TEST: EBS Pedals

 “Look, there are EBS pedals to test. For the bass! Nope, nothing bass, for guitar. Huh?" OK, I admit, this fictitious conversation is really only very rudimentary, but the core message reflects the first impression that most users spontaneously have. Similar to labels in the style of Ampeg, Alembic or Schack, the Swedish company EBS is deeply committed to the low frequency range. A product that strays even a little from this path immediately causes strong hyperventilation among string players. The lute player's legacy likes to be clear, not to say conservative, see Marshall's unsuccessful attempt to establish a bass amp decades ago.

Nevertheless, the company EBS dares to bring an initially somewhat reserved guitar line onto the market with the MultiComp, the Dynaverb and the Red Twister in order to offer a new contact point to the impressive number of six-stringers who have so far diligently used the EBS bass pedals. Smartly, they avoided tackling the very, very subjective market of overdrive and distortion pedals, instead focusing first on the areas of dynamics, modulation and spatial effects.


Conception

All three devices are in the same housing, only the color and the number of inputs and outputs vary. The devices were developed in Sweden and assembled in China. All devices make an extremely massive impression, which is also reflected in their corresponding weight. These cases are built to last, it is questionable whether they will ever break. 4 soft rubber feet on the bottom of the housing also ensure a good grip even on smooth surfaces.

The products are powered by an external power supply, either 9-12 volts, or a 9V battery, which can be placed inside the housing. To do this, however, the four screws on the bottom of the housing must first be loosened. To place the battery you have to aim carefully as there is very little space available. The battery is held in place by the pressure of a small rubber pad on one side and the edge of the motherboard on the other side. This can lead to stress cracks on the board; in my opinion, a somewhat more elegant solution could have been found. When it comes to milliamperes for the power supply, there don't seem to be any great demands. I had a 200 mA power supply from Ibanez at the start and all products ran smoothly.

Let's take a closer look at the pedals in detail.


EBS Red Twister (Chorus/Flanger)

Even though the Red Twister has a flanger setting, the primary use of the pedal is the chorus area. The presets Flange, Heavy and Soft can be set using a triple mini switch and fine-tuned using the two rotary controls. The input is mono, but the output is also stereo if required. In addition to the operating status, the operating LED shows the speed of the modulation when the effect is activated by gently pumping. After opening the housing, the dry/wet ratio of the effect can also be adjusted using an internally installed trimpot, with 50% being the factory setting.


EBS DynaVerb (Stereo Reverb)

The range of use of a stereo reverb pedal is known to be limited for guitarists, but you should not forget that you can also operate the product in mono and also keep in mind that some pianists/organists, for example, like to use guitar pedals if they don't have fallen for the “Macbook-regulates-and-controls-everything” variant. The product can also be looped into a parallel loop by deactivating the direct component using two internally installed mini switches. For example, if you have an amp with a reverb spiral, you can use this trick to redirect the cable routing to the reverb spiral into the DynaVerb and then control the reverb level using the reverb control on the amp. Alternatively, the reverb can also be adjusted in rack or studio operation via appropriate aux paths. The EBS DynaVerb has 9 presets, which are divided into Room, Plate and Hall and each offers 3 variations. You have to decide on a preset before a song, switching during the song is only possible with intense fingertips. The reverb intensity and timbre can be changed using the rotary controls.


EBS MultiComp (compressor)

With a pedal compressor, many manufacturers simply follow the “peaks-down rules” algorithm and that’s exactly how the whole thing sounds. With simple and consistent picking, this may still work to some extent, but with dynamic playing or excessive frequency changes, usually only complex 19 inch solutions can provide relief. In order to be able to respond to the different requirements, EBS has installed 3 different presets in its MuliComp called Normal, Tubesimulation and Multiband. Normally self-explanatory, tube simulation mimics the stronger pumping of a tube compressor, but the multiband setting is a standout preset.

It is well known that low tones, due to their higher "energy level", require the compressor to reduce the volume more than high tones, which unfortunately leads to high tones that vibrate at the same time being reduced in volume. To avoid this, the MultiComp works with 2 frequency ranges, which are compressed independently of each other. As a software plugin in the mastering area it's old hat, but as a guitar pedal it's a real specialty.



Practice

All pedals run with absolutely no noise and have a pleasant feel due to their solid construction. You get the impression that these pedals can easily take a small fall without a problem.

Red Twister

Some people would like to have more control options for a chorus, but this turns out to be an unfounded concern. With its 3 presets, the EBS Red Twister actually covers more than 90% of all areas of application for a chorus and how successful a limited sound spectrum can be is shown, among other things, by the Chorus super-father CE-2 from Boss, which comes with only 2 controls and yet is Has been playing in the top chorus league for decades. The sound of the Red Twister is pleasantly shimmering and soft, without becoming muddy.

Clean sounds in particular benefit immensely from the phase shift and are not only suitable for a U2 tribute band. The Flanger variant sounds good, but I would consider this algorithm more of an addition, as the missing resonance control does not fully exploit the range of applications.


DynaVerb

Designing a reverb device for guitarists can quickly go wrong if you make the mistake of simply copying the presets from the keyboard section. Mega-powerful church reverb is a must for the Gothic disciples, but let's not kid ourselves, which guitarist wants to turn his percussive playing style into pulp with just 5 seconds of reverb. Here EBS shows a lot of expertise and places a lot of emphasis on the room area and the plate reverb, which is often wrongly reduced to brass instruments.

Both sections sound pleasantly fresh and create a subtle depth gradation that places the instrument in the room without letting it drown in the madness of effects. The product is also characterized by its high level of flexibility, even allowing it to be used as a second or third reverb in the studio.


MultiComp

A good compressor struggles with the same problem as a woman's makeup; both are most effective when you don't notice them. In this respect, the MultiComp can actually solve more than just the standard problems of a guitarist. While summing compressors in studio technology are primarily intended to enrich the overall sound when set correctly, a compressor pedal is intended to “de-dynamize” the uneven attacks of a guitarist and equalize the attack and release cycles of the strings.

The EBS MultiComp does this really well. Both the subtle compression in the tube simulation and, in particular, the multiband setting perfectly equalize the dynamic progression of the string vibration and therefore stand out from the masses of compressor pedals.



Conclusion

With the MultiComp, DynaVerb and Red Twister pedals, the Swedish company EBS is preparing to transfer the quality of its bass pedals to the guitar sector. A very solid workmanship and interesting detailed solutions put the pedals above the majority of their competitors and offer very good quality for the ambitious user.

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Additional Informations:


In the dynamic world of music gear, few names command as much respect and admiration as EBS Pedals. Renowned for their exceptional sound quality, durability, and innovative design, EBS has earned a reputation as one of the premier manufacturers of professional audio equipment. The story of EBS Pedals is a testament to passion, perseverance, and a relentless commitment to sonic excellence.

The Birth of EBS:
EBS Pedals traces its roots back to 1988 when Bo Engberg founded the company in Stockholm, Sweden. Engberg, a bassist and electronics enthusiast, set out to create pedals that would meet the specific needs of bass players. Armed with a deep understanding of audio engineering and a passion for tone, Engberg embarked on a journey to develop pedals that would deliver unparalleled sound quality and performance.

Early Innovations:
From the outset, EBS Pedals distinguished itself through its commitment to innovation and craftsmanship. One of the company's early breakthroughs came with the release of the EBS OctaBass pedal in 1990. This compact octave divider quickly became a favorite among bassists for its ability to produce rich, fat octave tones without sacrificing clarity or definition. The success of the OctaBass laid the foundation for EBS's reputation as a leader in bass effects pedals.

Expansion and Diversification:
Throughout the 1990s and early 2000s, EBS continued to expand its product lineup, introducing a wide range of pedals designed to enhance the tone and versatility of bass guitars. From overdrive and distortion pedals to compressors, choruses, and delays, EBS pedals became synonymous with premium sound quality and reliability. The company's dedication to meeting the needs of bass players of all styles and genres earned it a loyal following among professionals and enthusiasts alike.

Global Recognition:
As EBS Pedals gained traction in the market, the company's reputation for excellence spread beyond its native Sweden to the global stage. Bassists around the world began incorporating EBS pedals into their rigs, citing their transparent sound, robust build quality, and intuitive controls. EBS's commitment to innovation and attention to detail earned it endorsements from top artists such as Marcus Miller, Stanley Clarke, and Billy Sheehan, further solidifying its status as a premier brand in the world of bass effects.

Technological Advancements:
Throughout its history, EBS has remained at the forefront of technological innovation in pedal design. The company's engineers continually strive to push the boundaries of what is possible, incorporating cutting-edge components and circuitry into their pedals to achieve the highest standards of performance and reliability. From the introduction of true bypass switching to the development of advanced DSP algorithms, EBS pedals are engineered to deliver uncompromising sound quality and tone.

Commitment to Quality:
Central to EBS's success is its unwavering commitment to quality in every aspect of its operations. From the selection of materials to the assembly process, every step of production is carried out with meticulous attention to detail. Each pedal undergoes rigorous testing and quality control procedures to ensure that it meets the company's exacting standards for performance and reliability. This dedication to quality has earned EBS the trust and loyalty of bassists worldwide, who rely on their pedals to deliver consistent, professional-grade tone in any musical setting.

Looking Ahead:
As EBS Pedals looks to the future, the company remains focused on its core values of innovation, quality, and sonic excellence. With a continued commitment to pushing the boundaries of pedal design and technology, EBS is poised to remain a driving force in the world of bass effects for years to come. Whether you're a seasoned professional or an aspiring musician, EBS pedals offer a gateway to sonic exploration and expression, empowering bassists to unleash their creativity and passion for music.