TONE REPORT

N O V E M B E R

A Y

2 5 T H ,

2 0 1 6

Y O

I N

L Y

NEXT
PHASE.

I N T R O D U C I N G

Transmisser

Resonant Reverberations
The Transmisser is a modulated reverb with extra-long decay fed to a
highly resonant filter. It is the sonic recreation of blowing your signal
to bits, shooting it through a black hole then beaming it back down on
a cloud of cosmic dust. It is a Blazar for musical instruments.
If you cant already tell, the Transmisser is not your everyday
reverberation device. It does not do subtle. It does not do spring.
It does not do a wood paneled rumpus room with 1" thick carpet. It
will not recreate the classic sounds of the 60s, 70s and 80s. The
Transmisser will create an ultimate soundscape-y backdrop to your
all-night guitar freak-out. Itll quickly turn you into a one note per
minute knob twiddler. Itll make you want to break out that dusty old
expression pedal to do slow riding filter sweeps for days. Itll get you
out of that stupid ergonomic chair, close that flaptop computer and
force you to enjoy playing music again and thats the most important
thing, am I right?
Youre gonna love what it does with your space.

www.earthquakerdevices.com

TABLE OF CONTENTS

ISSUE 155

NOVEMBER 25TH

14 TONE TALK

4 PHASERS YOU DONT

KNOW ABOUT
(BUT SHOULD)

22 DIY

BUILD YOUR OWN KUSTOM

HARMONIC CLIPPER

34 TONE TALK

STEP INTO THE FUTURE:

STEP SEQUENCER-EQUIPPED
STOMPBOXES

14

42 TONE TALK

PAULTERNATIVES FOR THE

WORKING PLAYER

22

34

42

50 LOLLYGAGGER FX

CANAGLIA

54 ONE CONTROL

PURPLE HUMPER

58 GLOU-GLOU

62

RENDEZ-VOUS
62 KEELEY ELECTRONICS

DARK SIDE

50
6

ToneReport.com

54

58

NOW PLAY THIS

POWERED BY EFFECTS DATABASE

TOTALLY WYCKED AUDIO

CONTINUES TO INNOVATE WITH

THE DYNAMORPH
TWA continues its tradition of releasing
innovative musical machines with the
Dynamorph, a filter-fuzz-synth unit that
employs an unusual arrangement to wring
out some all-new textures. Using a complex
diode arrangement and two high-gain
preamps in series, the Dynamorph is capable
of delivering any number of great sounding
swatches with a simple turn of the knobs.

KHDH ELECTRONICS DRAWS

OUT THE DARK BLOOD

The Dark Blood by KHDH seeks to

give users a rich and mid-heavy amppummeling distortion. It accomplishes
this feat by plaing a treble booster circuit
in front of the primary distortion circuit to
redline the distortion core. A handy noise
gate knob keeps unwanted hiss out of
the line, and two different gain settings
let you tailor the Dark Blood to whatever
guitar and amp combo you have.

DWARFCRAFT DEVICES
BRINGS BACK THE BABY
THUNDER

After a hiatus, the Dwarfcraft Devices Baby

Thunder has returned. The Baby Thunder
is a stripped-down version of Dwarfcrafts
flagship Eau Claire Thunder, an unrelenting
powerful fuzz circuit. The footswitches
(Timewarp and Toneblast) have been turned
into toggle switches, and the handy Trim
knob has been kept that allows players to
attenuate the input signal to avoid overload.

NOW PLAY THIS

//

Buzzworthy Gear

 BRIMSTONE AUDIO UNVEILS

THE BASILISK BL-1

The Basilisk combines two unique

distortion circuits with a mix knob to
set the ratio of the two sides. Each side
contains four unique controls that give
them unique characters, as well as Boost,
Filter and Thump controls. The boost
footswitch activates both Boost knobs for
a harmonically rich violin-like distortion.
An X Freq knob contains a Linkwitz-Riley
crossover, used in hi-fi circuits.

MID-FI ELECTRONICS PUSHES

THE ENVELOPE WITH THE
MAGICK I

The Mid-Fi Magick I offers up a

completely new approach to overdrive by
applying envelope control to the clipping
section. This means that the Magick I
clips harder the harder you play, for the
most touch-sensitive drive yet. Theres
also a two-band EQ, with the Bass
control applied to the pre-clipped signal,
and the Treble control sitting after.

PETTYJOHN ELECTRONICS
GIVES US THE BEST OF BOTH
WORLDS WITH THE FUZE

Pettyjohns new pedal, the Fuze, is an alloriginal duzz, a distortion and fuzz mix with
some new tricks up its sleeve. Gain 1 adheres
to a full-bodied distortion circuit, while Gain
2 corresponds to a rich, harmonically dense
fuzz circuit. Using the Mix control allows you
to control the ratio of each effect, along with
some pre- and post-distortion EQ options to
keep everything square.
ToneReport.com

TRANSFORMER ISOLATION
ACTIVE CIRCUITRY & DUAL BUFFERED OUTPUTS
PHASE CORRECTION | SILENT SWITCHING
COMPACT DESIGN | TRI-COLOUR LED
9V BATTERY OR DC OPERATION

JESSE HUGHES - Eagles of Death Metal

Photo: Barna Nemthi / Monica Birladuna

FREEPEDALFRIDAY
W I N N E R

Congratulations!
Jaso n Erb
MATT HEWS, USA

CONTACT:

in fo@ton e r e p o r t . co m to co lle c t your p rize:

PI N N A C LE D E LU XE V2
by : Wam p le r
CL I CK HE RE FO R A C H AN C E TO WI N MORE GE AR!

14

TONE TALK //

4 Phasers You Dont Know About (But Should)

HASERS ARE THE SOMEWHAT

UNSUNG HEROES OF GUITAR
TONE. Whether they are incredibly
subtle or blatantly obvious, they have found
their way into many foundational tones of
the 70s, guitar and otherwise. They have
been used to fatten, add motion, funk,
or weight to countless instruments, from
electric pianos, basses, analog synths,
guitars, and even in some rare cases, drums.
On guitar, they spanned almost every
genre from jazz all the way to hard rock
and metal. However, oddly enough these
globulous swirl machines are not as widely
discussed or loved as much as distortions
or delays these days.
ONE CAN ONLY GUESS WHY THEY FELL
OUT OF POPULARITY, but my guess is
that it was a sound that held best against a
backdrop of a particular time. Like chorus,
smashing solid-state distortion, and the
massive gated reverbs of the 80s, the
phaser glued better against the setting of
the experimental and boundary-pushing
60s and 70s. They found their homes
amongst the filtered basses, bone dry
drums, mellow Rhodes, and squeaky clean
guitars of disco and funk. Like psychedelic
glue, they mated the thick and meaty drums
with the cranked fuzz stacks of Marshall
and Hiwatt, imbuing a dark and gelatinous
throb to all it touched, like a Midas from
an alternate reality that swallowed one too
many special sugar cubes. Phasers even
snuck onto a few guitar tones in the 80s,
one famous one in particular by a Mr. Eddie
Van Halen, perhaps the king of all 80s hard
rock.

WITH TODAYS MUSICAL RESURGENCES

INTO THE SOUNDS OF THE 60S AND
70S, neo-psychedelia, bands such as Tame
Impala, Animal Collective, Phish, Radio
Moscow, and Unknown Mortal Orchestra
have found new use and inspiration for
what was once thought to be the outdated
phaser, melding and squeezing it into
massive guitar solos, funky fill-ins, and
psychedelic walls of sound.
SO HOW DO THESE THINGS WORK?
WELL, THE ANSWER IS A LITTLE
COMPLICATED, but I will try to make it as
easy as possible to understand. Essentially,
a phaser works with something called an
all-pass filter. This filter takes the original
signal, and splits it into two separate
signals; leaving the original intact, and
creating another signal with the phase
inverted. If we just left it at that, the signals
would cancel each other out. However,
one signal is run through a low pass filter,
while the other is run through a high pass
filter. The two are then combined back into
each other, creating a phase shifted signal.
These all pass filters, also known as poles
or stages, are then mixed together
along with the original guitar signal to
create changes in frequency. However,
we still dont have the movement! Itd be
pretty boring without it, so either an LFO
(low frequency oscillator) is added in to
modulate the static phase shifted signal,
creating the sound we know and love.
IN SIMPLER TERMS, IMAGINE A LITTLE
IMP SITTING ON TOP OF YOUR AMP
AND GRABBING ONTO THE MID EQ
CONTROL. While you play, he is slowly
turning the EQ knob back and forth, cutting
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15

out other frequencies and letting others shine through.

This is essentially what is happening with a phaser.
BEING A WANNABE CHILD OF THE 70S, THIS
OLD EFFECT HAS FOUND ITS WAY INTO MY OWN
PLAYING STYLE AS WELL. I have collected a number of
phasers over the years, with each one having a unique
sound and use, fitting to all sorts of fuzzed out and
throbby excursions of the cosmos. I find that the right
phaser can add a really beautiful texture to a distorted
sound that imparts just the right amount of movement
to keep a fuzz or overdrive tone interesting.
SO WHILE MASSIVELY POPULAR PHASERS SUCH AS
THE MXR PHASE 90, BOSS PH SERIES, AND THE EHX
SMALL STONE GET A LOT OF LOVE, I would like to
introduce to you a few phasers that you may or may not
have heard of, from my own personal collection. These
phasers represent some of my favorite types of phasing
with a variety of different uses, and all represent a part
of what makes phasers as a whole so great. So without
further ado, lets jump right in.

GREENHOUSE FX
SONIC ORB
This is a phaser from the mind of Roy Zichri, of Israeli
pedal outfit Greenhouse FX. I had the pleasure of visiting
his personal sonic workshop last summer in Northern
Israel, where he gave me the Sonic Orb in promise of
me doing something cool with it.
The thing I like about this phaser is its resonance and
liquidity. This is definitely one of the most vocal sounding
phasers I have ever tried, and sounds really good running
at slow speeds, with the resonance controls notched up
a bit for a long and vocal sweep. Have a listen below:

16

TONE TALK //

4 Phasers You Dont Know About (But Should)

J. ROCKETT
TRANQUILIZER
This pedal fell criminally under the radar after its release,
and did not really garner much of a splash in guitar circles.
I feel this is a damn shame, since this is probably one of the
best phasers I have ever heard this year (including some
of the hallowed vintage models I have tried). While only
having two stages, it manages to have the warmth and
thump of a Uni-Vibe with the width and space of a phaser.
Putting before a drive or fuzz is an absolutely religious
experience that has to be heard to be believed. For the
clip below, I focused on clean tones so you can really hear
what its doing.

ELECTRO HARMONIX
SMALL STONE (BLACK RUSSIAN)
Ok, so this is not a strictly underground pedal, but its
going for stupid cheap on eBay and nobody seems to be
buying them up. The Black Russian series of EHX effects
are criminally underrated, and were made at the tail end
of the Sovtek era. There are a lot of great deals to be had
with the Sovtek Small Stones, as there value isnt as high
as the Sovtek Big Muffs. Its got all the character of an old
Small Stone without the annoying volume drop, which is
more than enough for the price of entry. In this clip, I run
through clean, phased, and then I switch on the wacky and
awesome signature Small Stone Color switch.

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17

GLOU-GLOU
RENDEZVOUS
This pedal was released in the beginning
of October of this year, and in my opinion
is one of the runaway sleeper hits of the
year. This pedal is a dual phaser-filter, with
a smorgasbord of options to control every
facet of the sound. The phase sounds on here
are unlike any I have tried, and really brings
this effect into new and uncharted territory
with the level of control it provides. Here, I
am triggering the phaser with my guitar, each
small nuance in attack opening up another
facet of the phase.
Well folks, thats all Ive got. I hope you
enjoyed this little excursion into the world of
phase, and perhaps added a few pedals to
your eBay watch lists. Until next time, friends!

BY NICHOLAS KULA
22

DIY //

Build Your Own Kustom Harmonic Clipper

THE MYSTERIES OF
TONE HAVE LARGELY
BEEN SOLVED. The gear

played by many famous guitarists is

well-documented and thanks to curious
tinkerers, readily available. Hendrix
played Fuzz Faces, Roger Mayer
Octavios and Uni-Vibes, and now there
are hundredsif not thousands
of variants on each available. When
looking to solve these mysteries, the
brain neednt work hard; just look at
the floor and the backline. Failing that,
just use your ears. If someone is getting
paid to step on an artists pedals for
them, listen for the effect and try to
parse it later. By now, most, if not all
cases are cracked. However, some of
these put legions of tone detectives
on overtime hours, deciphering these
mysteries one at a time. One such
mystery was the tone of Creedence
Clearwater Revivals John Fogerty.
Coming at a time when its entirely
possible that Mr. Fogerty employed
someone to turn his pedals on and off
behind the scenes, Fogertys fuzz tone
was a mystery that stretched well into
the internet age. And with so many
devoted fans, the public was eager to
find out.
As it turns out, Fogertys tone was
even simpler than any of us could
have imagined. Fogertys ampthe
Kustom K200Bcontained not only

the swampy tremolo we came to

expect from CCR, but the fuzz circuit
as well. The fact that Kustoms have
been notoriously viewed as bottomtier amps for their entire existence
only added to the denouncement of
Fogertys fuzz tone coming from them.
Muddying the waters was the fact that
this particular model is extremely rare,
and the only Kustom amp to feature a
fuzz circuit, which Kustom called the
Harmonic Clipper.
In all reality, the Harmonic Clipper
circuit is an extremely close
approximation of another extremely
rare fuzzthe Sam Ash Fuzz Stainer.
The one difference is the transistors.
While the original Fuzz Stainer used
2n5173 transistors, the Harmonic
Clipper changed directions entirely and
used MOSFETsa radical departure
from anything of its time period.
Today, you will create your own radical
departure by building one of these rare
beasts. But first, you should read this:
DISCLAIMER: Neither I, nor Tone
Report Weekly bears any responsibility
for any kind of personal or property
damage that may occur as a result
of the instructions provided herein.
Legal mumbo-jumbo aside, we ask that
readers be familiar with a soldering
iron and its accompanying safety
procedures before trying anything
listed here. Furthermore, if you fire
the pedal up and it does not work, it

ToneReport.com

23

will need troubleshooting. Assuming

the components are not damaged, the
pedal will work. I built this very unit
according to these instructions and
it fired up, first shot, so I know the
instructions are correct.
A couple notes before we launch
into this badboy: I used 2n7000
MOSFETs, but these are some of the
lowest-gain devices around. 2n7000s
deliver a satisfying crunch with a hint
of fuzz, which is how I always heard
Fogertys tone. For more fuzz, try using
something like BS170 instead. You can

also socket the transistors to swap

them at your leisure.
Also, the output volume of the
original is lowlower than your dry
guitar signal, even when turned up
all the way. To combat this, I placed
an excellent Escobedo Duende boost
at the end. The Clippers original
volume potentiometer was turned
into a trimpot. You can then use the
trimpot to adjust the volume of the
Clipper before it hits the boost, which
essentially adjusts the range of the
volume knob.

NOW LET'S BUILD THAT

CIRCUIT BOARD...

PARTS NEEDED:

RESISTORS

1x 100 ohm

1x 1k

1x 2.2k

1x 5.1k

1x 47k

1x 100k

1x 640k

2x 1m

1x 2.2m

1x LED resistor, the value of
which controls the brightness. If
youre working with a clear LED,
I like to make this 1522k, and
2.2k for a diffused LED.

24

DIY //

CAPACITORS

1x 10pF (ceramic)

1x 47pF (ceramic)

1x 51pF (ceramic)

1x 100pF (ceramic)

1x 39nF (0.039uF, film)

1x 47nF (0.047uF, film)

1x 100nF (0.1uF, film)

2x 220nF (0.22uF, film)

1x 100uF electrolytic
SEMICONDUCTORS

2x 2n7000 (see notes above)
transistors

1x J201 transistor

1x 1n4001 diode

2x germanium diodes, I used
Raytheon ones from Smallbear

Build Your Own Kustom Harmonic Clipper

POTENTIOMETERS

1x 50kB

1x 100kB

1x 1mB

1x 100k trimpot
MISCELLANEOUS

1x piece of Veroboard

(stripboard) cut and prepared to

spec
2x three-pin transistor sockets
(you can buy SIP sockets and
cut them to fit)
Wire

STEP 1:

Since the resistors and diodes are the

same height, Ive included them all in the
same step. Bend the leads downward,
insert them into the board, bend them
outward, solder them and clip the leads.
Save these leads.

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25

STEP 2:

Using these leads, form the jumper wires.

Bend them outward, solder and clip.

STEP 3:

At this time, insert the transistor sockets

and trimpot. Place something flat over
the top such as a CD case or coaster, and
flip the board over to hold them in place.
Solder them. Dont worry about dialing in
the trimpot yet.

STEP 4:

Insert the capacitors. Bend the leads

outward, solder, then clip.

26

DIY //

Build Your Own Kustom Harmonic Clipper

STEP 5:

Cut the transistor legs to fit, then place

them in the sockets.

STEP 6:

Cut the wires, strip them and insert them,

connecting them to the potentiometers.

THAT'S ALL! NOW LET'S

BUILD THAT ENCLOSURE!
ToneReport.com

27

YOU'LL NEED THE

FOLLOWING:

1
 x enclosure, drilled to accept
three pots, one LED, input and
output jacks, footswitch and DC
jack
1x LED

1x LED bezel (same size as LED)

2x mono input and
output jacks
1x DC jack
1x 3PDT latching footswitch
(non-momentary)
3x knobs

STEP 1:

Mount the footswitch, DC jacks, input

and output jacks and LED in bezel.

28

DIY //

Build Your Own Kustom Harmonic Clipper

STEP 2:

Run a saved lead between lugs 4 and 9

on the switch and solder lug 4. Feed the
LEDs negative leg into lug 1. If the LED
cant reach, use a wire.

STEP 3:

This is where we ground the enclosure.

Run a wire from lugs 2 and 6 to the
negative lug on the DC jack. Solder the
switch lugs. Then, run a wire from the
negative lug on the DC jack to the sleeve
lug on either the input or output jack.
Solder the DC negative lug. Then run
a wire from the sleeve lug to the other
sleeve lug, and solder the first sleeve lug,
leaving the last one unsoldered.

STEP 4:

The pots have a tiny metal tab on

the sides that keep them from being
mounted. Break these off with pliers and
mount the pots and board.

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29

STEP 5:

Connect all the wires to their appropriate

places. The ground wire from the board
goes into the as-of-yet unsoldered
sleeve lug.

STEP 6:

Wire the tip lugs of the input and

output jacks to the switch. One of
these goes into the as-of-yet unsoldered
lug 9. When you fire it up, use a
screwdriver to adjust the trimpot. This
lets you set the fuzz output before its
boosted, which essentially lets you
decide the range of the volume knob
on the surface of the pedal.

STEP 7:

Thats a wrap! Bask in your glory!

30

DIY //

Build Your Own Kustom Harmonic Clipper

So, what does it sound like?

I found that the 2n7000s give quite
a Fogerty-esque sound, as his fuzz
tone to me was about subtlety and
articulation. The circuit is sensitive to
pickup type, so those with single-coil
axes might want to put the BS170s in

there for a little more girth. It sounds

light, crunchy and fuzzy when you play
hard, which sums up Mr. Fogerty quite
nicely. Get a load of Andy playing this
beauty through his Deluxe Reverb
reissue:
Until next time, up the irons!

ToneReport.com

31

stepping into sequencers

In this modern age of pedal-pushing future
vibe, there are some interesting crossover
opportunities available that have never
been possible before. Guitarists and
bassists can now play the role of the synth
tweaker without learning a new instrument
or having to shell out big bucks for a new
instrument. As gearheads, many of us have
taken the dive into the world of synth and
discovered a Marianas Trench of tonal
possibilities outside of our little world of
guitars, amps and pedals. But, somehow it
just isnt in our DNA to be physically satisfied
tapping on keys to get our noises. Luckily
for us, tomorrows tones are available
today and we can transform our wood and
wire world into a universe of waveshapes
and ramp up into the tonal cosmos without
an extra pair of hands.
34

TONE TALK //

I could write endlessly about synth-like

pedals and how they enable us to become
more than human musically, but today I
wanted to zoom in on one of my favorite
song generating assets that was previously
unavailable to the strictly stringed
instrument folk: the step sequencer. Similar
to loopingwhich most of us are familiar
witha step sequencer is a somewhat
self-generative programmable musical
sequence that can act as a pulse to propel
a track. Lets explore a few stompers and
algorithms that bring the choppy, rhythmic
vibe of a synthesizers step-sequencer to
the guitarists pedalboard.

Step Into the Future: Step Sequencer-Equipped Stompboxes

flwords by: fflletcher stewart

hologram dream sequence

Hailing from my hometown of Knoxville,
TN, Hologram Electronics busted out of
the gate with a box seemingly dedicated
to turning a guitar (or any signal source
really) into a vintage synth pulsar capable of
inspiring not only a few tracks, but also an
entirely new approach to ones instrument.
In their own words its a sequencer, an
envelope shaper, a pitch shifter, a sampler
and more. If this sounds like a frightening
pedal to the more meat-and potatoes
pedal pushers, there is no need to worry.
Even one or two presets on this lightladen big box can inspire a new riff or two
(hundred) and even reveal microcosms of
rhythmic intrigue that will keep one playing,
scheming and dreaming for hours.

Sequence solves this age-old conundrum

by employing a very clever feature: ADSR
morphing on the rhythmic gate. I feel the
fear already with this kind of synthy techtalk, but all this translates toin simplified
termsthat the Tap Tempo smoothly
morphs with the gate, so there are no
hiccups in the groove when tapping back
into a drifting human drummer. This is the
beauty of this big groovy box: one can use
it as a loop sampler, octaver, tremolo or
even snap a guitar to the MIDI grid within
a DAW. The Dream Sequence is all about
bringing the realms of digital, analog,
synthesis, guitar and rhythm all together.
Its a line straddling retro-future machine
with a million possibilities.

Perhaps the most difficult thing to achieve

with a step sequencer type pedal is locking
in with a live drummer and The Dream
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35

eventide harpeggiator
from pitchfactor and h9
It is time to tip the hat to the pioneers
of guitar transformation: Eventide. The
HarPeggiator is an insane algorithm that
employs two pitch shifters, two rhythm
generators and two special effects units.
The special effects include five filters, five
fuzzes and five glitch effects. As if that
wasnt mind bending enough, the two
arpeggio sequencers allow 16 steps of
insane rhythmic and tonal possibilities. I
could write a feature on the spec of this
algorithm alone, but personally, I like to
just chaotically turn knobs until something
pulses me into a musical-mechanical,
transcendental state.

any other pedals. Because of the synthlike nature of this effect, I am reticent to
add any extraneous effects that could
potentially obscure the rhythmic pulses
this thing generates, but when I do, it is
all about the Malekko B:Assmaster with its
extreme gating and blatty octave squidge.
These are the perfect pair of pedals for
otherworldly mechanoid menacehighly
recommended for those in a riff writing rut.

With HarPeggiator, I can plug straight into

an interface and hardpan the stereo inputs
for a universe of 3D sound without
36

TONE TALK //

Step Into the Future: Step Sequencer-Equipped Stompboxes

boss sy-300
This big blue beasty is perhaps the most
comprehensive and overt attempt at
turning the guitar or bass into a full-blown
synthesizer. Roland pretty much pioneered
the concept of the guitar synth in the
80s, but gone are the days when a highly
modified instrument, mess of cables and
surfboard-sized controller are required
to tap into it. The SY-300 is the plug-andplay synth stomp we have been waiting for
and perhaps one of the most powerful and
ambitious stompboxes of all time next to
the Eventide H9.

they would make Ms. Pac-Man blush away

from her bits. What is so unique about SY300 is the full control one has straight away
with no computer or iOS device required.
The simple menu pages are icon-based
and one can limit the sequencer steps and
repetitions, dial in exact BPMs and make
pitch adjustments for each step on the fly.
Theoretically, one could play a whole set of
future-shock-electro-rock using just their
index finger. It is good to know that if I
mangle my fretting hand in a caravan fire
or sheet metal factory, I will still be able to
Each of the SY-300s three onboard make forward-thinking guitar music.
oscillators contains a 16-step, fully
programmable sequencer. Guided by just a
single note, the sequencer can launch into
pitch patterns so complex and alluring,
ToneReport.com

37

source audio stingray

multi-f ilter

out of step from the norm

My Source Audio Stingray isnt featured

often as a step sequencer, but the Random
Sample and Hold setting with the Multi
Peak Filter certainly gives me that urge to
get rollicking in a cyclical motion of riffage.
With an expression pedal set to control
the onboard Drive parameter, I can rock
into a pseudo dirty organ dank-dank-style
reverse sawtooth wave that sounds like a
Vox Repeat Percussion running through an
angry overdriving step sequencer.

I know that there are many more pedals

out there that do this kind of thing, but the
four mentioned in this piece are the ones
I have had the most fun and experience
with. The purpose of this article was to
perhaps help those in a creative rutit
happens to us allwho want to either add
that special something to the set, or propel
the guitar into the new sound waves of
tomorrow. Whatever your reasons are for
trying out these daring devices, one thing
is for certain . . . you will write a new riff
when flirting with step sequencing and
that is worth the price of a pedal and a
bit of planning any day. Plus, you will not
sound like everyone else doing it. Why let
the synth heads have all the tripped out
fun?

With the drive disengaged, Speed set

slower and the Mod Source set to Random
Sample and Hold, the frequencies fold and
lapse into vowel layers of dizzying diction.
I highly recommend this little stomper to
those that want to twist and save presets
without menu diving. Out of Step from the
38

TONE TALK //

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Spend more time playing and less time tweaking with the DigiTech RP360XPs fast and intuitive
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42

TONE TALK //

Paulternatives for the Working Player

hen people who dont play

guitar think about guitars,
they usually think about a
Fender Stratocaster or a
Gibson Les Paul. Like Kleenex is to
facial tissues or Band-Aid to adhesive
bandages, these two icons of the sixstring world are practically synonymous
with electric guitar in the minds of
many, and each of them represents a
distinctly different vision of what the
electric guitar is, as well as what early
pioneers of the instrument imagined it
could be. Fender represents a rather
utilitarian, Henry Ford-sort of approach
to guitar design, essentially just two
slabs of wood screwed together and
outfitted with some primitive electronics.
It is a simple, relatively inexpensive and
highly functional formula. The Gibson
Les Paul, on the other hand, has always
represented an approach to guitar
design that is more evocative of Antonio
Stradivaris work than Henry Fords
assembly line efficiency, with a carved,
often highly figured top, fancier woods, a
set, glued-in neck carefully designed for
luxurious playability, and higher-output
humbucking pickups.
With its more refined aesthetic, more
expensive construction materials, and
more labor-intensive manufacturing
processes, the Gibson Les Paul has
generally always been a much more
expensive guitar than the Fender Strat.
This continues to be the case with
vintage models today. For instance, a
genuine vintage 1958 Stratocaster in

three-tone sunburst will run you about

30,000 dollars or so at the time of this
writing, while a vintage 1958 Les Paul
Standard in cherry sunburst will set you
back around 200,000 bucks (or more).
The Strat is no less great and inspiring
an instrument, of course, but a top-shelf
Les Paul is as much a work of art in its
own right as it is a tool for making art.
Not every guitar player needs or even
wants such an instrument, (the bolton neck, working persons aesthetic of
Fender-style guitars suits many of us just
fine) but for those that feel the call of the
Paul, the price of entry into this rarefied
universe can be steep.
So what can a poor rocker do (cept sing
for a rock n roll band)? Well, providing
that you dont absolutely require a real
1958 LP Burst to do your thing, you
have an awful lot of good options. The
guitar world abounds with excellent Les
Paul-styled, single-cutaway instruments,
and even many of them at the lower
end of the market are appointed with
deluxe features like figured maple tops,
decorative inlays, and name-brand
pickups, electronics, and hardware. There
are also a number of real vintage Les
Paul-style guitars around that were made
by companies that are not Gibson, but
are constructed at a similar quality level
and cost much less (its really a great
time to be buying guitars, isnt it?). Well
then, without further ado, here is a tidy
list of our favorite Les Paul alternatives
for the guitarist with a day job.

ToneReport.com

43

Hagstrom Swede:

One of our favorite Les Paul-ternatives

comes from Scandinavia, in the form of
Hagstroms venerable Swede model.
Hagstrom has been making really cool,
distinctive guitars since the fifties, and the
companys Swede line has really earned
its keep among players that dig the LP
shape and sound, but want something a lot
more affordable and more progressive in
feel and intent. The Swede has the familiar
singlecut shape, carved mahogany top,
set neck, dual humbuckers, and 24.75-inch
scale, but with a few key features to set it
apart. Among these is an advanced truss
rod system called the H-Expander, which
along with the space-age, ebony-like wood
composite Resinator fretboard, allows for
a surprisingly thin, ultra-stable neck, super
low action, and a nimble feel. It looks like
a Paul, but it can shred like an Ibanez RG!
The Hagstrom Swede is also notable for
its elegant, ultra-fine tuning machines,
excellent stock pickups, and three-way tone
filter switch. For around $600, its a helluva
lot of guitar. Did I mention that TRWs own
tone guru Andy Martin uses one?

44

TONE TALK //

Paulternatives for the Working Player

Epiphone Les Paul

Custom Pro:

Epiphone LPs have long been the first stop

for shoppers looking for an affordable Les
Paul, and for good reason. Once Gibsons
arch rival in the archtop world, Epiphone
is now more like its little brother, tasked
primarily with releasing less expensive,
working persons versions of high-end
Gibson instruments. Epis LP Custom Pro
is one such guitar, and its a superbly built
one that is functionally every bit as good as
the Gibson version, only about 4000 dollars
more affordable. This is not true of every
Epi Les Paul, but this version, a recreation
of Less legendary tuxedo guitar, is
outfitted with premium components,
including Epiphones lovely sounding
ProBucker pickups, and the fit and finish
are superior. Gold hardware, full body and
neck binding, and pearloid inlays complete
the package and lend this axe a deluxe feel
to go along with its fat, authentic tones.

ToneReport.com

45

Agile AL-3200MCC:

Rondo Musics Agile line has garnered

many followers for its unusually high
quality-to-price ratio, especially the AL
series of Les Paul style guitars. The best
of these is probably the AL-3200MCC,
which sets itself apart from lesser Les
Paul copies with a three-quarter-inch solid
maple cap atop its arched mahogany body.
Many lower end LPs have the mahogany
body, but use a thin maple veneer atop
it to achieved the flamed top look. An
actual maple cap is superior in part because
it contributes noticeably to the tone of
the guitar, enhancing treble clarity and
presence. The Agile also boasts a 5-piece
maple-and-walnut neck-through design
with an ultra-smooth, comfortable heel,
quite a difference from the standard setneck Gibson design. Top this off with a
compound radius ebony fretboard, Alnico
V pickups, Grover tuners, and a Graph Tech
bridge, and the Agile AL3200MCC is an
incomparable deal at 499 bucks direct.

46

TONE TALK //

Paulternatives for the Working Player

ESP LTD EC401VF

Dimarzio:

For a long time, ESP was known primarily

for high-end shredder guitars, but as the
company has expanded and developed
its more affordable LTD series, it has
become a favorite of guitarists looking for
a reasonably-priced, incredibly well-made
LP-style instrument. If the vintage Paul look
and tones are your thing, the EC401VF
is where its at. For around 800 American
bucks it is outfitted with a mahogany
body and set mahogany neck, maple top,
rosewood fretboard with classy pearloid
inlays, a fast, thin U-shaped neck, locking
tuners, and best of all, a pair of Dimarzio
36th Anniversary PAFs. These pickups nail
the classic LP tones with an ideal blend of
warmth, clarity, and a delicately dynamic,
responsive feel. Combined with the flawless
ESP build quality and attention to detail,
the EC401VF is a remarkable instrument
that is well within budgetary range for the
working rocker.

ToneReport.com

47

'70s "lawsuit" LP Copies:

Some of the finest Les Paul copies ever made are the Japanese-built instruments from
what is commonly referred to now as the lawsuit era, which was from about 1970
through 1977, the year when the lawsuit itself (pitting the Norlin-Gibson camp against
the Hoshino-Ibanez group) was settled. These guitars are cool because they are
genuine vintage pieces, they are of remarkable quality (better than many American
guitars of the same era), and they are still very affordable for the most part. The true
lawsuit era guitars are easy to identify because they typically copied Gibson specs
and headstock designs to the letter. These instruments were sold under a number of
different names, but Ibanez, Tokai, Burny, Edwards, Fernandes, and Greco are some
of the common ones. Many of these have become fairly valuable vintage pieces in
their own right, with Tokais Love Rock model being especially coveted. Fine lawsuit
era Pauls can be had for anywhere from 400 bucks or so on up to 1000 or more, but
600 to 700 is about average.

48

TONE TALK //

Paulternatives for the Working Player

LOLLYGAGGER FX
CANAGLIA

REVIEW BY YOEL KREISLER

STREET PRICE $269.00

If I had a nickel for every

time Ive heard a pedal
company tout their totally
unique and new transparent
overdrive that is a natural
extension of your guitar
and amp, Id probably
have a growing pile of
inconspicuous nickels in
the corner of my studio.
When I originally saw the
Canaglia by Michiganbased Lollygagger FX, I
was completely blown away
by the look of the thing.
All wood enclosures are
generally not used because
of grounding issues. Metal
is easier to ground the
circuit with, its durable,
and it is easier to attach
graphics. As great as metal
50

GEAR REVIEW

//

is, in my opinion wood is

the most beautiful of all
building materials. It evokes
feelings of hominess and
warmth, and it looks good
on anything, especially
electronics. So naturally
when I saw a pedal made
out of wood, I just had to
have it. Sean Wright of
Lollygagger FX seems to
take no compromises when
it comes to the look and the
tone of his pedals, using all
matter of beautiful wood in
all kinds of gorgeous colors,
utilizing point to point turret
board-style wiring as well.
When asked to describe his
pedal, Sean said This isnt
a tone box, its very neutral.
Its a gain box. Its takes
Lollygagger FX Canaglia

your amp, kicks it in the ass,

and when the Gain control
is engaged reaches down
and slaps it to make sure its
paying attention. Colorful
description for sure, but
does the Canaglia deliver?
Lets find out.

A SCOUNDREL OF
DIRTY AND CLEAN

Like many holistic

approaches to tone, the
Canaglia takes aesthetic
into play, as well as sound.
When aesthetic, design,
and sound unite into a
concept, it makes the whole
experience of playing a
pedal totally different than
just stomping on a few
switches and twiddling
some knobs. The Canaglia

takes the natural

approach to stompboxes
and tone quite literally,
which is something I always
like to see. It doesnt have
many controls, and they
are incredibly simple to
understand. Basically, think
of the Canaglia as having
three gain stages: a pregain, a post gain, and
general gain. There is no
tone control here, which
means the Canaglia relies
on your amp and guitars
natural tone and timbre. Its
got two footswitches, one
engages the pedal (without
the added gain stage),
and the other engages the
additional gain stage. The
sound is a subtle EQ lift
across the spectrum, tuned
specifically for guitar. It
doesnt sound sterile like an
EQ pedal, but adds a very
subtle midrange and highend warmth. The pedal isnt
super bottom heavy, but
switching to humbuckers or
Filtertrons would add some
bottom end fur. Cranking
the pre-gain also adds a
good bit of bottom end
warmth, while cranking the
post gain adds some high
end throat and sparkle. This

is not a high gain pedal,

and really excels at low gain
overdrive tones. Its got the
clear grit of a tube amp,
and I couldnt tell if it was
my amp or the Canaglia
that was generating those
spongey and dynamic tube
overtones.

CHOPPING WOOD

With the additional gain

stage added, you can really
hear what the Canaglia
sounds like on its own.
While on first listen my ears
were telling me Klon,
getting to play it revealed
something completely
different. Yes, it does have
the high end throatiness that
Klons are known for, but it
has less focus on specific
frequencies and more focus
on the guitar sound as a
whole. It operates more
like a booster with a bit of
bite; adding just a hint of
character while letting your
guitar and amp do most
of the work. While I didnt
have a Marshall on hand,
I imagine running it into a
JTM45 or DSL-100 would
produce some incredible,
violin-like sustained tones.
I found myself actually not
using the second gain stage

as much, instead running

a compressor set to boost
before the Canaglia, giving
me more control over
the dynamics. If I had to
complain about one thing,
it would most likely be the
incredibly annoying switch
pop on the unit. But, I will
give Lollygagger the benefit
of the doubt here, because
it seems like it was only this
unit that suffered from it.
All in all, a real winner in
my book, both in looks
and sound!

WHAT WE LIKE

Dynamic, responsive, and

clear. EQ is warm and
enhances your tone. The
wood enclosure is beautiful
and unique.

CONCERNS

Switch pop. Added gain

stage can be a little
aggressive on the high end
if youre not careful.

ToneReport.com

51

ONE CONTROL

PURPLE HUMPER
REVIEW BY ERIC DODD
STREET PRICE $124.00

The first thing I noticed

about the Purple Humper
mid booster is how badly
I wanted to keep it after
receiving it for review.
Hearing it online, though
informative, will not be
sufficient to truly fathom
the Purple Humpers
awesomeness. What follows
is my genuinethough
surely lackingattempt to
describe that awesomeness
in words.

rhythm and blues feature

guitar tone with a cutting
presence that defines the
archetype of The Guitar
Player. It is unfortunate
that genre so prolific as
pop and electronica often
give up mid-tones in order
to emphasize bass and
treble, a phenomenon often
referred to as scooped
mids. It is, after all, these
magical middle tones that
give rock and blues the
meaty, poignant angst for
which they are so loved.

The mid hump is real.

Though you may never
have heard the phrase, you
already know the sound:
iconic songs from US and
British classic rock and

Never fear! The Purple

Humper from One Control
has this magic in droves. It
will save us all, and it will
be glorious. Further, this
little purple box contains

THIS IS SERIOUS.
LETS TALK.

54

GEAR REVIEW

//

One Control Purple Humper

unexpected versatility
that promotes it from
accessory to necessity
for your pedalboard .
With great potential as
a potent always on
pedal, the Purple Humper
is a miniature mid-boost
that surgically extracts
quintessential rock tones
from your amp.

DIAL IN YOUR
SOUND

Dont confuse simplicity

with a lack of versatility. The
Purple Humper has one,
sparkling dial that provides
a profoundly broad palette
of guitar tones appropriate
for rock, jazz, soul, blues,
and fusion, just to name
a few. At 7 oclock, the

Purple Humper secretes

a mild tone coloration at
unity gain. As the signal
increases, expect more
coloration, warmth, and
analog gooey goodness.
Between 9 oclock and
noon, tones emerge that are
perfect for jazz comping,
playing clean leads and rock
rhythm progressions. Things
get sexy between noon
and 3 oclock, with swampy
blues tones and classic rock
sounds when playing an
amp already on the edge of
breakup. If you want more
overdriven sounds or a
singing lead tone, crank the
pedal and ride the volume
knob on your guitar while
using your neck pick-up.
Dial the volume back and
everything cleans up nicely.
Bump the volume back up
when you want it to scream.

transparency, when
you can still hear your dry
sound peeking through the
effect. There is definitely
nothing worse than dialing
in a great sound from just
your guitar and amp, only
to find out that stomping
on your favorite pedal
makes everything sound
as dead as a doornail. The
Humper takes this all a
step further by genuinely
enhancing your sound with
additional mid-tones while
still responding naturally to
picking dynamics with the
same, beautiful overtones
you can coax from your dry
signal. Want even more
options? Experiment with
where you place the Purple
Humper in your pedal chain
and consider stacking it with
other dirt pedals to tease
out more tone.

As a boost pedal alone, the

Purple Humper provides
a modest 15 decibels of
signal increase. However,
the coloration that comes
with that boost faithfully
preserves the overtones
of your base sound.
Guitarists revere this as

Overall, the combination

of modest signal increase,
quality tone enhancement,
and tiny footprint makes
the Purple Humper a great
option as an always-on
pedal, boost, and subtle
tone enhancer used to
stand out in the mix
without drowning out
your band mates.

GET MORE
WITH LESS

WHAT WE LIKE

Simplicity, versatility, small

footprint Iconic rock and
roll tones Boost mids while
preserving overtones.

CONCERNS
None.

ToneReport.com

55

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SUPER BADASS VARIAC FUZZ
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GLOU-GLOU
RENDEZ-VOUS

REVIEW BY YOEL KREISLER

STREET PRICE $630.00

Like many of you on the

quest for tone, I enjoy
digging around the bowels
of forums and databases
to find those forgotten
gems, unknown wonders
and sleeper hits. Although
the Rendez-Vous has been
gaining a bit of momentum
since its release a few weeks
back, it is still very much an
underground pedal. Not
many people know about it,
which is a shame, because it
is a premium product from
the packaging all the way
down to the deepest and
weirdest sounds in the belly
of this blue beast. Grab
your nose and close your
eyes, because were diving
headfirst into the clear blue
58

GEAR REVIEW

//

oceans of the Glou-Glou

Rendez-Vous.
Usually I wont comment on
the packing of a pedal unless
it is truly special. Ive seen
some great packaging, and
some horrendous packaging,
but the Rendezvous attention
to design even with just the
box is truly unique, and it
makes it feel like a premium
product. It is packaged in
a black flip top box with
the words GLOU-GLOU
emblazoned on the front in
holographic foil. Inside is a
wire bound and laminated
instruction booklet with
detailed explanation of the
pedals operation, and even a
few analog preset sheets
to mark down your favorite
Glou-Glou Rendez-Vous

settings. There is a reason

that unboxing videos are all
the rage on YouTube, and
why companies spend millions
on designing their boxes.
Amazingly, it seems like GlouGlous Olivier Armbruster has
mastered the art of packaging
on his first try.
The Rendez-Vous is quite
a valiant attempt to take
the best of Mu-Trons old
modulation effects, update
them, and mate them
into one tonally symbiotic
package, where the two
different circuits are
invariably linked. On one
side we have a fully featured
phaser and vibrato, with six
(thats right) different phase
stage options, along with

depth, peak, in- and out-ofphase selectors, and gain

options. On the filter side we
have four different selectable
filters, again with peak,
depth, and gain options, as
well as a switch that syncs
it up to the phaser. On the
bottom there is a master
LFO and envelope, which can
modulate either the phaser,
filter, both, or anything in
between. There are also gate
controls that are reactive to
pick attack, but more on that
later. The Rendez-Vous runs
on AC power, so make sure
you have a courtesy outlet
on your power supply if you
want to take this on the road.
As you can see, the RendezVous is an absolute monster
of tone, and it can get a
little complicated. I will try
to break down as best I can
how it works, as well as its
strengths and weaknesses.
There is something here for
everyone, so you really have
to take the time to explore
what it has to offer.
Naturally, the first thing I
gravitated to was the phaser.
It was warm, clear, and
very malleable. A simple
two-stage phaser sounded

liquid without sounding too

throbby. Rolling in the peak
added a bit of a vocal quality
to it, while skirting sounding
nasal. Playing with the LFO,
I set it to a sawtooth (which
is closer to a sine wave)
wave and played with the
knob above, which changes
the shape and response.
Turning it clockwise added a
rhythmic attack to the sound,
emphasizing different parts
of the wave. This was really
cool with a bit of dirt added
before, as it created a very
jarring pulsation that sounded
very Muse-like. Increasing
the speed and bringing the
phaser out of phase with
the dry signal via the drop
switches, gave me a really
unique faux-Leslie tone that
whirled and wheeled with
clear definition.
On the filter side of things,
I began by turning off
the modulation matrix, and
setting the filter to lowpass. The Speed knob on
the envelope is notched as
opposed to sweepable, but
it still gives you plenty of
options for selecting attack
time. The auto-filter here is
one of the stars of the show;
the sound has tons of warmth

and feeling. The envelope is

very touch sensitive, and it
really feels as if your guitar is
speaking words it has never
been able to speak before.
Mixing in the phaser and
setting the LFO to modulate
between the phaser and filter,
I was greeted with warm and
buttery modulation tones
that I have never heard in all
my years, and will probably
never hear again. The way
the signal ebbs and flows
between liquid pulsations
and languid thrum is unlike
anything I have ever heard,
and is well worth your time
if you like your modulations
with soul.

WHAT WE LIKE

Warm and soulful sound.

High headroom and very
reactive to pick attack. An
absolute smorgasbord of
modulation options, and
incredibly versatile.

CONCERNS

AC power may turn off some

people. Has a bit of a learning
curve, and clearer labeling
could have helped that.

ToneReport.com

59

Holeyboard Dragonfly

One to rule them all.

Church Gig

Bar Gig

Studio Time

www.chemistrydesignwerks.com

KEELEY
ELECTRONICS
DARK SIDE
REVIEW BY
JAMIE WOLFERT
STREET PRICE
$299.00
Few factions of the tone
chasing community are
as rabid and obsessive as
that which devotes itself
to the finer points of David
Gilmours signature guitar
sound. As evidenced by
the numerous websites and
online communities (such
as Gilmourish) that cater to
Gilmour tone chasers, the Pink
Floyd guitarist and frontman
seems to have easily eclipsed
Clapton, Hendrix, and even
Eddie Van Halen as the guitar
worlds reigning king of tone.
Specifically, the velvety liquid
ambience of his Strat-powered
leads are what so many
guitar players and gear nerds
lust after, as exemplified on
classic Floyd records like Dark
62

GEAR REVIEW

//

Side of the Moon, Wish You

Were Here, and Animals. This
singular sound, perhaps the
most instantly recognizable
guitar tone ever, is what
Robert Keeley aims to capture
in his aptly named workstation
pedal, the Dark Side.
The Dark Side recreates a very
specific classic guitar tone by
combining all the necessary
effects for that tone in a
compact, easy-to-navigate,
and ruggedly-built package. It
has two halves, starting with
an analog op-amp fuzz circuit
based on a Big Muff of the
77 vintage. Controls include
knobs for Level and Gain, a
three-way toggle for a flat,
full, or scooped mid-range
profile, and a classic MuffKeeley Electronics Dark Side

style filter control. The other

half of this versatile pedal is
the digital delay/modulation
section, which includes a 70s
Electric Mistress-style flanger,
a Leslie speaker simulator, a
phaser based on a vintage
Phase 90, a Uni-Vibe setting
(for that Breathe sound, of
course), and an excellent delay
section that virtually recreates
the 12-head configurations of
Gilmours Binson Echorec.. In
Delay mode, blend functions
as a tape head selector, depth
becomes delay time, and rate
becomes feedback. There is a
switch on top for swapping the
order of fuzz and mod/delay
sections (this is apparently a
new feature on the version of
the Dark Side I reviewed) and

an expression jack for real time

control of Rate or Feedback.
Each section has a dedicated
footswitch.

they are based on. The twoway selection switch lets you
choose between either the
Flange/Rotary setting or the
Phase/U-Vibe setting, using
In use I found the Dark Side
the Blend knob to get just
quite intuitive and steadfastly
one of these effects at a time,
musical. The fuzz section
or mix them together when
is basically an idealized Big
the blend control is in the
Muff. The Gain and Filter
middle of its range. This is a
controls are smooth and
useable throughout the entire really cool feature, and it was
fun exploring the in-between
range, unlike many vintage
modulation tones available. I
Muffs. The Mids toggle is
also appreciated the ability to
also super helpful, and lets
swap the order of modulation
you easily mimic Muff tones
and fuzz. Mr. Gilmour himself
from different eras. The Dark
Sides output is plentiful as well reportedly puts modulation
before fuzz, which tends to
and can provide a substantial
result in a warmer overall tone
boost to the amps front end,
with less of that swishy treble
should one so desire. I was
really impressed by the overall thing going on.
clarity; this Muff just never
The delay mode of the Dark
gets loose, flabby or muddy,
Side is just about worth the
no matter what pickups youre price of entry on its own.
using or how hard you hit it.
The Binson Echorec, with
its spinning magnetic drum
The Dark Sides modulation
and multi-head echoes, is
section is packed with lush
flavors. I imagine most Gilmour a very unique animal even
among vintage tape delays,
nuts will be particularly
stoked on the Rotary settings, and Keeley does a bangup job of squeezing that
which are warm and thick,
tone and functionality into a
becoming pleasantly watery
compact and intuitively laidas the speed is turned up,
out stompbox. The sound is
but the sounds are excellent
clear, yet warm, and its easy to
overall and accurate enough
in regards to the vintage units conjure up a fusillade of echoes
or some warped spaceship

landing oscillations.

WHAT WE LIKE

The Keeley Dark Side will

certainly put you into David
Gilmour territory with a
quickness. The most fanatical
splinter factions of the Gilmour
mob will undoubtedly nitpick
and lambaste various aspects
of the pedal, but basically, if
you cant get a convincing
Gilmour tone out of this thing,
its your fault, not the pedals.
And all Floyd aside, its just
a top-shelf multi-effect box
that would be awesome for
any player that loves classic
Muff tones, thick, phasey,
analog-style modulation
sounds, and skittering, multihead tape echo. For a few
hundred bucks, this box might
just replace the bulk of your
pedalboard.

CONCERNS

It would be cool if one did

not have to choose between
modulation and delay. Being
able to use them concurrently,
along with the fuzz, would
really put the Dark Side over
the top in the versatility
department. Stereo outs
V2?

ToneReport.com

63

TONE REPORT
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Eric Dodd, Phillip Dodge, David A. Evans,
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Nick Rambo, Fletcher Stewart, Eric Tischler, Jamie Wolfert

ART & DESIGN

SENIOR DESIGNER Adam Borden

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