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Wednesday, March 19, 2008

Bad Horsie Wah Review


Switchless design. "Clear-Tone" buffer circuit ensures pure guitar tone and maintains signal level in bypass and wah mode. Works with BASS guitar too!

Ease of Use:

This Pedal is easy to get a good sound out of it. It gives a lovely wah, the only problem I found was trying to use it with a distortion pedal. It gave a bit to much wah with the distortion pedal.
// 8

Sound:
I am using an Ibanez GIO with the pedal. The Effects are always great off the 'Bad Horsie' Wah and I would reccomend it to everyone. A lovely Hendrix sound comes with it.
// 10

Reliability & Durability:

Very reliable and I haven't had any problems with it yet. Very Sturdy.
// 10

Impression:

I play rock and it suits well with this style. If my wah was stolen or lost I would definitely buy it again. The only bad thing is that it has no level meaning you can't vary the amount of wah you get but it delivers the right amount always. Overall, the 'Morley Bad Horsie' wah is a brillo pedal. // 10

Tuesday, March 4, 2008

BOSS ME-50 REVIEW

The ME-50 Guitar Multiple Effects is a floor-based multi-effects processor built with the ruggedness and simplicity of a stompbox.

Multi-effects units scare me. I can never get a good sound from them and the batteries always die when I finally do, so I have to start building up my tone from scratch which can take a fair amount of time. Seperate stompboxes have the advantage of being able to show you how they are set up through the position of the dials and so the Boss ME-50 also has a total of 20 dials which allow your tone to be created quickly and effortlessly.

Effectively, what you are left with is a chain of about 8 stomp-boxes. Tone Modify, Compression, Noise Supression and Reverb are all available along the top of the unit. Below, the three stomp-box style switches control the seperate Distortion, Modulation and Delay. Finally, and expresion pedal provides Wah, Octave and Volume services depending on how you set the associated dial.

The manual is very efficient and can teach how to use extraneous features such as the tuner easily and also explains how to save your patches in straight-forward English.

The ME-50 can be used in conjunction with two Boss footswitches which allow the user to change between different memory banks much faster. The memory system can perform very well without these devices. The ten banks can store 3 patches each so you can store three different sounds in a bank and then switch between those three sounds within that song. If there are more than three tones required for a particular song, then things get a little more complicated, and you would need to press either the small black buttons or buy an aditional footswitch.

Oh, and the tuner is easy to activate by standing on the Distortion and Modulation pedals simultaneously. The sound cuts out and you can tune without anyone noticing... nice feature.
// 10
Sound:
I usually plug either a Fender Strat-o-ma-caster via a wah pedal into the ME-50. This then goes out to TWO amps (Marshall, of course) which allows panning and rotary effects to be use effectively. The guitar you use, however, is of no consequence, since compression, noise supression and tone modification can give you practicaly any tone you require. A cheap acoustic, if well mic'd up can sound like a Les Paul.
The effects on the ME-50 are substantial to ay the least. Taking the Distortion section as an example, 11 tried and tested workhorses of the distortion world (including 5 Boss pedals, the Big Muff Pi and Marshall tube amp style distortion) are available. These individual effects can then be altered through the tone and bass controls and then just turn them up to get the desired effect. Any kind of distortion can be created using this unit.

Delay is comprehensive and allows numerous layering possibilities. The expression pedal can create many interesting sounds and includes two different Wah sounds and a bizzare effect called a Ring-modulator. I can also be used as an Octave or Volume pedal. However it cannot be all of these at the same time, so you need to make a choice...

Modulation includes Chorus, Phaser and Flanger, as well as panning, which fades the signal from left to right. This is most useful with two amplifiers as the sound fades from one channel to the other, rather than traditional sweeping volume controls. The only real problem arises if you want to use both Phaser and Chorus for example, which is not possible.

In short, any sound can be created using this device. Any artist's sound can be replicated and you don't have to spend hours programming the damn thing.

I'm only giving the unit 4 in this section because on occasion, people may want to use two efefcts at once which they cannot, although this almost never happens and so what I really mean is 4.75.
// 8

Reliability & Durability:
I would not expect this sturdy unit to ever be substantially damaged and I am happy to jump all over it without fearing it not working the next day. It is the imoveable object to my size-11's (UK sizes, mind) irresistable force.

I have also never experienced any power failures due to pulling out the cord, as a thoughtful hook holds the cable in place. Batteries or a power supply are required and a power supply is not included which lets the unit down slightly but they are easily acquired.

This unit practically sings, "Stand by Me" it's so damn dependable.
// 10

Impression:
If, like me, you like to play many different styles, the ME-50 can provide many different sounds and without buying many different boxes. The tone is completely editable in every way and so there is no real need to extraneous boxes.

I compared this unit, before I bought it, to many DigiTech, Boss and Zoom units and this is the only device I could plug into and get good sounds from straight away. It's very easy to use which is why I chose it over any other Multi-effects unit.

Within hours I had the memory system sussed out and had the bass, clean and Overdrive sounds from Seven Nation Army stored and was playing the song over, and over, and over, and...

That all said, there are a few problems with the ME-50. The Reverb is a little lacking and I feel the unit would benefit from a 2-digit display to more clearly show, for example, what note you are playing when using the tuner. Also, the lack of an included power supply seems a little cheeky as this purchase made my wallet look like it had been on slim-fast.

However, although it has it's shortcomings, the Boss ME-50 is definately the most comprehensive, yet uncomplicated Multi-effects unit I have ever used.

Oh, yeah. I wish it came in more colours... // 8

Thursday, November 8, 2007

LINE 6 GUITAR EFFECT


Line 6, founded in 1996 and based in Calabasas, California, is a manufacturer of digital modelling electric guitars, acoustic guitars, amplifiers and effects processors.

The company underwent a rapid expansion in the early 2000s due to the success of their POD product line, which imitates the sound of various classic and modern guitar amplifiers, effects pedals, amplifier cabinets and microphones. The PODx3 and Podx3 Live products are the most recent development, and they further extend the features of the original POD with more simulations, effects and output options in a 'bean' or in a pedalboard package.

Line 6 currently has several other product lines in production:

Their current flagship amplifier is the Vetta II, which can model two amplifiers at once, plus multiple effects and effects chains, both pre and post amplification. The unit is software-upgradeable, so as new amplifier and effects models become available they can be added to the device. The Vetta I can be upgraded to a Vetta II with a software upgrade and the addition of a hardware interface. This interface provides both digital input and output for the amplifier, in both AES/EBU and S/PDIF formats, as well as a digital signal path for the Line 6 Variax brand of guitars. The interface takes the form of a standard RJ45 connector, which provides not only the signal path, but power to the Variax as well. The Variax portion of this interface is available on the PODxt Live and Bass PODxt Live.

Line 6 has an active user community, and provides software that allows users to easily download and share patches or device settings. This software covers all of Line 6's existing flagship products.

  • AX2 - An updated version of the original AxSys, was released in 1997. The new amp featured upgrades in tone and a larger amount of amp models. Owners of the original AxSys could upgrade to the new version by replacing the software EPROM.
  • AxSys - The original flagship instrument amplifier from Line 6. Released in 1996 in the form of a 2x12 combo powered by 100 watts. It featured many different types of amp models that appeared original, as well as common effects such as tremolo, chorus, distortion, reverb, and delay. The amp could be controlled using an external Line 6 floorboard (either the Floor Board or FB4) or MIDI controller. In addition, the amp also shipped with inputs to control expression pedal settings.
  • Flextone - A line of guitar amplifiers made by Line 6, basically the POD 2.0 (Flextone II series) or PODxt (Flextone III series) in an amplifier form, with 32 modeled amp tones, 3 reverb types, gate and compressor. The Flextone III series comes in a variety of configurations, from a 1x12" combo with 75 watts to a 2x12" combo with 150 watts. Line 6 flextone article
  • Floor Pod - A limited floorboard incarnation of the Pod 2.0 effects processor with 12 amp models from the original POD 2.0 series. It features three foot pedals and an expression pedal to control volume and wah. It also contains 12 studio effect models including the Line 6 "Insane" setting among others.
  • Floor Pod Plus - A more advanced version of the Floor Pod. Now featuring 32 amp models and 16 cab models from the POD2.0. Also included are 16 modulation effects (including chorus, flanger, and tremolo), 6 delay models, and 2 different types of reverb. All can be controlled from the seven foot pedals and expression pedal.
  • GuitarPort - Hardware that includes amp and effect modeling software and an offer to subscribe to GuitarPort Online where lessons and information can be viewed. The software includes a player which can play tracks downloaded from GuitarPort Online or from CDs played on the computer. The software player allows tracks to be slowed to half speed without changing the pitch.
  • HD 147 - A 300-watt stereo amplifier head featuring 14 Line 6 amp models, 10 modern amp models, and 8 vintage amp models, as well as 12 vintage effect models based on previous Line 6 delay and modulation modeler pedals , and MIDI compatibility allowing access to deeper editing than possible on the amps manual controls.
  • Lowdown - A new line of bass guitar amplifiers similar to their Spider amps. Currently there are 4 combos available ranging from the 75 watt 1x10" StuarPortdio version up to the 300 watt 1x15" Pro version. Like the Spider series they contain various amp models and effects.
  • Pod 2.0 - An effects processor with 32 amp models and an array of effects such as delay, chorus, reverb, flanger, etc. It can be controlled with the FB4 pedal or a more advanced floorboard. The floorboard adds both a volume pedal and a "wah" pedal. Both are connected using a CAT-5 or ethernet cable. It is also available in a 'Pro' studio rack mount package, for expanded input and output capability. A new version was released in 2006, updating the display to a three-digit display, and making the POD only compatible with Line 6's next generation of foot controllers, the FBV series.
  • Pod XT - A more advanced version of the Pod 2.0, based on their newer modeling technology, with an LCD screen, and deeper editing of parameters. It comes in both the "kidney bean"-shaped version, the Pod XT Live version and rack-mountable Pod XT Pro version. The Pod XT Live includes a floorboard and expression pedal. Its DSP models are expandable through the activation of additional "Model Packs" when the latest firmware is installed. There is a similar line of products for bass as well.
  • Pod X3 - The latest model of the Pod series. It is based on the Pod XT. It comes in both the "Kidney bean" shaped version and the Pod X3 Live pedalboard version. The Pod X3 live is similar to the Pod XT live, it comes preloaded with the expansion packs that were available for the PODxt but includes an added XLR input option and double amp output. The Pod X3 Live contains both electric guitar and bass guitar DSP amp models, and effect pedal models, plus vintage cabinet and mic simulation (A.I.R).
  • Spider III - A line of guitar amplifiers, following the Spider I and Spider II series. The Spider III is a solid state amp that models various other amps and also has built-in effects. In addition to the built in models and effects the Spider III series adds in artist presets allowing the user to have tones similar to their favorite bands.
  • TonePort GX, UX1, UX2, KB37, and UX8 - Digital recording and modeling interfaces, giving the user access to tones available from the PODxt and Bass PODxt and more, for vocals, guitar, or bass on a home computer. All units except the GX come with recording software, so the user can dial in their own sound, or use a preset tone with the software to create quality recordings that can be manipulated using the software. The KB37 features a 37 note keyboard in addition to all the features of the UX2. The UX8 is a rack-mountable interface with inputs for eight simultaneous channels.
  • Variax - A line of electric guitars developed and marketed by Line 6. The first series of Variax guitars can model around 25 different types of guitars, including Gibsons, Fenders, Rickenbackers and a banjo, an electric sitar, and ten acoustic models. A series of acoustic modeling guitars followed, and after that both 4- and 5-string modeling basses. Current models include: Variax 300, 500, 600 and 700 (electric modeling guitars), Variax Acoustic 300 (both nylon- and steel-string models), Variax Acoustic 700, Variax Bass 700 (4-string) and the Variax Bass 705 (5-string). link
  • Variax Workbench - A software application that can interface a home computer with a Variax electric guitar to create new types of virtual guitar, allowing the user to change the body type, number of and position of pickups and even allows specifying alternate tunings. It has slightly different functions for the Variax Acoustic series, and no editing functions for the Variax basses and the newer acoustics with no digital interface. The Variax Digital Interface (available for sale as a package with the Workbench software) allows the user to upgrade the software on all versions of the Variax with the digital connector.
  • Vetta I & II - A 300-watt stereo amplifier that can deliver full power into 4, 8, or 16 ohms speaker cabinets. With its latest software (version 2.5) it offers 79 classic and modern amp models, 27 speaker cabinet models, Over 50 stompbox and studio effects models (including filter and synth), Line 6 A.I.R. II modeling technology with 6 different mic models and positions, Stereo XLR balanced +4dBu direct outputs (with ground lift switch), Stereo 1/4-inch unbalanced –10dBV direct outs, AES/EBU and S/PDIF digital audio ins and outs (up to 24-bit/96k), and a Variax® digital guitar input. It also has a 1/4-inch programmable stereo effects loop, a built-in chromatic tuner, and offers MIDI in and out. It's offered in both head and 2x12 combo versions.
  • Spider Valve - The newest amp created by Line 6, in conjunction with Bogner Amplification principal designer Reinhart Bogner. The amp is Line 6's first tube offering, and promises to produce more faithful modeling with the addition of real tubes to the Spider III preamp.
  • Line 6 also offers various digital effects modeling pedals and stomp boxes, namely the Tonecore and the larger Stompbox Modeler Series.

Time-based Guitar Effects

Delay/Echo

A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. U2's guitarist, the Edge, is known for his extensive use of delay effects. Some common Delay pedals are:

Another technology that is used in Delay units is a feedback circuit, consisting of a tracking oscillator circuit to hold a note of the last interval, and after amplifying the signal, send it back to the input side of the delay. While it was first associated with Boss DF-2 Super Feedbacker & Distortion, currently, the signal feedback circuit is employed by Delay pedals, and if used under "hold" mode (As in Boss DD-3) it will provide a sustain effect instead of a simply delay effect.

Looping

Extremely long delay times form a looping pedal, which allows performers to record a phrase or passage and play along with it. This allows a solo performer to record an accompaniment or ostinato passage and then, with the looping pedal playing back this passage, perform solo improvisations over the accompaniment. The guitarist creates the loop either on the spot or it is held in storage for later use (as in playback) when needed. Some examples of loops effects are:

Chorus

Chorus uses a short variable cycling delay. The individual repetitions blend together to form a chorus. The effect sounds like several guitarists playing the same thing at the same time resulting in a wide swelling sound. Some common chorus pedals are:

Famous songs using the Electro-Harmonix Small Clone pedal:

Reverb

Reverb is the persistence of sound in a particular space after the original sound is removed. When sound is produced in a space, a large number of echoes build up and then slowly decay as the sound is absorbed by the walls and air, creating reverberation, or reverb. A plate reverb system uses an electromechanical transducer, similar to the driver in a loudspeaker, to create vibration in a plate of sheet metal. A pickup captures the vibrations as they bounce across the plate, and the result is output as an audio signal. A spring reverb system uses a transducer at one end of a spring and a pickup at the other, similar to those used in plate reverbs, to create and capture vibrations within a metal spring. Guitar amplifiers frequently incorporate spring reverbs due to their compact construction. Spring reverberators were once widely used in semi-professional recording due to their modest cost and small size. Due to quality problems and improved digital reverb units, spring reverberators are declining rapidly in use. Digital reverb units use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple DSPs use multiple feedback delay circuits to create a large, decaying series of echoes that die out over time.

Examples of reverb pedals include:

Flanger

A Flanger simulates the sound effect originally created by momentarily slowing the tape during recording by holding something against the flange, or edge of the tape reel, and then allowing it to speed up again. This effect was used to simulate passing into "warp speed," in scifi films, and also in psychedelic rock music of the 1960s. Flanging has a sound similar to an auto-wah, but weaker, yet is closely related to the production of chorus.

The first pedal-operated flanger designed for use as a guitar effect was designed by Jim Gamble of Tycobrahe Sound Company in Hermosa Beach, CA, during the mid 1970s. Last made in 1977, the existing "Pedalflangers" appear occasionally on eBay and sell for several hundred dollars. A modern "clone" of the Tycobrahe Pedalflanger is sold by Chicago Iron.Famous users of this Flanger effect include Randy Rhoads and Eddie Van Halen, coincidentally they both used the MXR M-117R flanger and Eddie Van Halen even has his own signature model now.

Examples:

Distortion Guitar Effect

Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.

Overdrive Distortion

Overdrive distortion is the most well known of all distortions. It can be characterized stereotypically by the distortion of a Mar

shall JCM800 amplifier. Many pedals attempt to recreate this sound to provide a cheaper alternative. While the general purpose is to emulate classic "warm-tube" sounds, distortion pedals such as the ones in this list can be distinguished from overdrive pedals in that the intent is to provide players with instant access to the sound of a high-gain Marshall amplifier such as the JCM800 pushed past the point of tonal breakup an

d into the range of tonal distortion known to electric guitarists as "saturated gain." Al

though most distortion devices use solid-state circuitry, some "tube distortion" pedals are designed with preamplifier vacuum tubes. In some cases, tube distortion pedals use power tubes or a preamp tube used as a power tube driving a built-in "dummy load." Distortion pedals designed specifically for bass guitar are also available. Some distortion pedals include:

Overdrive/Crunch

Some distortion effects provide an "overdrive" effec

t. Either by using a vacuum tube, or by using simulated tube modeling techniques, the top of the wave form is compressed, thus giving a smoother distorted signal than regular distortion effects. When an overdrive effect is used at a high setting, the sound's waveform can become clipped, which imparts a gritty or "dirty" tone, which sounds like a tube amplifier "driven" to its limit. Used in conjunction with an amplifier, especially a tube amplifier, driven to the point of mild tonal breakup, short of what would be generally considered distortion or overdrive, these pedals can produce extremely thick distortion sounds much like

those used by Carlos Santana or Eddie Van Halen. Today there is a huge variety of overdrive pedals, and some of them are:

Fuzz

Fuzz was originally intended to recreate the classic 1960's tone of an overdriven tube amp combined with torn speaker cones. Oldschool guitar players (like Link Wray) would use a screwdriver to poke several holes through the paperboard part of the guitar amp speaker to achieve a similar sound. Since the original designs, more extreme fuzz pedals have been designed and produced, incorporating octave-up effects, oscillation, gating, and greater amounts of distortion.

Some fuzzbox pedals include:

Famous songs using the fuzz effect:

Hi-Gain

Hi-Gain (descended from the more generic electric guitar amplification term high-gain) is the sound most used in heavy metal. High gain in normal electric guitar playing simply references a thick sound produced by heavily overdriven amplifier tubes, a distortion pedal, or some combination of both--the essential component is the typically loud, thick, harmonically rich, and sustaining quality of the tone. However, the Hi-Gain sound of modern pedals is somewhat distinct from, although descended from, this sound. The distortion often produces sounds not possible any other way. Many extreme distortions are either hi-gain or the descendents of such. The Mesa Boogie Triple Rectifier Series of amps are an example.

Some Hi-Gain Pedals Include:

Power-tube pedal

A Power-Tube pedal contains a power tube and optional dummy load, or a preamp tube used as a power tube. This allows the device to produce power-tube distortion independently of volume; therefore, power-tube distortion can be used as an effects module in an effects chain. Some examples are:

  • Hughes & Kettner Crunch Master
  • Stephenson Stage Hog
  • Damage Control Demonizer

Power attenuator

A Power Attenuator enables a player to obtain power-tube distortion independently of listening volume. A power attenuator is a dummy load placed between the guitar amplifier's power tubes and the guitar speaker, or a power-supply based circuit to reduce the plate voltage on the power tubes. Examples of power attenuators are:

  • Rockman Power Soak
  • THD Hot Plate
  • Marshall Power Brake
  • London Power Power Scaling circuit
  • Dr. Z Air Brake
  • Weber Attenuator