TEST: Engl Pedals

 Only rarely have I observed the industry waiting impatiently for the release of a series of pedals, in this case the Engl effects pedals. Of course, there are great expectations when one of the world's most successful amplifier manufacturers, especially from Germany, brings a new series of effects pedals onto the market under its own name, but some people will be surprised that the pedals should generate such great interest .

In the first edition, Engl devotes itself exclusively to standards such as distortion, chorus, delay and compressor, which we also have for testing in exactly this constellation - nothing really out of the ordinary at first glance. Nevertheless, there must be something special about the products, otherwise the rush for the pedals made in Russia would not have been so great that people had to wait months to receive a test sample.

So let's take a closer look at the Rooky when it comes to pedals.

construction

Let's jump straight into the door when it comes to real innovations. If you look at the pedals from the bottom, you will notice the RJ45 socket, which is completely unexpected in this segment and which you would otherwise see on your LAN hub or home router. Connect pedals to the router? Don't worry, there is no network interface here, but rather a useful connection port, which we will go into in more detail in a moment.

That's why I would first like to look at the matching Engl PB-6 pedalboard, which really shows off the innovation in the pedal sector. The board, which weighs only 1 kilogram and has dimensions (W x D x H): 392 mm x 113 mm x 33 mm, contains 6-way RJ45 cabling, which ensures both the sound signal and the power supply in the daisy chain process becomes. Patch cables of any kind are not required when using these pedals.

In times when FX pedals are shrinking more and more for reasons of space, but still cannot fall below a minimum width due to the unavoidable use of patch cables, Engl leaves the pedals in the standard dimensions of 59 mm x 110 mm x 34 mm, but can then use them Place the multi-effects pedals right next to each other. This ensures that the controls remain clear while minimizing lateral expansion. An excellent detailed solution!

The pedals themselves are screwed firmly onto the board, and the cabling of the board, which is also made in Russia, disappears behind a solid base plate. What's left is a board with up to six pedals, which makes a very compact and road-ready unit. With the Engl PB-4 the board is also available in a 4-way version.

What the pedals have in common

Now let’s get to the pedals themselves. All pedals are in the same housing, only the number of controls and switches varies. All pedals have a true bypass, which means that if the power supply fails, the signal will still continue. In this context, I would like to briefly point out that if the cable is more than 2x 3 meters, you should consider a separate buffer in the signal path or a buffered FX pedal; with 2x 6 meters, this is essential!

Judging by the precision of the holes, it seems that a lot of manual work is still used in the production in Russia. The alignment of the hole is occasionally “a little out of the spirit level”, but this is not a big deal if you have the right attitude towards the product. One less robot in the value chain!

The basic tonal character of all effects can be given the attribute “Vintage”. All effects sound comparatively warm and soft, although the Overdrive Retro and Distortion Reaper can bite and scratch a lot. The only thing left to do here is to test it in your personal setup to finally assess the sound.

All sound files were recorded with a Fame Forum IV, a 73 Marshall Superlead, a 260 watt Marshall box (65 watt Celestion) and a Fame MS 57 microphone, a setup that supports the vintage charm of the pedals with its angular basic sound. The signal went through a Mackie 32-8-8 console without any tone control.

English Compressor

The effect is basically self-explanatory for all interested newcomers: a compressor reduces the dynamics in guitar playing by lowering the dynamic peaks and raising the basic volume. This makes the sound sound more condensed and compact. A guitar compressor can only be used sensibly if the sound is clean, as the same effect occurs when the distortion increases.

The Engl Compressor has the control options Level (volume), Tone (sound), Attack (response speed) and Sustain (volume ratio control). The device does what it is supposed to do. Especially with clean picking parts, the compressor compresses pleasantly evenly and compensates for the musician's different attack volumes. When setting, pay particular attention to the attack control. If it speaks too late, the first note will sound unpleasantly loud; if it speaks immediately, the sound will sound unpleasantly artificial.

English Chorus

The Engl Chorus comes with only 3 controls (Speed, Depth, Detune) and is characterized by the fact that you can choose between the Chorus or Vibrato functions using a small slider.

In terms of sound, the chorus impresses with a very dense sound, which finds its tonal sweet spot especially on instruments with single coils. The sound is very warm with a high vintage content and the vibrato function can also generate a wonderfully “egging” sound, which exudes a great Sixthies/Seventhies charm.

Engl Delay

The Engl Delay is basically an extended slapback delay that works according to the bucket brigade principle, i.e. with each repetition the treble portion of the sound produced decreases. The effect is based on the first analog delays that came onto the market almost 40 years ago, as the processors of that time often could not work differently.

Similar to the chorus, the delay only has 3 controls (level, repeat, delay time) and a slide switch that lets you choose between the delay time of 20 - 320 ms or 40 - 640 ms. The sound can again be described as very warm and yet neutral.

English Retro

The name is program. The Engl Retro is a very flexible distortion that can really push a full tube amp that has easily reached saturation. Even if the name suggests it, in my opinion it is not an overdrive, the pedal bites too hard in the highs and the compression is rather subtle.

The Volume, Dist, Treble and Bass controls are self-explanatory and can be used according to personal taste and equipment. A special feature is the low cut, which can reduce excessive bass swing and the associated resonance pumping.

In terms of sound, the retro goes in the old AC/DC, pre-Razor's Edge Angus Young corner, in which a non-master JMP was blown with a booster or something similar to tickle more gain from the preamp. The result is a biting, edgy sound with a very high level of assertiveness, which is, however, far removed from the high gain of today.

Engl Reaper

The Grim Reaper from Engl is a classic distortion, the sound of which is based on the heyday of the hard'n'heavy sector, i.e. the eighties. With its three-band tone control you can bend the frequency curve quite a bit, but the basic character remains the same. Nothing is more pointless than discussing the advantages and disadvantages of a sonic decade, but the fact remains that in times of poser, hair and cock rock, the always nasal midrange with comparatively little compression was absolutely necessary, even at high gain.

Anyone who is a child of the eighties, was one or would have liked to be one, is way ahead with this distortion. Order spandex pants at the same time ;-)

Conclusion

With development in Upper Bavaria and production in Russia, the new Engl effects pedals really impress. With a very solid construction, an always retro-sounding sound and a brilliant pedalboard detail solution, the pedals immediately place themselves in the first row of German effect pedals.

Anyone who is looking for a successful bread and spread constellation at their feet should definitely give the products a try!

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Additional Informations:

Effects pedals are the unsung heroes of the modern guitarist's arsenal, offering a vast array of sonic possibilities that can transform a simple guitar signal into a kaleidoscope of tones and textures. From subtle enhancements to wild sonic experiments, effects pedals empower musicians to express themselves in new and creative ways. In this comprehensive exploration, we'll delve into the fascinating world of effects pedals, examining their history, types, applications, and notable examples, while highlighting their role in shaping the landscape of contemporary music.

**A Brief History:**

Effects pedals have been an integral part of popular music since the mid-20th century, with their origins tracing back to the innovations of pioneering guitarists and engineers. The first commercially available effects pedal, the Maestro Fuzz-Tone, was introduced in the early 1960s and famously used by Keith Richards of The Rolling Stones on the iconic riff of "Satisfaction." This marked the beginning of a revolution in guitar tone, as musicians began experimenting with new sounds and effects to push the boundaries of creativity.

Throughout the 1960s and 1970s, effects pedals continued to evolve, with companies like Electro-Harmonix, MXR, and Boss leading the way in innovation. From fuzz and distortion to delay and modulation, a wide range of effects became available to guitarists, each offering its own unique sonic character and expressive potential. The rise of rock, blues, and psychedelic music during this period further fueled the demand for effects pedals, cementing their place in the guitarist's toolkit.

**Types of Effects Pedals:**

Effects pedals can be broadly categorized into several main types, each serving a distinct purpose in shaping the guitar's sound. These include:

1. **Gain-Based Effects:** Fuzz, distortion, and overdrive pedals alter the guitar signal's gain structure, adding grit, sustain, and harmonic richness to the tone. Examples include the Electro-Harmonix Big Muff Pi, the Ibanez Tube Screamer, and the Pro Co RAT.

2. **Time-Based Effects:** Delay, reverb, and echo pedals manipulate the guitar signal's timing, creating spatial depth and ambience. These effects range from subtle repeats to lush, atmospheric textures. Notable examples include the TC Electronic Flashback Delay, the Strymon BigSky Reverb, and the Boss DD-7 Digital Delay.

3. **Modulation Effects:** Chorus, phaser, flanger, and tremolo pedals modulate the guitar signal's frequency and amplitude, adding movement and dimension to the sound. These effects can range from subtle warbles to swirling, psychedelic textures. Popular examples include the MXR Phase 90, the Boss CE-2 Chorus, and the Electro-Harmonix Small Stone Phaser.

4. **Filter and EQ Effects:** Wah-wah pedals, equalizers, and envelope filters shape the frequency response of the guitar signal, emphasizing or attenuating specific frequencies for tonal sculpting and expression. Iconic examples include the Dunlop Cry Baby Wah, the MXR 10-Band EQ, and the Electro-Harmonix Q-Tron Envelope Filter.

5. **Pitch-Based Effects:** Pitch shifters, octavers, and harmonizers alter the pitch of the guitar signal, allowing for creative pitch manipulation and harmonic exploration. Notable examples include the Digitech Whammy, the Electro-Harmonix POG, and the Boss PS-6 Harmonist.

**Applications and Creative Uses:**

Effects pedals offer guitarists a wide range of creative possibilities, allowing them to craft unique sounds and textures that enhance their musical expression. Some common applications and creative uses of effects pedals include:

1. **Tonal Enhancement:** Effects pedals can be used to shape and enhance the guitar's natural tone, adding warmth, depth, and character to the sound. This can include subtle EQ adjustments, dynamic compression, and harmonic saturation.

2. **Ambience and Atmosphere:** Time-based effects like delay and reverb can create immersive sonic landscapes, adding depth and space to the guitar's sound. These effects are often used to create lush, atmospheric textures that enhance the mood and emotion of a musical composition.

3. **Expressive Techniques:** Effects pedals can be used to expand the guitarist's expressive palette, allowing for techniques such as volume swells, tremolo picking, and pitch bends. Modulation effects like chorus and phaser can add movement and dynamics to the sound, while filter and EQ effects can emphasize specific frequencies for added punch and clarity.

4. **Creative Experimentation:** One of the most exciting aspects of effects pedals is their potential for creative experimentation. Guitarists can combine multiple pedals in unique ways, explore unconventional signal chains, and push the boundaries of traditional guitar sounds to create something entirely new and unexpected.

**Conclusion:**

Effects pedals play a crucial role in shaping the sonic landscape of contemporary music, offering guitarists a vast array of creative possibilities to explore. From classic fuzz and distortion tones to lush reverbs and psychedelic modulations, effects pedals empower musicians to express themselves in new and innovative ways. Whether you're a seasoned professional or an aspiring bedroom guitarist, the world of effects pedals invites you to unleash your creativity, experiment with sound, and push the boundaries of what's possible with the electric guitar. So plug in, stomp on that pedal, and let your imagination run wild. The possibilities are endless.