TEST: Eventide Riptide

 Only very few guitar effects have ever made it into the great hall of fame of the great guitar sounds. These are mostly effects pedals that were created in the early days of the electric guitar, simply because at that time the gain factor was still significantly lower and effects had a much better basis to come into their own and on the other hand others, because at that time people had a completely different way of listening to music and even the smallest details in the sound had a big effect. One such product was the Uni-Vibe, which was developed in 1960 by Fumio Mieda for the Japanese company Shin-ei and represented a legendary combination of phaser and vibrato, known from titles such as Robin Trower's "Bridge of Sighs" , Jimi Hendrix's "Machine Gun" and Pink Floyd's "Breathe". Since the price for an original Uni-Vibe is currently no less than 3,000 USD, there are several providers who copy and, if necessary, expand the legendary product. This also includes the Eventide Riptide test device, which has a few very interesting additional features.

The concept of the Eventide Riptide

The Eventide Riptide is a stompbox pedal that contains two different effects. On the one hand there is a copy of the legendary Uni-Vibe, on the other hand the product also includes an additional overdrive, whose distortion reserves extend well into the distortion range. The Eventide Riptide, developed in the USA and built in China, has a very well-made, solid case with dimensions (W x D x H): 102 mm x 108 mm x 43 mm, has a weight of: 812 grams and has a matching color kept in an attractive turquoise to suggest waves.

The product includes a power supply with various attachments, a USB cable, an Eventide sticker, an instruction manual and four stick-on rubber feet. The multi-voltage power supply, which works from 100 volts to 240 volts, is a 9 volt DC power supply, which, however, outputs a relatively high value of 620 mA. As with most Eventide products, it is important to ensure that, in the best case scenario, you use the original power supply to power the product. For my part, I have had problems in this regard when I wanted to connect Eventide products to a multiple power supply that was located under the floorboard.

As I said, the Eventide Riptide pedal is divided into two effects, each of which can be accessed in two different sound areas and the order of which can be switched. Both effects each have three controls to choose from (Uni-Vibe: Vibe, Speed, Intensity - Overdrive: Drive, Tone, Level), with the controls being pleasantly stiff and of high quality. The sound switching as well as the order of the effects is carried out by pressing the three LEDs, which are located above the Drive and Vibe footswitches or next to the intensity control.

Furthermore, five presets can be loaded and adjusted using the Eventide Device Manager (EDM) software, with 5 LEDs on the left edge of the housing providing information about the respective use of the preset. Unfortunately, the presets can only be accessed via an external expression pedal, which is plugged into the front of the housing via a 6.35 mm jack connection. Next to the expression input there is also a mono in and a stereo out, which can of course also be used in mono. Below the sockets there are two mini switches where you can adjust between mono and stereo operation or the input level between guitar and external line signals or for use in an FX loop. Finally, on the outside on the right there is a USB 2 port plus the connection socket for the power supply.

The Eventide Riptide in practice

Right at the beginning of the test phase, the first question that arises is of course how you want to place the Eventide Riptide in the signal path. In its function as an overdrive, it naturally belongs in front of the amp or preamplifier. Using the Uni-Vibe effect, on the other hand, may also allow operation in the amplifier's effects loop. However, if you consider which decade the original Uni-Vibe came from, the question of an effects loop becomes unnecessary. No amplifiers built at that time had any kind of interruption in the signal path between the preamplifier and the power amplifier. Therefore, all effects pedals that were used at the time were placed between the guitar and the amplifier, i.e. in front of the amplifier. The idea can also be transferred to the Eventide Riptide, because the classic Uni-Vibe sound only comes into play in combination with the amplifier's possibly slightly distorting input, especially since you can of course create this effect in the device with the built-in overdrive. It can therefore be assumed that the effects pedal achieves its best sound results with an all-tube amplifier that is set as cleanly as possible in the style of a Sound City or Hiwatt amplifier. In order to follow this approach, I also recorded all the sound files with a Sound City Master One Hundred (https://www.amazona.de/test-sound-city-master-one-hundred-vollroehren-topteil/).

As already mentioned, I really like the Eventide Riptide case in terms of its visual appearance and workmanship, but the layout offers a slight starting point for criticism. Due to the compact dimensions of the housing, the footswitches for the overdrive and Uni-Vibe units are located comparatively close to the controls of the distortion unit, which, as I said, are very high-quality and stiff, but protrude relatively far up from the housing, so that they even sit approx. 2-3 mm above the highest point of the footswitch. This means that you can only activate or deactivate the respective effects with the top toe of the shoe, otherwise you run the risk of either adjusting the controls of the overdrive unit or, in a very unfavorable situation, even damaging the controls. A small metal bracket would have been enough to protect the potentiometers accordingly.

In terms of sound, however, the product impresses from the first notes. It is probably well known that an overdrive with only three controls is very easy to use. I'm a little surprised that the Uni-Vibe unit does an excellent job with only three controls, but it shows once again that with a good basic sound, only a few control options are needed to produce a very good sound. Depending on the control setting, the Uni-Vibe unit produces light, spherical and subtly modulating basic sounds, which leave a very good impression, especially in the clean range, through to heavy, shimmering sounds that are sometimes reminiscent of a helicopter, which have a real effect in the truest sense of the word represents.

The Uni-Vibe adaptation of the Eventide Riptide always retains the original basic sound of this modulation effect device, which creates a typical 60s sound in a combination of phaser and vibrato, which can be achieved with the individual effects in the form of a single phaser or a single vibrato. Can't reach pedals. Anyone who thinks that with the overdrive you don't get much more than a bonus from Eventide is seriously mistaken, although you wouldn't mention the name Eventide in the same breath as the leading overdrive pedal manufacturers in the world. However, the overdrive pedal sounds very transparent, very adult, never has an artificial sound and is at the forefront when it comes to intensive and characteristic sounds, especially when interacting with the Uni-Vibe unit. In particular, the possibility of swapping the order of the effects offers, when it comes to the intensity of the Uni-Vibe, an additional opportunity to bring the sound to the foreground and make it even more audible in the band's feel.

In summary, the Eventide Riptide offers an independent, very well-adapted vintage sound, which can set refreshing accents depending on the style of music and is still always based on the typical sound of a guitar. From ultra-clean to wide gain, the pedal offers a real enrichment for the classic stompbox fan, especially when connected in front of a full tube amp.
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With the Eventide Riptide, the manufacturer has a very good adaptation of the legendary Uni-Vibe pedal in its ranks, which has also been supplemented with an overdrive pedal. This makes it possible to switch the pedal in front of a clean amp and, depending on the constellation, use an expression pedal to call up five different presets in the best vintage style.

If you love stompboxes and have a penchant for guitar sounds from the 60s and 70s, you should definitely give the pedal a listen.

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Additional Informations:

The world of music is rife with innovation, and perhaps one of the most iconic creations to emerge in the realm of guitar effects is the Univibe pedal. With its unmistakable swirling, pulsating sound, the Univibe has left an indelible mark on the landscape of rock, blues, and psychedelic music. But where did this beloved effect originate? To answer this question, we embark on a comprehensive exploration of the Univibe's fascinating genesis, tracing its roots from conception to its enduring legacy in the music industry.

Birth of the Vibe:
The Univibe effect pedal owes its inception to the quest for sonic experimentation that characterized the late 1960s. As guitarists sought to push the boundaries of their sound, engineers endeavored to meet this demand with innovative solutions.

The Uni-Vibe utilized a unique circuitry comprising light-dependent resistors (LDRs) and incandescent bulbs to modulate the guitar signal, producing its distinctive, warbling effect. Unlike traditional vibrato circuits, which modulate the pitch of the signal, the Uni-Vibe altered the amplitude, resulting in a more pronounced, three-dimensional sound reminiscent of a rotating speaker.

Evolution and Endorsements:
Following its introduction, the Uni-Vibe gained traction among prominent guitarists of the era, solidifying its status as a staple in the burgeoning psychedelic and rock scenes. One of the earliest adopters was Jimi Hendrix, whose pioneering use of the pedal on tracks like "Machine Gun" and "Star Spangled Banner" catapulted the Univibe to prominence.

Hendrix's endorsement significantly boosted the pedal's visibility, attracting the attention of musicians seeking to emulate his distinctive tone. Other luminaries, including Robin Trower, David Gilmour, and Robin Trower, further popularized the Univibe, cementing its reputation as an essential tool for crafting ethereal, atmospheric sounds.

Despite its initial success, the Uni-Vibe faced challenges in the wake of Shin-ei's closure in the early 1970s. However, its legacy endured through various iterations and clones produced by other manufacturers keen to capitalize on its iconic sound.

Modern Resurgence:
In recent years, the Univibe has experienced a resurgence in popularity, fueled by a renewed interest in vintage gear and classic tones. Boutique pedal makers have revived the spirit of the original Uni-Vibe, offering faithful recreations and updated interpretations that capture the essence of this timeless effect.

Additionally, advancements in technology have enabled digital emulations of the Univibe, providing guitarists with unprecedented flexibility and convenience. These digital recreations offer an authentic replication of the Univibe's sound while incorporating modern features such as preset storage, expression pedal compatibility, and stereo outputs.

Conclusion:
The Univibe effect pedal stands as a testament to the enduring allure of analog craftsmanship and sonic experimentation. From its humble beginnings as an attempt to mimic the Leslie speaker's distinctive sound to its status as a revered icon of guitar effects, the Univibe has left an indelible mark on the musical landscape.

As musicians continue to seek new ways to express themselves creatively, the Univibe remains a timeless tool for crafting rich, immersive tones that transcend genres and generations. Whether in the hands of a seasoned virtuoso or a budding enthusiast, the Univibe continues to inspire awe and ignite the imagination, ensuring its place in the pantheon of legendary guitar effects for years to come.