TONE REPORT

M A Y

1 5 T H ,

A Y

2 0 1 5

Y O

I N

L Y

100% analog
signal path with
unprecedented
digital control.
This true pitch analog vibrato/chorus pedal
features an all-analog signal path that can
be dialed in to create limitless palette of
vibrato and chorus. 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 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

TABLE OF CONTENTS

ISSUE 75

MAY 15TH

8 TONE TALK

L ESS IS MORE: 6 SWEET

LOW-GAIN OVERDRIVES

16 INTERVIEW
PREPARE FOR LAUNCH:

CHRIS VAN TASSEL OF

J.ROCKETT AUDIO DESIGNS

28

36

DROOLWORTHY

ANDYS GO-TO MARSHALL

TONE TALK

FROM THE PEDALBOARD

TO THE MIXING BOARD
16

28

32

42 MOJO HAND FX

EXTRA SPECIAL
OVERDRIVE
46 VFE PEDALS
BLUES KING

OVERDRIVE

50 NEUNABER AUDIO EFFECTS

ECHELON MONO

42

ECHO

52 ANALOG MAN
KING OF TONE
46
6

ToneReport.com

50

52

he battle over stage volume is an age-old and yet everpresent war that I wage with most of the sound guys in
my life. But over timethough they seem inexplicably
unable to comprehend that tube amps require a
decent amount of volume to sound bestI have learned to
compromise. And that compromise has led me to a deep and
profound love for low-gain overdrive pedals.

In truth, Ive had more low-gainers than any other kind of

effect. And the longest tenured pedal in my humble collection?
You guessed ita low gain drive. Theres just something about
a touch of grit that works really well with my style.
And thank goodness that so many great builders have caught
on to the trend. One look at all the available options on the
market today and it seems abundantly clear that modern
players like me cant seem to get enough of themand why
not? Low gain drive pedals can be versatile and valuable tools
in almost any pedal arsenal.
With one stomp, you can add a bit of hair to your clean tone,
or stack multiple low-gain drives together for increasing gain
stages. If youre lucky enough to get an amp dialed up to the
point that the tubes are sweating a bit and still need some
extra saturation, low gain is where its at.
But with all the various choices out there right now, finding just
the right overdrive pedal for you can be an arduous taskso
heres a quick rundown on a few standouts.

ToneReport.com

PAUL COCHRANE TIMMY

+ Perfect for stackers
+ Great price
+ Killer EQ section

SUBDECAY LIQUID SUNSHINE MKIII

+ Warm tone
+ Flexible
+ Awesome new look

Paul Cochranes original overdrive design, but its

the idea is and has always been the same: to work

The Timmy may be the little brother of creator

straightforward take on the innovative circuit has
made it a stalwart of the low gain conversation.
It actually has more gain than most people

give it credit for, but as a low-gain stackerits

exceptional. Reason being, the Timmy features a

unique pair of EQ controls that actually cut the bass

and treble frequencies, allowing you to dial in the
perfect amount of high and low end for your rig.

You can run it after a fuzz to cut the flub and add
extra volume for leads. Or, put it before another

drive or a dirty amp to drive the signal harder and

tweak the tonal curve. Better yet, set the gain to

taste and use it as a standalone drive pedalthat

works really well, too.

The Liquid Sunshine may be in its third iteration, but

with the gear you already use and make it sound more
awesome. According to creator Brian Marshall, the

Liquid Sunshine wont make your amplifier sound like

something its notit simply adds a little magic.
The newest version of the Liquid Sunshine pays

homage to its predecessors, but was redesigned to

add a bit more gain and better control. And extra

control is always good, but what I love most is the

range of sounds you can get out of it. At lower gain,

the clarity of the notes is remarkable. But if you wind it

up, youll get a hint of tweed-inspired bite thats warm

and really natural sounding. The Liquid Sunshine wasnt

designed to get that tone, but I hear it in there. And its

always tasty.

As I mentioned, the Timmy has a surprising amount

Of course, being a low gainer, the Liquid Sunshine

transparent overdrive, meaning it doesnt impart

other pedals or being pushed. This is also true for your

of gain, because most people describe it as a

a drastic EQ change when you turn it on. But a note

from Paul Cochrane himself: The Timmy only has
that quality when its set to flat boosting. Turn the
knobs and its no longer doing that. Its meant to

stacks well with your other pedals, too, either pushing

amplifier. Whether you want to use the Liquid Sunshine

as a standalone drive or to push your amp over the
edge, itll shine in either application.

change things up some.

10

TONE TALK //

Less is More: 6 Sweet Low-Gain Overdrives

EMERSON EM-DRIVE
+ Crazy simple
+ Transparent
+ Great aesthetics

BARBER GAIN CHANGER

+ Multiple voicings
+ Huge gain range
+ Great value

doesnt get much simpler than the Emerson EM-

likely that youve heard about the Gain Changer. Its

If youre looking for a simple overdrive pedal, it

Drive. With only two knobsone for Volume and

one for Gainit delivers the most straightforward

approach to low gain drive out there.

If you spend much time on internet guitar forums, its

been a massive hit in the online community since its

late 2012 releaseand if youve played one, its easy to

understand why.

But dont let the simplicity fool you, because

The Gain Changer looks simple enough with standard

especially if you have a guitar and amp you already

switches that give way to an impressive array of tones

the EM-Drive experience is innately satisfying

like. Why? Because this special little box from

Emerson gives you the perfect amount of that

something extra to take the sound you love and

send it over the top. To get an idea of what it might

sound like in your setup, imagine the best tone

youve got and then add some extra body, volume,

sustain and compression. Sounds pretty ideal, right?

Thats the beauty of the EM-Drive. Its transparent
enough to let whats already there come through,
only with a little bit more.

On top of being a great tonal tool, the EM-Drive

comes in a wide array of aesthetic options. You

might have to hunt around for one that suits you

just right, but the team at Emerson has dressed up

the EM-Drive in some really great paintjobs that are

sure to look sexy on your pedalboard.

Gain, Tone and Volume controls, but it also features two

inside just one box. One of the switches controls the

gain range and the other tweaks the midrange profile.

On one side of the gain switch, you get the delicious

tones of Barbers LTD overdrive and on the other, the

unLimiTeD distortion pedal. This option gives the Gain

Changer the widest gain range of any pedal on this

list, but the low gain textures are so good it had to be

included.

The other toggle gives you a trio of EQ optionsone

flat, one scooped and one with a midrange boost thats

sure to satisfy even the Tube Screamer lovers out there.

Top all that off with Barbers legendary quality and a

price thats hard to beat in the category and you might

start accidentally calling the Gain Changer the Game
Changer.

ToneReport.com

11

MXR IL TORINO OVERDRIVE

+ OD and Boost modes
+ Three-Band EQ
+ Great price

The great thing about the MXR Il Tornio isnt just

MAD PROFESSOR SWEET HONEY

OVERDRIVE
+ Touch Sensitivity
+ Unique Focus control
+ Great for always on

it the fact that its only the push of a button away

feels more amp-like under your fingers than the Mad

that its a fantastic low-gain overdrive pedal. Nor is

from turning into a killer clean boost. Noin truth,
its the EQ section where the Il Tornio really shines.
In a world where most pedalboard-friendly

overdrive pedals only offer a knob or two for users

to tweak and adjust the tonal focus, this awesome
collaboration between the MXR Custom Shop

and Italian pedal stregone Carlo Sorasio serves

up a full complement of Treble, Middle and Bass

controls. While this feature set may be lost on some

players, others will find the Il Torinos tone shaping

capabilities absolutely invaluable. This doesnt even

take into account the deliciousness of the Il Torinos

tube-like MOSFET compression, because it is a killer

sounding drive thats well suited to push a slightly

driven amp with its tremendous volume output, or

stack along with other pedals for more gain.

There may not be an overdrive pedal on this list that

Professor Sweet Honey.

Similar to the other designs here, the SHOD was

designed to push already driven amps to the breaking

point or act as a dynamic standalone gain tonebut
the sensitivity this thing has cannot be overstated.
Much of it comes from the design of the Sweet

Honeys unique Focus control. The further you turn

the knob to the right, the earlier the pedal distorts and
the more treble you hear. But make no mistakeeven
with the gain and focus knobs nearly dimed, softer
picking will yield a relatively mellower grind, where

heavy downstrokes will be thoroughly distorted. So the

amount of distortion, in a way, is still up to you and how

much finesse you can play with. Youll probably find this
pedal to be one you can leave on all the time and use

your pick attack and volume knob to adjust on the fly.

That said, its likely the most limited gain range of

The Sweet Honey doesnt have the same level of

want to add a hint of drive, the expanded tonal

but it still stacks really well in front of other pedals

this bunch, but for those moments when you just

controls make this a real winnerand at a bargain

price, too.

12

TONE TALK //

EQ control that some of these other contenders do,

especially with another low gainer such as the Timmy.

Less is More: 6 Sweet Low-Gain Overdrives

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TONE REPORT: Whats the history of Rockett Audio? How did

you get started? Had you been building and modding pedals
prior to launching the company?
CHRIS VAN TASSEL: Ive known J. Rockett since he was three years
old. We grew up together and we were kind of the only guitar
players in our town. I took off and moved to California where I got
into engineering and producing and had the chance to work in some
of the top studios out in Hollywood. During that process I got to
meet a ton of guitarists and we all seemed to have the same
conversation: There were missing tools in the [effects] industry.
They always wanted their pedals to do this and that. After years of
hearing that same comment, we got to thinking that maybe we
could create a circuit that answers these questions.
ToneReport.com

17

J. Rockett

I did not have a background in electronics at

all. So we ended up hiring a guy named Mark
Stephenson. Mark helped with the design on
the very first pedal we ever did, the Rockett
Boost. And J. had a background in
electronics and an interest, so I ran it by him
and asked Hey, do you want to try to build a
few pedals? Thats pretty much how things
started. Along the way, J. taught himself to
lay out circuit boards and all of the other
aspects for designing a pedal and taking it
into production. I was more of the guy who
got to put my ear to it from my experience
over the years. So he would send me the
prototypes he was working on and Id
provide feedback.
TR: Jumping into specifics, the Archer
seems to have been a huge hit. What was
the inspiration and how close is the circuit
and the sound to the original Centaur?
CVT: Well the inspiration was simply that so
many people wanted that sound, and if you
really wanted the true Klon Centaur sound,
you had to pay $2,000 to get it. And of
course everyone knows the story by now,
that we were working with Bill Finnegan and
we built the first 1,500 KTRs for him.
However, during the process, we kind of
18

INTERVIEW //

begged him to do it differently. We wanted

to pay homage to the original Centaur and
make it more affordable and more
production friendly; basically, we wanted to
price it so that people could afford it. It was a
frustrating relationship because hes just an
impossible guy. It just didnt work out in the
end because he wanted everything, wouldnt
give in on anything, and you cant invest in a
relationship like that. Thats the short of it.
We decided after seeing Mike Matthews and
Electro-Harmonix come out with the Soul
Food, and we saw all of these different Klon
clones, knowing that they werent exact
(close, but not exactly right), we decided that
we might as well make this available. So we
did exactly what we wanted Bill to do. We
paid homage to the original Centaur and its
look. And we made it affordable. Its still well
made and made in the USA. Its smaller, and
its made with parts that make it easier build.
Thats how it came about, but it was really
just to create that sound for people that cant
afford to pay $2,000 for a pedal.
TR: Where do you stand on the whole idea
of magic diodes?
CVT: As much as I want to say that Bills

Prepare for Launch: An Interview with Chris Van Tassel of J.Rockett Audio Designs

smoking crack with regard to the sound of

diodes, he was absolutely right. I dont know
if you know Michael Britt, hes the guitarist
for the band Lonestar. Hes kind of a tweaker
and a good buddy of mine. We decided one
day that we would take the Archer and we
would test out the real supposedly
unknown diodes (which we had) against
probably about 50 other diodes. And Ill tell
you, it was a dramatic difference on all of
them. And if you didnt have a Klon Centaur
for a side by side comparison, you were
going to miss some of the subtleties.Overall,
Id estimate weve tested hundreds of
diodes. Even yesterday, as we were working
on the gold version of the Archer with Pro
Guitar Shop, we wanted to test it against a
gold Klon. And the gold and silver Klons
were different.
So yes, the diodes really do make all of the
difference. With different diodes you can get
close. But with the right ones, its that extra 5
percent of the touch, the sound, and the feel.
TR: The Archer is the first in your new Tour
Series line. What else is coming in that line
and when can we expect to see it?
CVT: Were hoping that they all trickle out

this year. The next one to be released is the

Boing. Its just a simple, one knob, spring
reverb. What we are going with in the Tour
Series is to provide guitarists with affordable
productswhich doesnt mean they are
cheap, were just making less money on
themthat are small, rugged, and built for
touring. Theyre the essential sounds. There
is nothing crazy about them. They just sound
great. For the Boing, we spent a lot of time
building circuits around it so that it can have
that spring bounce, and brightness of an old
school spring reverb.
To follow, we have a whole bunch of stuff.
We have a Phase 45 and Uni-Vibe all in one.
We have a compressor, a tap tempo delay, a
pedal we had at NAMM called the Monkey
Manits the sound of the Rolling Stoness
Monkey Man in a pedalthat 57 tweed
sound with a built in reverb. Its really cool.
And then to bring up Michael Britt again, he
had Keith Urbans Dumble ODS for the
weekend. I said, while you have it, lets see if
we can match it with a pedal. So we tweaked
and tweaked and tweaked, and we got this
pedal 95 percent of the way spot on. And
then we made one last circuit change, and
that was it! This thing is just incrediblein
ToneReport.com

19

my opinion, its the best overdrive pedal Ive

ever played. Its called the Dude! I wish we
could go the full Big Lebowski, but we cant,
due to licensing fees.
I cant wait to get this one out there. But
were so overdrive heavy as a company that
were trying to get some other pedals out
there first. The Dude will be later on down
the road.
Were also bringing out a buffer called the
SOS. Its a little square - the size
of an Archer cut in half. It
will have one little trim
pot that is below the
surface of the face, and
then an input and an
output. You plug in,
and it just cleans up
and enhances your
sound. Its just a nice
transistor buffer that
wont interfere with
wah and fuzz pedals and
just takes the blanket off of
your sound. It will be nice and
cheap, probably $79.
TR: So its a buffer that is friendly when
placed before a vintage fuzz?
CVT: Exactly!
TR: I cant wait to check it out.
CVT: Its a cool pedal. Its the buffer from the
original Rockett Boost and weve always
wanted to get it in the mix. Its just a matter
of timing. We made the mistake with the
Mark Sampson pedals to release them all at
once. That was a nightmare. So now were
20

INTERVIEW //

trying to do one at a time and make sure

we have a solid supply of each before we
go too nuts.
And we try to have a few surprises as well;
the special edition Gold Archer that will be a
Pro Guitar Shop exclusive is one thats
coming soon. That one will have the same
diodes that were in the Gold Klon Centaurs.
Thats going to be very cool.
Then were going to do a standalone version
of just the boost section of the
Archer. And all of these
pedals will be called
Archers. And then were
also doing a hand-wired
version. If J. would just
work 24 hours a day
wed all be happy
(laughs).
TR: Jumping back to
the Mark Sampson
pedals. How did you
guys come to partner
with him?
CVT: Ive known Mark for many years. Youll
notice that we also are helping to re-launch
SIB. Rick Campbell and Mark Sampson years
ago designed SMF Amps. I think it stood for
Sonic Machine Factory. It was a productionfriendly amp that could be built and sold for
a reasonable price. They could actually build
them quickly, but the company didnt do that
well. The way it came about is that I was at
Killer Vintage in St. Louis. Dave Henson, the
owner is a friend of mine and we were
hanging out. Dave had an amp that Mark
had built for him and it had this amazing

Prepare for Launch: An Interview with Chris Van Tassel of J.Rockett Audio Designs

stereo Magnatone-style vibe built into it.

And it was just the most amazing sound Id
ever heard and I couldnt stop playing it. And
so I decided to talk to Mark to see if he could
put it in a pedal. So we approached him with
that and it took about a year, but thats how
the Revolver came about. I dont know if you
played it, but if you put it in stereo it will
literally make you sick.
TR: The Max and High Top also very cool.
Tell me a little about them.
CVT: The High Top is an actual top boost
circuit but built with transistors in place of the
tubes. It even has the same input design as a
top boost. As a result, it will nail that old
Beatles sound, but its happiest with a lower
volume input. Active pickups and
humbuckers can make it get fizzy. The Max is
sort of a simplified version of that sound. I
actually sent it to a guy name John Willis and
hes using it on bass. It sounds great on
guitar and bass (or even keys) because it
preserves the low end. The reason we called
it the Max is because it just maxes out all of
your frequencies. Its not meant as a clean
boost. It expands your top end, your low
end, and just gives a nice, rich signal.
TR: Youve also worked with Paul
Trombetta on the WTF. How did that come
about and how close is the WTF to the
Mini Bone?
CVT: Its pretty much the same circuit. We
made a few tweaks on the treble switch, I
dont know what to call it, sort of a cut
switch. Paul had it set a little more subtle, we
tweaked it so that you could put it in front of
an AC30 and not get that nastiness. You can

set it darker for bright amps

and brighter for dark amps.
The only other difference is that we added
the second Volume control so that you can
change volume settings but keep the gain
structure intact. And we made some minor
changes to the EQ. Other than that, its the
same pedal. It came about because a buddy
had a Mini Bone and I loved it, and I
universally hate fuzzes for what I do. And the
Mini Bone, I couldnt stop playing it. So I
contacted Paul and said we know nothing
about fuzzes, because we hate them. Do you
want to do a design for us? And he was
game. And you know it has more going on
than just fuzz. If you back off on the WTF
knob its more of a smooth Rat-style drive.
And then as you crank it up, it adds that
trombone artifact and gets fuzzier and
wilder. Thats why we call it a fuzz for people
who dont like fuzz.
TR: I can see that, but Im a fuzz junky, and
I loved it the way I love the Fuzz Factory
and some of the FuzzHugger stuff. There
are so many sounds in there!
ToneReport.com

21

CVT: I hear that. I was just a child of the 80s,

so I grew up in an era where my technique
isnt suited to fuzz. Maybe its less that I dont
like fuzz and more that fuzz doesnt like me
(laughs).
TR: I lucked out to come of age in the
early to mid 90s. Fancy racks werent as
popular, pawnshop guitars and pedals
were coming back, and you didnt need
much in the way of technique. I didnt
have to learn to tap or sweep pick. I just
needed some basic chords, a phaser, and
a dirt pedal.
CVT: I was in Hollywood in the 80s. If you
couldnt do some sort of Yngwie Malmsteen
thing, nobody cared who you were. I always
joke and say I wish I would have been born
ten years earlier. Eddie Van Halen was my
biggest influence, and I wouldnt change that
for anything. But it wasnt until later when I
started listening to Beck, Page, and Hendrix.
And its strange, but for me, the blues is the
hardest thing for me to play. But I embrace
my early years. You know, Michael Britt is a
country player, but hes a great blues player
too. And just for fun, I pull out a Floyd Roseequipped guitar and do a bunch of dive
bombs for him. He hates it!
TR: Tell me about the Lemon-Aid. It has a
lot of function and flexibility for a boost.
CVT: I dont want to say it dumbs down the
Rockett Boost, but the Lemon-Aid is based
on it, which is the first pedal we ever made.
We just came out with a version that didnt
have the switchable buffer and is more
affordable to build. Its an interesting circuit,
because its based off of an old RCA radio
22

INTERVIEW //

circuit. And so its as clean as a whistle. You

can use it to push the front end of an amp,
but in itself, its just pristine. A lot of guys
have discovered it as their Swiss Army knife
and secret weapon. I find it to really enhance
your harmonic content. When you engage it,
even though youre not increasing the
volume, it kind of organizes your notes and
frequencies better and adds a ton of sustain.
It just adds this sheen on top and makes
everything sound better. Thats why its
called the Lemon-Aid. If you look at how its
spelled, its not like the drink. Its like if your
car was a lemon, this is the aid. Of if youre
amp is a lemon... A lot of people dont catch
that. Its a sound enhancer, how about that?
TR: Which Rockett pedal are you most
proud of and why?
CVT: I would say the Blue Note. Its because
with that pedal, I spent personally about a
year personally just refining the low end. And
its not as simple as just tweaking the low
end, its about changing a bunch of parts. Its
also important because its a pedal we got so
many requests about. People were always
telling us that they had an amp that they
loved, but that they needed a pedal that
could give a little more of a goose, but
without sounding like they just stepped on a
pedal. Things like Tube Screamers, where if
you step on them, you know, because all of
your lows and highs have gone away. You
can set [the Blue Note] to be so transparent
that you cant tell when you switch it off and
on. What I like though, is to be able to play
my guitar with the pedal engaged, and when
I dig into the strings, thats when the amp
breaks up. It makes it easier to control that

Prepare for Launch: An Interview with Chris Van Tassel of J.Rockett Audio Designs

dynamic. It took forever to dial it in, but the

Blue Note does that perfectly.
TR: It sounds like it behaves almost like a
Hotcake, and could be great for Top boost
Voxes and other finicky amps.
CVT: The Hotcake is a little more flattened
on the top end, where the Blue Note is a
little more open with more of a compression
and less gain if that makes any sense. The
pedal that we designed to really work with
Vox amps is the Chicken Soup and the
Guthrie Trapp. They kind of do that same
thing that the Hotcake does.
TR: Aside from the Tour Series and the
various Archers, what else is on the
horizon?
CVT: I had a long conversation with Allan
Holdsworth a few weeks back. I was talking
to Tom Bukovaches a great session player
and owns a shop called Second Gear. Its
basically a consignment shop and a hangout
for local musicians. I was down there, and I
saw that they had on a rack in the back, one
of Allans harness devices. Its kind of like an
attenuator that Allan actually built himself a
few years ago. He built like 100 of them and
they had it on sale for $75. I had to use it just
because of the history. So I bought it, and
was telling Allan about it. He said it was kind
of an older iteration, but it opened up a
conversation about attenuators. Hes a
brilliant guy, and he knows electronics well.
He hates resistors, so he developed this
attenuation system based on just wire itself. I
certainly cant explain the technology the
way he does. But if we could develop an
attenuator where you connect it to a 100-

watt Marshall and it doesnt give all the

annoying artifacts that a typical attenuator
adds, that would be amazing. And if we
could combine that with a good speaker
simulator output, that bridges the amp and
pedal worlds and allows you to compete with
the Kempers and Fractals of the worldso
Allan is actually working on a design to
create that for us. And it will have a sort of
idiot-proof impedance, where you just plug
your speaker cabinet in and it will just adapt.
And then he has this device that he created
years ago. He told me people are always
asking him how he keeps his rig quiet. He
created this thing that is sort of an isolated
transformer. He calls it the Silencer. He puts
it anywhere in his signal chain, and it
eliminates all of the noise. We are working
with him on that as well. Were trying to
branch out a little beyond pedalscreating
other devices to help make guitarists lives a
little better and/or easier. My philosophy is
pretty much, if it doesnt knock my socks
off, theres no reason to release it.

Chris Van Tassel

23

UZZ

...IS ON YOUR BOARD?

J . ROCK
ET

MADE IN USA

UD
A
T

IO DESIG
NS

28

DROOLWORTHY //

Andys Go-to Marshall

This is my absolute favorite Marshall amp,

a 1972 100 Watt Super Lead. Its one of the
lucky ones that hasnt been molested over
the years with extra preamp tubes or a
master volume and it is the last year before
Marshall switched to PCB. You can see it
has the famous mustard caps on the board
and besidessomenew filter caps, this baby
is stock. This is one of those amps that you
dont need an overdrive pedal with, just use
your guitar volume to go from clean to dirty.
When you hit the sweet spot on the volume,
that Jimmy Page honk just comes to life
and I feelI can put an end to chasingthe
Page tone aftermanyyears. The inputs can
be linked together to help fatten up the
tone but I usually use the bright channel
around 6 which isnt affected by the bright
cap at that point. My favorite settings are:
presence 4, bass 0, midrange and treble
at 10. Ive never heard a 100 watter as
meaty as this one before. I drool every time
I look at it and it looks pretty slickatopa
custom 4x12 Mojotone cab loaded with
their British Vintage Series 60w speakers.

30

DROOLWORTHY //

Andys Go-to Marshall

ToneReport.com

31

32

DROOLWORTHY //

Andys Go-to Marshall

DIRTY
WORK
www.dod.com

36

heres something to be said about real gear workhorses,

because not all pedals are created equal. Sure, you may be
busting heads in the garage, but when the time comes to
disseminate your head-busting riffs to the general population,
many pedals simply arent going to get the job done unless you hook
everything up, dragging out your cable-and-mic milk crate from the
closet. What a hassle! Wouldnt it be much easier to use one set of tools
to do anothers job? Wouldnt it be nice to not have to fumble about
with interfaces, plugins, switching pedals in and out and the like? Help
us help you. We want you to step your studio game up, so here are our
picks to facilitate the finest woodshed-to-studio transfers.

ToneReport.com

37

STONE DEAF FX PDF-1/MAESTRO MPF-1

The first piece of equipment on this list isnt so much a

rugged multi-faceted studio warhorse as it is a studios

set of salt and pepper shakers. The PDF-1 from Stone

Deaf FX is that pair of ubiquitous flavor enhancers, as its

a piece of gear that sounds good with literally anything

running through itsynths, drums, vocals, you name it.

In its day, studio musicians all over the country revered

the pedal that the PDF-1 is based onthe Maestro MPF1 Parametric Filter. The effect was designed by Bob

Moogyes, that Bob Moog, and in the 70s, finding

a studio without one proved more difficult than the

converse. To this day, original MPF-1s sell for hundreds of

dollars, but the PDF-1 improves on the design by adding
a switch that goes from Clean to a new Dirty mode.

The sound is an enhancer but not in the super-subtle

way normally associated with that term. Users select a

frequency range, called Bandwidth, and then an amount

of boost. This can lead to some really interesting textures
and enhancements for ones instrument. However, the

real bread and butter of the PDF-1 is how it stacks with,

well, ANY gain pedal. All pedals used in conjunction with

the PDF-1 sing like a bird, from the lowliest plastic boxes
through the usual boutique suspects, nothing sounds
worse with the PDF-1 in tow.

PETTYJOHN ELECTRONICS PREDRIVE

Players and gearheads alike may have been elbows-deep

in electronic lore when they stumbled across the term

IC. Most musicians brush off the term, knowing it as a

generic catchall for those little black boxes with more

than three legs on circuit boards. Some might call them a

chip. At any rate, IC stands for Integrated Circuit, which
amounts to a circuit within a circuit. Thats right, inside

that tiny black box lies a host of tiny transistors, resistors

and capacitors. To take a page from the audiophile book,

a discrete IC is all those components from inside the

IC, and tweaked for optimum performance and exposed

38

TONE TALK //

From the Pedalboard to the Mixing Board

to the air. These discrete ICs are very expensive and

meant to emulate a classic Neve preampthe finest in

Pettyjohn Electronics uses two of those in the PreDrive,

is the one. The Colour Box offers that direct-in feeling

usually for the $500 cable set. However, Albany, Oregons

its flagship pedal. The unit utilizes a no-expense-spared
mentality with the aforementioned ICs, full WIMA
capacitor set, a transformer-balanced direct out,

buffered tuner output, and a Vari-Z switch to match

multiple guitar pickups. Couple all that with stunning

good looks and youve got a pedal ready to ride shotgun

at the mixing desk.

CARL MARTIN OCTA-SWITCH

the business. Those in the know, know that the Neve 1073
with XLR/quarter-inch ins and outs and a Lundahl power

transformer. The pedal runs on 18 volts, so theres as much

headroom as you could ever ask for, and cranking all the

dials results in a blown-out visceral fuzz reminiscent of Neil

Young or Randy Jackson. Running a guitar into the Colour

Box and straight into a DAW can yield some choice results,
and the Colour Box can even drive a guitar amp properly,
which makes it a versatile tool in any room.

When youre in the studio, sometimes your ideas can get

TECH 21 SANSAMP PARA DRIVER DI

at your disposal that can satisfy any strange pedal-related

studio-to-stage, its Tech 21. The original Sansamp pedal

a little out there. Wouldnt it be awesome to have a tool

whim that might chance into your head? Picture this: you

are playing a riff, and you want phaser, chorus and reverb

on one part, then you need all those things turned on, with
vibrato, overdrive and delay in their place. Normally, this

would require lots of re-tracking and general tomfoolery.

However, the Octa-Switch is an ingenious device that

remedies tomfoolery in a hurryon stage or on carpet.

The device is set up much like a true-bypass looper;

there are eight sets of ins and outs on the rear edge of

the pedal, and eight corresponding footswitches on the

top. However, there is a bank of DIP switches for each

switch. Each footswitch can be assigned any number

of loops activated using the DIP switches. That said, the

aforementioned recording nightmare detailed above can

be distilled down to two simultaneous button presses.
Just like that.

JHS COLOUR BOX

Much ado has been made about Rupert Neve and his
boards throughout all genres of music. The Beatles

If theres one company on this list that knows bedroom-towas introduced way back in 1989. Tons of players used it

then, and Tech 21 still makes the original pedal even now,
26 years later in 2015. Of course, its called the Classic

now, because there are several members of the Sansamp

family, including the Para Driver DI. The Driver DI series

was even launched in 1992, proving that Tech 21 is an

early innovator in the field. The Para Driver DI is useful

for running direct-in with pretty much any instrument

on Earth, and it outputs a parallel out, an XLR out and a

quarter-inch out. Theres not a lot that this box cant do,

so your imagination is the best guide. It can be used as a

speaker simulator, a mixer channel enhancer, a mixdown
processor, as well as an interface to process acoustic

guitar, saxophone, harmonica, violin, vocals, piano, and

whatever else. The new version contains a Rumble Filter

that eliminates acoustic low frequency spikes, as well as an

Air switch that adds a little sparkle to acoustic guitars. If

youre reading this, you dont know about the Para Driver
DI, and now, why dont you have one of these yet?

recorded on them. Kool Keith raps about them. The

3LEAF AUDIO ENABLER

quality. Though the JHS Colour Box is not affiliated with

self-proclaimed Swiss Army knife for bass. 3Leaf is not

name Neve is synonymous with painstakingly engineered

Neve products in name, the circuit housed therein is

Not much is left to the imagination of the Enabler, the

kiddingthe Enabler is the model with the compass,

ToneReport.com

39

nail file and toothpick. For starters, there are both XLR

and quarter-inch inputs and a ground lift switch. Theres

a balanced line driver that is whisper-quiet and can drive

virtually any load. Theres a studio-grade headphone

amplifier with a 100 percent unique power supply inside,

a robust EQ section that is capable of actually driving
a power amplifier, and theres an auxiliary input. The

auxiliary input processes an iPad, iPhone, or anything

else, and allows you to mix it into your bass signal, which

is fed into the headphone amplifier. This allows for deadquiet early-A.M. practice sessions where a low-quality

headphone rig simply wont do. If you want your practice

sessions to sound exactly as they would when running

into a console at full volume, load a drum track onto your

mobile device and let it rip in the bedroom. This can be

a boon in the studio also, as you can work on your parts

while the rest of your band does its thing elsewhere.
DARKGLASS ELECTRONICS VINTAGE
MICROTUBES DELUXE

Like some other pedals on this list, the Darkglass Vintage

Microtubes Deluxe is an overdrive pedal-turned-studio

tool, but rather than excelling in one field and dragging

its feet in another, the VMD excels at everything. The

warm sound offers dynamic compression like the front

end of a studio tape machine, so if the studio youre

recording in is equipped with such a device, the VMD can

help you acquire the precise sound your instrument will

have when it rolls onto the take-up reel. Theres an active

three-band EQ circuit, which is voiced for bass (but it

IF YOURE
READING THIS, YOU
DONT KNOW ABOUT
THE PARA DRIVER
DI, AND NOW, WHY
DONT YOU HAVE
ONE OF THESE YET?
40

TONE TALK //

works for everything) and a balanced line driver, good for

going right into the board. Theres a Parallel Out for some
inventive studio signal chains and the aforementioned

Direct Out. A clean blend helps bass players regain any

low-end that may be sapped by the processing, as well

as an interesting Era knob. When used in conjunction

with the Drive control, the Era control can coax some
interesting (and incredible) textures from the VMD.

From the Pedalboard to the Mixing Board

killer
for the fuzz hungry

tomkat
pedals and electronics

tomkatpedals.com

MOJO HAND FX
EXTRA SPECIAL
OVERDRIVE
REVIEW BY IAN GARRETT
STREET PRICE $199.95

The Mojo Hand FX Extra

Special Overdrive, is the
companys second take
on the infamous Dumble
amplifier, the first being
the DMBL. The new Extra
Special offers significantly
more gain, for that sweet
saturated lead tones that
has been made famous by
Mr. Dumble since the 1960s.

made with Dumble amps,

and likely you have too.
If youre unsure of what
a Dumble sounds like,
a quick scan of YouTube
can give you a basic
idea of its tone. It can
be characterized by that
sweet singing, saturated,
liquid tube tone with great
sustain.

This reviewer does not own

an original Dumble amp,
and at $20,00050,000 on
the used market, he likely
wont ever own one; or if
he does, divorce cant be
far behind! Thats not to say
I wouldnt want one. But
Ive listened to numerous
recordings that have been

Suffice it to say, a pedal

emulating a highly soughtafter vintage amplifier will
give you an approximation
of that tone. But consider
how all other variables
will come into playyour
amplifier, guitar, and
pickups to name a few. The
Extra Special has the looks

42

GEAR REVIEW

//

Mojo Hand FX Extra Special Overdrive

of the amplifier, with

a matte black face and
white sides. The black
knobs and white lettering
are fairly easy to see from
afar, and controls are
volume, gain, accent
and tone. All controls
have lettering from zero
to 10. Theres also a small
switch in the middle for
a Jazz or Rock setting.
Lets look closer at the
two settings: Jazz has
a little less gain and volume
overall. I think its meant to
help tame brighter single
coil pickups, but overall,
it felt less alive. I much
preferred the Rock setting
overall with all types of

pickups and guitars. For

the most part, this is the
setting I used throughout.
The controls are
fairly obvious, with
the Accent acting sort
of like a presence knob.
One surprise for me was
the Volume control. Usually
I find a lot of overdrives
seem to have tons of
volume at very low settings.
And then as I turn up the
gain, it can be harder to
control the volume to an
appropriate setting. Not
so with the Extra Special.
With the Gain turned off,
and the Volume control
turned up all the way, I
had enough volume for a
slight boost, but not much
more. But the amount of
gain comes quickly with the
Extra Special. You get a nice
bite around three on the
dial, and at 10 you have a
very compressed, tube-like
saturation gain going on. I
preferred the Gain setting
somewhere in the middle.

WHAT WE LIKE

I liked the Extra Special with

my Strat and Telecaster,
with both having Custom
Shop pickups in them.
But this pedal really
came alive with my Les
Paul, featuring a pair of
Burstbuckers. Their extra
punch really brought out
the best in this pedal, and
that liquid, sustaining tone
became rapidly apparent.
You can hear individual
notes even though a fair
amount of that spongey,
tube like saturation engulfs
everything. But I loved
how chords were thick and
meaty, but never sloppy or
congesteda tough trick to
pull off sometimes.

CONCERNS

As mentioned, the Jazz

setting wasnt for me. Im
also not a fan of overdrives
that cut bassor at least
gives the perception of
doing so because the mids
and in this case the treble
too, are quite accentuated.
But its not like a Tube
Screamer either because the
gain on the Extra Special is
more saturated and thicker.
But once I plugged in my
Les Paul and just let er
rip, all was forgiven and
forgotten. In fact, with a
decent amp and this pedal,
you might otherwise fool
someone into thinking you
just mortgaged the house
to get that Dumble.

ToneReport.com

43

Destroy time with the Obscura Altered Delay from

DigiTech. Its four delay modes can be darkened,
degraded, and distorted on the fly with the stacked
Tone and Degrade controls. Combine these controls
with Repeat/Hold and lose yourself in long trippy,
gurgling repeats or manipulated backwards sonic
mayhem. Obscura also has excellent sounding Analog,
Tape, Lo-Fi, and tap tempo modes with beat divisions,
stereo in/out, tails switch, and true bypass.
HARMAN 2015

VFE PEDALS
BLUES KING
OVERDRIVE

REVIEW BY NICK RAMBO

STREET PRICE $189.00

VFE Blues King OAt first

glance, the VFE Blues King
Overdrive pedal seems to
be geared towards blues
enthusiasts. And maybe
so, but it has a lot to offer
other genres as well. The
Blues King, while being a
mostly low- to medium-gain
overdrive, has a fair amount
of tweakability to it, yet it
isnt one of those pedals
that you spend more time
tweaking than playing.
Once you match the Blues
King to your amp and
guitar, there isnt a whole
lot of adjustment needed.
After playing the Blues
King for a while, I quickly
found out how well it
46

GEAR REVIEW

//

interacted with my amp.

I like to call this type of
pedal a foundation type
overdrive. The reason being:
For the most part, it never
calls too much attention to
itself. Its main purpose is
to make your amp seem
like morea little more
gain or volume when you
need it, a little more treble
bite should you want it,
a bit more compression at
times when the job calls for
it. But essentially your amp,
with just a bit more of what
you like about it.
What the Blues King is
not, is an amp in a box
type pedal. There are
enough pedals out there
VFE Pedals Blues King Overdrive

right now that try hard to

emulate some other type
of amp, be it a Marshall,
a Vox, and others. Theres
nothing wrong with that (as
I have a few myself), but the
refreshing thing about the
Blues King is that it assumes
you like your amp and
dont want it to sound like
something it is not.
The Blues King has
a somewhat traditional
layout, with three regular
sized controls for Volume,
Drive and Tone (treble).
But then there are three
other smaller controls,
labeled Bass, Hard and Soft.
The Bass is self-explanatory,
but is quite welcome in my

book. Its neutral

at noon, turned counterclockwise it adds bass,
and turning it clockwise
cuts bass. This helps a
lot with different types
of pickups, and personally
I feel most overdrives
should have this option.
The Soft control transitions
between asymmetrical
(counter-clockwise) and
symmetrical clipping
(clockwise) clipping.
This affects the amount
of compression heard
with the drive set higher.
At around noon, the least
amount of compression
is heard. The Hard control
lets you choose between
asymmetrical germanium
distortion (clockwise)
or symmetrical silicon
distortion. Again, the least
amount of compression
will be at noon. These two
controls really help you
match the Blues King to
your amp and the various
pickups you might have in
different guitars.

WHAT WE LIKE

What the Blues King does

right: the manner in which
it complements your amp;

it will make an amp sound

better in a very natural way.
It is especially appealing to
owners of single channel
amps. My problem: I use
a 15 -watt Fender tube
amp. Getting the tubes
cooking requires the amp
to be set quite loud. For
home or recording use, that
isnt always practical, and
even for small gigs, it can
be too loud. My solution:
I set my amp on the edge
of breakup, then leave the
Blues King on all the time,
with the Volume set for
a bit of boost, and I add
some extra gain with a little
added compression. Then I
can ride my guitars volume
control to find that sweet
spot, because it cleans
up so easily. I get a great
natural sounding blues to
rock crunch, yet my amp still
sounds like my tone, without
the hearing lossbonus!

pedal: at low gain, and with

lots of volume to push the
mids higher than anything
else, making a more heavilydriven amp scream. The nice
thing about the Blues King
is that it doesnt artificially
boost mids, and it doesnt
cut the bass, unless you
want it to. Again, if you
love your amp, the Blues
King will just give you
more of what you like
about it.

CONCERNS
None.

Another great setting: keep

the gain set loweraround
noon where it acts more
like a boost pedalthen
turn the Volume control
up pretty high. It works
similarly to how many use a
traditional Tube Screamer
ToneReport.com

47

NEUNABER AUDIO
EFFECTS
ECHELON
MONO ECHO

REVIEW BY ERIC TISCHLER

STREET PRICE $179.00
The Neunaber describes its
Echelon delay pedal as a
mono echo pedal, which
is an almost comically flat
description of such a lovely,
lively pedal. The Echelon is,
indeed, an echo pedal,
and its output is mono only
(there is a stereo version),
but the feature set and
sound quality are unusual
given the price point.
My initial response to the
Echelon was excitement
at realizing someone
had finally implemented
a traditional tap tempo
functionality into a small,
single-footswitch box.
That initial thrill was
quickly superseded by
50

GEAR REVIEW

//

my excitement over the

Echelons sound.
On the companys website,
it says the Echelon offers
the warm analog sound
of a tape echo. I think this
is terribly misleading, but
only because the Echelon
has a gorgeous sound all
its own. When I think of
a (well-maintained) tape
delay, I think of a placid,
balanced repeat of the
original signal. The echo
takes up a lot of room but
doesnt call attention to
itself. The Echelon is the
opposite: Tonally, its not
big; theres a lot of top
end thats glossy but not
brittle, and an astonishing

amount of depth, but

theres not a lot of body.
This means the mix doesnt
get cluttered, but the player
gets definition and a very
euphonic effect.
If Id heard this pedal
a month ago, Id own
it now. Ive been slowly
crawling back to my roots
in shoegaze, and delay is
becoming more important
to the sound on my bands
new record. I was finding
that the lovely, neutral
digital delay Id been using
for the last several years
wasnt working as I brought
it up in my mix. I figured
I need either an analogthrough signal, to help

Neunaber Audio Effects Echelon Mono Echo

differentiate my clean
signal from the neutral
delays, or I needed a delay
with a more explicitly analog
voicewhich is to say one
that was darker with more
degradation. I also needed
tap, and I had a wish list of a
few other bells and whistles
that were nice-to-haves.
I found a (used) very wellregarded digital delay that
offers tweakable analog
voicing and tap, as well
as the bells and whistles I
hoped for (I should add that,
new, this pedal costs twice
as much as the Echelon).
Ive been very happy this
last month but, on principle,
I dont like to deliberately
degrade my tone unless Im
using distortion or fuzz, so
the slap I gave my forehead
when I heard the Echelon
was painful. Sonically,
the Echelon is definitely
additivelike so many
clean boost pedals that
users claim add fairy dust
to their tones--but musically
it perfectly complemented
my tone. Maybe its the
analog-through signal that
makes all the difference,
but Id suggest its the

excellent tuning of the delay

effect, and the way it turns
each note into a glistening
bubble that slowly floats
away.
So, yeah, it sounds great.
The other must-have for me
was tap, and those whove
already done some digging
may be confused about the
Echelons tap mode (as well
as the bypass and buffer
modes). Basically, you have
to power the pedal on up to
four times to cycle through
the Tap Priority and Bypass
priority settings and their
respective true bypass or
buffered bypass settings.
In Bypass priority, the
Echelons operation is pretty
simple: The footswitch
turns the pedal on and the
Time knob controls the
rate of the delay trails (note
theres also a Mix knob to
blend the delay and dry
signal, and a Repeats knob
to determine the number
of echoes). In Tap Priority,
you tap in the tempo and
then activate the effect with
a single tap; you turn it off
the same way. If you dont
tap the pedal again after
one second (the maximum

delay time available) the

pedal simply engages or
disengages. That may sound
complicated (and it seemed
complicated as I read the
manual), but, once the pedal
is set to Tap Priority its as
easy and intuitive to use
as the tap function on any
delay pedal.

WHAT WE LIKE
Beautiful tone and
traditional tap tempo
option in a small,
affordable package.

CONCERNS

The lack of tweakability

may throw some people
who are used to twiddling
with parameters.

ToneReport.com

51

FREEPEDALFRIDAY
W I N N E R

Congratulations!

Ke n n et h Delos Sa n tos
CHU LA V I STA , USA

CONTAC T :

i n fo @ to n e r e p o r t . co m to co l l e c t your p rize:

Ze ro to Six ty
by : M C CA F F R E Y AU D I O
C L I C K H E R E FO R A C H A N C E TO W I N M ORE GE AR!

ANALOG
MAN

KING OF TONE
REVIEW BY PHILLIP DODGE
STREET PRICE $235.00 AND UP

Not unlike Ron Burgundy,

the Analog Man King of
Tone is kind of a big deal.
Its been in existence in one
form or another since 2003
and is currently in its fourth
version (since 2006). Its been
in high demand since it was
first released. As of now,
the waiting list is about ten
months. That might seem long,
but its much more ideal than
the 1624 months to which it
had previously stretched.

but at more ear-friendly

volumes. And after years of
using a Tube Screamer, he
wanted something that better
preserved the lows and didnt
boost the mids quite so much.
Mike and Jim used the circuit
of the Marshall Blues Breaker
as a starting point, but many
tweaks and mods have been
made along the way, to the
extent that the King of Tone
is more than just a modified
Blues Breaker.

The history: Mike Piera of

Analog Man developed the
King of Tone input from
Jim Wieder. Jim wanted a
pedal that could make his
Deluxe Reverb sound like
the cranked version of itself,

In essence, the King of Tone

is two pedals in a single box,
each with controls for Volume,
Tone, and Drive. The pedal
features a group of four
internal DIP switches that
allow each side to be set for

54

GEAR REVIEW

//

Analog Man King of Tone

either clean boost, overdrive,

or distortion. There is also an
internal treble boost control.
Clean Boost: This mode
is pretty darn clean. If
you crank the Drive control
beyond 2:00, it will start to add
a little bit of grit to your tone.
But while this setting might not
add much grit, it still carries
the signature EQ properties of
the King of Tonethis means
that the boost is far from
transparent. Instead, it cuts
a little bassjust enough to
keep the low end from getting
mushyand adds
a healthy kick in the low mids
(the kind of push that gives
single coils the thickness of
humbuckers). Then, you can

use the Tone control to refine

the high end. Oh, and the
amount of volume on tap
is pretty heftymore than
enough for me.
Overdrive: This is why people
wait months (or pay inflated
secondhand prices) for a King
of Tone. On this setting, you
get the perfectly-voiced EQ
signature mentioned above
but with much more grit
available. The character
of the grit is very amp-like,
and the King of Tone is very
responsive to playing dynamics
and volume knob cleanup.
Distortion: As the name
suggests, switching the DIP
switches on either side to
Distortion mode creates a
much heavier, hard-clipped
tone. Its not quite as natural or
dynamic as the overdrive tone
(especially as you crank the
gain) but its still pretty great
for a pedal. Its also a much
more compressed tone. And
its amazingly low noise.
Analog Man suggests setting
the right side for the higher
gain tone and the left side
to lower gain. Doing so will
allow for volume boost. Doing
the opposite allows you to
maintain consistent volume

and go from a low or mid-gain

overdrive to a thicker, heavier
lead tone.
So how does the King of Tone
perform in the real world and
where does it excel? I tested
it with a range of guitars and
amps, and quite frankly, it
worked well in most situations.
The boosted low-mids makes
it a great mate with Strats
and Teles, especially when
pairing them with a Fender
amp. Those same boosted
low-mids made me love
the King of Tone a little less
with humbucker and P90
guitars. The internal treble
control adds an extra dose
of versatility, and I found it
perfect for shifting the pedal
for use between brighter and
darker amps.
The biggest surprise with the
King of Tone was how well
it paired with the Top Boost
channel of my AC15. Its a
finicky channel that, when
paired with some overdrive
pedals, can get fizzy in hurry.
However, careful tweaking
of the internal treble control
and the external Tone knob
makes for one heck of a great
screaming Vox tone.

Of course it should come as

no surprise that the King of
Tone is flat out great through
a Princeton Reverb. You
are just a click away from a
shimmery clean tone and
a gutsy dirt tone. Click to
engage the left side as well
boomhere comes the lead
tone of your dreams.

WHAT WE LIKE

A lot of great overdrives

have come on the market
since the 2003 launch of
the King of Tone. Some can
certainly give it a run for its
money, but theres a reason
that after 12 years, people are
still willing to wait just short of
a year to get a King of Tone.
It just sounds great.

CONCERNS

The long waiting list is a bit of

a drag. But if you cant stand
the wait, you can pay through
the nose for a second-hand
King of Tone or check the
Analog Man website on
Wednesdays in hopes of
grabbing a Prince of Tone.

ToneReport.com

55

TONE REPORT
EDITORIAL
CONTRIBUTING WRITERS
Luke Currano, Rebecca Dirks, Phillip Dodge,
David A. Evans, Sarah FitzGerald, Ian Garrett,
Brett Kingman, Nicholas Kula, Nick Rambo, Sam Hill
Eric Tischler, Fletcher Stewart, Jamie Wolfert, Matt Fisher

ART & DESIGN

SENIOR DESIGNER Richard E. Jones
GRAPHIC DESIGNER Adam Borden
COVER PHOTO Jamie Wolfert
VIDEO
LEAD VIDEOGRAPHER Andy Martin
VIDEOGRAPHER Mike Hermans
SALES / MARKETING
MEDIA DIRECTOR Tom Keithly
tom@tonereport.com
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