TEST: Digitech Whammy 4

Only ten years on the market and already a classic! What, after only 10 years, the accolade of the imperishable (if this classification even exists in the pop / rock category...)?

Well, if you actually manage to establish a truly NEW effect, especially in the FX pedal market, which was already saturated to the brim with distortion, modulation and spatial effects, you actually deserve a lot of respect, including from the competition.

We're talking about the Digitech Whammy Pedal, an effect that you have to master as an audiophile, as it appears extremely three-dimensional, but the inexperienced listener initially assumes it is due to the artist's dexterity.

In 2000, thousands of guitarists were racking their brains as to how Tom Morello of RAGE AGAINST THE MACHINE managed to use his already exalted guitar work to reach fingerboard heights that came close to the area above the (theoretical) thirtieth fret, without using a bottleneck or other obvious aids .

Or the current Punch and Judy troupe DRAGONFORCE, who, with their Nintendo Metal, alienate their guitar sounds with the help of Pro Tools and the Whammy Pedal, thus presenting many predominantly male/pubescent guitar students with a difficult process of discovery.

Only by listening closely and seeing the action on the fretboard, which is technically insoluble, do the ambitious musician realize that an effects pedal has to be involved. The same product goes by the name Whammy Pedal and hit like a grenade at its time.

DigiTech, which is part of the Harman Group, has now brought Version 4 of the Whammy Pedal onto the market, with the product gaining a few more layers of flexibility compared to its grandfather.

Although based in the USA, the Whammy Pedal 4 is also assembled in China to keep labor costs low.


construction

The bright red pedal has a very solid construction and has excellent stability due to its 1.6 kg weight and four rubber feet, which have a very good “stickiness” on smooth surfaces.

A robust rocker with a non-slip pad and a sturdy true bypass switch also provide a high level of confidence in terms of longevity.

The device is normally placed as the first link in the signal chain between the guitar and the amplifier input, before any distortion that may be used, and has one input and two outputs (dry, wet added).

The wet output is connected to the amp or other mines, the dry out can be fed to a tuner if necessary. This is a nice detailed solution, so if in doubt you can also use “lower quality” tuners for live use, which should not be in the main signal path in normal operation due to the loss of sound with their electronics.

The pedal's different programs can also be managed remotely via a MIDI-in socket. Alternatively, you can select the individual programs using an endless controller. A 9V mains connection, which requires a whopping 1.3 A current flow, completes the connection area.

The Whammy Pedal has a total of 17 presets, which are divided into 3 different function groups:


Function 1: Harmony (a second tone of the same volume is added to the tone played)

Interval 1: Oct up / Oct Dn (pure octave above with pedal pressed, pure octave below with pedal pulled)

Interval 2: 5th Dn / 4th Dn (perfect fourth below with the pedal pressed, perfect fifth below with the pedal pulled)

Interval 3: 4th Dn / 3rd Dn (minor third below with the pedal pressed, perfect fourth below with the pedal pulled)

Interval 4: 5th Up / 7th Up (minor seventh above with pedal pressed, perfect fifth above with pedal pulled)

Interval 5: 5th Up / 6th Up (major sixth above with the pedal pressed, perfect fifth above with the pedal pulled)

Interval 6: 4th Up / 5th Up (perfect fifth above with the pedal pressed, perfect fourth above with the pedal pulled)

Interval 7: 3rd Up / 4th Up (perfect fourth above with pedal pressed, major third above with pedal pulled)

Interval 8: Min 3rd Up / 3rd Up (major thirds above with pedal pressed, minor thirds above with pedal pulled)

Interval 9: 2nd Up / 3rd Up (major third above with pedal pressed, major second above with pedal pulled)



Function 2: Detune (the signal is doubled and slightly to strongly detuned)

Shallow: slight upset

Deep: stronger detuning




Function 3: Whammy (the signal is pitched up or down via the rocker over the set interval)

Interval 1:2 Oct Up (the signal is pitched up two pure octaves)

Interval 2: 1 Oct Up (the signal is pitched up a pure octave)

Interval 3: 1 Oct Dn (the signal is pitched down a pure octave)

Interval 4: 2 Oct Dn (the signal is pitched down two pure octaves)

Interval 5: Dive Bomb (the vibrato use of a Floyd-Rose system is simulated over 3 octaves downwards)

Interval 6: Drop Tune (the signal is shifted down two semitones)



Practice

Connected, selected interval and off you go. The first thing you notice is the excellent quality of the sound signal. The processor works very well in terms of sound and lets the signal through with almost no discoloration.

In Whammy mode, the processor also works very quickly; you can hardly notice any latency even when playing fast. In detune mode, the CPU strangely needs a few milliseconds more to reproduce the processed signal, but the computing speed is absolutely sufficient even for faster passages.

The mechanical alignment of the pedal's rocker takes a little getting used to, as its actual control path in whammy mode only begins after about half of the tilting movement. Personally, I would prefer smooth control from the first foot movement, but this is a personal interpretation.

In the Harmony range, however, the rocker works from the first centimeter and therefore allows for finer adjustment than in Whammy mode.

And the effect? Well, as already mentioned, life is comfortable when you have “invented” an effect that is second to none and is of course protected by appropriate patents. If you want Whammy, you need DigiTech, it's simple ;-)

You can achieve both subtle alienation of the signal and completely exaggerated effect passages from the “big pants” department, all in very good audio quality and with the corresponding AHA effect.



Conclusion

The Whammy effect is actually one of the few outstanding effects that have achieved worldwide fame in recent years. Its unique effect parameters still leave the six-string group open-mouthed today and rarely fail to have their effect.

The targeted and well-dosed use of the product enriches the range of effects of the ambitious solo guitarist and is convincing in the right tonal context.

Good workmanship, good sound quality, unique effect, what more could you want?

———————-

Additional Informations:

Unraveling the Intricacies of Harmonizer Effects in Music

Introduction:
In the realm of music production and performance, the use of effects pedals has become an indispensable tool for shaping and enhancing sound. Among the vast array of effects available to musicians, harmonizer effects stand out as versatile tools for creating lush, multi-dimensional textures and expanding the sonic palette. In this comprehensive guide, we embark on a journey through the intricate world of harmonizer effects, exploring their origins, technical principles, creative applications, and impact on contemporary music.

I. Origins and Evolution:
The concept of harmonization, or the simultaneous sounding of multiple musical pitches, dates back centuries and has been explored in various forms throughout musical history. Early attempts at creating harmonizer effects can be traced to analog tape-based techniques, where engineers manipulated tape speed and pitch to achieve basic pitch shifting and harmonization effects. However, it was the advent of digital signal processing in the late 20th century that paved the way for the development of sophisticated harmonizer effects with greater precision and flexibility.

II. Technical Principles:
Harmonizer effects operate by altering the pitch of an incoming audio signal in real-time, creating harmonies that follow a predetermined interval or musical scale. This process is achieved through digital algorithms that analyze the incoming audio, generate additional pitches based on the desired harmony, and blend them with the original signal to create a harmonized output. Modern harmonizer pedals often feature a range of controls and parameters, allowing users to adjust parameters such as harmony interval, scale, and mix level to tailor the sound to their liking.

III. Types of Harmonizer Effects:
Harmonizer effects come in various forms, each offering unique features and capabilities suited to different musical contexts and applications. Some common types of harmonizer effects include:
1. Pitch Shifters: Basic pitch-shifting effects that allow users to transpose the pitch of the input signal up or down by a specified interval.
2. Intelligent Harmonizers: Advanced harmonizer effects that analyze the input signal and generate harmonies based on the musical context, allowing for precise control over harmony intervals and scales.
3. Whammy Pedals: Expression pedal-controlled pitch-shifting effects that enable real-time manipulation of pitch and harmony, popularized by the iconic Digitech Whammy pedal.
4. Dual-Voice Harmonizers: Harmonizer effects that generate two simultaneous harmony voices, enabling users to create rich, multi-part harmonies and layered textures.

IV. Creative Applications:
Harmonizer effects offer a wealth of creative possibilities for musicians and sound designers across a wide range of genres and styles. Some common applications of harmonizer effects include:
1. Vocal Harmonization: Adding rich, multi-part harmonies to vocal performances, enhancing vocal arrangements, and creating lush backing vocals.
2. Guitar Harmonization: Generating harmonized guitar lines and melodies to add depth and complexity to guitar solos and riffs.
3. Instrumental Harmonization: Applying harmonizer effects to non-vocal instruments such as keyboards, brass, and strings to create orchestral textures and layered arrangements.
4. Experimental Sound Design: Pushing the boundaries of conventional harmony and exploring avant-garde sonic landscapes through the use of extreme pitch-shifting and modulation effects.

V. Influential Artists and Albums:
Throughout the history of popular music, harmonizer effects have been used by countless artists and producers to create iconic recordings and signature sounds. Some influential examples include:
1. Brian Wilson and The Beach Boys: Wilson's pioneering use of harmonizer effects, particularly on albums like "Pet Sounds," helped define the lush, multi-part vocal harmonies that became synonymous with the Beach Boys' sound.
2. Jimmy Page and Led Zeppelin: Page's use of the Eventide Harmonizer on tracks like "Whole Lotta Love" and "Kashmir" introduced innovative pitch-shifting effects to the rock guitar lexicon, paving the way for future generations of guitarists.
3. Imogen Heap: Heap's innovative use of vocal harmonizer effects, particularly on her album "Speak for Yourself," showcased the creative potential of real-time pitch manipulation in contemporary pop music.
4. Radiohead: Radiohead's experimental approach to production and sound design, exemplified on albums like "Kid A" and "Amnesiac," often incorporates harmonizer effects to create otherworldly textures and atmospheres.

VI. Modern Developments and Trends:
In recent years, advancements in technology have expanded the capabilities of harmonizer effects, leading to the development of innovative new pedals and software plugins. Some notable trends and developments in the world of harmonizer effects include:
1. Polyphonic Harmonizers: Pedals and plugins capable of generating multiple harmonized voices simultaneously, enabling users to create complex, choir-like textures and harmonies.
2. Intelligent Harmonization: Algorithms that employ artificial intelligence and machine learning to analyze musical context and generate harmonies with greater accuracy and musicality.
3. Integration with DAWs and Digital Workflows: Harmonizer effects that seamlessly integrate with digital audio workstations (DAWs) and recording software, allowing for precise control and automation of harmonized vocals and instruments in the studio.
4. Hybrid Analog-Digital Designs: Pedals that combine the warmth and character of analog circuitry with the flexibility and precision of digital signal processing, offering a unique blend of vintage and modern harmonizer tones.

VII. Conclusion:
In conclusion, harmonizer effects have become essential tools for musicians and producers seeking to explore new sonic territories and enhance their creative output. From their humble origins in analog tape manipulation to their modern-day incarnations as sophisticated digital processors, harmonizer effects have continuously evolved to meet the demands of musicians across genres and styles. Whether used to add depth and complexity to vocal performances, create otherworldly guitar textures, or push the boundaries of experimental sound design, harmonizer effects remain indispensable assets in the musician's toolkit, offering endless possibilities for sonic exploration and artistic expression.

TEST: Vocalist Live 5

 Let's not kid ourselves, even if guitarists, keyboardists or other instrumentalists don't want to admit it, as soon as you leave the path of instrumental music, it is almost exclusively the singer who is noticed by the audience and who ( r) decides whether a show wins or loses. Apart from lousy announcements, unpleasant appearance or unprofessional preparation, it is the pure craftsmanship in the form of intonation and charisma that can be the vocalist's downfall on stage. If you now want to entice the listener to nod their heads in appreciation with the supreme discipline of live performance, polyphonic singing, the problems mentioned above multiply.

If you now have an official men's singing club like the Eagles, Doobie Brothers, or even the Champions League a la Manhattan Transfer in mind, you can be prepared for several years of vocal training, which not only takes a lot of time, but also a lot of commitment and effort means. It is not for nothing that many musical styles have finally said goodbye to vocal singing due to the complexity, or even, as is common in some metal styles, the “singers” can no longer even manage a single vocal line and give in to noise-filled grunts.

Anyone who is now able to sing can get electronic support when it comes to singing sentences, especially since you can freely choose the number and direction of your singing colleagues. The American company Digitech has been successfully involved in this segment for a long time with its Vocalist series and, in addition to desktop and 19 inch products, also has floor pedals in its catalog, which are primarily designed for the singing guitarist or for singers who have a guitarist in the band lead. The latest addition is called Vocalist Live 5 and, who would have thought, is the successor to the successful version 4.



construction

The Digitech Vocalist Live 5 is a floor effects device that is intended to be used both in the studio and especially in the live area. Especially in the second segment, the device must have the necessary resistance to be able to cope with the sometimes slightly trampy guitarist. This is not a problem with the Digitech Vocalist Live 5, the metal/plastic combination will be able to cope with one or two missteps.

With dimensions of 358 mm x 65 mm x 211 mm (WxHxD) and a weight of 1.5 kilograms, the pedal can easily be transported in a medium-sized bag. The scope of delivery includes the appropriate power supply, but be careful, the classic proprietary Digitech solution is once again used here. The power supply delivers 1.3 amps (!) alternating current (!!!), a value that is probably not supplied by any other company. Forgetting the power supply at home doesn't mean you can't sing a sentence! Unfortunately, the enclosed manual is only in English and is primarily aimed at the experienced user who already has some knowledge of harmony and parameter editing.

When it comes to handling, you can operate the pedal in two ways. Either you program your preferred scales and keys into a corresponding preset, or you hand over the responsibility to the patented musIQ tone analysis, which gets its information from a connected guitar. It doesn't matter whether you're using an acoustic guitar with an integrated pickup or an electric guitar, as long as you've optimized the input level. You can choose in advance whether you loop the guitar through in this first processing stage and then send it to an amp or mixing console, or from then on you mix the guitar as a third sound source with your own singing and the choir songs produced. There are three controls on the front for quick editing.

The Digitech Vocalist Live 5 has a total of 100 memory slots, 50 overwritable user presets and 50 permanent factory presets, which should be more than enough for a normal show. The product provides a wide range of editing functions, which relate to the microphone setting, the choirs and the guitar signal. Fortunately, when it comes to the guitar signal, they only concentrated on processing an acoustic guitar signal and didn't make the mistake of offering pedestrian electric guitar management via amp and speaker simulations.


When it comes to microphone and choir editing, however, Digitech brings out the big guns. Starting with various preamp settings, dynamic processing (compressor / gate), various filters and room effects (reverb / delay), the device comes with an elaborate channel strip. If necessary, a bit of Punch and Judy show with robot voices or similar is also used. Oh yes, users who are unsure of their intonation can also get some help with Pitch Correct. In the choir area, however, up to 4 additional, harmonized voices can be generated; the side job with the local gospel choir can be considered secure.

Management is done via 5 endless controllers, which take on multiple functions depending on the submenu. Below there are 5 pressure switches, which have the effect area, the harmony function, the presets and now, an A/B function per preset. This means that you can, for example, switch between different harmony settings within a song, for example verse and chorus. On the back, the Digitech Vocalist Live 5 has an extensive repertoire of inputs and outputs, such as a lockable Neutrik XLR / TSR combination socket, guitar in/out, balanced XLR stereo outs with ground lift, stereo jack out, a headphone jack, an expression pedal jack and the power supply socket.


Practice

Connecting the required signal transmitters proves to be uncomplicated. Connect the microphone, control it, done. Then the guitar, control, also good. The instrument can also be tuned using an internal tuner. Alternatively, a keyboard can also be used, but you should keep an eye on the input level. If you step through the individual programs, you will immediately notice how easy the display is to read. However, you should read the abbreviations in the manual beforehand so as not to despair because of the sometimes cryptic characters.

In terms of sound, however, the product impresses across the board. The naturalness of the voices produced are of very high quality and can also be made very human in terms of their “uncleanliness”. The chord recognition is also very fast and, even with power chords, is comparatively very good in terms of guessing the thirds within the tonal genders, unless you want to add a Beatles style singing to wild chromatic root notes/fifth scrubbing in Slayer style. In general, however, cutting out the chord you play has great advantages in terms of harmony, so you should try to work in triads, unless you just want to double or octave your singing.

When using an acoustic guitar with a pickup, you can also mix the signal very nicely via the outputs used, thereby saving you the need for an acoustic guitar amplifier. You can achieve the same thing with an electric guitar, but only with clean sounds. If you want to add an amp modeler, you should make sure to keep the level of distortion as low as possible and avoid using modulation effects if possible.


Conclusion

With the Digitech Vocalist Live 5, the American manufacturer is once again setting a bold mark when it comes to harmony singing. The floor pedal shines with a first-class sound, large editing options and excellent chord recognition, which allows even inexperienced musicians to open the door to singing in terms of harmony.

If Digitech now included a multilingual, somewhat more lovingly designed manual with the product, the overall impression would be perfect.

————————

Additional Informations:

Polyphonic vocal harmony, the art of blending multiple melodic lines to create rich, textured harmonies, has been a hallmark of musical expression since ancient times. In the context of bands, the development of polyphonic vocal arrangements has evolved over centuries, shaped by cultural, technological, and artistic influences. In this comprehensive exploration, we trace the fascinating history of polyphonic singing in bands, from its early origins to its modern-day manifestations.

I. Early Origins:
The roots of polyphonic vocal harmony can be traced back to ancient civilizations, where communal singing played a central role in religious ceremonies, communal rituals, and cultural celebrations. Early forms of polyphony emerged in various cultures, including medieval Europe, where Gregorian chant and early sacred music featured simple vocal harmonies created by overlapping melodic lines.

II. Renaissance Polyphony:
The Renaissance period witnessed a flourishing of polyphonic vocal music, characterized by intricate contrapuntal techniques and lush harmonic textures. Composers such as Josquin des Prez, Giovanni Pierluigi da Palestrina, and Thomas Tallis explored the possibilities of polyphony in choral settings, creating elaborate motets, madrigals, and choral compositions that showcased the beauty and complexity of multiple vocal lines interweaving harmoniously.

III. Baroque and Classical Periods:
During the Baroque and Classical eras, polyphonic vocal harmony continued to evolve, with composers like Johann Sebastian Bach, George Frideric Handel, and Wolfgang Amadeus Mozart incorporating rich vocal textures into their compositions. The emergence of opera and oratorio provided new opportunities for polyphonic singing, with soloists, choruses, and instrumental ensembles coming together to create grandiose vocal works of unparalleled beauty and complexity.

IV. Folk and Traditional Music:
In parallel to the classical tradition, folk and traditional music cultures around the world developed their own forms of polyphonic vocal harmony. From the close-harmony singing of Appalachian folk music to the intricate vocal layering of African choral traditions, polyphony became a vital element of cultural expression, passed down through generations via oral tradition and communal singing.

V. The Rise of Vocal Groups:
The 20th century witnessed the rise of vocal groups and ensembles dedicated to exploring the possibilities of polyphonic singing in popular music. Groups like The Mills Brothers, The Andrews Sisters, and The Ink Spots popularized close-harmony singing styles, blending intricate vocal arrangements with catchy melodies and rhythmic accompaniment. These vocal groups laid the groundwork for the emergence of modern-day a cappella and vocal harmony groups.

VI. The Beatles and the British Invasion:
The Beatles, with their innovative use of vocal harmony and multi-part arrangements, played a pivotal role in popularizing polyphonic singing in the context of bands. Songs like "Nowhere Man," "Because," and "This Boy" showcased the band's mastery of vocal harmony, with tight, intricate arrangements that added depth and richness to their sound. The Beatles' influence inspired countless bands to experiment with vocal harmony, shaping the sound of popular music for decades to come.

VII. Progressive Rock and Art Rock:
The progressive rock movement of the 1970s saw bands like Yes, Genesis, and Pink Floyd pushing the boundaries of polyphonic vocal harmony in rock music. Complex vocal arrangements, intricate harmonies, and elaborate vocal overdubs became defining features of the genre, as bands explored new sonic territory and sought to expand the possibilities of vocal expression in a band context.

VIII. A Cappella Renaissance:
In recent decades, there has been a resurgence of interest in a cappella music, fueled by popular television shows like "The Sing-Off" and "Pitch Perfect." A cappella groups like Pentatonix, Voctave, and Straight No Chaser have gained widespread acclaim for their innovative arrangements, virtuosic vocal performances, and creative use of polyphonic vocal harmony. These groups continue to push the boundaries of vocal expression, blending traditional choral techniques with modern pop sensibilities to create a fresh and dynamic sound.

IX. Modern Trends and Innovations:
In the digital age, advancements in recording technology and music production have opened up new possibilities for polyphonic vocal harmony in bands. With the advent of multi-track recording, bands can layer multiple vocal tracks to create intricate harmonies and lush vocal textures that were previously unattainable in a live setting. Vocal processing tools and pitch correction software have further expanded the creative possibilities, allowing artists to manipulate and enhance vocal performances with precision and control.

X. Conclusion:
From its humble origins in ancient rituals to its modern-day manifestations in popular music, polyphonic vocal harmony has remained a timeless and universal expression of human creativity and emotion. As bands continue to evolve and innovate, the tradition of polyphonic singing will undoubtedly endure, enriching our lives with its beauty, complexity, and profound capacity for emotional resonance. Whether performed by a small vocal ensemble or a stadium-filling rock band, polyphonic vocal harmony serves as a testament to the power of music to unite, inspire, and uplift the human spirit.

TEST: Digitech Freqout

 It's not easy as a pedal manufacturer these days. On the one hand, the pool of ground effects is maxed out, and on the other hand, it makes little sense to release the two hundredth TS-9 clone, be it as a deluxe-made-in-the-one-and-one-at-a-full-moon-lace. only-deepest-heart-of-USA boutique pedal or as an even cheaper pressed cardboard version for €19.99.

I don't want to know how many engineers around the world are tearing their hair out in the hope of getting inspiration so that a really new, but above all useful, pedal might see the light of day. Apparently Digitech has one of these enlightened people somewhere in the development department who comes up with a real innovation, if not a sensation, every few years. Who doesn't remember the big bang with which the whammy pedal made the music scene sit up and take notice of its time. Not one electric guitarist in the world who asked themselves during the group's debut “Rage Against The Machine” how Tom Morello implemented the crazy solo on the song “Killing In The Name”.

And now the Digitech Frequout Pedal. And? What's so innovative about it? Wait!

History lesson

“Oh no,” I can already hear the first ones groaning, “not again the Axel department talking about the eighties / Grandpa talking about the war.” Sorry, we have to turn back the clock a little, otherwise at least the younger ones among our readers may suffer from the problem of late birth.

Anyone who wants to really rip open their new amp alone in the rehearsal room will know the effect. Feedback fills the room. But in addition to the annoying effect of microphonics (the disgusting high-pitched whistling, which also occurs very quickly with awkwardly positioned microphones), the ambitious guitarist also notices a very pleasant side effect when he turns his body accordingly and chooses the right volume and level of distortion.

Depending on the note played, the side turns into an overtone wave and delivers a theoretically infinite sustain. High-quality wood and the best workmanship of instruments in the higher price ranges are very conducive to this behavior, so that the effect described used to be a sign of a very good instrument. Prerequisite: at least crunch distortion, better high gain and above all, a very high volume. Must listen: Gary Moore - “Parisienne Walkways” from the album “Blues Alive” at 2:24!

We're back in 2017. Inear systems dominate live stages, making high stage volumes obsolete. 50% of all guitarists play Kemper amps or comparable systems and no longer have any sound pressure at all on stage. What makes the hearts of most FOHs beat faster also ensures that there is no longer any interaction between guitar and speaker using moving air. Types of play like the above-mentioned controlled feedback are therefore impossible.

construction

Or should I say, were impossible? This is exactly where the Digitech Freqout comes in. It generates 7 different feedback frequencies (1st, 2nd, 3rd, 5th, Nat Low, Nat High and Sub) into which a vibrating string can tip. The double potentiometer Gain / Onset controls the intensity of the effect and the time period from which the effect should begin. When the effect is switched on, 2 mini switches also allow the activation of continuous operation or “momentary” operation and the mix of the original sound and effect or the effect can be listened to solo. Normally you will mix the two sounds, but in solo mode you can really hear how the effect works and when it starts.

Last but not least, a 9-way LED chain on the left side also visually shows how the effect works. The pedal, built in China, is very solid and should have a long life ahead of it. Unfortunately, the pots and mini switches have no protection against carelessly used footwear, so a little caution is required on stage.

Practice

It's always nice when a product triggers an AHA effect. This is the case with the Digitech Freqout. When activated for the first time, the product does what it is supposed to do, but everyone has to find their own personal setting in the areas of gain and onset. If you want the effect to sound natural, experience from the rehearsal room or on stage can help. The effect shouldn't start too quickly, as the string needs a moment to build up the interaction. But too late doesn't make sense either, as natural feedback rarely only occurs after 3 seconds or later.

In terms of sound, the original sound is slightly changed when activated, but like the Whammy, it is within acceptable limits. Attention, the Digitech Freqout does not replace volume on stage! It is completely unsuitable for rhythm and chord playing; its intended use is solo playing, where only a single note is played. But he can do it like no other.


Conclusion

With the Digitech Freqout, the pedal manufacturer from Utah has once again achieved a very innovative feat. The previously unique effect generates the feedback effect even at the lowest volumes, which previously could only be achieved with the use of high volumes. A brilliant effect for small club gigs that revive the feel of a hall concert, but also another piece of the puzzle of the disenchantment of time-honored rock'n'roll.
 
For the innovation alone: top marks

———————

Additional Informations:

Feedback, that characteristic howl or wail produced when the sound from an electric guitar's amplifier is picked up by its own pickups and re-amplified, is an integral aspect of electric guitar playing. While often perceived as an unwanted nuisance, feedback can be harnessed as a powerful tool for artistic expression and sonic experimentation. In this comprehensive guide, we will explore the nuances of feedback, its underlying principles, and techniques for harnessing its potential to elevate your electric guitar performance.

I. Understanding Feedback:
Feedback occurs when the sound produced by an electric guitar's amplifier is captured by the guitar's pickups and re-amplified, creating a loop of sound that sustains and grows in volume. This phenomenon is primarily influenced by the interaction between the guitar, amplifier, and environment, including factors such as volume, proximity to the amplifier, room acoustics, and guitar setup.

II. The Physics of Feedback:
At its core, feedback is governed by the principles of acoustics and signal processing. When sound waves emitted by the amplifier reach the guitar's pickups, they induce a voltage in the pickup coils, which is then amplified and sent back through the amplifier. This continuous loop of sound reinforcement leads to the sustained oscillation characteristic of feedback.

III. Types of Feedback:
Feedback can manifest in various forms, each with its own sonic characteristics and implications for performance. Common types of feedback include harmonic feedback, in which specific frequencies are accentuated, and chaotic feedback, characterized by unpredictable and uncontrollable oscillations. Understanding these distinctions is essential for harnessing feedback creatively.

IV. Harnessing Feedback Creatively:
While feedback is often viewed as a nuisance to be avoided, skilled guitarists have learned to embrace it as a creative tool. By manipulating factors such as guitar position, amplifier settings, and proximity to the amplifier, guitarists can control and shape the feedback to create unique textures, drones, and harmonic overtones. Experimentation is key to unlocking the full potential of feedback as a creative resource.

V. Feedback Techniques:
Numerous techniques can be employed to manipulate feedback and incorporate it into your playing. These include:
1. Controlled Feedback: Deliberately inducing feedback at specific moments to enhance dynamics and add intensity to your performance.
2. Feedback Loops: Creating complex feedback loops by routing the guitar signal through effects pedals or signal processors to generate evolving and unpredictable sonic textures.
3. Feedback Melodies: Using feedback to generate melodic lines and harmonic sequences by carefully controlling the guitar's position and proximity to the amplifier.
4. Feedback Swells: Gradually increasing the volume and intensity of feedback to create dramatic swells and crescendos in your playing.

VI. Practical Considerations:
While harnessing feedback can yield exhilarating results, it's essential to approach it with caution and mindfulness. Excessive feedback can overpower other instruments and disrupt the balance of a mix, so it's crucial to exercise restraint and use feedback judiciously. Additionally, be mindful of your ears and equipment, as prolonged exposure to high volumes of feedback can cause hearing damage and potentially harm your gear.

VII. Incorporating Feedback into Performance:
Integrating feedback into your live performances requires careful planning and rehearsal to ensure optimal results. Experiment with different setups, techniques, and amplification systems to find the approach that best suits your artistic vision and musical style. Remember that feedback is just one tool in your sonic arsenal, and its effective use requires creativity, skill, and experimentation.

VIII. Pushing the Boundaries:
As with any aspect of music, pushing the boundaries of feedback experimentation can lead to new and exciting sonic territories. Don't be afraid to think outside the box and explore unconventional techniques and approaches to feedback utilization. Embrace the unexpected and allow yourself to be guided by the serendipitous discoveries that arise from fearless experimentation.

IX. Historical Significance:
The utilization of feedback in electric guitar playing has a rich historical significance, dating back to the earliest days of amplified music. Pioneering guitarists like Jimi Hendrix, Pete Townshend, and Jeff Beck were among the first to explore the sonic possibilities of feedback, incorporating it into their groundbreaking performances and recordings. Their innovative use of feedback paved the way for generations of guitarists to come, inspiring countless musicians to experiment with this unique sonic phenomenon.

X. Cultural Impact:
Beyond its technical and artistic significance, feedback holds a profound cultural impact within the realm of music. Its raw, visceral sound has become synonymous with the rebellious spirit of rock 'n' roll, symbolizing the untamed energy and creative freedom of the electric guitar. From the blistering solos of heavy metal to the avant-garde experimentation of experimental music, feedback remains a potent symbol of artistic expression and defiance against convention.

XI. Feedback in Recording:
In the studio environment, feedback can be manipulated and sculpted with even greater precision, thanks to the availability of advanced recording techniques and signal processing tools. Engineers and producers often employ feedback as a creative effect, using it to add depth, texture, and atmosphere to recordings. Techniques such as microphone placement, amplifier isolation, and signal routing enable precise control over feedback, allowing artists to achieve the desired sonic result with precision and finesse.

XII. Feedback in Live Performance:
Live performance presents a unique set of challenges and opportunities for utilizing feedback effectively. In a concert setting, factors such as venue acoustics, stage layout, and audience interaction can all influence the behavior of feedback, requiring performers to adapt and improvise in real-time. Skilled guitarists develop an intuitive understanding of their instrument and amplification system, allowing them to harness feedback spontaneously and incorporate it seamlessly into their performances.

XIII. Feedback as a Collaborative Tool:
Feedback is not limited to solo guitar performances but can also serve as a collaborative tool for musical exploration and improvisation. Bands and ensembles often use feedback as a means of collective expression, building upon each other's ideas to create immersive sonic landscapes and dynamic interactions. By listening and responding to the nuances of feedback, musicians can engage in a dialogue of sound that transcends individual performance and fosters a deeper sense of connection and cohesion within the ensemble.

XIV. The Future of Feedback:
As technology continues to evolve, so too will the possibilities for utilizing feedback in electric guitar performance. Advancements in amplifier design, signal processing, and digital modeling offer new avenues for exploring the sonic potential of feedback, pushing the boundaries of what is possible in terms of tone, texture, and expression. Additionally, emerging technologies such as virtual reality and augmented reality present exciting opportunities for immersive feedback experiences, allowing performers to interact with feedback in entirely new ways.

XV. Conclusion:
In conclusion, feedback is not merely a byproduct of amplified sound but a dynamic and versatile tool for artistic expression and sonic exploration. Whether used subtly to add depth and dimension to a recording or unleashed in a torrent of raw energy during a live performance, feedback has the power to captivate audiences and inspire musicians to push the boundaries of their creativity. Embrace feedback as a source of inspiration and discovery, and let its unpredictable beauty guide you on a journey of sonic exploration and musical discovery.

TEST: Digitech EX7

 I don't know about you, but I always have problems with the term "pedal". When I first came into contact with “pedals” at the tender age of around 14, there were actually only two types of pedals, a volume pedal (also often called a “swell”) and the classic wah-wah. Both had a rocker of some kind on the top with which you could control the effect or volume with your foot. Basta! The other was “stompbox effects devices” or just “effects devices” (19” effects were only known from expensive recording studios...). Even little Axel understood everything verbally and simply in two drawers.

But then the Anglo-American armada of names hit us and then it started. Suddenly almost all types of floor-stationary effects devices are “pedals”, sometimes “stompboxes”, sometimes “switches” or even “multi-FX”. Now the child had fallen into the well in terms of naming, a sometimes crude undertaking to use the correct terminology here. So, in the spirit of the bicycle, let's agree that a pedal has a rocker and a stop box houses one or more on/off switches. Woe betide me now someone comes with a floor tuner...;-)

Over the decades, not only have classics emerged in the area of stompboxes, no, products have also been developed in the pedal segment, which are still in heavy use today and are massively trampled on. With the EX-7 Expression Pedal, DigiTech is trying to emulate several classics from this guild and combine them in just one housing, so that the heavy stuffing department on the floorboard is somewhat contained.


construction

At first glance, the EX-7 is way ahead in terms of workmanship and appearance. Manufactured in the USA (!) is extremely solid, which also explains its weight of just under 1.5 kilograms. The product also has a very nice carbon fiber look, which visually sets it apart from the competition. The product is operated via an included 9V power supply, which delivers 1.3 (!) amps. Operation via a 9V block is not possible.

Strictly speaking, the EX-7 is an expression pedal, which suggests that, depending on the subject's programming, different parameters can be managed with the pedal function. DigiTech has chosen seven different pedals, although some emulations are not pedals in the true sense, but rather certain parameters such as the speed of a modulation effect are controlled via the pedal function.

In addition, DigiTech has adopted the seven distortion presets from the DF-7 Distortion Factory, so that a total of 14 typical stompboxes (there it is again, that expression ;-)), which are usually placed in front of the preamplifier of the amplifier, are available.

Specifically, the following effect devices are emulated:

Pedal effect modules:

Dunlop cry baby
Vox Clyde McCoy Wah
DigiTech XP300 Space Station
DigiTech Whammy
Unicord Uni Vibe
Leslie 147 Rotary Speaker
A/DA Flanger


Distortion modules:

DOD Overdrive
ProCo advice
DigiTech MetalMaster
Boss Metal Zone
EH Big Muff
Ibanez TS9
Boss DS-1


One distortion and one pedal emulation can be individually placed together in one storage location. Unfortunately, the choice of one of the seven storage locations can only be changed by hand, unless you get the FSX3 footswitch, which can at least step through the individual storage locations. For the live musician, this is the only possible choice to avoid having to kneel on the floor between songs and tweak the model controls.

In terms of control options, the EX-7 has three concentric double potentiometers in addition to the module selector, with the outer rings managing the three classic distortion parameters gain, tone and volume, while the three inner potentiometers manage different control functions of the pedal function. The Ex-7 can also be used as a volume pedal.

In terms of connection options, the EX-7 has a mono-in and the connection socket for the above-mentioned foot switch on the right side of the housing. On the left there is a stereo output for connection to an amplifier and a frequency-corrected stereo output for connection to a mixer. Both outputs can also be switched mono if necessary.




Practice

Boy oh boy, it's actually extremely rare to see so many copyright symbols printed in one place, the booklet hardly gets a sentence without TM, R or C ;-) On the other hand, these same trademark symbols are usually printed in abundance on all kinds of emulation products You don't have a swarm of well-dressed men from various law firms standing at your door 10 minutes after the product's release.

After wiring the device, the first thing you notice is that the EX-7 boosts the volume level of the guitar and the treble portion of the sound, with the exception of position 7, where it acts as a volume pedal. It is therefore important to adjust the gain range of the amplifier accordingly if necessary. To activate the pedal, you shouldn't be too squeamish, especially the pedal function (foot switch under the toe) needs to be used hard. The distortion function (foot switch under the heel), however, is a little easier to activate.

Let's get straight to what I think is the EX-7's biggest shortcoming. Unfortunately, the built-in parameters of the DF-7 pedals can only be used in conjunction with a pedal emulation, so anyone hoping to find two independently operating DigiTech products in one pedal will unfortunately be disappointed. In this respect, it is unfortunately only possible to see in a rudimentary way to what extent the distortion emulations reach their protagonists, since the sound formation of a wah-wah or something similar always lies above everything.

The relatively short control path of the pedal still has to become second nature, but this is achieved after a short training period. As expected, the EX-7 provides the closest approximation to the original when it comes to in-house presets such as the Whammy. All other emulations sound good to decent, although the wah-wah section comes across as a bit sterile. However, if you consider the design of the device, the limitation is completely okay.



Conclusion

Even if purists will, as expected, blow this test out of my face, the concept, workmanship and sound output of the EX-7 ensure it receives a good test result. Even if there is a hint of syntheticness hovering over all the presets, the original sound of the guitar is changed even without any FX component and the individual emulation test subjects always lag a little behind their originals in terms of dynamics and tonal depth, I know from my own experience that it is There are more and more shows where you only want to or even have to travel with small luggage.

The never-ending problem of excess luggage at shows abroad where you can only travel by plane is just one of many examples where you're happy to be able to leave your floorboard in the rehearsal room and instead just have to stuff a single pedal into your hand luggage. If you are willing to accept the limited access options for the effects offered in favor of the compactness of the product, you have a useful helper at your side in the DigiTech EX-7, which offers a lot in a small space.

———————

Additional Informations:

Digitech, a pioneering name in the realm of audio effects, has been revolutionizing the music industry since its inception. Among its myriad offerings, Digitech pedals stand out as veritable gems, cherished by musicians and sound engineers worldwide. In this comprehensive guide, we delve into the intricate world of Digitech pedals, exploring their diverse range, innovative features, and unparalleled sonic capabilities.

I. Evolution of Digitech Pedals:
Since its establishment in the late 1980s, Digitech has continuously pushed the boundaries of audio technology, introducing groundbreaking innovations in pedal design and functionality. From early classics like the Digitech Whammy to modern marvels such as the Digitech RP Series, each pedal reflects the company's commitment to excellence and innovation.

II. The Digitech Pedal Ecosystem:
Digitech boasts an extensive lineup of pedals catering to a wide spectrum of musical styles and preferences. Whether you're a guitarist seeking lush reverbs, blistering distortions, or intricate modulation effects, Digitech has a pedal to suit your needs. From compact stompboxes to multi-effects powerhouses, the Digitech pedal ecosystem offers something for everyone.

III. Cutting-Edge Features:
What sets Digitech pedals apart are their cutting-edge features and advanced technologies. Many Digitech pedals incorporate proprietary algorithms and digital signal processing techniques to deliver studio-quality sound in a compact, pedalboard-friendly format. Features like built-in expression pedals, amp modeling, and USB connectivity further enhance their versatility and performance capabilities.

IV. Signature Pedals and Artist Collaborations:
Over the years, Digitech has collaborated with renowned artists and musicians to develop signature pedals tailored to their unique sonic preferences. From iconic artists like Eric Clapton to modern virtuosos like Tosin Abasi, Digitech's signature pedals capture the essence of their distinctive tones, empowering musicians to unleash their creativity on stage and in the studio.

V. Performance and Reliability:
Digitech pedals are renowned for their robust construction, reliability, and stellar performance in any musical setting. Whether you're gigging night after night or recording in the studio, Digitech pedals deliver consistent, top-tier performance, ensuring that your sound remains pristine and professional at all times.

VI. Endless Possibilities:
With Digitech pedals, the sonic possibilities are virtually limitless. Whether you're experimenting with unconventional signal chains, creating ambient soundscapes, or crafting face-melting solos, Digitech pedals empower you to explore new sonic territories and unlock your full creative potential.

VII. The Future of Digitech Pedals:
As technology continues to evolve, so too will Digitech's pedal offerings. With the advent of artificial intelligence, machine learning, and cloud connectivity, the future holds boundless opportunities for innovation in pedal design and functionality. Whether it's pioneering new effects algorithms, integrating smart features, or expanding compatibility with digital audio workstations, Digitech remains at the forefront of audio technology, shaping the future of music production and performance.

Conclusion:
In conclusion, Digitech pedals represent the pinnacle of innovation and craftsmanship in the world of audio effects. With their unparalleled sound quality, versatile features, and rock-solid reliability, Digitech pedals have earned their place on the pedalboards of musicians and sound engineers worldwide. Whether you're a seasoned professional or an aspiring enthusiast, Digitech pedals offer a gateway to sonic exploration and musical expression like no other.

TEST: Digitech Drop

 Oh man, who doesn't know this problem. You have laboriously sacrificed your precious free time to finally adjust your new, beloved six-string instrument to your personal playing style in terms of neck curvature, string thickness and vibrato system, and then the singer comes along and asks for one or two semitones to be downtuned, since it is " "Something is scratching your throat today and you probably won't be able to play the high notes today."

Or the chief songwriter of the house ensemble has discovered that his creative outpourings sound a lot fatter in C sharp and he now really wants to tune four semitones lower for two songs. Even hardened Fender or Gibson players are now tearing their hair out as they find themselves confronted with loose strings, convex neck curvatures or at least one or two spare guitars that need to be transported as well as maintained.

However, the colleague with the free-floating vibrato system a la Floyd Rose will go completely crazy. Because of the aforementioned construction, even if the string breaks, he will not be able to finish the song, let alone put the guitar in a different tuning. Wouldn't it be wonderful to have an electronic solution that not only has minimal latency, but also the lowest possible sound artifacts during processor operation? The man can be helped.

America's specialist in effects and more, Digitech, recently launched the Whammy DT, not only a further development of its legendary pedal, but also included a subsection with which you can transpose the original signal up or down by seven semitones, or one octave can. Those responsible asked themselves why not offer this area as a separate effect with only a downtuning function at a low price, and hey presto, the Digitech Drop was born.


construction

To underline its lineage, the Digitech Drop comes in the classic Whammy Red. Whether you like the color or not is irrelevant; it sticks to the product like a Ferrari. With dimensions of 121 mm x 73 mm x 45 mm and a weight of 360 grams, the Digitech Drop is within normal pedal dimensions. The internal electronics were packaged in very solid sheet steel, which should also withstand heavy trampling.

You really can't go wrong with the Digitech Drop. Input, output, true bypass foot switch and a connection socket for the included power supply make a wiring error actually impossible, well, almost ;-) You can set the desired interval with an endless rotary control, and you also have the option of using a toggle switch to change the functionality of the foot switch can be varied between permanently or only while the switch is pressed. This of course opens up adventurous interactions with personal gaming operations.


Practice

First of all, let's take a look at the Octaver function, as we know it from various competing products. What is immediately noticeable in terms of sound is the product's extremely fast processor, as was already installed in the Whammy DT. Even with extremely fast solo shredding passages of the wild variety, the original sound does not manage to outpace the effect signal. You are spared the sometimes horrible results of the first Octaver pedals, which struggled more than well due to the CPU performance and sometimes calculated so slowly that you had to adapt your personal playing style to the product. Here you get the impression that you have an eventide in the signal path in terms of computing speed.

Now to downtuning, which can also be done relatively quickly. It just sounds excellent. Of course, the tonal artifacts increase a fraction with each semitone, but when you consider the haptic effort you save with this pedal, everything is put into perspective. The highlight, however, is the momentary mode of the footswitch, which allows for adventurous riffs in song terms. Heavy prog storm with a standard tuning guitar that mutates into a baritone guitar for seconds for heavy passages and then immediately returns to standard mode, that's something. This is not even possible at this speed with the original Whammy pedal.


Conclusion

The Digitech Drop is an excellent sounding and exemplary workmanship special pedal for a wide range of applications. Whether unusual prog orgies, shortening endless tuning sessions, saving on special instruments or just the whining whiner on the vocal microphone, the Digitech Drop solves many problems in no time.

———————-

Additional Informations:

Digitech Pedals, a pioneering force in the world of guitar effects, has left an indelible mark on the music industry with its groundbreaking innovations and commitment to sonic excellence. From its humble beginnings in a small garage to its status as a global leader in effects pedals, Digitech has continually pushed the boundaries of what is possible in sound manipulation. In this comprehensive exploration, we delve deep into the rich history of Digitech, tracing its evolution from a passion project to a household name among musicians worldwide.

### The Genesis of Innovation:

Digitech was founded in 1984 by two friends and electrical engineering enthusiasts, Tom Cram and Dave DiFrancesco, in Salt Lake City, Utah. Fueled by a shared passion for music and technology, the duo set out to create innovative audio products that would revolutionize the way musicians shape their sound. Drawing inspiration from emerging digital signal processing (DSP) technology, Cram and DiFrancesco embarked on a mission to develop effects pedals that offered unparalleled flexibility and sonic quality.

### Early Breakthroughs and Milestones:

In its formative years, Digitech made significant strides in the realm of digital effects processing, introducing pioneering products that would set the stage for its future success. One of the company's earliest breakthroughs came with the release of the DSP128, a digital multi-effects processor that showcased Digitech's prowess in harnessing the power of DSP technology for musical applications. The DSP128 laid the groundwork for subsequent innovations, establishing Digitech as a trailblazer in the field of digital effects.

### The Birth of Iconic Pedals:

Throughout the 1990s and early 2000s, Digitech solidified its reputation as a leading manufacturer of effects pedals with the introduction of several iconic products that would become staples in the rigs of guitarists worldwide. Among these groundbreaking pedals was the Whammy, a pitch-shifting pedal that allowed players to create dramatic pitch bends and dive-bomb effects with the tap of a foot. The Whammy's distinctive sound and innovative design made it a favorite among artists ranging from rock icons to experimental virtuosos.

### Expansion and Diversification:

As Digitech continued to grow and expand its product lineup, the company diversified its offerings to cater to a broader range of musicians and musical styles. In addition to its flagship effects pedals, Digitech introduced a variety of other products, including amp modelers, vocal processors, and recording equipment. This expansion into new markets further solidified Digitech's position as a leading innovator in the audio technology industry, with a product catalog that appealed to musicians of all backgrounds and genres.

### The Influence of Technology:

Digitech's success can be attributed in large part to its relentless pursuit of technological innovation. Throughout its history, the company has remained at the forefront of advancements in digital audio processing, continually pushing the boundaries of what is possible in terms of sound manipulation and expression. From the development of proprietary algorithms to the integration of cutting-edge hardware components, Digitech's commitment to technological excellence has been a driving force behind its success.

### Enduring Legacy and Impact:

Over the years, Digitech has left an indelible mark on the music industry, influencing generations of musicians with its innovative products and groundbreaking technologies. From the iconic sounds of the Whammy to the versatility of its multi-effects processors, Digitech pedals have become synonymous with creativity, expression, and sonic exploration. Moreover, Digitech's dedication to quality, reliability, and customer satisfaction has earned the company a loyal following of musicians who continue to rely on its products in the studio and on stage.

### Embracing Change and Adaptation:

In the dynamic landscape of the music industry, Digitech has demonstrated a remarkable ability to adapt to changing trends and technologies while staying true to its core values of innovation and quality. As digital audio technology has evolved, Digitech has continued to refine its products, incorporating new features and functionalities to meet the evolving needs of musicians. From the transition to more compact and user-friendly designs to the integration of wireless connectivity and mobile app compatibility, Digitech has remained at the forefront of advancements in effects pedal technology.

### Collaborations and Artist Endorsements:

A key factor in Digitech's enduring success has been its partnerships with influential artists and musicians. Collaborations with renowned guitarists and performers have not only provided valuable feedback for product development but have also helped to raise the company's profile and expand its reach within the music community. From signature pedals designed in collaboration with artists like Joe Satriani and Brian May to endorsements from top-tier performers across genres, Digitech's association with high-profile musicians has played a significant role in shaping its brand identity and cultivating a loyal customer base.

### Customer Engagement and Community Building:

Digitech has fostered a strong sense of community among its customers through various initiatives aimed at engaging with musicians and enthusiasts. From online forums and social media groups to educational content and product demonstrations, Digitech has created platforms for musicians to connect, share experiences, and exchange ideas. By actively listening to customer feedback and incorporating user suggestions into product development, Digitech has built a reputation for being responsive to the needs and preferences of its user base, further solidifying its position as a trusted ally in the quest for sonic exploration.

### Commitment to Quality and Reliability:

At the heart of Digitech's success lies a steadfast commitment to quality and reliability. From the materials used in construction to the rigorous testing procedures employed during manufacturing, Digitech places a premium on ensuring that its products meet the highest standards of performance and durability. This dedication to excellence has earned Digitech the trust and confidence of musicians worldwide, who rely on its pedals to deliver consistent and inspiring tones in a variety of musical settings.

### Looking Ahead: Innovation and Continuity:

As Digitech looks to the future, the company remains committed to pushing the boundaries of innovation and creativity in the pursuit of sonic excellence. With advancements in digital technology continuing to drive new possibilities in sound manipulation and expression, Digitech is poised to remain at the forefront of the music technology industry, inspiring musicians to explore new sonic territories and push the limits of their creativity. With a rich legacy of innovation and a steadfast commitment to quality, Digitech Pedals is poised to continue shaping the future of music for years to come.

### Conclusion:

In an industry characterized by constant change and evolution, Digitech Pedals stands as a beacon of innovation, creativity, and reliability. From its humble beginnings in a small garage to its status as a global leader in effects pedal technology, Digitech has remained true to its founding principles of pushing the boundaries of sonic possibility. With a rich history of groundbreaking innovations, a commitment to quality and reliability, and a dedication to fostering community and engagement among musicians, Digitech Pedals is poised to continue shaping the future of music for generations to come.

TEST: Digitech RP350

 "Modeling Guitar Processor".... What do these words want to tell us? ;-) Yes, a lot has happened in terms of the virtualization of sounds in the last few years. Who would have thought that simulating classic guitar sounds would ever become such a gigantic mainstream product. What, on the one hand, relieves the artist's burden immensely means that ambitious newcomers are completely overwhelmed, be it when it comes to defining the original sounds right through to connecting them to the guitar amp (how many users have Guitar > FX > Amp in their classic circuit). Speaker simulation still switched on...). In the course of this development, the main focus, in addition to the sound, is of course to be focused on the clarity of the effect chains and user-friendly handling.

As a long-standing manufacturer of effects devices, DigiTech, which presents a typical floorboard with the RP350, has the appropriate know-how when it comes to configuring the individual components. With the RP350, I have a variant to test that was designed for both live operation and studio work.


Construction:

The device, manufactured in the USA (! nothing Asia...), comes in a solid cast housing and gives a very stable impression. Due to the associated weight, the device has enough strength on 6 small hard rubber feet so that it does not slip on the stage floor due to stiff cables or wild, sometimes confused singers performing. Three sturdy plastic switches ensure program changes (up and down) or channel changes in a previously set amp simulation. An expression pedal, also made of metal, which outputs volume, wah or modulation commands depending on the programming, is located on the right edge of the device. Rubber pads on the pedal surface make it difficult for the shoe to slip during use. The movement of the pedal can be adjusted using a screw on the right edge.

Above the footswitches there are six endless knobs which cover the entire editing range, as well as a full display and a built-in tuner. Although the display area is slightly recessed, the endless controls protrude approx. 5mm above the housing bezel, which means that depending on the "trampling use" and shoe shape (yes, they still exist, the boot-wearing guild...) you can use the controls on one Switch insert operated from above or from the front. This sometimes proves to be unfavorable, as the Tone Library control in particular is designed as a push potentiometer and unwanted switching commands can occur in the heat of the stage battle. This shortcoming would be eliminated by reversing the arrangement within the display (channel display further down, rotary control further up).

There is great joy when looking at the front of the device. All relevant connections regarding input and output of the signal are represented here, be it unbalanced mono/stereo connections, headphone output, Aux in as well as the less common symmetrical XRL males along with a USB port. Both the unbalanced and the symmetrical range can be switched independently to speaker simulation (mixer) or without speaker simulation (amp) using a small pressure switch. A very commendable handling, so you have direct visual contact with this important preselection and don't have to desperately fight your way through the menu to verify the respective setting.

When switching on the device, as with many DigiTech devices, we are greeted by a clear green display with a two-digit red memory space display. What I find to be very successful is the fact that the display briefly shows which output and in which configuration is currently being used when you insert a plug. This also minimizes incorrect assignment. The Amp / Mixer pressure switch and the cabinet simulation programmed in mixer mode are also displayed.

According to the documents, DigiTech has emulated the following amp models:

- '57 Fender Tweed Champ
- '57 Fender Tweed Deluxe
- '59 Fender Tweed Bassman
- '65 Fender Twin Reverb
- '65 Fender Deluxe Reverb
- '65 Marshall JTM-45
- '68 Marshall 100W Plexi
- '68 Marshall Jump Panel
- '77 Marshall Master Volume
- '83 Marshall JCM 800
- '93 Marshall JCM 900
- '62 Vox AC15
- '62 Vox ACF30 Top Boost
- '69 Hiwatt Custom 100
- '81 Mesa Boogie Mark II
- Mesa Boogie Rectifier
- Matchless HC30
- Soldano SLO-100

and some in-house DigiTech solutions.

The solution to be able to name the original names along with the trademarks of the original manufacturers in the manual is also very good. Other manufacturers of emulation products often suffer from the requirement to only describe or describe the original models, since, for example, for trademark protection reasons, mentioning the names "Fender" or "Mesa Boogie" is prohibited!

Several closed 4x12" simulations from Marshall, Hiwatt, VHT and Johnson are used as cabinets, as well as open combo solutions such as 1x8", 1x12", 2x12" and 4x10".

When it comes to upstream distortion pedals or ground-in chorus / flanger effects, in addition to factory devices, we also stick to familiar names such as Ibanez (TS-9 / TS-808), MXR (Distortion +, Flanger), Pro Co (Rat), Boss (DS-1, MT-2, CE-2), TC Electronic or also Arbiter Fuzz Face, Roger Mayer Octavia or the pedals of "mine original" Mike Matthews and his Electro-Harmonix hodgepodge (Big Muff, Electric Mistress ).

Of course, the whammy pedal from our own company should not be missing either, as countless guitarists are still puzzling to this day as to how, for example, Tom Morello gave his guitar a spectrum of 3 octaves per side on “Rage Against The Machine”. The Whammy Pedal makes it possible ;-)




Sound:

The old problem of late birth in amp modeling. Who of today's up-and-coming generation of guitarists has ever had the opportunity to hear the modeled amps, let alone the vast number of pre-switched distortions or even different cabinets, in the original. The percentage is probably in the per mille range. This means that as a newbie you can't say whether the Amp and a much better way is to trust your own ears and make a pre-selection based on the principle - I like it / I don't like it. If you like the sound you can look up which combination you have chosen and change it if necessary.

Which brings us to the first challenge, how do you connect the device to your amp? A modeling processor is supposed to recreate amplifier models in particular. If I connect it in front of my actual amp, isn't this actually impossible? Let's say with restrictions...

First you have to select the clean channel of your amp, leave the tone control as neutral as possible and of course switch off the speaker simulation. However, coloring of the signal cannot be avoided with this circuit. It is better to only use the power amplifier or the speaker of the amplifier via an FX return and take the entire emulation and effects area from the RP350.

What catches your eye when looking at the presets is the unusually good reverb quality for a guitar processor; the small rooms in particular have an incredibly high level of plastic authenticity. The reverb area in particular is very computationally intensive for the CPU and is all too often treated as a half-baked compromise solution in FX processors. According to the manufacturer, these are logarithms which were licensed by the reverb expert Lexicon.

After I first listened to the most important factory presets, we come to the actual endurance test. I do the individual amp/pedal/cabinet simulations without any real FX component to test the approximation of the original sound.

To put it bluntly, the RP350 does this. a really good job! Through the above-mentioned possible combinations of pedal / amp and cabinet, we already have a theoretical variety of over 8000 possible combinations, although of course the preset factory combinations (e.g. JTM-45 + 4x12" Marshall or Fender Bassman with 4x10") sound the most authentic. I also really liked the Amp A/B switch, which did a good job of the classic channel changes of the respective amplifiers.

Very useful connection options open up, especially for musicians who need to quickly access many different sounds in a small space (e.g. cover band). The processor with speaker simulation is fed directly into the vocal system, the signal is placed on your own monitor, and you're done! Always provided that the guitarist unfortunately doesn't suffer from the usual profile neurosis and in order to be happy he has to have a full stack that is way too loud even at his work colleague's wedding...;-))

Personally, I like the RP350 best as an experienced all-rounder in the demo/home recording area, where a lot of things are played directly into the console. The USB connection can also score points here.

Conclusion:

If you are looking for a stable, good-sounding all-rounder for live and studio use, the RP350 is the perfect choice.

————————

Additional Informations:

Multi-FX Pedals: A Comprehensive Guide to Versatile Sound Exploration

In the ever-evolving landscape of music gear, multi-effects pedals stand out as versatile tools that offer musicians a wealth of sonic possibilities in a single unit. From guitarists seeking to expand their tonal palette to electronic musicians crafting intricate soundscapes, multi-FX pedals have become indispensable companions in the creative process. In this comprehensive guide, we delve deep into the world of multi-effects pedals, exploring their history, features, benefits, and notable examples.

### Evolution and Origins:

The concept of multi-effects processing traces its roots back to the emergence of analog effects units in the mid-20th century. Early devices, such as the Maestro Echoplex and the Roland Space Echo, paved the way for the development of more sophisticated multi-effects processors in the digital era. The introduction of digital signal processing (DSP) technology in the 1980s marked a major milestone, allowing for the creation of compact, all-in-one units capable of emulating a wide range of effects.

### Features and Functionality:

Multi-effects pedals typically combine a variety of audio processing effects into a single unit, offering users the ability to manipulate their sound in real-time. These effects may include distortion, overdrive, delay, reverb, modulation (such as chorus, flanger, and phaser), pitch shifting, and more. Additionally, many multi-FX pedals feature built-in amp modeling, cabinet simulation, and expression pedal inputs for added versatility and control.

### Benefits of Multi-FX Pedals:

1. **Versatility**: One of the primary advantages of multi-effects pedals is their versatility. Instead of purchasing multiple individual stompboxes, musicians can access a wide range of effects from a single unit, saving space, time, and money.
   
2. **Portability**: Multi-FX pedals are often compact and lightweight, making them ideal for musicians who need to travel light or perform in venues with limited space.
   
3. **Ease of Use**: With intuitive interfaces and preset functionality, multi-effects pedals are user-friendly and accessible to musicians of all skill levels. Presets allow users to save and recall their favorite sounds with ease, streamlining the creative process.
   
4. **Experimentation**: Multi-FX pedals encourage experimentation and exploration by providing access to a diverse array of effects and parameter adjustments. Musicians can easily dial in unique sounds and textures to suit their artistic vision.
   
5. **Live Performance**: For live performers, multi-effects pedals offer the convenience of having all their effects in one place, eliminating the need for complex pedalboards and cable setups. This streamlined approach enhances workflow and minimizes the risk of technical issues during performances.

### Notable Examples:

1. **Line 6 Helix**: Renowned for its amp modeling capabilities and expansive selection of effects, the Line 6 Helix has become a go-to choice for guitarists seeking studio-quality tones in a live performance setting.

2. **Boss GT-1000**: With its advanced processing power and comprehensive feature set, the Boss GT-1000 offers unparalleled flexibility and sound quality in a compact pedal format.

3. **Strymon Mobius**: Designed for the discerning guitarist, the Strymon Mobius combines premium audio quality with a wide range of modulation effects, including choruses, phasers, flangers, and more.

4. **TC Electronic Flashback 2 Delay and Looper**: Known for its pristine delay sounds and versatile looper functionality, the TC Electronic Flashback 2 has become a favorite among guitarists looking to add depth and dimension to their playing.

5. **Zoom G Series**: Zoom's G Series of multi-effects pedals offers a range of affordable options packed with features, including amp modeling, effects sequencing, and built-in drum patterns.

### Conclusion:

Multi-effects pedals represent a convergence of technology, creativity, and convenience, empowering musicians to explore new sonic territories with ease. Whether in the studio, on stage, or in the rehearsal room, these versatile devices offer a wealth of possibilities for sound shaping and experimentation. As the music industry continues to evolve, multi-FX pedals remain essential tools for musicians seeking to push the boundaries of their craft and unlock their full creative potential.

TEST: Digitech Brian May Red Special

 Yes, they exist, but there are very few of them. We're talking about the guitarists who, through a combination of craftsmanship and technical specifications, have managed to create a unique sound that makes it possible to recognize them for who they are in just seconds. The name Brian May, alongside Freddy Mercury, the figurehead of the group QUEEN, must definitely be mentioned in the top 5 of this species. His unique tone in combination with his orchestral, polyphonic harmony arrangements have shaped and influenced countless musicians, including the author of this article.
Thanks to modern modeling technology, the company DigiTech, in collaboration with Mr. May, is now working to combine and reproduce the most important sounds that Brian May has created in his career in a single pedal, the “Brian May Red Special”.

History:
In order to get an idea of the task to be mastered, you first have to look at Brian May's original setup, whereby you also have to differentiate between studio and live setup. First of all, we have his very unique guitar, the original model of which he made by hand as a young boy together with his father and which plays a large part in the overall sound due to its single-coil Burns pickups and the large option for phase switches. The generated signal goes into a treble booster, behind which there is an old FOXX phaser. In Brian May's live setup, the signal ultimately ends in one or more VOX AC 30s. For larger stages, they often stacked as much as they could, so there were sometimes 9 of them live. this classic on Mr. May's side of the stage, 3 pieces each. connected in series for Center, Delay L and Delay R. The analog effects triggered various phasing and chorus effects, which created a kind of “widening sound” provided the three signals were correctly placed in the stereo image.

In the studio, the so-called “Deacy” amp was also used for most things, an adventurous, battery-operated miniature amp that was supposedly cobbled together from parts of several old tube radios by QUEEN bassist John Deacon in the early 1970s.


Construction:
As a means of transport, the pedal comes with a cute black bag with an embroidered autograph from Brian May in which the pedal and power supply can be transported. Due to the high power consumption, the pedal can only be operated with the included power supply. Visually, the bright color and the “mahogany grain replica” paintwork make an appealing impression, and the device is built solid enough to counteract the sometimes gross motor trampling of the boot-wearing string guild.

In addition to the input for the guitar, there is a connection for an optional additional foot switch. On the opposite side there are 2 outputs in the modes Amp mono + Mixer mono (mixer out frequency corrected), Mixer Out Stereo or Amp (see ) Out stereo. In addition to its main area of use (switched directly in front of the amp), you also have the option of connecting the pedal directly to an exceptional device. There is enough soft hard rubber on the underside of the housing to give the pedal stability. The actual pedal also has a rubber pad and offers the foot enough support.

On the front there are 3 coaxial controllers + a selector switch, a total of 7 controllers plus a multifunctional LED. From left to right there are the following control options: Gain, output level, treble, bass, control (model-dependent control), guitar (whether a guitar with humbuckers or single-coil pickups is connected) + the model selection control.

Then, put the guitar in, connected the amp and.........nothing! Only the original signal from the guitar is beautifully looped through without any sound modulation. Despite violently rocking the pedal and helplessly turning all the controls, nothing happens! After 20 minutes of twisting and turning the device and the manual, I call the sales department in exasperation to get instructions. The friendly service technician explains to me: “We had the same problem, just put your full body weight on the pedal, the pedal cannot be activated when sitting.”

No sooner said than done, after a hearty kick (which I would never have dared to do with its intensity) the processor starts. The basic concept is based on the fact that, depending on the model variant, you can switch 2 sounds on, off or switch by pressing the pedal firmly towards the toe or heel. Depending on your choice, the multifunction LED lights up green or red or not at all in standby mode. You can also use the pedal to vary some parameters such as the speed or intensity of an FX while playing.

The following presets were created by the factory as basic sounds:

Model 1: “Keep Yourself Alive” (Intro with Flanger / Solo with Flanger)
Model 2: “Bohemian Rhapsody” (Solo / Rhythm)
Model 3: “Tie Your Mother Down” (Intro / Solo)
Model 4: “We Will Rock You / We Are The Champions” (Solo / Solo)
Model 5: “Crazy Little Thing Called Love” (acoustic intro / solo)
Model 6: “Brighton Rock - Live” (Delay Solo / Harmony Pitch)
Model 7: “Deacy / A Winters Tale” (Deacy Unprocessed / A Winter Tale – Solo)



Practice:
To put it bluntly, 50% or more of Brian May's sound comes from his fingers, combined with his polyphonic arrangements, which can only be rudimentarily implemented live without additional technical aids. You get a very nice impression of how QUEEN sounded live at the time on the live record “Killers” from 1979, a record that polarized the fans of his time due to its roughness and sometimes even punk-like “snot” on stage. But if you just concentrate on the main guitar, some of the presets stand out positively from the overall context.

The Model 4 knows how to please “We Will Rock You / We Are The Champions” with its quite authentic rendition. All the over-emphasis of the high mids, the hollow, phase-deleted basic timbre is present very nicely, depending on the pickup used. Model 2 “Bohemian Rhapsody” also nailed the two basic sounds well. Both the more nasal solo sound and the more earthy rhythm sound are pleasing in context. The Model 6 “Brighton Rock” with its two delays of 900 ms and 1800 ms respectively comes very close to the original and allows the typical delayed polyphony that underlies the solo part of the title.

Model 1 + 3 can be described as very neat, but they do not stand out from the context due to their solid orientation. Personally, I would like to consider Model 7 as a bonus and the acoustic guitar simulator from Modell is simply a failure, but let's be honest, not all acoustic guitar simulators for electric guitars are nothing more than a cry for help against that inevitable guitar change? So you should be able to get over this failure.

As in the original lineup, the background noise level is sometimes very high due to the treble booster. Everything that is available in terms of highs and high-mids is boosted disproportionately. In conjunction with a single-coil pickup that is already more susceptible to background noise, this can sometimes reach adventurous proportions. Now you can position yourself skillfully near a tube monitor and the sound engineer will tear out clumps of his hair during the record production ;-) But that's the way it is, dear people, listen to the quiet passages on the record “A Day At The Races “What a waterfall is rushing out of the speakers in the background, the original is just the original....

It should also be noted that single-coil instruments are much more authentic in terms of originality, which is no surprise since Brian May's original instrument is also equipped with extremely low-performance single-coil instruments, which were stolen from a worn-out Burns guitar at the time. Using a guitar knob you can thin out the low mid and bass range of an instrument equipped with humbuckers to get closer to the original. Interestingly, however, I liked the single coil setting for humbuckers much better than the optional factory thinning.

Conclusion:
Anyone who wants to have the most important QUEEN guitar sounds ready at the push of a button, be it in a cover/tribute band, or just for personal use, is well served with the Red Special. If you take into account the immense purchase and transport costs of the original setup, the signed hand robust pedal represents a transportable and effective solution, which is particularly popular at the moment due to the QUEEN musical boom and the, let's say, half Reunion of the band has its right to exist.
However, if you want to have the most accurate Brian May tone possible, you also have to look at the artist's playing technique. I once saw Brian May on a midnight talk show with Germany's flagship jokester Thomas Gottschalk, armed only with his guitar and a pocket-sized 3-watt "practice squeaky". Believe it or not, even with this dwarf equipment, his sound was as unique as it was on stage or in the studio…

—————

Additional Informations:

Brian May, the iconic guitarist of the legendary rock band Queen, is not only renowned for his virtuosic musicianship but also for his multifaceted talents and remarkable life journey. From his formative years in suburban England to his meteoric rise to rock stardom and beyond, May's story is a testament to passion, perseverance, and the pursuit of excellence. In this extensive exploration, we delve deep into the life and career of Brian May, tracing his evolution from guitar prodigy to cultural icon and scientific luminary.

### Early Life and Musical Beginnings:

Brian Harold May was born on July 19, 1947, in Hampton, Middlesex, England. Raised in a loving family environment, May's early years were marked by a fascination with music and a natural aptitude for the guitar. Inspired by rock 'n' roll pioneers like Elvis Presley and Buddy Holly, young Brian honed his skills on a makeshift guitar constructed by his father from an old fireplace and household materials.

### The Formation of Queen:

May's musical journey took a pivotal turn when he crossed paths with singer Freddie Mercury, drummer Roger Taylor, and bassist John Deacon in the early 1970s. Together, they formed the band Queen, embarking on a musical odyssey that would captivate audiences around the world. May's distinctive guitar sound, characterized by soaring solos, intricate harmonies, and innovative techniques, became synonymous with Queen's anthemic rock anthems and operatic masterpieces.

### Musical Mastery and Innovation:

As Queen's lead guitarist and primary songwriter, Brian May played a pivotal role in shaping the band's sonic identity. His virtuosic playing and imaginative approach to the guitar set new standards for rock musicianship, earning him widespread acclaim and adoration from fans and fellow musicians alike. From the iconic riffs of "Bohemian Rhapsody" to the majestic solos of "We Will Rock You," May's contributions to Queen's catalog are nothing short of legendary.

### Beyond the Stage: An Academic Pursuit:

In addition to his musical pursuits, Brian May's intellectual curiosity led him to pursue academic interests in astrophysics. Despite achieving early success with Queen, May remained committed to his studies, eventually earning a Bachelor of Science degree in Physics and Mathematics from Imperial College London in 1974. However, his passion for music never waned, and he continued to balance his academic pursuits with his musical career.

### A Return to the Spotlight:

Following the passing of Freddie Mercury in 1991 and the subsequent dissolution of Queen as a touring act, Brian May embarked on a diverse array of projects that showcased his versatility as a musician and creative visionary. From solo albums to collaborations with other artists, May continued to explore new avenues of expression while keeping the spirit of Queen alive through live performances and tribute concerts.

### Scientific Stardom and Philanthropy:

In recent years, Brian May has garnered acclaim not only for his contributions to music but also for his advocacy in the fields of science and conservation. As a passionate astrophysicist and animal rights activist, May has lent his voice to numerous causes, using his platform to raise awareness about issues ranging from climate change to wildlife preservation. His work in these areas has earned him recognition and accolades from scientific organizations and humanitarian groups alike.

### Legacy and Influence:

As one of the most revered guitarists in rock history, Brian May's impact on music and popular culture is immeasurable. His innovative playing style, distinctive tone, and boundless creativity continue to inspire generations of musicians across genres. Moreover, his dedication to academic pursuits and philanthropic endeavors serves as a shining example of the transformative power of passion and purpose.

### Conclusion:

In the annals of rock 'n' roll history, few figures loom as large or cast as long a shadow as Brian May. As the architect of Queen's epic soundscapes and a respected academic in his own right, May has transcended the confines of musical stardom to become a cultural icon and scientific luminary. Whether dazzling audiences with his virtuosic guitar solos or championing causes close to his heart, Brian May remains a true Renaissance man whose influence reverberates far beyond the stage.

TEST: Death By Audio Disturbance

 That's what I call a company name that comes across as a mixture of omnipotent and disturbing. An excellent achievement in terms of marketing, a manufacturer with the name “Death By Audio” knows how to attract attention in advance. It goes without saying that you can't compete with the hundredth TS9 clone with a name like that, which made me even more excited to see what extraordinary sound effects could be achieved with the Death By Audio Disturbance pedal.

The concept of Death By Audio Disturbance

The Death By Audio Disturbance Pedal is a modulation stompbox that can produce the filter, flanger and phaser effects, whereby the phaser name is referred to as “Fazer” due to the more catchy “Triple F” naming. Only one effect can be called up at a time; saving the effects or recalling them via MIDI is not possible.

The pedal, handmade in NYC / USA, comes in a very high-quality, mirrored metal housing and feels like it is in the absolute top league of pedals. Not only does the mirrored look look very elegant, the New Yorkers have also managed to ensure that no fingerprints appear on the surface thanks to an additional varnish. Each switch or controller and each socket also has counteracted axes and a smooth/smooth control path, which indicates maximum durability and a long pedal life. It is not for nothing that the American company gives a lifetime guarantee on its products and promises free repairs if, contrary to expectations, a product should give up the ghost. However, I don't understand how such high-quality controllers and the corresponding housing can be damaged other than through malice or stupidity

The pedal must be operated with a 9V power supply; battery power is not provided. Despite the fact that it is a modulation pedal, which used to have higher demands on current consumption, the Death By Audio Disturbance Prdal only has a current consumption of 67 mA, which even the simplest 100 mA power supplies can easily deliver. The pedal sits on four soft, high-quality rubber feet, which ensure a very good grip even on a glass plate. With dimensions (L x W x H) 126 mm x 100 mm x 66 mm and a weight of approx. 369 grams, the pedal is in the middle class in terms of size and should also be able to be placed on any Nano class pedalboard.

In addition to the self-explanatory “Tensity” and “Width”, two controls attract attention due to their unusual names for guitarists/bassists. We're talking about the "Center Point" and "LFO Speed" controls, which, both visually and by their name, would be more likely to be in the electric sector than in the guitar section and thus also fuel the experimental character of the pedal. Center Point actually allows for modulation of the envelope, which smoothly places the effect deflection at the beginning or end of the envelope, depending on your preference. LFO Speed goes one step further and allows you to control not only the modulation speed of the pedal using an internally installed trim potentiometer via a jack output on the side, but also external effects that have an expression input. The modulation speed can be adjusted using the speed controller and is also displayed visually via a pulsating green LED. The LFO can be switched accordingly using the trip footswitch, while the entire pedal is activated/deactivated via another footswitch.

When the LFO is deactivated, the sound is “frozen” according to the control settings, which in itself brings with it a wide range of crazy sounds. I assume that the tonal approach of a flanger or phaser is known; the filter of a wah wah pedal is a steep-edged bandpass filter, which can either be fixed on a fixed pedal or routed according to the LFO setting.

The choice of positioning within a classic guitar setup is not entirely clear. In terms of construction, the pedal is probably aimed more at the classic amp user, who, depending on the design, also uses the serial FX loop of their amp. Classic modulation effects such as the flanger or phaser would most likely be placed in the FX loop, while filter modulation would often start before the gain stages between the guitar and the amp preamp. Here it is important to find your personal sound. Depending on your approach and requirements, placement in front of the amp or in the FX loop can work. ATTENTION, don't forget, with two 6 meter FX loop cables, unbuffered signal routing is already clearly audible due to the treble attenuation, so always place a buffer amp or a corresponding pedal at the end of the pedal signal chain!

The Death By Audio Disturbance Pedal in practice

Even with the first control settings, the user quickly realizes that the areas of application of the Death By Audio Disturbance pedal go far beyond the guitar area. Especially when it comes to “sick” sounds from the electronic sector in combination with distortion, the Death By Audio Disturbance can clearly score points when it comes to attention. This is less about “beautiful” sounds and more about impressive sounds, which can sometimes polarize. But bass sounds through to drum machines can also benefit from the variation options of the Death By Audio Disturbance pedal as part of an asymmetrical signal routing.

Of course, classic guitar sounds such as the popular Van Halen flanger or phaser sound can also be created, but the Death By Audio Disturbance pedal is not required for this “moderate” use. This is more about really “bad” sounds, which can produce a lot of acoustic noise even without distortion and do justice to the manufacturer’s name. However, whether you want to play through an entire song with a corresponding sound is of course up to the artist.

For the sound files, I switched the Death By Audio Disturbance pedal in front of the amp, so some sounds come out a little sharper than if you looped in the pedal. At the same time, the sounds also gain in “bite” and can assert themselves better in the overall sound. The tonal variation possibilities of the Death By Audio Disturbance are truly diverse and are well beyond what you can get out of a “One Trick Pony” pedal. From the subtly flattering phaser to the flanger, which has a strong regeneration effect, it has everything you can offer in terms of modulation effects. Depending on the setting, you can easily move the sounds to the Rotary area. What becomes apparent in some settings, however, is a reduction in the volume of the original sound, which cannot be made up for due to the lack of a level control. However, this only applies to clean sounds, as the compression effect equalizes the different volumes as the gain increases.

I can already hear the first voices calling for MIDI management, which would fundamentally change the basic concept of the pedal and would certainly lead to a price increase. Still, it's a shame that you can only change the unusual sounds manually and who wants to kneel on the floor and adjust the parameters of their pedal after a song or, worse, during a song. Of course, you could also buy several of the Death By Audio Disturbance pedals and use them for different sounds, but only very few musicians will actually do this.

In summary, you have to give Death By Audio Disturbance a very good rating. The pedal offers a very wide variety of sounds and opens up new playgrounds, especially for sound tinkerers, where they can let off steam. Anyone who also takes a look at the pedal prices in the boutique area, which are currently quoted for a pedal with a single function, will come to the conclusion that this is a comparatively inexpensive pedal, especially in view of American development and production.

Conclusion

With the Death By Audio Disturbance, the American company has a top-class modulation pedal in its portfolio. The pedal offers a control range in three types of modulation that goes far beyond the usual representatives of this type of effect. Whether subtle floating to brutal noise attacks, the Death By Audio Disturbance pedal meets all requirements and also shines with excellent workmanship on all levels.

If you are looking for a special kind of phaser, flanger or filter, this pedal is the right choice. Be sure to try it out!

———————

Additional Informations:

In the vibrant landscape of the music industry, where innovation and creativity reign supreme, Death By Audio Pedals emerges as a beacon of ingenuity and sonic exploration. Founded in the heart of Brooklyn, New York, this trailblazing company has carved a niche for itself in the world of guitar effects pedals, earning acclaim for its boundary-pushing designs and commitment to craftsmanship. In this comprehensive exploration, we delve into the rich tapestry of Death By Audio's origins, tracing its humble beginnings to its meteoric rise and enduring legacy.

### Inception and Early Days:

The story of Death By Audio Pedals begins with its visionary founder, Oliver Ackermann. A musician and artist with a penchant for experimentation, Ackermann established Death By Audio in 2002 as a communal workspace for artists and musicians in Brooklyn's burgeoning underground scene. The space served as a hub for collaborative projects, DIY ethos, and sonic exploration, embodying the spirit of creativity and innovation that would come to define the company.

### The Genesis of Innovation:

Driven by a passion for both music and engineering, Ackermann began crafting custom guitar pedals for himself and fellow musicians using salvaged parts and repurposed electronics. These early creations, born out of necessity and a desire for unique soundscapes, laid the foundation for Death By Audio's signature aesthetic – gritty, unpredictable, and relentlessly creative.

### DIY Ethos and Community:

At its core, Death By Audio Pedals embodies the do-it-yourself ethos that permeates Brooklyn's artistic community. Ackermann and his team embraced experimentation and imperfection, eschewing mass production in favor of handmade craftsmanship. This commitment to quality and authenticity resonated with musicians seeking to push the boundaries of their sonic palette, fostering a loyal community of enthusiasts and collaborators.

### Breakthroughs and Milestones:

As word of Death By Audio's innovative designs spread, the company gained traction within the music industry, attracting attention from both independent artists and established musicians alike. Key breakthroughs, such as the release of the Total Sonic Annihilation pedal in 2008, solidified Death By Audio's reputation as a force to be reckoned with in the world of effects pedals. Characterized by its feedback loop and self-oscillation capabilities, the Total Sonic Annihilation pedal exemplified the company's willingness to challenge conventional wisdom and push the limits of what was possible in guitar effects.

### Collaborations and Cross-Pollination:

Throughout its journey, Death By Audio has embraced collaboration as a cornerstone of its philosophy, partnering with like-minded artists and musicians to create unique, limited-edition pedals. These collaborations not only expanded the company's creative horizons but also fostered a sense of community and camaraderie within the music industry. From collaborations with renowned musicians like Wilco's Nels Cline to partnerships with experimental music festivals such as the Northside Festival, Death By Audio's collaborative spirit has helped shape its identity and foster a diverse ecosystem of sonic innovation.

### The Legacy Continues:

As Death By Audio Pedals continues to evolve and innovate, its legacy remains firmly rooted in the principles of creativity, authenticity, and community. From its humble beginnings in a Brooklyn warehouse to its status as a global leader in effects pedals, the company has stayed true to its DIY roots while continually pushing the boundaries of sonic possibility. With each new release, Death By Audio reaffirms its commitment to empowering musicians to explore new sonic frontiers and redefine the possibilities of music.

### Conclusion:

In a world where conformity often reigns supreme, Death By Audio Pedals stands as a testament to the power of innovation, creativity, and community. From its inception in the heart of Brooklyn's underground scene to its status as a pioneering force in the music industry, the company's journey is a testament to the enduring spirit of DIY ethos and sonic exploration. As musicians around the world continue to seek out new ways to express themselves, Death By Audio Pedals remains a guiding light, inspiring generations of artists to defy convention and forge their own path in the pursuit of sonic perfection.