end. And in the case of the new Chase Bliss analog tremolo pedal, the Gravitas, thats exactly where well begin.

At the end of the control section of the manual, creator Joel Korte issues the following warning: It may seem overwhelming and difficult for users to take all this in at first. Get to know the basic functionality of [the Gravitas] and then it will likely be easier.

True. Story.

The Gravitas was my first experience with the Chase Bliss brand of pedal

wizardryand it certainly took a bit to get my head around it. Ive played most of the top tremolo pedals on the market today and the Gravitas has a level of control unlike anything else out there.

So if youve ever found yourself wanting a tremolo sound thats half sine wave and half square wave with a slightly shifted center point thats a little dark and ramps from crazy fast to super slow when you kick it on, yeahthe Gravitas might be exactly what youve been waiting for.

DIGITAL BRAIN ANALOG HEART

The purists out there should rejoice in the Gravitas all-analog signal path and use of Analog Devices AD823 op-amps for perfect tonal clarity. At the same time though, the bells-and-whistles crowd can celebrate key features like presets, expression control, tap tempo and a robust MIDI implementationso its a win-win for both sides. But lets step back for a second and walk through how thats possible. When you plug into the Gravitas, the first thing your guitar hits is a discrete class A clean boost. From there, the guitar signal stays completely analog

42 GEAR REVIEW // Chase Bliss Audio Gravitas

CHASE BLISS AUDIO GRAVITAS REVIEW BY NICK RAMBO STREET PRICE $299.00

43ToneReport.com

throughout the circuit and is never digitally processed. The control section of the pedal however, is completely digital. All the knobs and switch and switches are connected to a little digital brain that allows unprecedented control over a 100 percent analog circuit.

TAKE CONTROL At its core, the Gravitas offers three distinct types of tremolo: a vintage opto type tremolo, a harmonic tremolo (inspired by the 1961 Brownface Fender Twin) and a combination of the two thats quite lovely.

From there, the sky is nearly the limit thanks to an array of dipswitches and next-level ramping controls.

But if you want a standard tremolo sound, you can basically ignore the dipswitches on the back of the pedal and dive straight into the four primary control knobs and four ModuShape controls on top. Crank the Volume knob, set the Tone and Rate to taste and then start ModuShaping. Set

the depth of the tremolo to the intensity you desire and then tweak the two toggles into your perfect tremolo shape. You can mix and match sine, triangle and square waves that are further altered by the sway knob, which allows you to move the center point of the modulation for some wildly unique tonal combinations.

Once youve got a pretty good feel for that, its time to explore the ramping options.

Korte calls the Drive knob magical in the manual and, thanks to the digital control design, you can actually set it up to simultaneously control as many as five different parameters and have it either ramp-and-hold or modulate back and forth between your setting and either the minimum or maximum knob values via the dipswitches on the back.

This can result in some pretty chaotic tremolo sounds that I particularly enjoyed with the momentary bypass

option. Stutters, intense ramping and glitchy waveforms abound and change with every twist and turn of the control knobs.

WHAT WE LIKE The Gravitas is an extremely sophisticated design and offers an epic amount of control. Standard and non-standard tremolo sounds are in there and most everything in between. Its very deep.

CONCERNS In a recent Tone Report interview, Joel Korte said that his goal isnt to control the users experience, but rather to offer flexibility thats there if you want it. So bear in mind that if the Gravitas is your first foray into the world of Chase Bliss, you should take it slow. In other words, read the manual before you even plug it in. Then read it again.

100% analog signal path with unprecedented digital control.

This analog phaser pedal features an all-analog

signal path with smooth, vintage tones that harken

back to the 70s while retaining the ability to get

plenty weird and psychadelic too. Since the control

of the effect is digital, it opens up unprecedented

effects and features that have never been heard

or offered in analog stompboxes. chaseblissaudio.com

100% analog signal path with unprecedented digital control.

This tremolo pedal features an all-analog signal path

that can do any variety or shape of standard volume

modulation, harmonic tremolo (inspired by vintage

Brownface) or both simultaneously for a truly unique

and beautiful tremolo sound. Since the control of the

effect is digital, it opens up unprecedented effects

and features that have never been heard or offered

in analog stompboxes. chaseblissaudio.com

Sasori is the Japanese word for scorpion. The initial impression is that the Sasori is a screaming, razor-edged fuzz, and this is a persona its happy to show. Although in all fairness, it would be more accurate to call it the 1,000 Pound Scorpion. Because along with that bright stinging fuzz edge, it packs a huge and menacing low-end thump.

But the scorpion-sasori moniker is fitting for other reasons as well. Scorpions are versatile little creatures. Fun fact: They live in various climates and locales around the world and exist on

every continent aside from Antarctica. The Sasori Fuzz is just as versatile of a little monster.

The Sasori is based on the old Shin-Ei FY-2 Companion Fuzz. My knowledge of and excitement for the FY-2 Companion Fuzz comes from my love of the Jesus and Mary Chain. William Reid used this Fuzz on the Jesus and Mary Chains debut album, Psychocandy. And the first notes I played upon unboxing and plugging in the Sasori were the opening chords to Just Like Honey. I fell in love with the Sasori instantly. Its somehow huge and cutting

at the same time with thunderous lows and a ripping high end. Its perfect for nailing those grainy textures, especially when paired with a healthy dose of plate reverb.

The other, more recent, famous user of the Companion Fuzz is Dan Auerbach of the Black Keys. He was using one in his touring rig in 2014 and to my ears, the Sasori gets extremely close to many of the fuzz tones on El Camino.

So yes, the Sasori is capable to covering a great deal of classic tones. It does that trick so well that its worth every penny. For a pedal

46 GEAR REVIEW // SolidGoldFX Sasori Fuzz

SOLIDGOLDFX SASORI FUZZ REVIEW BY PHILLIP DODGE STREET PRICE $165.00

47ToneReport.com

with just three knobs, there is a huge range of tones within the Sasori, especially considering how well (and interestingly) it interacts with a mix of guitars, amps, and other pedals.

The Sasori offers controls for Fuzz, Tone, and Volume. The Fuzz setting goes from extremely fuzzy at minimum, to double secret insanely fuzzy at maximum. The Volume control hits unity gain around 11 oclock, and from there it goes on to create enough output to force any amp or subsequent pedal into submission. The Tone knob might more accurately be labeled as Shift or Character. It doesnt simply effect the tone of the pedal so much as change the overall frequency emphasis and the texture of the fuzz. Rolled all the way to the left, the tone is very dark. But once you bring the Tone knob to about 9 oclock, it brightens but never gets harsh. At times, the combination of extreme lows and ripping

highs at times sounds almost like your guitar is going through two parallel effects.

At one point, my daughter walked into the room as I was playing the Sasori and said that sounds like a trumpet! Shes not crazy and she knows what a trumpet sounds like. The Sasori is one of the cool fuzzes that creates brassy overtones. In this case, they sound almost like a muted trumpet. And as you back off the guitar volume a little, the attack takes on an almost envelope filter effect, where a clean attack is followed by brassy/fuzzy overtones.

Theres also a setting with Fuzz at 3 oclock, Tone at 2 oclock and Volume at 11 oclock that sounds like Herb Alpert trapped inside a Super Mario Bros. game. Its a term I dont use often, but the best description for this sound is amaze-balls. Keep the volume high on your guitar and you have brassy, trumpet-like sounds. The further you back off your volume, the more

synth-like, glitchy and 8-bit it gets.

WHAT WE LIKE Plug in. Crank up. Lose track of time. The Sasori is such a fun and strange pedal to play that its easy to lose an hour before you know it.

CONCERNS Like a lot of pedals with brassy overtones and lots of intermodulation distortion, some settings on the Sasori do not play nice with complex chords and close intervals.

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When you come across a pedal you didnt even know you needed, is it the best situation or the worst situation? I guess it comes down to your bank balance and hoarder tendencies, but in the case of the Wave Cannon MKII from Caroline Guitar Company, its a great thing.

Who knew I needed this pedal? I have great fuzz pedals, great overdrive pedals, and even great distortion pedals. I have crazy, screechy, noisemaker pedals. I have low-gain drive pedals. And I have everything in between. I dont need any more

pedals. But the Wave Cannon, oh my, I NEED the Wave Cannon. It can cover 99 percent of the sounds mentioned above.

While its not remotely related to or even close in sound to a certain five knob, multi-faceted fuzz pedal from the American Midwest, the Wave Cannon reminded me of that pedal, because it is capable of just as many tonal permutations. Caroline describes the Wave Cannon of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken AC window units. Hyperbole? Sure. It doesnt

really sound like Godzilla. But I cant think of a better way to describe the depth and breadth of this pedal. With the gain down low, its a mild mannered overdrive. Crank the gain and it straddles the line between high-gain distortion and searing fuzz. Step on the Havoc switch and it blows up into self-oscillating feedback awesomeness.

CATCH A WAVE Before you can dig in, you need to get a handle on the controls. The Wave Cannon MKII features knobs for Volume, Gain, Focus, and Tone. Rather than being labeled with these words

50 GEAR REVIEW // Caroline Guitar Company Wave Cannon MKII Superdistorter

CAROLINE WAVE CANNON MKII SUPERDISTORTER REVIEW BY PHILLIP DODGE STREET PRICE $199.95

51ToneReport.com

though, the Wave Cannon features cool little pictures as labels for each function. The use of the devil horns hand gesture for Gain is an especially nice touch. However, as cool as the pictures are, they arent ideal when you are just getting to know the pedal and dial it in. Along with these four knobs, there is a switch for Rumble. Rumble brings the thunder in the way of huge, pummeling, lows. Finally, you have foot switches for Bypass and Havoc (more on this later).

With the Rumble switch to the left and the gain below 11 oclock, the Wave Cannon is a mild-mannered and very amp-like overdrive pedal. It offers great dynamics, an even frequency response, and allows the nature of each individual guitar to shine through. Crank up the Gain and the Wave Cannon turns into a high-gain distortion monster. It maintains great dynamics, but it slathers its own characteristics all over your signal. Transparent it is not. Rich and defined? Yes.

Switch the Rumble to the right and you run the risk of blowing up your speakers (or at least knocking a few pictures off of the wall). In this setting it will work great with drop-tuned guitars and even bass.

FIRE THE CANNONS With all that Ive mentioned above, the Wave Cannon MKII would already be an awesome pedal and a killer deal. But with the MKII version of the pedal, Caroline added the new momentary Havoc switch. What this switch does is engage a crazy noises and oscillation portion of the circuit. Theyre the kind of squeaks, squeals, and motor-boating effects that can be adjusted from your volume knob, tone knob, and respective pickup combinations. Unlike so many pedals that do this, the momentary switch on the Wave Cannon MKII allows you to apply this effect in small and selected doses. You can use it to emphasize a certain passage or for the big ending of a song or a set.

I found that both the Havoc function and the Wave Cannon MKII in general work best when they are the first pedal in the line. If thats not possible, its best to at least place them as close to the beginning as possible. Because while the Wave Cannon MKII sounds great anywhere in your chain, when placed too late or after buffered pedals, much of the interactivity with your pickups is lost.

WHAT WE LIKE The Wave Cannon MKII is an extremely versatile pedal that can run the gamut from tube amp overdrive emulation to heavy fuzz. The Havoc switch is a great feature for adding instant mayhem to your playing.

CONCERNS While they are cool looking, the pictograph labels for each control make the Wave Cannon a little less user-friendly. The devil horns are obvious enough for Gain, but the others took some time for me to remember.

It was with some trepidation that this writer opened the box for Black Arts Toneworkss Sarcophagus. After all, hadnt a curse worked its deadly magic upon the raiders of King Tutankhamens tomb? Although some curses require years to take effect, its pretty clear that Black Arts Toneworks hasnt placed a hex on this pedalthat is, unless the generation of massive, powerful fuzz can be considered a curse.

The Sarcophagus combines Black Arts Toneworkss Pharaoh and LSTR fuzz effects. Each will work

independently of the other, but in a true gesture of madness, the folks at BAT also wired the pedals together. Thats correct, with the Sarcophagus, its possible to play the Pharaoh and LSTR simultaneously.

Of the two circuits, the LSTRs is the fuzzier one, and is capable of producing a gloriously thick, compressed, and plain massive distortion. In its gentler settings, however, the LSTR warms and softens the guitars tone. Simply dial back the fuzz to a minimal level, and place both the Tone and Scoop EQ knobs at around noon. This basic

setting gave a saturated and compressed sound that made this writer want to play Sabbath riffs for hours. Even at low volumes, the compression and thickness of this fuzz conjured images of huge amp rigs and massive arena shows. If it didnt sound so corny, this writer would say that is the sort of distortion that legends are built upon.

The second fuzz, the Pharaoh, charms the ears in its own, vintage way. Although the Pharaoh wont deliver as much gain as will the LSTR, the Pharaoh excels at classic 60s-era fuzz because it features

54 GEAR REVIEW // Black Arts Toneworks Sarcophagus Fuzz

BLACK ARTS TONEWORKS SARCOPHAGUS FUZZ REVIEW BY DAVID A. EVANS STREET PRICE $339.99

55ToneReport.com

both germanium and silicon settings.

In its Silicon mode, the Pharaoh is a bit edgy and aggressive. Its definitely the setting that most resembled traditional distortion, especially in the Hi setting which, counter-intuitively, actually lowers the available headroom relative to that of the Lo setting. Even in the lower fuzz settings, the Pharaoh added a bit of thickness and warmth to the signal.

Germanium diode fuzz was the more tube-like and transparent of the two. Its a great setting for those times when a bit of fuzz is needed without a whole lot of extra gain added to the mix. Rolling back the instrument volume knob tended to soften the fuzz a bit. Even so, with thoughts of full-on fuzz in mind, germanium and silicon can both meet your needs. Simply crank up the volume and fuzz on the pedal, and those old tones will sing on through.

Finally, both the Pharaoh and the LSTR can be clicked on simultaneously. The result? Lets just say that this writer thinks he wont hear anything more compressed and massive for quite some time.

So, perhaps the true curse of the Sarcophagus lies in its two-fuzz combination. All other fuzzes will simply pale in comparison, and players will search elsewhere, in vain, for the Sarcophaguss unforgettably massive sound. Yet even the individual Pharaoh and LSTR fuzz effects will bedevil their players ears, and find themselves used all of the time.

WHAT WE LIKE Two-in-one fuzz that runs the gamut of old-school, germanium and silicon sounds, to a massive, compressed fuzz that sings.

CONCERNS Switching from Germanium to Silicon diodes tended to result in a massive volume increase. Take care when switching in order to prevent ear-drum blowout.

TONE REPORT

Copyright 2015. All Rights Reserved. Reproduction in whole or in part without written permission is prohibited.

Tone Report Weekly has no association with the monthly publication ToneQuest Report.

EDITORIAL CONTRIBUTING WRITERS

Phillip Dodge, David A. Evans, Sarah FitzGerald, Ian Garrett, Brett Kingman, Nicholas Kula, Nick Rambo, Sam Hill

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ART & DESIGN SENIOR DESIGNER Richard E. Jones GRAPHIC DESIGNER Adam Borden

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Tone Report Weekly - Issue 81 - 2015 - June 26

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