SNAMM 2017 or Feedback: 3 Days of Delay
Once more, Summer NAMM has come and gone, inspiring us at Best Guitar Effects to start pulling things off our boards in preparation for the vast influx of new units on their way to the marketplace. The energy was sentient across the span of the show floor, drawing us attendees this way and that in a 100dB haze of riffs and excited conversation. Pitches were thrown, legends were born, and I found my people. This was my first NAMM ever, and I could not have been more pleased to be a part of the action. I learned a few things about guitar pedals while I was walking proud on the show floor, first and foremost that the earnest builders behind them are kind and amazing in a way you can’t know from this side of your computer monitor or smart phone screen. The readiness with which they answered my questions and befriended me was something that, as a confessed industry amateur, I’d never experienced. I also learned that Nashville is f*cking crowded and hot!
But seriously, the Summer NAMM 2017 show floor was packed with not just human mass, but a glut of unique and incredible devices, all ready to be played and picked apart by critics and enthusiastic pedal fans. There was a hilarious amount of new delay pedals at the show this year, some of which were truly mind-blowing, others just so-so. Even though I love delay, I’m not including all of them. Not because I don’t want to do right by the builders who put their hearts and souls into building quality effects, but because this is a subjective summary of the best pedals shown at SNAMM 2017. What you’re seeing were easily the most intriguing and most innovative devices I came into contact with, and for some, after the tone requirement had been surpassed, that threshold was met by a clever feature implemented in way to make musicians’ lives easier. For other pedals included, it’s all about tone.
Without further ado, here are… The Top 28 Best Guitar Effects Pedals of Summer NAMM 2017!
Pigtronix Mothership 2 Analog Guitar Synthesizer
There’s two obvious reasons that this bad mothership is at the top of the pile. Number one on the list: the pure range of synth tones in this pedal is insane. A triangle wave, square wave VCO, and sub-octave sine can be blended at any level with your clean tone to produce a palette from which a cadre of textures can be drawn. Second is the sheer thought and engineering prowess that had to have gone into the Mothership2: TRS expression, TS CV control, sub-octave output and ten parameters (made possible by five dual-concentric knobs) on an MXR-sized enclosure! Yes, that’s ⅓ the size of the original Pigtronix Mothership.
A glide knob controls the portamento between notes, while a dynamics knob determines how responsive the Mothership2 is to the transients in your playing. The choice to include a sub-octave out was smart; too much harmonic content in your low-end often produces mud when we run through guitar amplifiers that aren’t made to amplify bass frequencies. Knocking out those frequencies right off the bat and sending them to a bass amp helps to clean up the outgoing signal when it hits your amp. Plus it would probably sound massive. I have to emphasize to the uninitiated out there that despite the size, this is NOT a filter or a synth “effect.” It is a direct sequel to the original Mothership: a true analog synthesizer controlled by your instrument. In my short time listening to it, the Mothership2 produced sci-fi soundtracks, fat basslines, organic swells, and death-rays, and I have a feeling that that’s just scratching the surface.
Old Blood Noise Endeavors Whitecap Tremolo
When I entered the noisy SNAMM 2017 showroom, I made a beeline for the OBNE booth to acclimate to the environment with some folks that seemed like my kind of people from afar. I was not disappointed by Brady, Dan, or Seth, who readily smiled and shook my hand with offers to run me through their latest. Mounted to their demo board with their already full line-up was the yet-unreleased Whitecap tap-tremolo. The OBNE Whitecap is a tap-tempo enabled tremolo pedal with 5 different waveform variations, low and high tonestacks, volume and rate control, and an internal trimpot that controls the gain for fine-tuning the way the modulations in volume push the circuits. I didn’t work up the courage to ask to open a Whitecap up to play with the gain, but I love that it has tone pots. If you dial more high than low or vise-versa so that you can hear the effect bloom and disappear completely as you play up and down the neck. By maxing the Low EQ and cutting the high completely on the square wave voicing, I got the Whitecap to add a percussive chop to my root notes while my higher notes rang out over them. Super sweet.
Epigaze Audio Ascension Reverb (Prototype)
First of all, this is hands down the prettiest prototype I’ve ever laid eyes on, but looks aren’t everything; even if it instantly caught my eye, I couldn’t have expected what came out of it. Man, was I glad I’m so shallow. First off, we have three modes: a Hall, a Modulated Hall, and a Shimmer. The Height knob controls the decay time, the Mix controls the tone. Alright cool, but that’s not all: The Ascension drones a wavery, self-generated Pad, the key of which is determined by a center footswitch that cycles through the 12 chromatic notes. The level of this drone is controlled by a 2-inch side-mounted pot. There’s an effects loop and, by extension, for adding any effect you want to the wet signal of the Ascension. This is easily one of the coolest pedals at the 2017 Summer NAMM show. If I were to be so bold as to suggest any improvement to the Ascension, it would be to include some sort of means to quickly cycle through the drone’s base note in a more musical way, but this is a prototype, and even if nothing like that materializes for the Ascension, I’m still pumped for its release.
Neunaber Inspire Chorus
I love Neunaber. Every time I think I can’t possibly like Brian’s work any more than what’s come before, he surprises me. While I normally wouldn’t call a chorus “surprising,” nor should anyone be surprised that Nenauber added a new standalone product in the vein of the long-heralded Immerse Reverb, Neunaber’s Inspire is looking to match the Immerse’s success and set a new standard in chorus modulation. With 8 Stereo Chorus Voices based on Neunaber’s proprietary Tritone chorus found on the Expanse platform, Rate, Depth, & Mix (with full wet!) controls, and the overall quality we’ve come to expect from Neunaber, the Inspire will no doubt be one to look out for.
Gamechanger Audio Plus Pedal
Gamechanger Audio is a brand new Latvian company with a refreshing piece of ambient hardware: The Plus Pedal, a “sustain” pedal built to look and feel like a piano’s sustain pedal. In terms of software, it’s similar to a sampler in that it samples up to 1.5 seconds of your raw signal and plays back a slice, and it’s similar to a freeze in that it can be set to hold momentarily or infinitely. The closest comparison I can make is to the EHX Superego, but that doesn’t quite match the feel and intuitive play of the PlusPedal. There is a dual-function dry out 1/4” jack that also serves as an input for a proprietary “Wet” peripheral, which allows for 100% wet soundscape building. The Wet toggle wisely includes a dry out, so you don’t lose the capability to split your wet/dry signal if you opt for the toggle. The Plus Pedal also features a group/single toggle; put plainly, you can set it to sustain only the last notes played, or stack your slices to make a chordal drone. The left side panel sports an effects loop as well. I’m so stoked that I got the chance to meet these guys and test out their product which is very close to being ready for distribution. At the time of my writing this, there’s a Plus Pedal sitting at East Side Music Supply, slowly imbuing the Nashville community and soon the world with its fresh energy.
Dwarfcraft The Curse Modulated Delay
The Curse maintains Dwarcraft’s legacy of weird, powerful tone machines. It’s a modulated delay with all your basic delay parameters (feedback, time, mix, tap tempo and division toggle) and extensive controls for the modulation (modulation rate, skew/duty, depth and your choice of three shapes.) That’s enough, right? Our ol’ pal Aen said: “Nope!” It wouldn’t be a Dwarfcraft Device without some more Dwarfcraft-ish features, and we’re blessed with a single-port TRS effects loop, ⅛” CV I/O for tap tempo and modulation, and an expression input for the modulation. Unsurprisingly, this thing is outrageous fun synced up to the rest of Dwarfcraft’s stuff. There’s a kind of buggy, gritty aspect to almost everything Ben Hinz’s team does, and the clicks and crazy weird sounds this thing will make (particularly with aggressive use of the modulations) while still remaining in the realm of “musical” confirms Dwarfcraft’s self-aware design pathos.
Alexander Pedals Syntax Error
I spent a good amount of time hanging out with the tremendous Matt of the tremendous Alexander effects, and boy do they have a goodie coming up. Fans of glitchy, weird pedals will truly appreciate – nay, worship – the Syntax Error, the first in Alexander’s Neo series of digital effects. I’m not even sure what to call it! The closest approximation that comes to mind is half a joke: Error Generator. Okay but really, the Syntax Error is everything the Super Radical Delay and Oblivion are and more in terms of awesome weirdness, tilting that inspiration further toward the realm of filtery, bitcrushy bliss. Alexander developed a new proprietary DSP to allow for deeper customization and control to an insane degree while also managing to cram it all into a far cheaper, tiny enclosure to not just save space on your board but help you keep space filled in your wallet. On the NAMM floor, the Syntax Error offered me 3 voicings: Cube, a digital fuzz w/ rezo lo-pass filter; Ring, a ring-mod with a sample rate reducer and sample and hold capabilities; and the universal favorite, Stretch mode, which runs the raw signal of your guitar through an adjustable-length buffer and allows you to “stretch” the signal, accelerating to breakneck speed, slowing it down to a crawl or reversing it entirely. There was also a “Sample” knob which crushes the sample rate of the signal to produce squashed-out, 8-bit splats. Physically the Syntax Error features 8 total presets (4 stored directly in the enclosure, 4 recalled via an iOS editor) 8 controllable parameters in any given preset, and a dual-purpose input that yields both CV expression/footswitch control of any combination of those presets and in-depth MIDI control. I mean, you can even control the brightness on the damn LED. As if those wacky/badass voices and insane customizability weren’t enough, Matthew Farrow of Alexander opted to add a fourth voice to the Syntax Error, a “Bode-style frequency shifter with feedback and a time delay for all sorts of weird throbby flangery goodness.” Only time will tell what that means for the final product, but we’ll keep you abreast. I can already tell that Alexander will do everything in their power to max out the capabilities of that 32-bit micro-controller. I can predict with a clairvoyant degree of confidence that the Neo Series is gonna be amazing.
Alexander Pedals Radiacmeter
Of course, before I can catch my breath from the marathon that is the Syntax Error and its Neo ilk, we have to talk a little bit about the Radiacmeter Dist-O-Drive, Matt’s crack at a certain rare, late-70’s Japanese Distortion. The Radiacmeter actually has a lot of history entwined in the origins of Alexander. I won’t reiterate word-for-word the tale told on Alexander’s own website, but to make a long story short, the inspiration was the first pedal Matt ever pieced together and sold, circa 1995. The circuit in question was a distortion mounted inside of a piece of Cold War era military hardware, not coincidentally a device used to detect radiation called a Radiac Meter. The resulting invention was a monster piece of gear that would only fly on the most masochistic guitarists’ boards by modern standards. It is… insultingly massive.
After a few years of estrangement after the device’s sale, it was returned to the loving arms of Mr. Farrow and the Alexander crew to be disassembled and repurposed for the greater good. Out of context, why should you care? Well, while the seed of Radiacmeter shares a lot with Papa Radiacmeter, Alexander updated the circuit with nicer components and new elements, reinterpreting the pivotal distortion circuit to create a much more flexible unit. Our Radiacmeter benefits from two passive High and Low frequency tone pots that interact with each other in a dynamic way to curve the gain pattern to your liking. You have to hear it. The “Sensitivity” knob adjusts the gain on a gradient from smooth drive to atomic hellfire. Level has no surprises for us. Hearing the Radiacmeter gave me some perspective on the versatility of the new circuit. Chalk up another win for Alexander.
Wampler The Doctor Lo-Fi Delay
Wampler’s The Doctor is a modulated Lo-Fi Delay full of all sorts of wibbly wobbly timey wimey tones. Your dry signal stays 100% analog while the parallel blended wet delay signal is loaded into a TARDIS and propelled through time and space, courtesy of some DSP wizardry from the Time Lords at Wampler. As a contrasting answer to the Ethereal Delay/Reverb, The Doctor is a perfect companion, squashed and angry where the Ethereal is spacey and angelic. Still, oscillation comes pretty naturally to it, giving it a kind of reverby vibe at times, and the Modulation is super lush and organic sounding, adding a warble to the repeats that balances out the grit of the repeats. A tap tempo footswitch and ¼” tap tempo I/O means syncing this with the rest of your timed effects is a piece of cake.
Source Audio Ventris Reverb
As we are all aware, Source Audio has followed up on the raucous success of the Nemesis delay with the Award-winning Ventris Reverb. To recap, the Ventris is the result of well over a year of exhaustive research into the world of reverb; an expression and MIDI-enabled stereo reverb with 24 factory voices and banks for 8 onboard user-defined presets (128 with MIDI,) editable with Source Audio’s proprietary Neuro Android and iOS software. Source Audio is ever closer to perfecting the Ventris’s algorithms, and the unit they brought to Nashville was evidence of their steady progress toward a fast-approaching release. As far as I could hear, all of the classic voicings were super clean simulacrum, approximating their inspirations faithfully. What makes the Ventris a truly strong follow-up to the Nemesis (and a logical contender when compared to a few obvious high-end reverbs recently released) are its dual-processors, allowing for insanely detailed and nuanced reverb voices. Not only that, but the Ventris is so powerful, running two reverbs simultaneously is a piece of cake, allowing for unique and life-alteringly beautiful textures. The team had set up a neat little preset they affectionately called the “Laser Reverb,” which is kinda sorta like running the wet tail of a long reverb into a sample and hold filter. Listening to the frequency peaks jump around sporadically was magic, and I definitely spent way longer listening to this effect than I should have.
Walrus Audio ARP-87 Multi-Function Delay
Designed to be a travel-friendly cousin to the Bellwether, the ARP-87 delay dominated the Walrus booth. The closeness with which the ARP-87’s analog tones related to the Bellwether’s was an impressive exhibit of the work Walrus put into the little guy, and I spent a little bit of time A/B’ing the two on the Walrus board to get a really good feel for where the two were most strongly correlated. The ARP-87 is a mono pedal, which is a continuation of the obvious consideration made for those with a travel-sized setup. The ARP-87 also doesn’t have a time knob on it. Rather, the tempo of the repeats is decided by the Tap Tempo footswitch (or CV tap tempo input jack) and division toggle, a fact which really made me consider whether any delay needs a time knob. Jury’s still out on that one. At any rate, you still also hold the Tap footswitch to max the feedback of the delay. Hold bypass to max the X knob’s modulation on the Digital, Analog and Slap Back voices, and the filter range on the Lo Fi. My only qualm with the ARP-87 is that the voices don’t retain your set tap-tempo when cycling between the four voices, so you have to retap after you switch. Small gripe I know, but it’s worth mentioning; in the face of the external tap jack, it becomes irrelevant if you’re running a board-wide clock. It seems that Walrus has a really good grasp on the target demographic for the ARP-87, and went all-in to accommodate their simpler needs without relinquishing compatibility.
Chase-Bliss Audio Tonal Recall Red Knob Mod
In a move thematically linked to the spirit of Summer NAMM 2017, Chase Bliss has opted to improve upon the Tonal Recall’s already near-perfect system by doubling the amount of reissued MN3005 BBD chips packed into it to increase the max delay time to 1100ms. They’ve also rounded out the oscillation for a more musical breakup and have tweaked the pedal for brighter delay tones. Chase Bliss also added a few nice companders (compressor/expander) and improved some other pieces of hardware to increase the headroom, which means more delay trails before your repeats start to cannibalize, and there’s a longer countdown-to-squeal when the hold function is active. CBA didn’t have a Blue-Knob there so I didn’t get the chance to do any A/B comparison but based on my experience with the Tonal Recall, what I did hear on the noisy SNAMM 2017 show floor and then later at the Coffee and Riffs Circle of Two filming was glorious. As advertised, the oscillations were kind to the ear and the repeats downright reflective in tone. All add to the nuanced appeal of the Tonal Recall, so if you have one, go to CBA’s web store and upgrade immediately! If you don’t, you may want to correct that.
Yellowcake Lida Machine
Yellowcake’s Lida Machine, named for a government mind control device known only in conspiracy circles, is a crazy cool resonant filter with 2 LFOs in series. The main LFO, when active alone, is a simple VC filter, affected by rate and depth knobs as well as a fast/slow toggle, while the second LFO can add a further arrhythmic effect with the same parameters as well as a toggle for triangle, square, or sawtooth waveforms. A clean blend is also included to allow your signal to play over the top of all the wubs and dubs you’ll be making. If you want to use a CV enabled pedal or a synth module, the Lida Machine also has a CV input. The expression is linked to the resonant frequency, allowing musical sweeps across the frequency spectrum. I get the sense that I didn’t get to push the Lida Machine to its fullest potential, but what I heard was most definitely dope. Or maybe I’ve been brainwashed?
Positive Grid BIAS Twin Pedals
Never in my life have I heard the phrase, “future of the industry” uttered more than standing at the Positive Grid booth, and I certainly never believed it with such veracity. But armed with one of the most impressive track records in the industry and an extensive repertoire of lauded VSTs and amp/effects modelers, Positive Grid may, at the very least, imply the future. This year they were showing their BIAS Twin pedal series, which are feature rich, compact versions of the BIAS effect line. Six knobs, two switches. They are all MIDI-enabled and compatible with Positive Grid’s bluetooth-augmented BIAS iOS software, which basically makes them physical, pro VSTs. As if the depth of the software weren’t enough, Positive Grid’s ToneCloud is an invaluable community tool, much like the Empress Effects user voting forum or Source Audio preset sharing community, and the commons-style format will most definitely inspire some truly creative takes. Also, with Positive Grid’s current buzz and reputation as a premier gear company, you can expect a ton of professionals flooding the scene with voices, so teasing apart how they pull it off should be a super fun exercise.
BIAS Twin Delay is a digital delay modeler with dedicated modulation and reverb engines. Voicings include digital, tape, analog, reverse, stereo and ducking, which all can play back up to 3000ms (!!!!) of delay time. In an electric blue is the BIAS Twin Modulation, a master of all mods; chorus, vibrato, phaser, flanger, rotary, tremolo, panning, chopping, ring mod… nearly everything is possible with this. Throw in a waveform toggle (sine, square, sawtooth) and a tap tempo just for kicks. The BIAS Twin Distortion, meanwhile, takes advantage of BIAS’s hyper-detailed Tone Match tech. Tube, germanium, silicon, JFET and MOSFET clipping diodes all reside inside of its wheelhouse and can be paired in any combination. A built-in compressor and noise gate make it an easy choice.
Way Huge DoubleLand Special
Designed for Joe Bonamassa, The DoubleLand Special is basically two Way Huge Overrated Special circuits in one enclosure. The tone parameters are high-cuts while separate 500Hz knobs allow for mid-range cut/boost at pretty relatively subtle Q. The LED sliders are the same controls as those available in the pots, an aesthetic choice made by Joe himself for at least visual purposes. One could argue that there may be a slight difference in the tweakability but thanks to the atmospheric decibels on the SNAMM floor there’s no way that I could speak to that with any real authority, and so help me if I tried. Tonewise, the DoubleLand special struck me like a mid-focused 808 made for blues. Setting the center toggle to series will let you run one circuit into another for gain-staging/mid-high gain purposes, but I think I preferred the functionality of toggling between variation of the two circuits by leaving the series option inactive. Dialing in two polarized, relatively mellow drives and keeping them mutually exclusive is an excellent way to add balance to your drive tone, especially if you’ve already got a few gain pedals on your ‘board. These are going to be limited to 1000-1500 units so make sure you snap one up ASAP if you’re interested.
DigiTech SDRUM Strummable Drum Pedal
It seems that DigiTech is on a roll, releasing conceptually groundbreaking and affordable products at a semi-annual pace. At SNAMM 2017, the team was showing the SDRUM, an “intelligent drum machine” with learning technology similar to their Trio Band generator. While other drum machines have a pre-established performance set you have to program in offboard software, the SDRUM’s groove is programmed by tapping the kick and snare pads on the pedal itself, or, most interestingly, strumming the muted strings on your guitar. The kick is programmed by strumming the low strings and the snare by the high strings. Once the pattern has been learned, one of 12 cymbal patterns will be added via a Hats/Rides knob on the right, the division of which can be chosen from a quarter, eighth, or sixteenth note pace via a soft-touch button. You can save up to 36 custom songs, each with 3 parts (Verse, Chorus, and Bridge) of increasing intensity. As you progress through the song, tapping the footswitch will move on to the next section, and holding the switch will stop it completely. You can also connect it to a separate Digitech footswitch or JamSync-enabled pedal for expanded control. It only does 3/4 and 4/4 time, so prog metal players won’t be using it that often, but it’s definitely going to make an incredible songwriting and practice tool, if not a cornerstone of a performance board.
Keeley Electronics Caverns II Delay/Reverb
The team at Robert Keeley Electronics have been in full swing the last few years, supplementing their already massive repertoire of workstations and staple units with new and innovative pedals, and this year is no different. The original Caverns was discontinued in 2015 due to some design flaws that Robert and his team deemed too glaring to let stand, but a young upstart is ready to take up the subterranean mantle. Circuit-wise, the new Caverns is made up of the Magnetic echo (which sports 650mS of delay), two mod types affecting the delay repeats (light and deep, as well as an option to bypass the modulation completely), and three reverb options (shimmer, spring, and modulated.) There are knobs to control the mix, the feedback, time & rate of modulation, decay, blend, and warmth on the reverb, as well as a rate knob for the modulation on the mod ‘verb that becomes a tremolo on the spring and a shimmer blend on the shimmer. The Caverns II doesn’t have momentary footswitch oscillation or expression control or even a tap tempo, things that some of us have come to expect from modern delays, but it would seem this is meant to be less of a super-clean delay and more of an ambient pedal. Fine by me. The only thing that pains my heart about this latest addition is that it’s not stereo, but it’s feasible that the enclosure is just so jam-packed with circuitry and potentiometers that two more jacks and more innards would have been impossible to accommodate.
Keeley Electronics Neutrino Deluxe Envelope Filter
Keeley has also improved upon the original Neutrino circuit by adding a blend knob and a filter direction footswitch on the left-hand side of the pedal. Being able to switch between the directions on the fly adds a whole new performance element that is so very often absent from envelope filters. According to The master cook himself, the blend knob was added as a gift to bassists who popped on the Neutrino going for that Bootsy vibe and lost all of their low-end in the sweep of the filter. Everyone has a bassist back home, so grab two when they come out!
MXR Carbon Copy Deluxe Analog Delay
An iconic mainstay on ‘boards everywhere, the MXR Carbon Copy finally gets a long awaited and well deserved update in the Carbon Copy Deluxe, which thoughtfully combines the circuits of the original Carbon Copy and the Carbon Copy Bright with eight BBD chips and throws in the expected chorus-y mod (now with rate and depth knobs to tweak it) into the mix. It features a tap tempo and a neat little LED display that indicates the time division of the repeats in a bright green you’d be pressed to miss from space, much less the top of your neck. Two saveable presets complete the package to this an essential upgrade if you’ve been running a Carbon Copy.
Adventure Audio Power Couple Boost
Christian Terjesen’s latest Adventure is a 2-stage boost with only 2 parameters: Gain and More (Gain.) You get about 25db of clean headroom in the first gainstage, controlled by the massive knob toward the top. When I say clean I do mean clean, acting as simply the means to push whatever you’re running next, be it the next drive on your board or the front of your amp. Then, by holding the sole soft-touch footswitch down for 200mS, you run the first gainstage into the “More” circuit, which does what it sounds like. It will girth up your tone to the point of complete saturation as you dial back on the teensy More knob, likely a function of the decreased headroom in the outgoing signal path. The inclusion of only one footswitch to engage both stages is a clever and space-saving way to change circuits without making the action of going from fat to fatter less of a choice. This way, you have to deliberately choose to pop on the second gainstage, hold the switch, and live with those tasty consequences.
Adventure Audio Whateverb V2
In case you need a refresher, the Whateverb is a Shimmer/Hall/Chorus-Flange Reverb pedal with 2 variable knobs, a blend and a “Warp” knob, which actually controls the ADAC of the wet signal, or the rate at which your signal is sampled and converted from analog to digital and back to analog again. That glissando effect is actually a smooth glide down in sample rate. When I reviewed the Whateverb a few months back, I said that it needed an expression input for the Warp knob. Well, in the new upgrade, Adventure improved the Warp’s range and added an expression input as well more solid I/O jacks! With the V2 update we can control one of the best parts of the Whateverb’s reverb engine in real-time to create full-spectrum musical pitch shifts and never have to worry about the ports breaking.
Fuzzrocious lunaReclipse Utility Clipping Platform Pedal
Fuzzrocious’s lunaReclipse is, in my opinion, a dark horse. A dead simple 2-knob pedal, the lunaReclipse secretly sports a veritable smorgasbord of clipping diode pairs (12 total!) in its hard rotary knob in the center in addition to being a regular old volume attenuator. The rotary knob locks when you crank it clockwise at 12 and counter-clockwise at 1. Why is this particularly important to me? At 12 o’clock, there’s a transparent boost, and for performance purposes, deftly cranking all the way in one direction between songs (extra performance points if you can nail it between measures) is easier than fumbling around the dial trying to to find the right diode pair. If one wanted to use it like a drive pedal, you could totally call it a day there and no one would judge you. From what I gleaned spending time with it and Ryan & Shannon Ratajski of Fuzzrocious, however, its real niche is to add flavor, like a water infuser full of all sorts of dirt. I wouldn’t go so far as to quite call it strictly a utility pedal, but I’m excited to hear the way it makes other effects shine. Have a sweet reverb with an effects loop like the Epigaze Ascension? Pop the lunaReclipse in there. Want a new and exciting texture over your Adventure Audio Power Couple? Run it through this motherlover. Furthermore, for those of us eager to jump into DIY pedal building, the lunaReclipse could potentially make a good reference tool for finding clipping patterns to explore.
HA! luna-Re-Clipse. Clips. I just got that.
Daredevil Cocked & Fearless Fixed Wah / Distortion
The brave gentlemen in Daredevil paired the circuits of their Atomic Cock fixed wah pedal and their Fearless Distortion to make a true bypass 2 channel op-amp distortion with a fixed band-pass wah. The resulting amalgamation is an aggressively gainy distortion with a set wah, The Distortion circuit is great for girthy, aggressive rhythm. Stomp on the Cock (sorry) and rip into a solo. An added clean blend helps to restore the harmonic content you lose with the wah active and helps the Cocked & Fearless feel more like your distortion than a one-trick-pony.
Hungry Robot Monastery, Stargazer V2, & Moby Dick V2
Last but certainly not least is the Hungry Robot Monastery, a polyphonic octave pedal named for the holy buildings in which organs/organ noises reside and bearing Hungry Robot’s quirky branding. Each horizontal row of knobs is a preset voicing; the left knobs on the Monastery are blend knobs and the right knobs control the ratio of up/down octaves. The two footswitches are the obvious bypass switch and a preset cycle switch. Playing the Monastery rewarded my earholes with well-lubricated tracking no matter where on the neck I was, already making it superior to quite a few shifters in my circle of awareness. Stupid easy, gorgeous as hell, made to be stomped. What else could you want?
I should also mention, Hungry Robot was showing off updated versions of some older pedals, namely the Moby Dick and the Stargazer, which have been fit into much smaller enclosures and slightly improved. The Moby Dick Tap Delay now features a smaller saturation control and deeper modulation than the larger Whale, while the Stargazer Reverb drops the voicing toggles that used to sit in the center and now opts for a cycling footswitch. The Red channel is the base voicing for the Stargazer, while the Blue channel is “Sparkle, the treble-boosted iteration of it, and the two can be run simultaneously in summed mono.
There were a couple companies willing to part with info on what they were working on that wasn’t at NAMM. For example, Mojo Hand FX, acquired by Cusack in 2016, is working on a Bass pedal (or bass-oriented pedal) with 8 knobs, 2 stomps and active EQs. To quote the folks at the Cusack/Mojo Hand table, “It is huge, but it’s definitely not a fuzz.” Well, with that ruled out there’s only infinity-1 things it could be! Also really rad news: Tom Kogut of Tom Kat is working on a granular synth pedal. Based on what I heard from his board at the Big Ear N.Y.C. booth, it’s probably gonna be the last thing I see before I starve to death in the first room I plug it into. Dwarfcraft also had literature for a forthcoming sampler that they’re calling the Grazer, but it wasn’t ready for SNAMM. Take your time, boys & girls.
In the spirit of full disclosure, I will say that I’m not able to include everything I wanted to get to at this year’s SNAMM. There was an enormous amount of really cool things peppered throughout the conference, some of which I deeply regret missing, like NUX Audio’s Loop Core Looper and Cerberus Multi-Effects Engine/Loop or The Gulf, a Swindler Effects Chorus Prototype that was kicking around. There’s a good chance there’s more, too. The point of Best Guitar Effects is pedal discovery, so if you can think of anything I didn’t cover that you feel deserves attention, feel free to comment below for the benefit of those reading!
And that was Summer NAMM 2017 for me. May you someday have a first NAMM as well if you haven’t already.