Analog Empress Multi Drive ..
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Brian Johnston
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EMPRESS EFFECTS MULTIDRIVE REVIEW....
Aesthetics is the branch of philosophy that studies the nature of art and defines the standards by which a creation should be judged. What we find beautiful or disturbing (ugly) is highly individual and personal, but certain aspects do hold true among most of the population. But it is ironic that visually we can be as attracted to the beauty of a person’s face, and yet we cannot turn away when repulsed. Perhaps it is the stark contrast between beautiful and ugly (good and evil?) that draws us in either direction. A good example is the mass marketing of beautiful people on television and in magazines, deemed ‘beautiful’ due to ideal symmetry of facial features, e.g., the size of the nose, the placement and shape of the eyes, etc., and how they coordinate as a whole. And then we have Joseph (John) Merrick, the Elephant Man, who suffered from horrendous physical deformities; he worked for a short time as a side-show curiosity and later when in hospital received visits from the wealthy of London society, including Alexandra, The Princess of Wales (pity may have served as part reason for the visits, but certainly the desire to lay eyes upon his strangeness was a governing factor).
Like physical art and human beauty, elements of music are under constant scrutiny of standards. Some songs have lasting capacity because of the chosen notes – the melody is strong and it resonates well within the brain. Other songs attract far fewer listeners, but not always because of a weak melody. The human ear is capable of hearing a wide range of frequencies, and it is the quality of the ‘mix’ and how instruments sound and coordinate as a whole that will garner attention. In fact, a song may not have a lot going for it in terms of composition, but with the right instrumental tones and production value, it will capture our attention for a short while at least.
How instruments sound is an interesting area to explore. The human ear enjoys the tranquility and smoothness (and beauty) of a soprano, flute and cello drifting slowly over the air waves. And yet, it is drawn to the (ugly) characteristics of an electric guitar – fuzz, distortion, and overdrive. Perhaps it is the pure contrast that these aspects have to what we consider ‘velvety’ to the ears, but I believe it has more to do with this: that which is ‘soft’ puts us at ease and relaxes us, whereas that which is ‘intense’ stimulates the senses, and more particularly excitement, adrenaline, and testosterone (is it any wonder that the Alpha Male has a penchant for hard rock and metal music?).
If we consider non-modern music, compare something like Bach’s Jesu, Joy of Man’s Desiring to that of Wagner’s Ride of the Valkyries – serenity versus arousal at its finest! It just so happens that the fuzz/distortion/overdrive propels the arousal factor even more in today’s electrified music. (However, what should be noted is that the resonances and transient effects of the violin, viola, cello and bass have a certain ‘graininess’ to their tones, due to the friction of bow rubbing on strings, and when played with vigour and with several stringed instruments simultaneously, orchestrated music certainly has an element of fuzz or distortion.)
It comes as little surprise that guitarists strive to find that ideal amplifier that allows for some type of gain or drive, in order to ‘break up’ or distort the sound. And with the cost of amplifiers, and the space they consume, it again is of little surprise that the most purchased guitar pedals are associated with fuzz, distortion and overdrive – something to affect the characteristics of an amp. And as we acquire all these pedals, we still need to limit the usable collection for good reasons: 1) there is only so much room on the pedal board/floor; 2) you can have only so many pedals in a chain before the original tonal elements/signal of a guitar is lost and becomes over-processed; and 3) who wants to constantly switch up pedals to achieve different tones, a situation not at all practical for concert musicians.
As a consequence, we try to limit pedal usage and search for those that offer the best tone and the most flexibility to serve our needs. But when trying to combine a pedal that delivers fuzz, then one for distortion, and one for overdrive/gain, we are placed in the same quandary of weakening the true signal/tone of the guitar and, as important, getting these to mix properly. Even when purchased from the same company, I found there to be a clash when mixing distortion with overdrive – usually you use one or the other, but not both. And then, attempting to ‘fuzz’ up the tone can complicate matters even more.
The question may be why we want to blend all three in the first place? There is something to be said about a simple and pure sound, but conversely complexity in tone can be exciting as well! Consider the use of harmonizers, phasers, wah pedals, flangers, etc., and you get the idea. To be able to integrate various quantities of fuzz, distortion and overdrive thickens up the tone and adds dimension.
This concept is similar to the idea of blending amps during studio recording. Miking different speaker cones involves finding the best speakers within a cabinet or multiple cabinets and mixing the characteristics of two different speakers. Tony Platt, music producer and engineer, did this with AC/DC’s Back in Black, miking different speaker cones to achieve wider more open-sounding guitars. Then, when the same chords (but different inversions) are layered from two different guitars, it gives the effect of a very big unison guitar sound. A somewhat different approach was taken by Hugh Padgham when he worked with the Police. He would mike two speakers, one of which produced a straight signal, whereas the other would be chorused with a slightly out-of-tune sound to produce a wider stereo picture. As well, using different mikes on the speakers can give subtle color or tone differences that can create a unique blend.
In effect, the idea behind blending is to focus on the strengths of certain amps and speakers, and then to fill in any weaknesses with other gear. And so, you may be achieving a nice searing mid-tone, but the amp lacks a bit of crunch or bottom end. To fix the problem, you add an amp with those characteristics for a more diverse tonal palette. The problem with this scenario for most musicians is the accumulation of all that big hardware, storing it and hauling it around to gigs, as well as the buying and selling of the gear until you get it right.
It is because any amp can do only so much that we invest in pedals, and more particularly those that give an edgy quality, such as the thickening of fuzz, the grinding crunch of distortion, and sharpness and definition when overdriven. To have all these things work simultaneously is a bit of crap-shoot. I’ve been down that road, even when purchasing pedal units from the same company (thinking each would complement the other), but often there was a clash between the overdrive and distortion – you could use one or the other, but when combined it sounded a bit messy. And then when you add fuzz to some distortions or overdrives, there can be even more mess going on, depending on the quality and characteristics of any of the elements.
A further issue I have experienced with many non-tube driven fuzz, distortion or overdrive pedals is that they have a thin, obvious digital or metallic sound, as opposed to the warmth given off by tube amps. I did like one tube-based distortion in general, but it wasn’t as diverse as the company suggested – the range of tones was somewhat limited and it became noisy when the ‘drive’ was turned up too much. There goes $200. And then I tried a multi-distortion/overdrive pedal by a leading manufacturer, but the tones sounded thin. The overall sound or tone of each selection was passable in one sense, but overall they were weak or artificial in quality, even when working with high-end guitars and tube amps. That pedal now sits in the corner collecting dust, $225 later.
It was recently, in early 2011, that I saw an Internet advertisement for an Empress Multidrive pedal. I think it was all the shiny knobs that first caught my attention, suggesting a lot of diversity in this little grey-sparkle metal box (it only measures 4.5” x 3.5” x 1.5”). And then I noticed it integrated all three of the favourites – fuzz, distortion, and overdrive. Now, that was interesting because for all three to be under one hood, they must be complimentary, which they are.
The overall sound is the best I have heard coming from a pedal of this type, and having a four-year warranty tells you something about the durability and company standards. Most notable, it sounds natural and flattering to a tube amp, as though it is part of the amp. Selecting a good tone is somewhat complicated, but worth the time experimenting with this all-analog pedal, only because there are so many options at your disposal. Each element (fuzz, distortion and overdrive) has a separate volume knob, so that you can mix a little, a lot or none of any of the three. And besides controlling the mix, you can adjust the gain for each; and so, imagine having the fuzz turned up to the max, but its volume/mix output being low. Or you can put a lot of distortion into the mix, but keep its bite to a minimum. And when you do turn up the volume and gain on all three, for a maximum tonal experience, the notes still ring clear!
Aesthetics is the branch of philosophy that studies the nature of art and defines the standards by which a creation should be judged. What we find beautiful or disturbing (ugly) is highly individual and personal, but certain aspects do hold true among most of the population. But it is ironic that visually we can be as attracted to the beauty of a person’s face, and yet we cannot turn away when repulsed. Perhaps it is the stark contrast between beautiful and ugly (good and evil?) that draws us in either direction. A good example is the mass marketing of beautiful people on television and in magazines, deemed ‘beautiful’ due to ideal symmetry of facial features, e.g., the size of the nose, the placement and shape of the eyes, etc., and how they coordinate as a whole. And then we have Joseph (John) Merrick, the Elephant Man, who suffered from horrendous physical deformities; he worked for a short time as a side-show curiosity and later when in hospital received visits from the wealthy of London society, including Alexandra, The Princess of Wales (pity may have served as part reason for the visits, but certainly the desire to lay eyes upon his strangeness was a governing factor).
Like physical art and human beauty, elements of music are under constant scrutiny of standards. Some songs have lasting capacity because of the chosen notes – the melody is strong and it resonates well within the brain. Other songs attract far fewer listeners, but not always because of a weak melody. The human ear is capable of hearing a wide range of frequencies, and it is the quality of the ‘mix’ and how instruments sound and coordinate as a whole that will garner attention. In fact, a song may not have a lot going for it in terms of composition, but with the right instrumental tones and production value, it will capture our attention for a short while at least.
How instruments sound is an interesting area to explore. The human ear enjoys the tranquility and smoothness (and beauty) of a soprano, flute and cello drifting slowly over the air waves. And yet, it is drawn to the (ugly) characteristics of an electric guitar – fuzz, distortion, and overdrive. Perhaps it is the pure contrast that these aspects have to what we consider ‘velvety’ to the ears, but I believe it has more to do with this: that which is ‘soft’ puts us at ease and relaxes us, whereas that which is ‘intense’ stimulates the senses, and more particularly excitement, adrenaline, and testosterone (is it any wonder that the Alpha Male has a penchant for hard rock and metal music?).
If we consider non-modern music, compare something like Bach’s Jesu, Joy of Man’s Desiring to that of Wagner’s Ride of the Valkyries – serenity versus arousal at its finest! It just so happens that the fuzz/distortion/overdrive propels the arousal factor even more in today’s electrified music. (However, what should be noted is that the resonances and transient effects of the violin, viola, cello and bass have a certain ‘graininess’ to their tones, due to the friction of bow rubbing on strings, and when played with vigour and with several stringed instruments simultaneously, orchestrated music certainly has an element of fuzz or distortion.)
It comes as little surprise that guitarists strive to find that ideal amplifier that allows for some type of gain or drive, in order to ‘break up’ or distort the sound. And with the cost of amplifiers, and the space they consume, it again is of little surprise that the most purchased guitar pedals are associated with fuzz, distortion and overdrive – something to affect the characteristics of an amp. And as we acquire all these pedals, we still need to limit the usable collection for good reasons: 1) there is only so much room on the pedal board/floor; 2) you can have only so many pedals in a chain before the original tonal elements/signal of a guitar is lost and becomes over-processed; and 3) who wants to constantly switch up pedals to achieve different tones, a situation not at all practical for concert musicians.
As a consequence, we try to limit pedal usage and search for those that offer the best tone and the most flexibility to serve our needs. But when trying to combine a pedal that delivers fuzz, then one for distortion, and one for overdrive/gain, we are placed in the same quandary of weakening the true signal/tone of the guitar and, as important, getting these to mix properly. Even when purchased from the same company, I found there to be a clash when mixing distortion with overdrive – usually you use one or the other, but not both. And then, attempting to ‘fuzz’ up the tone can complicate matters even more.
The question may be why we want to blend all three in the first place? There is something to be said about a simple and pure sound, but conversely complexity in tone can be exciting as well! Consider the use of harmonizers, phasers, wah pedals, flangers, etc., and you get the idea. To be able to integrate various quantities of fuzz, distortion and overdrive thickens up the tone and adds dimension.
This concept is similar to the idea of blending amps during studio recording. Miking different speaker cones involves finding the best speakers within a cabinet or multiple cabinets and mixing the characteristics of two different speakers. Tony Platt, music producer and engineer, did this with AC/DC’s Back in Black, miking different speaker cones to achieve wider more open-sounding guitars. Then, when the same chords (but different inversions) are layered from two different guitars, it gives the effect of a very big unison guitar sound. A somewhat different approach was taken by Hugh Padgham when he worked with the Police. He would mike two speakers, one of which produced a straight signal, whereas the other would be chorused with a slightly out-of-tune sound to produce a wider stereo picture. As well, using different mikes on the speakers can give subtle color or tone differences that can create a unique blend.
In effect, the idea behind blending is to focus on the strengths of certain amps and speakers, and then to fill in any weaknesses with other gear. And so, you may be achieving a nice searing mid-tone, but the amp lacks a bit of crunch or bottom end. To fix the problem, you add an amp with those characteristics for a more diverse tonal palette. The problem with this scenario for most musicians is the accumulation of all that big hardware, storing it and hauling it around to gigs, as well as the buying and selling of the gear until you get it right.
It is because any amp can do only so much that we invest in pedals, and more particularly those that give an edgy quality, such as the thickening of fuzz, the grinding crunch of distortion, and sharpness and definition when overdriven. To have all these things work simultaneously is a bit of crap-shoot. I’ve been down that road, even when purchasing pedal units from the same company (thinking each would complement the other), but often there was a clash between the overdrive and distortion – you could use one or the other, but when combined it sounded a bit messy. And then when you add fuzz to some distortions or overdrives, there can be even more mess going on, depending on the quality and characteristics of any of the elements.
A further issue I have experienced with many non-tube driven fuzz, distortion or overdrive pedals is that they have a thin, obvious digital or metallic sound, as opposed to the warmth given off by tube amps. I did like one tube-based distortion in general, but it wasn’t as diverse as the company suggested – the range of tones was somewhat limited and it became noisy when the ‘drive’ was turned up too much. There goes $200. And then I tried a multi-distortion/overdrive pedal by a leading manufacturer, but the tones sounded thin. The overall sound or tone of each selection was passable in one sense, but overall they were weak or artificial in quality, even when working with high-end guitars and tube amps. That pedal now sits in the corner collecting dust, $225 later.
It was recently, in early 2011, that I saw an Internet advertisement for an Empress Multidrive pedal. I think it was all the shiny knobs that first caught my attention, suggesting a lot of diversity in this little grey-sparkle metal box (it only measures 4.5” x 3.5” x 1.5”). And then I noticed it integrated all three of the favourites – fuzz, distortion, and overdrive. Now, that was interesting because for all three to be under one hood, they must be complimentary, which they are.
The overall sound is the best I have heard coming from a pedal of this type, and having a four-year warranty tells you something about the durability and company standards. Most notable, it sounds natural and flattering to a tube amp, as though it is part of the amp. Selecting a good tone is somewhat complicated, but worth the time experimenting with this all-analog pedal, only because there are so many options at your disposal. Each element (fuzz, distortion and overdrive) has a separate volume knob, so that you can mix a little, a lot or none of any of the three. And besides controlling the mix, you can adjust the gain for each; and so, imagine having the fuzz turned up to the max, but its volume/mix output being low. Or you can put a lot of distortion into the mix, but keep its bite to a minimum. And when you do turn up the volume and gain on all three, for a maximum tonal experience, the notes still ring clear!
Brian Johnston
Well-known member
- Joined
- Jun 23, 2011
- Messages
- 261
- Reaction score
- 1
PART II OF REVIEW...
The fuzz truly is a classic fuzzzzzzzzzzzzzzzzzz, giving plenty of sustain, gain and fatness to your tone. You can hear Toni Iommi as you crank it up. The overdrive is very vintage sounding and actually sounds like a tube amp breaking up; very smooth and not at all cheap or digital sounding. The degree of effect from this overdrive is sensitive to guitar dynamics, thus making it sound very natural to the ear. Distortion often can add mess to a mix, but this one does not. Whether using a little or a lot, the notes and sound coming from the amp remain tight, even on the heavy end. Usually playing low notes can sound muddy with too much distortion, but not with this pedal.
The quality of each aspect can be controlled with an optional high or low pass filter, to give a bit more definition or creaminess if desired. The distortion has an added feature of how the element is delivered by way of mild (flat), crunch or lead options. The crunch option thickens up the tone, but maintains a tight low end, whereas the lead setting compresses the signal and offers a nice bite in the high end.
Which of the three aspects are on or off is controlled by a select footswitch, which means, for example, you can have fuzz and overdrive without distortion, and without having to turn the volume down on the distortion. What aspects are on and which are off (visible by way of bright multi-colored LEDs) can be customized via a dip-switch panel inside the unit. This allows you to select two preset combinations:
• only fuzz
• only distortion
• only overdrive
• fuzz + distortion
• fuzz + overdrive
• overdrive + distortion
• fuzz + distortion + overdrive
Another way to think about it is: what do you want applied to rhythm and what do you want for lead? Or if you play only rhythm or only lead, what one or two elements do you want in the mix? Of course, you can have all three switched on simultaneously and mixed according to your specs for a super fat tone.
All the above is further controlled through a master section on the pedal. One area allows you to control the mid-range frequency (since the guitar is a mid-range instrument that produces its best sound between 100Hz and 8kHz, give or take), with a 500Hz, 250Hz, and 2kHz option. This means getting a bit more punch by way of adding ‘body/thickness,’ or by adding ‘clarity/brightness.’ This ties nicely into a second area, the main EQ, which allows further control over the hi, mid and low ends for added tonal shaping.
Many companies claim ‘true bypass,’ but a lot of the times you can hear how your tone is affected in the bypass mode – it’s not quite the same as if you were to remove the pedal from the chain completely. This pedal truly does have a true bypass, as though nothing is there. And when in use, the pedal is super quiet – with all elements turned up full (both volume and gain), the degree of hiss or hum is the lowest I have heard... almost negligible.
For the price you are getting a heck of a pedal, and it’s like having three pedals, but with a few differences: 1) with fuzz/distortion/drive combined it takes up little room on the pedal board and no more space than most pedals with far fewer options and control; 2) most importantly, all three aspects are complimentary – no worries if a fuzz you buy will mix well with the overdrive, or the overdrive with the distortion.
One other point of interest: if you have access to an amp simulator pedal/device (I have the Line6 Pod X3 Live), your tonal possibilities have just increased. Amp simulators come close to emulating amps from Fender, Mesa, Marshall, and many others, but one of the problems is that they sound digital (which they are) and thin, not warm and full like the real deal. What I do is select an amp/speaker combo I like, but turn down the gain/drive completely. I then use my Empress Multidrive for a superior sound, but in combination with my preferred amp characteristics. No need to invest in numerous amps for diverse sounds (or as you get bored with your gear); select the amp head and cabinet you want from the amp simulator, turn down any drive or gain so that it’s clean, then hear the far more natural nuances being delivered through the Multidrive. I can testify there is a big difference in doing this as opposed to using the drive and distortion/fuzz options that come with a digital amp simulator.
So far, so good, but there are few negatives with this pedal (hardly worth mentioning, but review readers always are looking for an Achilles Heel). One, you have to buy an adapter if you prefer powering it up that way, rather than using battery juice (and getting access to the battery requires the unscrewing of the bottom plate). Two, it would be nice if you could save pre-sets, but really that is non sequitur with this pedal. The Empress Multidrive is an analog pedal, and to re-engineer it to save presets means changing its nature to digital. And when you do that you no longer get the great tones that are possible as they currently exists. And so, many consumers may unknowingly be giving up superior sound for a pre-set saving option, or to have a pedal that has numerous pre-sets to ‘emulate’ different types of fuzzes, overdrives and distortions. I’ll make the effort to turn a few knobs to retain the quality of the Multidrive.
The fuzz truly is a classic fuzzzzzzzzzzzzzzzzzz, giving plenty of sustain, gain and fatness to your tone. You can hear Toni Iommi as you crank it up. The overdrive is very vintage sounding and actually sounds like a tube amp breaking up; very smooth and not at all cheap or digital sounding. The degree of effect from this overdrive is sensitive to guitar dynamics, thus making it sound very natural to the ear. Distortion often can add mess to a mix, but this one does not. Whether using a little or a lot, the notes and sound coming from the amp remain tight, even on the heavy end. Usually playing low notes can sound muddy with too much distortion, but not with this pedal.
The quality of each aspect can be controlled with an optional high or low pass filter, to give a bit more definition or creaminess if desired. The distortion has an added feature of how the element is delivered by way of mild (flat), crunch or lead options. The crunch option thickens up the tone, but maintains a tight low end, whereas the lead setting compresses the signal and offers a nice bite in the high end.
Which of the three aspects are on or off is controlled by a select footswitch, which means, for example, you can have fuzz and overdrive without distortion, and without having to turn the volume down on the distortion. What aspects are on and which are off (visible by way of bright multi-colored LEDs) can be customized via a dip-switch panel inside the unit. This allows you to select two preset combinations:
• only fuzz
• only distortion
• only overdrive
• fuzz + distortion
• fuzz + overdrive
• overdrive + distortion
• fuzz + distortion + overdrive
Another way to think about it is: what do you want applied to rhythm and what do you want for lead? Or if you play only rhythm or only lead, what one or two elements do you want in the mix? Of course, you can have all three switched on simultaneously and mixed according to your specs for a super fat tone.
All the above is further controlled through a master section on the pedal. One area allows you to control the mid-range frequency (since the guitar is a mid-range instrument that produces its best sound between 100Hz and 8kHz, give or take), with a 500Hz, 250Hz, and 2kHz option. This means getting a bit more punch by way of adding ‘body/thickness,’ or by adding ‘clarity/brightness.’ This ties nicely into a second area, the main EQ, which allows further control over the hi, mid and low ends for added tonal shaping.
Many companies claim ‘true bypass,’ but a lot of the times you can hear how your tone is affected in the bypass mode – it’s not quite the same as if you were to remove the pedal from the chain completely. This pedal truly does have a true bypass, as though nothing is there. And when in use, the pedal is super quiet – with all elements turned up full (both volume and gain), the degree of hiss or hum is the lowest I have heard... almost negligible.
For the price you are getting a heck of a pedal, and it’s like having three pedals, but with a few differences: 1) with fuzz/distortion/drive combined it takes up little room on the pedal board and no more space than most pedals with far fewer options and control; 2) most importantly, all three aspects are complimentary – no worries if a fuzz you buy will mix well with the overdrive, or the overdrive with the distortion.
One other point of interest: if you have access to an amp simulator pedal/device (I have the Line6 Pod X3 Live), your tonal possibilities have just increased. Amp simulators come close to emulating amps from Fender, Mesa, Marshall, and many others, but one of the problems is that they sound digital (which they are) and thin, not warm and full like the real deal. What I do is select an amp/speaker combo I like, but turn down the gain/drive completely. I then use my Empress Multidrive for a superior sound, but in combination with my preferred amp characteristics. No need to invest in numerous amps for diverse sounds (or as you get bored with your gear); select the amp head and cabinet you want from the amp simulator, turn down any drive or gain so that it’s clean, then hear the far more natural nuances being delivered through the Multidrive. I can testify there is a big difference in doing this as opposed to using the drive and distortion/fuzz options that come with a digital amp simulator.
So far, so good, but there are few negatives with this pedal (hardly worth mentioning, but review readers always are looking for an Achilles Heel). One, you have to buy an adapter if you prefer powering it up that way, rather than using battery juice (and getting access to the battery requires the unscrewing of the bottom plate). Two, it would be nice if you could save pre-sets, but really that is non sequitur with this pedal. The Empress Multidrive is an analog pedal, and to re-engineer it to save presets means changing its nature to digital. And when you do that you no longer get the great tones that are possible as they currently exists. And so, many consumers may unknowingly be giving up superior sound for a pre-set saving option, or to have a pedal that has numerous pre-sets to ‘emulate’ different types of fuzzes, overdrives and distortions. I’ll make the effort to turn a few knobs to retain the quality of the Multidrive.
Ch0jin
Well-known member
Nicely written Brian. You obviously put a great deal of thought into that. By way of feedback though, I found it a little too flowery. I felt like at the end you'd point out that you worked for Empress, or that they paid you for the review. In addition your comments about true bypass seemed a little over the top to me.
"Many companies claim ‘true bypass,’ but a lot of the times you can hear how your tone is affected in the bypass mode – it’s not quite the same as if you were to remove the pedal from the chain completely."
Really? 'Many' companies? A 'lot' of the time? That smacks of marketing spin to me. Admittedly I've built more pedals than I've bought, but in my limited experience I have yet to see (or read about) a "true bypass" pedal that isn't, with the possible exception of the ubercheap Chinese stuff on ebay, but I wouldn't lump this pedal in with that lot.
More typically I've seen the switching arrangement not mentioned (EH uPOG) when it's buffered rather than bypassed though, and of course the big guys like Boss don't talk about it in their pedal specifications either, which to me at least is a non-issue, as the three Boss pedals I own sound totally transparent to me, at least compared to what my Crybaby and EH uPOG buffers sounded like before they were radically excised.
I have read about, heard, and simulated myself, true bypass pedals that do bleed wet signal when bypassed, but in all cases these have been home made pedals and the cause is poor layout/design/wiring in all cases. (I'm looking at Phasers and Flangers in particular)
That's just my experience of course, but because of my experience, that section didn't sit well with me. It felt like a broad generalisation rather than a statement of fact.
Anyway, just a small critique for an otherwise well constructed piece.
"Many companies claim ‘true bypass,’ but a lot of the times you can hear how your tone is affected in the bypass mode – it’s not quite the same as if you were to remove the pedal from the chain completely."
Really? 'Many' companies? A 'lot' of the time? That smacks of marketing spin to me. Admittedly I've built more pedals than I've bought, but in my limited experience I have yet to see (or read about) a "true bypass" pedal that isn't, with the possible exception of the ubercheap Chinese stuff on ebay, but I wouldn't lump this pedal in with that lot.
More typically I've seen the switching arrangement not mentioned (EH uPOG) when it's buffered rather than bypassed though, and of course the big guys like Boss don't talk about it in their pedal specifications either, which to me at least is a non-issue, as the three Boss pedals I own sound totally transparent to me, at least compared to what my Crybaby and EH uPOG buffers sounded like before they were radically excised.
I have read about, heard, and simulated myself, true bypass pedals that do bleed wet signal when bypassed, but in all cases these have been home made pedals and the cause is poor layout/design/wiring in all cases. (I'm looking at Phasers and Flangers in particular)
That's just my experience of course, but because of my experience, that section didn't sit well with me. It felt like a broad generalisation rather than a statement of fact.
Anyway, just a small critique for an otherwise well constructed piece.
Brian Johnston
Well-known member
- Joined
- Jun 23, 2011
- Messages
- 261
- Reaction score
- 1
bypass
Well, my experience is different, whether they were cheap pedals or not. I did not say 'all,' and so, therefore, it is not a broad generalization. I've been writing for years, and that is my style (I like giving background to the concept in question)... companies don't pay me for reviews... I review things I like while not wasting my time with things I don't like. Best wishes.
Well, my experience is different, whether they were cheap pedals or not. I did not say 'all,' and so, therefore, it is not a broad generalization. I've been writing for years, and that is my style (I like giving background to the concept in question)... companies don't pay me for reviews... I review things I like while not wasting my time with things I don't like. Best wishes.
Ch0jin
Well-known member
Hoping you weren't offended by my comments. It's obvious you have done a lot of writing, so I assumed constructive critique was something you would be cool with.
You mention you aren't being paid for reviews, have you ever thought about it? I work in tech marketing and I could imagine vendors loving your writing style for product reviews.
You mention you aren't being paid for reviews, have you ever thought about it? I work in tech marketing and I could imagine vendors loving your writing style for product reviews.
Brian Johnston
Well-known member
- Joined
- Jun 23, 2011
- Messages
- 261
- Reaction score
- 1
It wasn't an issue of being offended, but what I stated as opposed to how it was interpreted. Things like that happen. MusicGearReview.com offered me payment for reviews, but it was a minor amount and I don't bother with it. I write reviews because I like gear and talking about it.
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