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TONE REPORT

J U N E

1 0 T H ,

A Y

2 0 1 6

Y O

I N

L Y

TABLE OF CONTENTS

ISSUE 131

JUNE 10TH

10 TONE TALK

SLOW PARTS ONLY: 8 FAB


PHASERS FOR YOUR
SWIRLING PLEASURE

18 TONE TALK

5 REASONS TO LOVE THE


LINE 6 M9 AND M13
10

26 DIY

MAKE YOUR OWN


PEDALBOARD AND
PATCH CABLES

36 TONE TALK

KNOW YOUR MODES:


BREAKING OUT OF THE
PENTATONIC BOX

18

26

36

44 WREN AND CUFF

ACE OCTAVE FUZZ

48 ALEXANDER PEDALS

SUPER RADICAL
DELAY

52

52 MALEKKO

SNEAK ATTACK &


LIL BUDDY

56 SOURCE AUDIO

KINGMAKER FUZZ
44

ToneReport.com

48

56

NOW PLAY THIS

POWERED BY EFFECTS DATABASE

BANANANA DELIVERS THE


NIRVANANA SYNTH

Guitar synth lovers rejoice: Bananana


Effects gives us the Nirvanana, a guitar
synthesizer pedal capable of transcending
up to four octaves above the original
signal. The synth sounds have a very
pulse-width type feel to them, making
the Nirvanana sound like an FM-type
synth from the 80s. Theres an onboard
footswitchable sequencer along with an
arcade button that resets the action.

KEELEY ENGINEERING PAYS

TRIBUTE WITH THE BUBBLETRON

Robert Keeleys latest and greatest


takes its cues from the groundbreaking
Maestro FSH-1 Filter/Sample Hold,
an envelope filter with a switchable
sample-and-hold mode that was and is
an incredibly far-out sound. Of course, it
wouldnt be a Keeley pedal without tons
of extras, and the Bubbletron adds a
dynamic phaser and flanger, both based
on other vintage units.

SVISOUND UNLEASHES THE


OVERZOID OVERDRIVE

Combining an unimpeachable penchant


for killer aesthetics and tone, SviSounds
OverZoid drive has an internal charge
pump to bump the voltage up to an
unparalleled 24 volts for supreme
headroom. A three-way toggle switches
between clipping modes, ranging from
hard clipping to none at all for a nice,
uncompressed drive tone.
NOW PLAY THIS

//

Buzzworthy Gear

BUGG FX MAKES US BELIEVE


WITH THE DAYDREAM DELAY

There isnt much non-traversed ground


in the delay category, but the Daydream
Delay, by Bugg FX certainly makes its
case. The signal is split into several
bands, each individually delayed and
filtered, then combined back into one
signal in post. This creates a beautiful
multi-layered sound unlike anything else.
Anything from haunting ambient delays
to windchime-like effects is possible.

TC GETS INTO YOUR

PHONE WITH THE WIRETAP


RIFF RECORDER

TC Electronic has again changed the game,


this time with the Wiretap Riff Recorder. The
Wiretap store up to eight hours of audio
and beams it seamlessly to your smartphone
(equipped with the Wiretap app). Once its
in a phone, the audio can be trimmed up,
stored and even shared with your bandmates.
This allows for a whole new dimension of
songwriting and collaboration possibilities.

LEONA AMPLIFICATION

COOKS UP THE SUGAR AND SPICE

This everything nice overdrive from


Leona Amplification stands apart from
other overdrives by using stacked opamps to give you more of what you like
from an overdrive: Creamier gain, more
touch response and more amp-like feel.
Despite this op-amp stacking, the Sugar
and Spice excels at light-to-medium-gain
overdrive tones and contains a switch to
accentuate different mid frequencies.
ToneReport.com

SLOW
PARTS
ONLY

8 FAB PHASERS FOR YOUR


SWIRLING PLEASURE
Phasers provide everything from subtle whoosh to dramatic, warbly undulations.
They can add sweet, swirly dimension to chords or make your guitar sound like a ray
gun from a 50s sci-fi B-movie. As one of the first effect pedals I ever tinkered with,
phasers have a special place in my heart, and on my pedalboard. They probably
arent used as often as delay, reverb, and overdrive, but sometimes phaser is exactly
what a song needs to make it complete. There are many phasers to choose from,
so Ive selected a handful of the bestboth vintage classic and new boutiqueto
narrow it down for you.

words by Sam Hill

10

TONE TALK //

Slow Parts Only: 8 Fab Phasers for Your Swirling Pleasure

Blackout
Effectors
Whetstone
Ive seen the Whetstone on more than a few pedalboards in my day, and for good reason.
This unit has a wide range of controls that cover the phaser gamut, and its also capable
of some great vibrato and Uni-Vibe-style tones. Itll even do ring mod sounds with the
Range knob set to the Ring setting. If youre looking for an incredible sounding phaser,
but also want a variety of other modulation sounds and strange effects, this is the one
you want. You may think of fuzz pedals when you think of Blackout Effectors, and for
good reason, but its outdone itself with the Whetstone. There are two versions of this
pedal, and although they share the same control set, the second has some updates to
the circuit for general improvements, so try out both to see what you like best.

Boss PH-1

If you can think of a certain type of effect


pedal, theres a Boss for that. The PH-1
comes in the classic Boss enclosure, and
depending on who you are, its green color
is alluring or disgusting. With two knobs
for Rate and Depth, this is a difficult one to
screw up. A wide variety of phaser sound
are available despite the simple interface,
and the addition of a depth control allows
you to dial in very faint phase in the
background of your tunes, or in-your-face
warbles. Like other Boss pedals, the phaser
evolved into many different versions, but
if you want something thats easy to use,
bulletproof, and full of great sounds, look
no further than this Boss classic.
ToneReport.com

11

EarthQuaker
Grand Orbiter

This one is worth having for the name alone


the folks at EarthQuaker Devices are known for
crafting sonic masterpieces, and the GO is no
exception. This one offers more control options,
featuring knobs for Resonance, Rate, Depth, and
Sweep, as well as toggle switches that choose
between rate variations and Phaser or Vibrato
modes. It also features top-mounted control jacks
if youre concerned about pedalboard real estate.
Throw in some sweet graphics, and youve got a
quality, versatile stompbox that looks coolwhat
else would you expect from EarthQuaker? This is
a great phaser for players who want more than
one or two knobs can offer, but still want a simple,
easy-to-use interface.

Electro-Harmonix
Small Stone

This is the first phaser I ever owned, and I love


it dearly. Its one of the few pedals Ive bought,
sold, and bought again. As much as Ive come
to appreciate other phase pedals, none of them
sound like this one, to my ears at least. With
a single giant Rate knob and a Color switch,
the Small Stone will do everything from 70s
funk to Radiohead with ease. Its worth noting
that Analogman does some stellar, and (in my
humble opinion) necessary modifications to
help players get the most out of this pedal.
But even without those, its a delightful pedal
worth exploring. Please note that I have not
played a current Nano versionI have only
owned the old-school big-box models.
12

TONE TALK //

Slow Parts Only: 8 Fab Phasers for Your Swirling Pleasure

Empress Phaser

If a couple of knobs just dont do it for


you, the Empress may be just what
youre looking for. With eight available
waveforms, expression pedal control,
tap tempo, a three-stage phase mode
as well as two- and four-stage phasing,
and a bevy of knobs and switches, its
probably the best tweakers delight
out there for those who dont want to
drop a months salary on a holy grail
vintage unit like the Mu-Tron Bi-Phase. Simply put, the Empress has a detailed control
set that enables it to do everything anyone could ever want in a phaser. Housed in a
high quality and durable green metal enclosure, the Empress Phaser is sure to provide
a wealth of phaser tones for all eternity.

MXR Phase 90

Like the saying goes, Once you go orange


and black, you never go back. Ok, nobodys
ever said that, but the Phase 90 would reside
in the effects pedal hall of fame, if there
was such a thing. If its Van Halen you seek,
the Phase 90 will get you there, and if you
want to be extra authentic, you can snag the
official EVH signature phaser, complete with
cool graphics and a switch that puts it into
Script mode for classic and modern tones.
There are many Phase 90 variations to choose
from. If youre nitpicky about authenticity,
you can snag the handwired version that has
no LED and must be powered by a battery.
That way, you can get great phase tones and
pretentiously scoff at another guitar players
clean, power-supply equipped board,
because lets be honest, we all want to do
that sometimes.
ToneReport.com

13

Mu-Tron
Bi-Phase

Big, bad, and blue, this is


the phaser for the player
who loves phaser more
than any other effect, and
loves to tweak knobs. Its
all over the Smashing
Pumpkins Mellon Collie
and the Infinite Sadness,
it has a wide range of
controls, as well as a
matching expression pedal, allowing you to phase to your hearts content. It is roughly
the size of a laptop, so if youre trying to squeeze one last pedal onto your board, this
aint it. I always look at the electronics section at the back of thrift stores hoping to find
one of these for $10, but Ive had no such luck. If you purchase one from someone in
the know, it will set you back much, much morethink Klon Centaur rangebut if you
absolutely love phaser sounds, it may just be worth it.

TC Electronic Helix

When I imagine what its like at TC Electronic


headquarters in Denmark, I envision a North Poleesque scene, but the elf costumes have been
replaced by Hsker D t-shirts, and Tore roams
the halls sprinkling magic TonePrint dust onto all
the pedals, with some of it settling into his epic
beard. What was I talking about? Oh yeah, TC has
an awesome phaser called the Helix, and it sounds
superb. I had the pleasure of reviewing it awhile
back, and was thoroughly impressed with its ability
to nail classic and modern sounds. In addition to
that, theres the TonePrint feature, so you can save
a preset created by a rockstar, or make your own
with TCs TonePrint editing software. Add stereo
inputs and outputs, and youve got yourself a real
winnertypical of TC Electronic.
14

TONE TALK //

Slow Parts Only: 8 Fab Phasers for Your Swirling Pleasure

TC Electronic Helix

Blackout
Boss PH-1
Mu-Tron Bi-Phase Effectors
MXR Phase 90 Whetstone
Whats your favorite phaser pedal of all time? How often do you use it? I hope youve
enjoyed this look at some of the fantastic phasers available today. If you dont have
one, make it a point to try one on this list, or any phaser for that matter. If you do have
one, I hope you go turn it on right now.

Electro-Harmonix
EarthQuaker
Small Stone Grand Orbiter
Empress Phaser
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15

18

TONE TALK //

5 Reasons to Love the Line 6 M9 and M13

FIVE

Reasons
to Love
the Line 6
M9 and M13
The Line 6 M13 and M9 pedalboard multieffect pedals have been on the market
since 2008 and 2009 respectively. When
first released, they were nothing short
of game-changing devices. They packed
all of the models from Line 6s DL4 Delay
Modeler, MM4 Modulation Modeler, FM4
Filter Modeler, DM4 Distortion Modeler,
and the Verbzilla into a single, well-thoughtout pedalboard. For those keeping score
at home, thats over 100 effect models to
choose fromgranted, 17 of those are
fuzz, overdrive, and distortion that sound
great but dont always feel great. But
among the rest of those effects, there are

some seriously great sounds. Ive owned an


M9 since 2010 and its never left my board
in that time. Sure, other, more awesome
sounding pedals have been released during
that time. And Ive owned many of them.
But I keep coming back to the M9 because
its convenient and (knock on wood) reliable.
And believe it or not, Im not the only Tone
Report Weekly writer who uses the M9
or M13. Be warned though, the following
endorsement relates only to the M9 and
M13. While the M5 sports the same great
sounds and some of the functionality of its
bigger siblings, it was clearly engineered to
a price point.

WORDS BY PHILLIP DODGE


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19

CONVENIENCE

The biggest thing going for the M9 and M13


is the convenience factor. In the simplest,
most user-friendly settings, you get nearinstant access to 36 and 144 effects with
the M9 and M13, respectively, and you get
instant access to six in the M9 and 12 in the
M13. With the M9, you can use six effects
simultaneously and with the M13 you can
use four at once. You do this by building
scenes. Think of scenes as virtual pedal
boards. You program (I use that term
lightly) the M9 to contain six scenes each
containing six effects, and you select these
scenes by pressing the two buttons for
scene select and then hitting any of the
six main buttons to select its scene. Once
on a scene, you just click the effects on and
off like a regular old stompbox. You do the
same with the M13 you just get twice as
many scenes and twice as many effects in
each of those scenes.

SIMPLICITY

There are so many possibilities within the


M9 that I really only use three scenes. I
have one set for basic rock and Americana

20

TONE TALK //

sounds (Tremolo, Spring Reverb, Tape


Echo, etc.), one set for indie rock and
alternative (Chorus, Plate and Octo Reverb,
Modulated Delay, etc.), and one set for
craziness (Synth Strings, Ring Modulator,
and Oscillating Delay). The sounds are so
good that the only non-dirt pedals on my
board are a Catalinbread Belle Epoch, an
Electro-Harmonix Mel9, and a Caroline
Mtore Reverb. I get lots of effect variety
without having to power multiple pedals
or dealing with additional cables. Heck, I
can even plug in an expression pedal and
use the M9 as an old school Whammy or a
volume pedal (on the two individual songs
where I need those effects).

SOUNDS

Ill never forget the first time I saw a Line


6 effect in use. It was in early 2000 and I
was watching the band Joe, Marcs Brother
open for Superdrag. Yep, Im not that
young anymore. Joe Pisapia (who later
joined Guster and then became a producer)
was using the DL4 Delay Modeler for some
really cool reverse delay effectshe was
basically doing short backwards guitar

5 Reasons to Love the Line 6 M9 and M13

solos. My mind was blown and I tracked


him down after the show and asked how
he did it. A few weeks later, I bought a

DL4. It turned out that I didnt have Joes

skill with the reverse delay, but I was
extremely impressed with the Echoplex
and Deluxe Memory Man models. I love

the big box Deluxe Memory Manit

sounds like nothing else but it takes up
a ton of real estate. The M9 gets me 95
percent of the way there and doesnt

take up much more space (while giving

me a ton of other sounds beyond just the
DMM). It still inspires and influences my
playing and I doubt anyone in the audience

could hear the difference. The Plate and

63 Spring are equally inspiringso much
so that Im 100 percent fine with playing
an amp without built in reverb. The Pitch

Vibrato is based on the classic Boss VB
2, a pedal I never would have bought
because of the painful cost-to-use ratio.
Having access to that sound in the M9

means I have two songs where I can use

the effect. The Script Phase isnt quite a
rich and chewy as my old MXR Phase

90, but again, its shockingly close.



Ive sort of covered functionality already
by discussing the scene mode for the

M9 and M13. but thats more about

convenience than function. I come to
the M9 for the scenes and the sounds,
I stay for the global tap tempo and the

expression capabilities. Its not often that

FUNCTIONALITY

I need or use tap tempo, but when I

EFFECTS

19 Delays

Tube Echo

Tape Echo

Multi-Head

Sweep Echo

Analog Echo
Analog W/Mod

Lo Res Delay

Digital Delay
Digital W/Mod
Stereo Delays

Ping Pong

Reverse
Dynamic Delay

Auto Volume Echo

Echo Platter
22 Modulations
Opto Tremolo

Bias Tremolo

Phaser

Dual Phaser
Panned Phaser

U-Vibe

Rotary Drum

Rotary Drum & Horn
Analog Flanger

Jet Flanger
Analog Chorus

Dimension

Tri Chorus

Pitch Vibrato
Ring Modulator

Panning
18 Distortions

Tube Drive

Screamer

Overdrive

Classic Distortion
Heavy Distortion

Color Drive

Buzz Saw

Facial Fuzz

Jumbo Fuzz

Fuzz Pi
Jet Fuzz
Line 6 Drive
Line 6 Distortion
Sub Octave Fuzz
Octave Fuzz
Boost/Comp/EQ
Volume Pedal
26 Filters
Tron Down
Tron Up
Seeker
Obi Wah
Voice Box
V-Tron
Throbber
Spin Cycle
Comet Trails
Slow Filter
Octisynth
Synth-O-Matic
Attack Synth
Synth String
Growler
Q Filter
12 Compressors
Red Comp
Blue Comp
Blue Comp Treb
Vetta Comp
Vetta Juice
12 Reverbs
63 Spring
Spring
Plate
Room
Chamber
Hall
Ducking
Octo
Cave
Tile
Echo
ToneReport.com

21

do, its for pretty crazy stuff. And with the


M9, I can tap in the tempo for up to three
effects at once. What this usually means
for me is that I can do a crazy wash of
three simultaneous delays each repeating
at different subdivisionsone dotted
eighth, one quarter, and one whole note.
Or maybe Ill do a whole note delays that
gets chopped up with 16th note tremolo
and swept by quarter note phase. The
sky is the limit and I need only tap in one
rhythm to sync them all. Expression is
the Yin to tap tempos Yang. Here, I can
use one or two expression pedals and set
each individual effect (if Im feeling crazy)
for specific heel and toe maximums. I can
bend pitch and have dual delays (one
speeding up and one slowing down). I can
have one wah sweeping up while another
sweeps down. Again, the sky is the limit.
And yes, there are other pedals that can
do this and there are devices for syncing
tap tempo pedals, but its all in the M9
and M13 waiting to be unlocked.

22

TONE TALK //

UBIQUITY, REPAIRS,
AND MODS

Im not a touring musician. Even if I had the


drive and the opportunity, thats not the life
I could live. But if I were a touring musician I
could sleep easy knowing that if my M9 went
kaput, I could grab another at either a chain
or mom and pop music store in just about
any city. Or better yet, I could order one via
Amazon and have it waiting at my next tour
stop. If the M-series has an Achilles Heel,
its the stomp switches; they dont actually
do the heavy work. Instead, they simply
press down on board mounted switches.
Luckily, there are modders out there who can
replace or upgrade your M9 or M13 to selfcontained switches. These same builders can
also install momentary switches for heel or
toe expression (great for quick pitch shifts
or slamming the delay repeats) or single
switches to toggle through scenes. If youre
really crazy, you can even have them upgrade
the audio path. Ive compared standard and
upgraded side-by-side. The upgraded audio
path is better, but only ever-so-slightly.

5 Reasons to Love the Line 6 M9 and M13

JUSTIFICATION

I wont try to convince you that the M9 and M13 sound better than the vintage effects they
model or some of the amazing DSP-based pedals that have come on the market since Line
6 created these two units. But hopefully I have convinced you that these two pedals are
staples in touring racks for a reason. They sound great, work well, are pretty affordable, and
flat out get the job done. Dont be afraid to give one a shotyou just might be impressed.

THE BIGGEST THING GOING FOR THE M9 AND


M13 IS THE CONVENIENCE FACTOR. IN THE
SIMPLEST, MOST USER-FRIENDLY SETTINGS,
YOU GET NEAR-INSTANT ACCESS TO 36 AND
144 EFFECTS WITH THE M9 AND M13
ToneReport.com

23

FREEPEDALFRIDAY
W I N N E R

Congratulations!
Mark Palen

MI SSOULA , USA

CONTACT:

in fo@ton e r e p o r t . co m to co lle c t your p rize:

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Be inspired by its history. How it makes you feel.
Find your own voice with gear you can't
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BUY IT NOW EXCLUSIVELY AT REVERB.COM

WORDS BY NICHOLAS KULA

LET ME ASK YOU A


QUESTION: HOW
MANY PEDALS DO
YOU THINK ARE
OUT THERE?

ts a lot. And for us children of the


circuit, we want to buzz from flower
to flower, pollinating them all. For
many of us, we will try anything once.
Yes, even a Rocktek Distortion. We will
try them all, just to say we have tried
them. When we see a pedal with a
ridiculous price tag, we want to try it to
see how it stacks up. We are a culture
of tryers. However, for all this trying
that goes on, there is far less buying.
Personally, had I bought every pedal
I tried, Id probably be homeless, but
Id be splashing around in pedals like
Scrooge McDuck. To that end, were are
selective about the devices we buy, and
we buy them after extensive testing
and research.
And why do we buy them? We go
through this rigorous selection process
because they fit our rigs, our styles,
our sounds. Theres nothing more
gratifying than taking a pedal home and
integrating it into our setups. We spend
house noodling and tinkering, placing
it before other pedals and after even
moreits just plain satisfying. Its also
fun. Rewarding. At its core, its satisfying
because we plug it in, slap some strings,
sound comes out and we smile.

On the flip side, purchases that do


none of these things are a pain to
buy, especially when they cost money.
When a string breaks and more are
purchased, its an easy pill to swallow
because theyre cheap and facilitate
noisemaking. There are certain items
that make no sound and barely catalyze
new frontiers in sonic spelunking. Im
talking about pedalboards.
Many players managed to make their
ways without pedalboards, including
some guy named Jimi. That said, none
of us are Jimi and most reading this
dont have armies of roadies and other
folks that get everything ready. We
have to do it ourselves, and having an
entire self-contained unit is one step
toward a migraine-free load-ina boon
anytime we can lessen it.
However, pedalboard sticker shock is
very real. Many folks like the idea but
balk at the cost. The same goes for
patch cables. Oftentimes, patch cables
are sold at fixed lengths, dashing the
dream of a tidy board against the rocks
of reality. And the good ones cost
lots of money.
Thankfully, putting this together yourself
isnt too difficult, even if you dont
have a garage full of woodworking or
metallurgic tools. Were going to be
borrowing from our lovely friends at
Ikea, and their wondrous PPLAR
shelving unit. Were also going to be
making our own patch cables.
ToneReport.com

27

DISCLAIMER: Unlike my pedal building articles, this one carries few


caveats. However, we will be using a soldering iron to construct the cables,
and we ask that you be familiar with its standard operating procedures before
continuing. Neither I, nor Tone Report Weekly assume any responsibilities for any
personal or property damage that may occur as a result of misuse of the tools
listed in this article. Irons are hot, dont touch them.
That said, are you excited? Were going to make an entire pedalboard, and when
all is said and done, you will be up and running. Exciting, isnt it? Here is what
youll need for the pedalboard:

PEDALBOARD MATERIALS
1x Ikea PPLAR shelf (it comes with brackets and screws)
1x roll of Velcro/Dual-Lock/adhesive fastener
1x roll of [the other side] of the aforementioned
4x large rubber feet (optional)

TOOLS:
Offset screwdriver
Measuring tape
Utility knife (to cut the Velcro; normally you dont want to
use scissors, but if you have an old crappy pair, you can
use them)
Fine-grit sandpaper

Ok, lets put this together!

28

DIY //

Make Your Own Pedalboard and Patch Cables

STEP 1: When you open your

PPLAR package, youll discover the


brackets and screws are in a separate
packaging. Though it will be tempting to
tear into it and start mounting, we need
to prepare it a bit. Take the raw wood
out, note which side has the mounting
holes, and sand the opposite side. You
dont really need to put any elbow grease
into it, just enough to smooth out the
wood so that adhesive will stick to it.
Remember, the original purpose of the
piece is a shelf where things sit instead
of bond. Make sure to wipe the board off
after sanding.

STEP 2: Use your offset screwdriver

to slowly insert the screws. Using a


standard screwdriver forces us to
approach at an angle, and the wood can
be cracked this way.

STEP 3: Measure the width of the

pedalboard and decide how you wish to


attach Velcro. I opted to go with the flow
of the wood and not cross the seams with
a piece of Velcro for maximum adhesion.
Measure the width of the slats as well.

STEP 4: Use a utility knife (or

those old gross scissors) to slowly cut


the Velcro. The glue from the Velcro will
smear all over the blades of the scissors,
as well as become lodged in the center
mechanism. Peel the Velcro and stick it to
the board. Attach the rubber feet if you
want them. Let the glue set for a couple
hours before you start adding pedals and
tearing them off.
ToneReport.com

29

Now time for the part everyone dreads: the cables. I should pre-empt this
section by saying that your time spent doing this will be much easier if you buy
cable ends with tip AND sleeve lugs. Many cheaper cable ends only contain a lug
for the tip. I bought this one-lug type for this piece to illustrate the hardest path
to success.
Before you order cable and ends, place your pedals on the board, or, if youre
ordering the board and cable parts simultaneously, get a decent idea by putting
the pedals on your floor. Use a piece of string to measure the distance between
the pedals and add the distances up, then add one or two feet to the total.

PATCH CABLE MATERIALS


Cable. There are tons of options, get one with a relatively thin
diameter. I get all mine from http://btpa.com, along with the ends.
Cable plugs. This depends on personal taste and how many pedals
you have. I got pancake type. As noted above, make sure your
ends have both tip and sleeve lugs, it will be much easier.
Polyolefin heat shrink tubing (optional)

TOOLS:
Soldering iron
Third hand tool (alligator clips and magnifying glass)
Wire strippers
Multimeter (to test)
Dremel or sandpaper (if using plugs with only a tip lug)
Heat gun/hair dryer (if using heat shrink)

30

DIY //

Make Your Own Pedalboard and Patch Cables

STEP 1: Cut the cable into the pieces

you measured earlier, but add an inch of


cable to each length.

STEP 2: Strip a half-inch of

insulation from the cable, and a quarterinch up, strip the black shielding. This
leaves the white shielding, and youll
want to strip back another eighth-inch,
exposing the conductor. Shear off half the
shielding, then twist the remaining shield
wire into a rope shape.

STEP 3: Thread the core wire into

the tip lug, and thread the shield wire into


the shield lug. If youre using the same
plugs I am, you must use the Dremel
or sandpaper to scratch up the plug
shielding, because solder wont stick to
smooth metal. Using the helping hand
tool, grip the wire against the plug and
solder.

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31

STEP 4: If using heatshrink like I

am, slide some over the plug, then slide


another piece on (for the other side).
Solder the second side just like the first,
then heat the heatshrink so that it fits
around the plug. Heat the heatshrink.

STEP 5: Use the multimeter on the

continuity setting and test tip-to-tip (it


will beep), sleeve-to-sleeve (it will beep)
and finally tip-to-sleeve (it shouldnt
beep). If it does, desolder and try again.

YOURE DONE!

Affix the other side of the Velcro


to your pedals and mount them!
If you want to mount a power
supply, you should pick up some
3M Dual-Lock Velcro and mount it
underneathits profoundly strong
and the supply will never come off.
In keeping with the budget theme, I
opted to use a 1Spotit works!
32

DIY //

Make Your Own Pedalboard and Patch Cables

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VINTAGE DELAY

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36

TONE TALK //

Know Your Modes: Breaking Out of the Pentatonic Box

henever I read any


piece regarding guitar
playing, whether it
be theory, gear, or
interview, it always seems like there
is a return to a theme of re-invention.
There are some crazy stories of
guitarists and musicians trying to reinvent themselves in ways that make
us either question their sanity or
wonder why we didnt think of that
before. Theoretically, when I pick up
the guitar I want to forget everything I
know and just let emotion and instinct
take over. In truth however, muscle
memory kicks in and my fingers
almost automatically return to the
same tired licks and patterns to which
I always return. The feeling of malaise
and boredom can easily creep up in
those situations, and it can make us
feel like were running on a road to
nowhere. Its a depressing feeling, and
it bothers me on an existential level.
When a good chunk of your identity
rests on your guitar abilities, (which
Im sure for most of us it does), having
the feeling that youre going nowhere
with your lifes passion is frightening,
and can make you feel like you lost
something significant.
I cant promise anything I say will
be a fix-all solution, but I can try to
impart a little bit of the knowledge
that I learned along the way to maybe
help you break out of the dreaded
pentatonic box. This is a source of

frustration for a lot of guitar players,


as it is the bread and butter of a
good chunk of modern blues and rock
soloing. Today Im going to try and
teach you how to get a little more
melodic by incorporating a few more
notes and bit of modal theory to your
normal pentatonic playing.

ADDING MODAL
FLAVOR TO
PENTATONIC
SCALES

Modes can be complicated or


confusing, or simple and intuitive; it
all depends on how you teach them.
Dorian, Aeolian, Ionian, Lydian, and
Phrygian can sound like sauces in
some swanky restaurant if you dont
know anything about theory. I like
to think of modes as the basis of
all guitar soloing; a lot of popular
scales and licks have their roots in
the modes. Most of the time, modes
are be confusing and challenging
to understand, and even more
challenging to use correctly for those
without a primer.
Put simply, there are the five modes
that I described above, in addition
to the Mixolydian and Locrian
modes. These modes sound different
among different backdrops or
chord progressions when played,
and can evoke different feelings or
moods depending on how theyre

Words by Yoel Kreisler


ToneReport.com

37

played. They can be mournful, happy,


melancholic, or downright weird.
I dont want to delve too far into
the modes, but here are the basic
moods evoked by each mode.
Remember, the moods are altered

by changing the chord progression


behind the modes being played,
but this is the basic idea of what
they would sound like against their
characteristic progressions:

Im not going to pretend I know


exactly how the modes work, because
I dont. I can only tell from my
experience what they sound like and
how to use them. There are far too
many modes to delve into detail, so
today were only going to focus on
one, the Dorian mode.

pentatonic scale that are found in the


Dorian mode:

I like to think of the Dorian mode as


the advanced pentatonic. Its got all
the notes of our favorite pentatonic
scale, but a few more minor sounding
notes that add a bit of variation. In
the picture below, the dots colored
red are the notes outside of the
38

TONE TALK //

Those couple
of notes added
will add a whole
lot to any solo,
and keeping
that little
knowledge in
your repertoire
could help you
easily break the
shackles of the
dreaded box.

Know Your Modes: Breaking Out of the Pentatonic Box

Ionian

Dorian

Phyrgian

Lydian

Mixolydian

Aeolian

Locrian

STRING SKIPPING

As a burgeoning rock star on the rise,


Im sure you can remember spending
many hours playing the pentatonic
scale up and down ad nauseum in

every position on the neck. While


practicing scales is great and highly
recommended, we tend to practice
scales linearly because of the way
our brains are conditioned to learn
muscle patterns. We like to go in
order from bottom to top or from top
to bottom when learning or practicing
in almost everything we do, not just
scales. However, this feature is to help
you break out of your monotonous
patterns. In another attempt to
jar yourself out of the familiar, try

ToneReport.com

39

skipping a string or two. If youre


playing on the A string, try skipping to
the G string and playing at the octave
above position. So if youre playing
an A minor pentatonic, and you play
the 5 note on the A string, instead of
going to the 7 note directly above it,
play the 7 note the next string over.
This will be an octave above, and it
can be cool for making your solos a
little more melodic if you add a couple
of arpeggios along with it. This has
helped me write quite a few riffs when
I was feeling stuck in a pentatonic rut,
and I hope it can help you as well.

LEARNING A
DIFFERENT
GUITARIST

Everyone has their favorite guitarist,


the guitarist that inspired them to
pick up the guitar for the first time,
or after a long hiatus. This guitarist
or musician follows you around, and
sticks to your playing style, being
evoked every time you pick up
the guitar. Its hard to escape our
influences and our inspirations on our
own, and learning straight theory may
40

TONE TALK //

not inspire you enough to break out


of the box. I have found, that learning
solos from different guitarists other
than my main influence is perhaps
one of the most useful practices to
discovering new ways to approach the
fretboard that you would have never
thought about on your own. Learning
new solos not only builds discipline,
but it adds new licks and arpeggios
to your vocabulary that you wouldnt
have been able to reach on your own.
Not only that, your phrasing and your
perception of phrasing will change;
learning the greats and how they play
along with their respective bands will
help you become a better musician in
general, as well as a better guitarist.
I have definitely not touched on
every possible way to break out of
the pentatonic rut, not even most of
them. There are many tips, tricks, and
practices that you can use to help
break your musicians block. This is
just a starting point for your journey
out of the valley of the shadow of
tedium; a stepping stone to the new
and exciting on the horizon. Until
next time!

Know Your Modes: Breaking Out of the Pentatonic Box

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WREN AND CUFF


ACE OCTAVE FUZZ
REVIEW BY YOEL KREISLER
STREET PRICE $179.99

I find myself yet again


at a crossroadstoday
is another chapter in my
love-hate relationship with
vintage fuzzes, catalyzed
by this interesting offering
from fuzz wizards at Wren
and Cuff. The Ace Octave
fuzz is a bit of an offbeat
one, but it provides vintage
tone (and headache) in
spades. The vintage puritan
in me wants to love it for
being so unabashedly
original and unkempt, while
the technophile gear nerd
in me wants to hate it for
being so damn moody and
hard to work with. Players
who like their fuzzes of the
decidedly vintage flavor
know what to expect when
44

GEAR REVIEW

//

working with these finicky


devices. To all those who
find vintage tone sputtery,
moody, and painful, turn
back now. This is not a
journey for novices.
Wren and Cuff managed
to sidestep many of the
other octave fuzzes on the
market by shying away from
the standard iterations of
the Tychobrahe Octavia or
the Univox Super Fuzz. It
decided instead to clone a
very unique fuzz called the
Ace Tone FM-2 Professional,
an obscure Japanese fuzz
box from the late 60s.
Its very over-the-top, and
not at all subtle, which
is what makes this pedal
great and what makes
Wren and Cuff Ave Octive Fuzz

it a little less desirable.


We are of a generation
of guitarists weaned on
perfect tone; many of
these primitive circuits have
been upgraded, cloned,
and fixed to no end,
which leaves us with the
squeaky clean versions of
these effects without any of
the less palatable artifacts.
Anyone who was played
vintage fuzzes knows there
is something unique about
the primitive sound and
function of the tone, and
this pedal was made for
those people: the sonic
experimenters, the vintage
enthusiasts, and the guys
who want pedals that dont
play nice.

On the front, we have two


simple controls: Volume and
Fuzz/OCT. Between those
two is a tone switch, which
can give two very different
flavors of the same fuzz.
The first position is a dark,
very mid-focused tone that
is somewhat honky and
reminiscent of a modified
Fuzz Face. The second
channel is a mid-scooped,
very bottom heavy sound
reminiscent of the Univox
Super Fuzz. Being a big fan
of the Super Fuzz, I tended
more towards this setting,
but I found some musical
uses with the other one as
well. The sound here was
big and rowdy, like your
drunk unruly uncle stumbling
around your grandparents
house breaking everything
in sight. It was insanely
loud, and it pummeled my
face with a thick and woolly
wall of fuzz. The octave
effect after which the fuzz is
named is very subtle, almost
nonexistent below the 12th
fret, which was a bit of a
disappointment. Above the
12th fret, you get a very
subtle octave shift in the
upper harmonics, but you
really have to listen for it.

Unfortunately this doesnt


really come out as brashly
or as boldly as the Octavia
octave fuzzes, but many of
the early octave fuzzes that
dont utilize a transformer
have this characteristic, so it
shouldnt be a deterrent.
One thing that you should
keep in mind however,
is that like many vintage
fuzzes, this pedal does
not play nice with buffers.
Like many players, I run
quite a few pedals, and a
buffer at the beginning of
my rig opens and clears up
the tone lost from running
all those pedals. Vintage
fuzzes never play nice with
buffers, as the tone of the
fuzz will be heavily affected
by the buffer. Put it before
a buffer and the sound can
be splatty or inarticulate,
put it after a buffer and
the sound can be overly
bright or squelchy. Taking
the buffer completely out
of the chain, or separating
it by putting at least one or
two pedals between it can
usually remedy it, but that
can create other problems
in your signal chain that the
buffer is there to remedy.
If you love vintage fuzz,

and are prepared for the


baggage that comes with it,
I wouldnt hesitate to give
the Ace Fuzz a try.

WHAT WE LIKE

Authentic vintage fuzz


tones. Well-equalized tone
section that can create a
massive wall of fuzz.

CONCERNS

Octave effect can be subtle


at times.

ToneReport.com

45

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ALEXANDER
PEDALS

SUPER RADICAL
DELAY
REVIEW BY DAVID A. EVANS
STREET PRICE $329.99
The 80s seems to be the
decade that simply wont
go away. Even with Grays
Sports Almanac in hand,
a person couldnt have
predicted that in 2016,
Alexander Pedals would
try to bring a little bit of
the 80s back to the future.
This time around, the
company has introduced us
to its Super Radical Delay, a
pedal which incorporates a
crystal-clear 920 millisecond
delay with some iconic 80s
modulation effects.

as a modulation pedal
independent of the delay
function. So, if the Mix knob
is cranked to the full wet
setting while the Time knob
is cranked down (no delay),
the pedal will apply the
modulation effects without
any delay. Most people who
buy a delay pedal will do so
because they want delay,
but its good to know that
Alexanders pedal can do a
bit more.

The Super Radical Delay is


a delay pedal which offers
users the opportunity
to massage the
delayed signal. But the
pedal can also function

Of the four modulation


settings, Mod is the
closest the pedal comes
to straightforward delay:
its clear, its there, and itll
do the job for you if youre
looking for some slapback
echo or some space-

GEAR REVIEW

Alexander Pedals Super Radical Delay

48

//

sounds for an extended


jam session. However, with
a bit of adjustment, Mod
also produces a distinctly
80s, metallic-sheen chorus
effect. Depending on the
knob settings, the Super
Radical Delay can add the
chorus to the delayed or to
the dry, non-delayed signal.
Basically, the pedal will
double as a chorus effect if
need be.
Glitch mode operates like
a bit crushing effect, which
for the most part was fairly
tame and glistening. But,
if the Range is cranked up
all the way along with the
Repeats, the pedal will
produce a wavelike sound
that tends to break up as

the trough of the wave is


reached. Its actually a pretty
cool sound, even though my
best description of it might
be sea lion barking.
The third mode, Bend,
operates as a pitch bender
whose intervals can go from
and octave lower than the
inputted note to at least an
octave higher. The repeats
are reprocessed, of course,
so if the first delayed note
is shifted up one octave,
then the second repeat of
that same note will sound
two octaves higher than the
original note.
Finally, the Flow mode uses
a resonant filter to provide
what Alexander describes
as a liquid effect. Without
any dry signal mixed in, the
Flow mode was clearly a
resonant filter whose slowopen sound would fit right
in to a DJs mix.
In addition to its modulation
effects, the Super Radical
Delay offers up to 128
presets. That number pretty
much blows the competition
out of the water, especially
for pedals of this size.
Alexander accomplished
this feat by incorporating

MIDI controllability, which


is itself accessible through
a traditional MIDI cable
or a more contemporary
USB-Mini B cable. Now,
the Super Radical Delay
canwithout any MIDI
helpaccess three presets
and identify the preset with
its LEDs. Changing one of
these three presets simply
requires holding down
the sturdy Bypass/Preset
button. For the other 126
presets (perhaps all needed
for one song), one must use
a MIDI controller.

WHAT WE LIKE

Crisp, clean delay with a


few of those distinct 80s
modulation effects that we
all love. 128 presets!

CONCERNS

The blue LEDs on the


pedals face were bright.
Normally I wouldnt point
this out, but at times
I felt that I had to shield
my eyes while adjusting
the settings.

Considering all the merits


of the Super Radical Delay,
it seems that Alexander
brought back some of the
better things about the 80s.
Sometimes retro crazes
become a little tired, but
in the case of the Super
Radical Delay, tone hounds
might once again want to go
back in time.

ToneReport.com

49

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MALEKKO

SNEAK ATTACK
& LIL BUDDY
REVIEW BY
FLETCHER STEWART
STREET PRICE $189.00
LIL BUDDY $35.00
Malekko was the first
boutique pedal company
I ever got excited about.
When it first started back
in 2007, I happened to
be touring with my old
compadres The Cheat and
we stopped by their shop
in Austin to check out two
incredible new pedals
the B:Assmaster and the
Echo 600. Everything about
Malekko was differentthe
graphics, the tones and
the fact that it was run by
two non-guitarists. We had
a blast making noise with
both new Malekko stompers
and vintage pedals, putting
them through a Marshall
four-holer that actually had
five, because there was a
52

GEAR REVIEW

//

bloody gun bullet hole in


the head cabinet. I also
remember being blown
away by Joshs blue SH-101
synth with an Echo 600 built
right into the unit; please
Josh, pitch this to your new
Roland colleagues . . . I
digress.
Speaking of synthesizers,
the incredible new Sneak
Attack carries on the
Malekko non-tradition of
guitar-friendly stompers
inspired by more typically
modular-synth-section
function. We get a
staggering 25 different
attack and decay waveform
combinations and the
digitally controlled analog
circuit can cover anything
Malekko Sneak Attack & Lil Buddy

from experimental chirpand-blurb-stab-dabbing,


to smooth volume swells.
Whats more is the wide
range of vintage and
modern never-before-heard
tremolo tones on tap. These
can go from the clank-dank
Repeat Percussion-style
blats to smooth optical
and bias trem-tones with
the twist of a knob. The
overall sound is rich, thick
and lyrical, leaving lesser
swell pedals shackled
to the confines of retro
redundancy. Lets go ninja
on those pick attacks and
ditch those out-of-reach
volume knob techniques.
The full control set endowed
to the Sneak Attack may

initially confuse the nonpedal-savvy guitarist or


immediate-gratification
tone seeker, but with
a brief tweak sesh and
glance at the manual, this
box is actually a doddle
to dial in. The deceptively
simple idea of ramping up
and ramping down with
different waveforms actually
displays an entire universe
of polymorphic guitar
treatments. Lets read from
left to right.

You obviously comes to


mindespecially with a Les
Paul-style guitar patched
in. Being an analog circuit,
slower sine wave cycles
slither out of the speaker
cones in serpentine spades.
Though I would typically
use a pedal like at the helm
of the signal path, patching
the Sneak Attack into an
effects loop would be
really interesting for adding
vintage trem treatments to
more modern amps.

Thinking in isolated sections


helps. The curve attack is
the initial rise shape of the
wave swell and the curve
decay is the shape of the
taper from the crest. The
length obviously controls
the times of both the
rise and fall of the preset
shapes. The level and auto
thresh knobs are utilitarian
rather that tone-imparting
parameters. The former is
primarily a simple volume
control and the latter can
adjust the intensity of the
effect as controlled by ones
pick attack and pickup
strength. In LFO mode, I
was hearing many classic
guitar and synth tonal
reference points. Who Are

In manual trigger mode, the


decay section of the pedal
is lopped off which is really
handy for hands-free volume
swells and faux-eBow
violin rubbing. If I were to
try to ape Adrian Belews
animalistic aural guitar
mimicry on the Talking
Heads Remain in Light, I
would find the footswitch
unlatching manual trigger
mode in Sneak Attack very
handy indeed. It can make
any guitar purr like a Big
Electric Cat.

WHAT WE LIKE

To quote David Yows


statement about the
Melvins from the trailer of
its upcoming documentary
The Colossus of Destiny,
when you take a chance
and it doesnt suckyou
are winning. This sums
up the Sneak Attack and
pretty much every other
Malekko pedal I have ever
had the pleasure of abusing.
I love everything about
this stomper. The graphics,
the real-time attack-decay
trigger LEDs, the addictive
rhythmic cycling and the
polymorphic waveshape
shifting make it a winner.
The expandable Little
Buddy swell triggering and
subdivision functions are
just icing on a very tasty
Top Tone cake. This is one
for my personal board. Pair
this up with the B:Assmaster
or Diabolik and get ready
for some brutal bottomheavy chugging.

CONCERNS
Zilch.

ToneReport.com

53

go back

IN TIME

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serene, ambient reverberated pads.

strymon.net/flint

SOURCE AUDIO
KINGMAKER
FUZZ

REVIEW BY ERIC TISCHLER


STREET PRICE $149.00

In truth, Source Audio (SA)


made me a digital believer a
couple of years ago with its
OFD pedala two-channel,
multi-option distortion
machine thats entirely
digital and sounds anywhere
from good to great. Given
that, and the fact that I
now have several SA pedals
on my board, I figured the
Kingmaker would get a
rubber stamp of approval
from me, but a listen to
the pedal shows SA hasnt
been sitting on its laurels,
and the flexibility in this
one-footswitch stompbox
arguably trumps the many
layers of tweaking offered
by the OFD.
To start, the Kingmaker
56

GEAR REVIEW

//

offers three different flavors


of fuzz, which are selected
by a three-way toggle:
Heavy (think Big Muff),
Normal (think Fuzz Face)
and Octave (think Octavio).
Enhancing these sounds are
(at a minimum) two bands of
EQ; right there, that should
be enough for most fuzz
lovers, but read on.
The Big Muff setting
on the OFD was one of
my favorites and, not
surprisingly, I love it on
the Kingmaker: its thick
and syrupy yet articulate,
providing infinite sustain
and a nice amount of body.
One of the places you might
expect a digital distortion to
falter is the treble response,
Source Audio Kingmaker Fuzz

but you can crank the


Kingmakers treble and get
nothing but a nice sheen
that will ensure you shine
through the mix.
The Octave really nails
the Octavio effect with a
throaty grind that absolutely
captures that classic effect.
Again, the two-band EQ is
wonderfully complementary,
adding (or subtracting)
presence and body as
needed. Whats unusual
about SAs take is how
responsive the effect is to
playing. The sound is there,
but its consistently chaotic;
theres no sense of having
to struggle with the effect,
hoping the octave will cut
through and resolve. For

some, this might be part of


the originals charm, but I
loved having access to this
effect without having to
dumb down my playing.
Finally, I was prepared to
be disappointed by the
Normal setting, because
the OFDs Fuzz Face
voicing was one of that
pedals disappointments.
Instead, I was blown away
by its implementation in the
Kingmaker: thick, round and
tubular at high gain setting,
raspy but articulate at low
settings, gorgeous clean
up with the volume knob,
and totally interactive with
the EQ, the Normal setting
is the answer for those
who find typical Fuzz Faces
murky or just plain hard to
work with.
This radically improved
variation on the Fuzz Face
made me wonder what else
SA had improved, and one
of the secret weapons of
the Kingmaker (and SAs
other Series One pedals), is
that it can access 40 other
distortion settings via the
Neuro App, which you can
download to your phone
or tablet. The App also

provides additional tone and


volume options, including
two bands of Mids.
Setting up the App was
astonishingly easy, and
hearing the effects in
real time was even more
rewarding. I didnt have
timenor the spaceto
review all 40, but I did revisit
two of my least favorite
settings on the OFD: the
Rat and the Tone Bender
MKII. As with the Fuzz
Face, both were radically
improved, and the best
way to put the difference
is the originals sounded
like samples from a boxy
12-inch speaker through a
SM57, and the new versions,
well, just sound like good
pedals based on the original
effects. The Rat was more
open and the Tone Bender
more present, and both
did justice to the originals
while offering the various
EQ options inherent to the
Kingmaker itself and the
Neuro App.
While messing around with
the Neuro App, I also found
a second Fuzz Face option,
which sounds more like a
silicon take, and a version

of the Maestro FZ-1A. As


with the Octave, the latter
take on a classic fuzz nails
the tone and texture while
providing much more stable
response. And the best
part? Any of these effects
can be saved to a toggle
on the pedal so, if youve
already got a Muff, you can
write over that space and
add one of the 40 options
that are available in the
Neuro App. For that alone,
the Kingmaker is worth the
price of admission, but if I
said you could have a great
Muff, Fuzz Face and
Octave pedal in one box
with two bands of EQfor
under $200, wouldnt you
be intrigued?

WHAT WE LIKE

Fantastic sound quality


and an astonishing array of
options for a ridiculously
reasonable price.

CONCERNS

As a fan of both the twochannel Soundblox series


and the great variety of
sounds in the Kingmaker,
Id love to have ready
footswitchable access to all
three of my chosen settings
in this one box.
ToneReport.com

57

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TONE REPORT
EDITORIAL
CONTRIBUTING WRITERS
Phillip Dodge, David A. Evans, Ian Garrett,
Sam Hill, Yoel Kreisler, Brett Kingman,
Nicholas Kula, Nick Leners, John McBride, David Pakula,
Nick Rambo, Fletcher Stewart, Eric Tischler, Jamie Wolfert

ART & DESIGN


SENIOR DESIGNER Adam Borden
GRAPHIC DESIGNER Shelly Hennessy

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