A Day With … The “Baby” Way Huge Blue Hippo

A Day With … The “Baby” Way Huge Blue Hippo

by | Jan 24, 2022 | A Day With ..., Modulation

A Day With … The “Baby” Way Huge Blue Hippo

Way Huge Blue Hippo III | A Quick Overview

Having grown up in the 80’s and, if not clearly demonstrated in previous articles, I have an obvious affinity for certain guitar effects; this, for sure to include, delay and CHORUS. Thus, it only makes sense that, at the start of my DecoWaves project many years ago, one of the first pedals acquired and reviewed was the Way Huge Blue Hippo MKII (link to review, c.2015).  Shared at that time, while the pedal faithfully delivered the classic chorus effect, I found it to over-emphasize the mid EQ frequencies just enough to make the resulting tone feel a bit muddled or congested. Admittedly, having learned how to better work with the chorus effect since, choosing the right guitar/pickups or deploying an EQ in the pedal chain can certainly help address expressed concerns. That said, I parted ways with the Blue Hippo and and, in continuing the search, enjoyed quality time with both the MXR M234 Analog Chorus and the Boss CE-2W. For the past two years, the JHS Emperor has found residency on my board and continues to serve faithfully to this role.

This past month I was afforded the opportunity to demo the Way Huge Blue Hippo MKIII and, having spent a few days with the pedal, here are some quick highlights:

  • I love the blending of classic Way Huge aesthetics with the new smaller footprint; very fun vibe. As shared in the recent review of the MXR Deep Phase, I’m generally not a fan of the micro/mini format BUT, in this case, Way Huge found just the right balance of size and scale. As seen in the picture, the pedal is smaller than the typical MXR enclosure but retains a similar ratio of width vs length (read: wider than the typical narrowness of the most micro pedals).
  • An analog chorus effect delivered in spades, I was quickly and easily able to dial in a nice range of popular settings. To my concerns from the MKII, I found that this has a more neutral EQ which plays friendlier with the diversity of gear in my setup while keeping the resulting signal rather articulate.
  • I was quite enamored with this newest version of the Blue Hippo (MKIII). With the vibrant colors, smaller size, and classic chorus voice, it certainly ticks off a great many boxes. While the JHS Emperor has some nuanced differences (based on the Arion circuit versus that of the Boss) and additional controls, the Blue Hippo will cover a lot of the same ground as the JHS or Boss options while being a tad bit more budget friendly.

What has become a repetitive recognition on my site, I’m more than happy to provide another quick, but just as meaningful, shoutout to my friends at Z String Music who, as always, graciously afford me the opportunity to demo some of the wonderful products they carry. A boutique music store, owned and operated by musicians for musicians, offering a curated selection of products, please feel free to use the following ‘Friends of’ promocode for 12% off your next purchase (Limited Time & Typical Restrictions apply): DECOWAVES12

A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

by | Dec 5, 2021 | Delay/Reverb, Effects

A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

A true indulgence, it’s not often one gets to enjoy a delicious Smörgåsbord of delay pedals featuring a great selection of the analog variety or emulations thereof. As is the customary approach, the focus here is to compare and contrast, to listen and learn, to come away with a better understanding of what each pedal has to offer and as to how it might best serve one’s needs – all of these are truly tasty audible delights.

Acknowledgments: Before continuing any further, and very deservingly so, I want to express a big and sincere ‘THANKS’ to my friend at ZString Music (https://www.zstringmusic.com/) for providing access to this wonderful selection of delays; even extending the invitation to suggest a few pedals to add to their inventory for purposes of this exercise. A company founded by musicians and tailored for musicians, their guiding tenet is to only carry gear they would use themselves; “a curated” selection from the tried and true to the latest and greatest.

As to the specific Analog Delay pedals selected for this tasting, the Smörgåsbord includes:

  • from EHX: the New Memory Man Nano, Memory Boy Deluxe, Memory Man Deluxe 550TT, and the Memory Man Deluxe 1100TT.
  • from Dunlop: the MXR Carbon Copy Deluxe and the Way Huge Supa Puss.
  • misc. options: the Strymon Brigadier (digital emulation) and, the Eventide Rose, (hybrid Analog/Digital)

[The Final Thoughts First]

Let’s just get this out of the way — these are all great pedals. Some share similar voices and ranges, others bring something a bit unique and, any one of these delays could find a comfortable home on one’s board. From the classic EHX and MXR models to that of the more modern takes, Brigadier or Rose, one will be treated to the well-loved and defining traits of analog delay in spades.

The personal choice of which pedal best fulfils one’s list of ‘needs & wants’ will certainly be based on some combination of the following factors: voice, control mechanics and range of settings, features, and physical format. To my own decision, specific to my current tastes and needs, I felt like the Supa Puss hit the spot, checking off the most boxes for my intended use of analog delay; this, inching ever so slightly ahead of the Brigadier and, each having their strengths with consideration to ‘use case’.  The MXR Deluxe Carbon Copy followed close behind with the Memory Man Deluxe (550TT or 1100TT) rounding out the top five. Important to reiterate, this list is NOT ordered best to worst BUT, as to which pedals best addresses my current needs and wants.

The Rose is so very unique and a solid delay in its own right, with depth of features and related controls. To the idea I was looking for a more traditional implementation of analog delay, it’s personality was a bit complex for my needs at this time. That said I can certainly imagine many different scenarios where it would be the pedal of choice for the application.

[Quick Notes and Observations] 

Memory Man Deluxe 550TT/1100TT:  It’s as simple as engaging the pedal and one is instantly gifted with ‘that’ delicious analog delay effect many have come to love. The cult-like fans of the original Memory Man might argue as to the differences of tone but even then, I believe most enthusiasts would quickly point out that many of the original units often have subtle differences between effect voices. These deluxe editions introduce some welcomed features to include: tap tempo w/ tap divisions, separate modulation controls for rate and depth, an effects loop (connections), expression pedal control, and 9v power requirements. The controls were easy enough to navigate and I found the repeats to have a nice crisp bite and initial attack before evenly fading from there.

The New Nano Memory Man Deluxe: Very similar if not the exact voice and vibe to the two pedals above, the Nano provides a space saving format while still providing the same control set as found on the normal sized Deluxe. Compared to the 550TT/1100TT versions, missing is the tap tempo, effects loop, and expression. The price of course reflects these differences and it is more budget friendly. As the connection jacks are located on the sides (like the normal deluxe), depending on patch cables used, space savings may be negligible.

Memory Boy Deluxe: Wow! this truly is the Goth/Alt step-child of the Memory Man family. The repeats remain crisp and punchy but oh so much darker and moodier. I really liked this pedal — sounded great. Something about the voicing made it so very usable. Somehow it felt like the Memory Boy could be both present and articulate while, at the very same time, sitting back behind the live notes.

So this raises an important thought of consideration before one chooses between these particular EHX pedals, that of the desired voice/brightness level of the repeats. As there is no onboard tone adjustment – it is what it is. That said, I did not explore the loop function on the TT series and, perhaps, the possibility exists that one could deploy an EQ pedal in the loop, this providing exceptional control over the end voice of the repeats among other fun tricks.

MXR Carbon Copy Deluxe: Based on another staple of analog delays, the Carbon Copy, this deluxe edition adds some very fun and meaningful features. The base voice of the effect has a nice rich character while the tonal options provide just enough of a meaningful difference between. Control enhancements include: on-face granular modulation controls (speed and depth), tone options (bright or normal), optional expression control/input, and tap tempo with division controls. To the expression jack, it can be used with either an expression or aux-switch pedal, assigned to the various onboard controls or, used to switch/morph between two different setting configurations. Fun fact: the traditional Carbon Copy does allow fine-tuning of the modulation but, the depth and speed adjustments are controlled by internal trimpots.

As to the mix settings, and duly discussed in other threads, the on-face control does NOT culminate with ‘Full Wet’ signal strength; rather, this option is provided by an internal dip switch. After some discernment, if heard correctly, I’d suggest the [Mix] control maxes out around a 60/40 split of wet to dry signal. For U2-esuqe dotted eighth delay lines, one will have the pedal set between 3 ~ 5pm on the dial. This implementation allows for a lot of fine-tuning capability for more moderate settings — think: sitting back in the mix. To be honest, this felt a bit awkward at first if only because it was different from the range and working of the mix knob on other delays — almost a forced limitation — BUT, with just a little bit of time and an open mind, this mechanic worked perfectly fine. Perhaps a debate for further discussion, it may actually make better sense for the mix range be skewed in this fashion because, after a certain point, 70/80% wet, one might suggest diminished value in the resulting effect (not referring to scenarios that require 100% wet).

Way Huge Supa Puss: If the Carbon Copy Deluxe is the corporate Cadillac of the Dunlop line, the Way Huge Supa Puss is it’s funky and rebellious alter ego. The flavorful analog voice is there with full richness and, I possibly sense subtle high-pass filter to the repeats that comes into play, creating a pleasant wash with higher feedback settings.

The available controls are very similar to the Carbon Copy with a few key differences. New; one is provided the [Gain] control to dial in some saturation to the delay lines and, the [Tone] control now provides a sweepable range from dark to bright. While the optional expressional pedal control is limited to adjusting the delay time, the Supa Puss introduces a Chase Mode that, per their manual, “automatically cycles through the rhythmic subdivision’s, creating a unique ‘Shifting Delay’ effect”.  Remember what I said about the [Mix] control on the Carbon Copy Deluxe? Throw that out the window as the Supa Puss ramps up to ’11’ before even making it halfway around the dial. Its so quick in fact that Dunlop and other builders offer a mod to provide some breathing room to work with in the more subtle range of settings.

When taking pause to digest and savor the pedal and resulting effect in its entirety, considering its control offerings and mechanics thereof, all built on a great sounding analogy delay voice, it was for these very reasons that the Supa Puss ended up as my preferred choice.

Strymon Brigadier: With the ability to successfully recreate and easily dial in the voices and nuanced characters of many of the analog pedals discussed above, the Strymon Brigadier does not disappoint. The control mechanics are properly tuned; it’s quite easy to dial in most any sort of analog delay one would want. Simplicity without sacrifice. The pedal provides a nice selection of features to include a filter control (read: tone) which affords a nice range of voice options for the repeats. To the primary settings of the [Bucket Loss] control, unlike traditional analog delays, one is provided the ability to explore the spectrum of BBD character not directly tied to the actual delay time; from pristine delays to some true grittiness. To the ease of use and control mechanics, the sleek design and connection options, all speak to the Strymon pedigree we come to expect.

Eventide Rose: Like the flower for which its named, this hybrid delay contains such beauty and complexity. The classic delay tones are faithfully emulated through the unique combination of both digital and analog design components. I actually spent several weeks having great fun exploring this pedal — very captivated with its reverse function, this pedal has what feels like limitless shoegazing potential. If there is a thorny part of the user experience, the immense depth and complexity of controls can be a lot to retain and successfully navigate. To this, they do have a very fun and handy user guide which I assure you, will need to be kept handy. The Rose is a great tool and, in the beauty and uniqueness of controls and features, would make a great addition for one’s library of effects.

Eventide Rose


[Concluding Thoughts] 

Just to touch back on my the ‘Final Thoughts First’ shared at the start — all of these are great pedals. Each has some strengths that may speak better to ones specific needs or wants. For me, the Supa Puss, which wasn’t even on my radar at first ended up having just the right blend of features and personality — to note: I will be getting a unit with the [Mix} control mod. Again, a big thanks to Z String Music for providing access to all of these great pedals.

Keeley Hydra & Strymon Flint

Keeley Hydra & Strymon Flint

by | Mar 28, 2021 | Compare & Contrast, Effects

Keeley Hydra & Strymon Flint

… and now, my thoughts as to the question of the hour, “How does the Hydra compare to the Flint?” Before answering let me share the methodology of this exercise. To start, the Flint was taken off the board and the Hyrdra was given more than a full week of focused use and exploration. The Flint was then added back to the board, side-by-side with the Hyrda, where all settings were explored and various combinations thereof. Focus was placed as to the controls and, how easy it was to switch between settings and make adjustments. My conclusion as of now? The Hydra easily keeps stride with the Flint and, as to which one is the right choice for the user may simply come down to preferences and priorities.

I found the quality of the reverbs and primary control mechanics to be on par. The Hyrda felt like it had a bit more range, especially with the secondary/bonus control per algorithm. In the larger spaces to be dialed in on the Hall/Room settings respectively, I found there to be more discernible differences in comparison to the other reverb voices. The Hall on the Strymon is a bit softer space (the walls sort of disappear as they virtually move farther out) while the largest rooms on the Hydra sound more cathedral like with crisper reflections as the waves bounce off.

With respect to the tremolo/modulations, the Flint focuses mostly on period-specific flavors of tremolo providing some rich and unique characteristics in each – the Hydra offers more diversity by providing the Vibrato. Each offers the level boost to make up any perceived volume reductions due to the nature of the effect. I do like how the Flint has a dedicated switch for a quicker selection between tremolo types.

As we get to the topic of function and design, it is here where we will see some of the benefits of the coming to the market many years later as the Hydra offers some additional utility functions and controls, specifically: the stereo tremolo can be set to pan between channels and, the stereo outputs for the reverb can be set between either a wet/dry or traditional left/right configuration. The most obvious distinctions are with physical layout — the Hydra is housed in a normal-sized enclosure with side inputs and the Flint is a bit wider with top inputs. Depending on the cables used, any space saved may be negligible.

As I look down at the board, I have a hard time – at least at right now — seeing these as anything but equals, each having just one or two unique strengths they bring to the table and, very honestly, I would have a hard time choosing between the two; this, after owning the Flint for many years. For those interested, here is my review of the Flint from a few years back: NDP: The Strymon Flint | Reverb & Tremolo.

Keeley Hydra: The mythical power of three

Keeley Hydra: The mythical power of three

by | Mar 27, 2021 | Effects, Review

Keeley Hydra: The mythical power of three

Perhaps a reference to the mythological three-headed beast or, intended to represent the power and characteristics of water, in either way one is so inclined to think of it, by providing the traditional effects of Reverb & Tremolo/Vibrato, the Keeley Hydra serves as a fantastic pedal to perfectly finish off one’s pedalboard.

[Quick Conclusions First]

For those that like to skip to the end, I’ve made this very easy …

The core functions and control mechanics are the strengths of this pedal; three absolutely solid reverb algorithms, three unique modulation options, three presets, expandable control options, and other meaningful utility features are all included. Encased in a standard sized enclosure, there are a multitude of onboard controls allowing one to quickly dial in desired settings while providing carefully chosen assignments for secondary controls (as needed), all facilitating a healthy sense of steadiness as one sets off on their exploration.

For those giving careful consideration to the Hydra, there are a few constructive critiques I walked away with after a few weeks of use. One or two of the ‘bonus’ features relating to the reverb effects were a bit underwhelming (to be explained more later) and, in having bigger hands, the top set of controls and switch placement can make things feel a bit cramped when needing to make quick adjustments. To the first concern, this is certainly a matter of taste and, when one considers it more of an add-on than that of a core function, it should not be assigned that much weight when determining the overall value of the pedal. To the second point, when providing this many on-board controls on a pedal of this size, I think the Keeley team provided a very effective and efficient layout that retains a clean design aesthetic.

[Context & Disclaimer]

To say these past twelve months were strange and chaotic would be the understatement of the year. Between the pandemic and our national elections, one could be forgiven if they found it difficult to keep up with anything else much less the latest news and updates from the music industry. With little ability to do much else at times, many turned to our instruments and these forums as a welcomed escape. That said, it remains completely understandable if various product announcements and related launches slipped past one’s radar.

I think I was mid doom-scrolling on the phone or, perhaps just browsing the forums one day when, out of the blue, the Keeley Hydra made its existence known, instantly catching my attention. I remember quickly jumping into some initial research, excitement and interest piqued, before being promptly dragged away by the distractions of life, not to think of it again for another month or two.

Of no surprise to forum veterans, I happened across one of the countless threads asking for alternatives to the Strymon Flint, the unofficial standard-bearer of trem/verb combo pedals. It was then that the Keeley Hydra came racing back to mind. I proceeded to watch the usual youtube videos but, in not having played the pedal personally, I only felt comfortable in raising awareness of the Hydra as a possible choice in forum discussions.

Given the popularity of this discussion, I reached out to the fine folks at Keeley to inquire if they might have some interest in a forum-based user review to include some element of ‘ compare & contrast’ to the Strymon Flint. After thoughtful discussion they kindly agreed to provide a demo unit with no preset expectations or explicit obligations (read: this was my idea and I’m not being paid.) Also, they were given no advanced viewing and will be reading this at the very same time as all of you if not after.

[Reverb & Tremolo, the Classic Pairing]

Well documented as to ‘the why’ and history, Reverb and Tremolo have commonly been included as a classic pairing of effects on guitar amplifiers from the early days of electric guitars. The Keeley Hydra sets aim to recreate this magic combo while providing modern day features and expanded functionality. After two weeks of thorough exploration and enjoyment thereof, I can easily and honestly say that the Hydra absolutely hits the mark.

Important side note: this is not Keely’s first pedal to deliver this combination of effects; the company still offers the Verb o Trem. It is however, a more complete solution offering greater independence of controls and usage of said effects.

On receiving the pedal, I purposefully opened the box and added it to the board without pre-reading the instructions (usually not a good idea); this, wanting to get a good feel for the intuitiveness of the control scheme and ease of navigation between settings. The momentary toggle switch quickly caught me by surprise but everything else was rather straightforward and well labeled. The use of a dual-purpose dial/push control at the center position is appreciated for its central location to the other controls, allowing for easy adjustment of secondary settings while not overcrowding the overall face/layout of the pedal. Perhaps something others would have quickly figured out, my first peek into the manual was in effort to learn how one switches between the modulation types – expectantly, it was simple enough.

Considering a holistic view of the control mechanics, I found Keeley to have established a healthy balance of primary and secondary controls and, of equal importance, properly prioritized and assigned the controls for optimal/ease of use and access accordingly. To this point, all but the Reverb Modifier [Mix Knob] and Modulation Selection [Option Switch] have been assigned to more utility-esqe functions: trem sync, trem level, effect order, and wet/dry configuration.

It’s here that I will highlight my first bit of constructive critique; the option switch is placed so very close to the middle control that, for someone with bigger hands and clumsy thumbs, it feels a tad cramped. If the switch and labels were all shifted down by just three or four centimeters, I believe it would provide one just the right amount of space to comfortably navigate said controls.

Before moving on from control mechanics, I’ll take this opportunity to highlight the ease of use and navigation of the preset system – simple enough even when switching by foot.

[Reflections on the Reverbs]

While there is certainly a subjective element inherent to such reviews, I confidently put forth that the reverb algorithms found on the Hyrda are of absolute solid quality. As I quite enjoyed the chamber reverb on the 30ms Double Tracker and, very often recommend the Aurora, it is safe to say that the team at Keeley continues to move forward in the right directions here.

Specific to the spring algorithm, there are debates to be found ad nauseam as to the level of authenticity and successful emulation, certainly the Source Audio True Spring is a crowd favorite and, as this continues to remain a matter of opinion, I will simply share that after spending hours, days, weeks, and months hands-on with countless reverb pedals, the Hydra spring algorithm excels; finding great comfort in spanning the range between amp and outboard-style implementations. With the settings increased, there is certainly a surf vibe to be enjoyed.

The Plate and Room algorithms provide a nice range of projected size and, to each, one can easily hear the nuanced traits of the medium (i.e. I get a visceral sense of response from the vibrating metal plate or, feel the reverberations off the surrounding walls providing hints as their material composition.) From my explorations over these past few weeks, I would suggest that for the larger room sizes to be found here, the effect is more cathedral-esqe than hall, and/or chamber-like in medium sized spaces; this, as I the reflections/trails provide a more articulate simulated response (like waves bouncing off tile surfaces) as compared to the diffusion that would occur with softer materials present.

Thanks to easily accessible secondary controls, the Keeley offers a customized attribute for each algorithm: Spring = age/vitality of the physical springs (e.g. punchy vs diffused), Plate = added Shimmer, and Room = size of space (this in addition to the dwell). It is here where put forth my second constructive critique: the shimmer effect, as implemented, left me a bit underwhelmed. Used with nuanced settings, it adds some very nice complimentary tones to the natural reflections of the plate. With more intense settings, and as the control is limited to dialing in an cascading octave-up shimmer, I found that it can play a touch of tug-of-war against the natural decay of the plate, especially when the higher frequencies are dampened via the tone control (read: a darker plate fades quicker vs. the rising shimmer tones). Just a suggestion that no one asked for, it would have been ideal if the shimmer control was neutral at the noon position with, in turning clockwise one was provided an octave-up shimmer and, adjusting clockwise from center provided an octave-down shimmer — with intensity ramped thereof. When considering this thought and keeping a healthy perspective, I’m discussing a bonus feature that may or may not see great usage to begin with (i.e. one’s motivations for purchasing the Hydra are probably never going to be focused on its shimmer feature).

[Diversity of Modulation]

Keeping this section succinct, the key takeaway here is that the Hydra offers three very complimentary and diverse selections of modulation appropriate for use towards the end of one’s effect chain to include: tremolo, harmonic tremolo, and vibrato. If ever to have been included on a classic amp, one will find it here …. well, for the most part at least (read: I am thinking of the chorus included on the Roland JC-120). The standard controls are provided in addition to a secondary level control to compensate for any perceived drop in volume with the effect engaged. Additionally, the order of the modulation and reverbs can be easily switched. I successfully dialed in a whole host of standard tones often associated with said effects.

[Concluding Thoughts]

I’ve already shared my conclusions at the start of this review but will take this opportunity to reiterate my opinion that the Keeley Hydra is an exceptional pedal that successfully brings together the classic effects of Reverb and Tremolo/Vibrato to include helpful pre-amp utility/routing functions. As with all of my reviews, I will keep tabs on the ensuing discussion and answer questions as best possible. As more time is spent with the pedal, I will make a point of updating this review if my thoughts were to change or there is something new to add.

As I have said many times before, guitar pedals and effects are not a one-size fit all sort of products, what I might enjoy and works well for my needs may not be everyone’s cup of tea. Accordingly, I try to focus on things like feature sets, control mechanics, etc. vs that of making bold proclamations like “this is the best, most authentic reverb ever”. Be sure to have fun and enjoy the journey! Thanks again to the Keeley Team for indulging me in this project and providing a demo unit to complete the exercise.

Test Driving some Drive Pedals

Test Driving some Drive Pedals

by | Jan 31, 2021 | Compare & Contrast, Effects

Test Driving some Drive Pedals

As I tend to take residency in my low-gain overdrive section more often than not, my curiosity with such pedals led me on a meandering exploration of the many great options that today’s marketplace has to offer and, while the focus here may be skewed towards low gain, the ability to reach into high gain territory is always a welcomed feature.

Pedals featured in this post (as pictured above):

  • Barber Compact Direct Drive v.4 (British Voice Inspired),
  • Benson Preamp (Preamp section from the Benson Monarch, influenced by the Marshall JTM 45)
  • JHS Charlie Brown v.4 (JTM45 AIAB),
  • Buffalo FX TD-X (Tubeless clone of BK Butler Tube Driver)
  • Barber Gain Changer (American Voice Inspired – Not Pictured Above)

 

Pedals NOT discussed specifically in this post but, certainly in the realm of discussion:


​[The purpose of this post]

There are plenty of YouTube demos to include some great compare & contrast videos for all to enjoy and hear these pedals in action. My intent in sharing this particular post is to focus more on the control mechanics and provided voice offerings, similarity and differences of the characteristics thereof, to identify strengths and breadth of options; this, to address such questions like: ‘Which one best fits my needs & wants?’ or, ‘Which one might work best with my setup?’
[Compare & Contrast]

The five pedals in this compare and contrast share great similarities in some respects and, in others, are quite different. All excel in providing low-gain/cusp of breakup tones. Some observations:

  • Build Quality is Excellent on All. The Charlie Brown (CB for short)and the Compact Direct Drive are, in what I would consider, more normal sized enclosures. The TD-X and Benson are a bit larger in size and, specific to the Benson, presented in an horizontal configuration. Extra points go to the JHS Charlie Brown for its fun, colorful and yet, simple design.
  • The Benson Preamp, Charlie Brown, and Direct Drive all share the JMT45/Bluesbreaker circuit as a foundation, either in part or full. As such, one can dial-in (almost but never quite there) similar voices on all three pedals. Switching back and forth, there were times when I felt that the pedals were indistinguishable in voice and response and yet, to an OCD level of attention, one could certainly find differences to the feel and EQ structure.
  • Specific to the the Charlie Brown and Benson, the CB provides a touch more ‘hands on’ control over the EQ/voice and manipulation thereof while the Benson forgoes a [MID] control by offering a [HIGH] and enhanced [BASS] control. To get these two pedals in the same ballpark, I keep the [MIDDLE] Control of the Charlie Brown just past Noon (~2pm) on the dial, adjust the [BASS] accordingly to match the Benson, and keep the [Treble] between 1~3pm. Whether the Benson is set for the the British or more American flavor (via the that enhanced [BASS] control I mentioned), the Charlie Brown keeps pace.
  • As for the Barber Compact Direct Drive, while it provides just the Hi Cut control via the [Tone] knob (to note: always important to read the manual), the left toggle switch allows one to select 3 different EQ options that adjust the prominence of mids, bass, and/or provide a more flat voice. The Gain Changer is very similar but with a more traditional Tone knob. In this respect, these pedals cover a lot of ground with concerns to their EQ settings. Example: With the Direct Drive set on the low gain setting and, with the EQ switch set in the middle (mid focused), keeping the [Tone] control around 3pm give-or-take, the Barber can match many of the Marshall-esque voices of the other two pedals. It is only the lack of a dedicated BASS dial/control that introduces any sort of perceived limitation in comparison to the granular control provided by the other two pedals and YET, the reality, as I have come to find, is that the EQ offerings in the switch pretty much nail the most desired settings that I would have dialed in on the CB or Benson anyway. Additionally, the Barber Pedals have a few other aces up their sleeve to include a wide variety of Gain/Voice options that, something like the Charlie Brown does not offer.
  • The voices offered by the Charlie Brown, Benson, Direct Drive, due to their inspirations, are very much in the same ballpark, at times rather indistinguishable but, as to feel and response (compression vs. more open), there are very subtle differences due to some nuanced differences in the circuit design/approach. This became more evident to me when observing how differently the pedals interacted with other drives/effects that followed after in the chain to include the amp itself. Example: With all three pedals being dialed in to the same approximate voice on one amp, if I was to then switch to another amp or drive pedal after (think: stacking), with nothing else having changed, I found their response/sound was slightly different in comparison than before — perhaps again, due to their circuit design and how those tones interact with things later-on down the chain. This isn’t drastic by any means but something worth noting.
  • The Charlie Brown has the least amount of gain available really keeping true to its low-gain roots, hence why there is an Angry Charlie available for those who want more. The Barber Pedals, TD-X, and Benson can easily adventure into hi-gain settings.
  • The Benson Preamp, when compared to the Charlie Brown, has just a bit more presence in its core voice characteristics. This can provide a touch more note articulation in certain settings but, as the Charlie Brown has the [High] control, the net difference is almost negligible.


[… and now for something a bit different, the Buffalo FX TD-X]

  • The Buffalo FX TD-X is a Tubeless/9V Normal clone of the infamous Butler Tube Driver. It has far less mids than the other pedals but can go from boost/cusp-of-breakup drive to fuzz territory with ease. In keeping to the theme of this discussion, the [Gain] setting almost never passes 9pm for my intended use. To compare/contrast to the other pedals:
    • Due to lack of Mid Control on either pedal, the Benson (stronger mids) and the TD-X (more neutral/scooped) share little in common with concerns to voice. They both provide more gain on tap than the Charlie Brown.
    • Because the mids are adjustable on the Charlie Brown and the Barber Direct Drive, both can dial in very similar (never exact) voices/effect as the TD-X in the low gain settings. The Charlie Brown (with MIDDLE set around 11pm) has the slight advantage of having the [BASS] control to better match EQ settings depending but, is limited in its range of Gain/Drive while the Barber Direct Drive (with EQ switch set to the far left) can more than keep up with the TD-X in this respect. With the gain cranked, the TD-X maintains a smoothness throughout. The Barber in contrast has a bit more bite and growl. The point to be made here is that the Direct Drive and Charlie Brown can cover many of the root characteristics of the JMT45 circuit and/or Tube Driver vibes and yet, there is just always something special and different about the TD-X.
    • As the Gain Changer is a bit more mid scooped in nature and, much like the CB and Direct Drive, I was able to dial-in some very approximate tones to the TD-X but never quite get all the way there. Beyond the slight nuances of EQ/Voicing, there is this smoothness and tube-like saturation that the TD-X brings to the table. Like the Direct Drive, the Gain Changer can match the Gain levels of the TD-X and, I would suggest, to tryout on both pedals, leaving the gain switch set to the high setting and then dial back the [Gain] controlled with the knob to desired levels. In these settings, I found the breakup characteristics to match a bit better while introducing a bit of chewiness.
    • As Buffalo FX is no longer in existence, the Charlie Brown, Direct Drive, and Gain Changer might be nice alternatives for those looking to have a similar effect. Probably more so, and as recommended by Gilmourish.com for this purpose, check out: the Wampler Plexi-Drive and the Boss BD-2w.


As with so many things in the world of guitars and gear, much of this is a matter of taste and, how a certain pedal/effect plays with the rest of one’s setup. As stated in many of my reviews, I gravitate toward pedals that offer great flexibility and adaptability to whatever I might throw at them; this, to keep in a budget and the reality that I don’t have endless amount of space on my board to have a pedal of every flavor. Given a baseline and comparable quality of both effect voice and physical build, the most appropriate question is most likely ‘What option might best fit my board and find a solid match to my needs and wants?’

The last few weeks have been great fun and, at times neurotic, in jumping back and forth to better understand the personality of these pedals and, as to how they work for me and, fit/adapt with the rest of the rig. I really have a hard time choosing a favorite because each brings something unique to the table. I welcome everyone to chime in as to their thoughts, observations, and insights. Certainly, if I shared some incorrect information, please chime in as to the circuits and their inspiration, please chime in. Also — I have my board setup with the pedals as pictured above so if there are any specific questions , please feel free to ask and I will try to answer as best possible (this, to include the Barber Gain Changer).

Chase Tone Secret Preamp & Catalinbread Epoch Boost

Chase Tone Secret Preamp & Catalinbread Epoch Boost

by | Jan 23, 2021 | Compare & Contrast, Effects

Chase Tone Secret Preamp & Catalinbread Epoch Boost

If one ever so desired to embark on a challenge of epic portions but with little reward, to meander on the brink of madness … Congratulations, look no further, you’ve come to the right place. The task is really quite simple: compare and contrast the Chase Tone Secret Preamp & Catalinbread Epoch Boost, two pedals based on the same circuit; that of the fabled preamp found within the Echoplex EP-3. For those who like to live dangerously, feel free to add the ClinchFX EP-PRE to this mix (thankfully for my sanity, I did not have one at my disposal).

A very important note before venturing any further: There are countless threads and discussions, here and across the web, fueled with great passion and a touch of fanaticism, to include the insightful participation of their very proud designers (and rightfully so), as to the the level of authenticity of these circuits in comparison to that of the EP-3’s preamp. To this very point, and in writing this review, I just want to be clear that, beyond the cool backstory, I have little interest as to which one is most authentic. As I’ve never owned or played through an EP-3, my focus is on the intended use and resulting effect/end-tone of the circuit within my rig. Authentic or not, it needs to sound good, fulfill a meaningful purpose, and play nicely with the rest of my gear.

[Overall Impressions First]

Why wait to the end to share my conclusions from this exercise? Fantastic pedals of solid build quality and effect, I truly like them both and, as I only have space for one, I’m having a hard time choosing which one stays. More Similar than they are different, choosing between these pedals is like having to decide if one prefers Milk Chocolate or Dark Chocolate -or- Vanilla & French Vanilla. Beyond the inclusion of some bonus toppings (think: features), these pedals start off with the same core flavor, mixed with slightly different ingredients, resulting in very nuanced differences of tone (specifically: different parts of the EQ spectrum are emphasized.) Hoping this all makes sense for those still following along.

Based on hours of A/B testing (details of which provided below), the Chase Tone Secret Preamp (Dark mode) provides a more prominent representation of upper-mids and a dash more high-end, culminating in a tone that feels a bit more punchy and articulate (some users describe this as ‘having bite’). The Epoch Boost, by comparison, emphasizes the lower-mids in the spectrum while leaving the upper-mid to higher frequencies a bit more neutral, thus providing a more flat/mellow vibe with a touch of smokiness (read: smoothness). Important to highlight: the Secret Preamp does offer two additional EQ options , Bright and Mid, which I will discuss a bit later in this review. When either pedal is used on its own (no drive pedals or such), the difference, while discernable, is negligible. When combined with a drive pedal, and dependent on the voicing /EQ thereof, said differences become much more prevalent (Example: the Secret Preamp will punch the mids with added strength while the Epoch Boost adds a bit more growl.) Both are great and have their useful purposes — it really boils down to one’s taste and preferred flavor.

As to the resulting effect, both pedals are successful in providing some healthy warmth and fullness with a touch of articulation that, when combined, serve as a final coat of polish to one’s tone. Once engaged, the signal comes to life, providing some enhanced responsiveness and note clarity – Turned off, everything is left feeling a bit lifeless in comparison. As many have shared, these are the types of pedals that one takes for granted until it is turned off and then sorely missed.

[But what exactly does this pedal do?]

For those not as familiar with this particular effect/preamp, there are plenty of sources to get the history and technical information but, to offer a general overview of what it does: The [Volume] and/or [Preamp] controls on the pedals (as pictured below) provide the same exact functionality; from fully CCW to about 11~12pm, it acts as a volume control when engaged. The preamp accentuates varies frequencies sort of like a preset EQ with some slight compression built-in. After one reaches unity on said control and, continues clockwise from there, the circuit starts to boost the signal by several decibels until it reaches about 3pm on the dial. From 3pm until it is fully turned to the right, the decibels drop again to simulate a worn/vintage Exchoplex unit. The practical effect of these control mechanics is that, as one moves the controls from 12pm and moving fully to the right (5pm), the preamp/circuit will emphasize different parts of the EQ spectrum depending (Example: 4pm on the dial is a bit more flat and lighter feeling vs 1pm which is a bit darker and more mid punchy). As mentioned previously, by having this at the end of the chain or, at least after the drives, it acts as a final sort of EQ polish for your tone, while removing some of the potential brittleness distortion can add. In the same respect, it can also help in better packaging your entire signal allowing the delays and reverbs to better sit in the mix.

[About the Testing]

As to making this simple task more complicated than needed, toying with OCD (and no, I am no referring to the pedal), the following are highlights as to the various ways in which these two pedals were compared: side-by-side and switching back and forth, by themselves for an extended time, in the effects loop, before the amp, on two different amps (Tube and SS), with different drive pedals and effects, live playing of different songs/styles, live playing of same songs/styles, and using a looper with a pre-recorded song or phrase. All together, this project lasted for about one full week, taking plenty of breaks to refresh the palate and rest the ears.

[Utility Features]

If there is a more tangible difference between these two pedals, it is found in their unique utility function/features.

For the Chase Tone Secret Preamp, the user is provided a 3-way switch to select different EQ/Voicing Options: Bright (Early EP3), Dark (Late EP3), and a Mid (Hybrid) option — the names pretty much speak for themselves. In conversations with Kyle Chase, he shared that these options allow for the guitar, if so desired, to better stand out in the mix while still deploying the resulting effect. While this is true, I found that the options make the pedal much more flexible/adaptable to a wider variety of gear to include choice of amps, drive pedals, guitars, and pickups. (example: if you have humbucker in the neck position that is already a bit dark/full, using the mid or bright options can provide clarity.)

The Epoch Boost provides a controllable Boost function in addition to the Preamp, the usefulness of which, depends greatly on but, is not limited to, where the pedal is placed in the chain and then considering, how one chooses to use the pedal. As I use these as ALWAYS ON pedals at the very end of the chain, the boost function did not find much use for me but, I certainly see the potential in other use-case scenarios.

Other design notes/difference: The Secret Preamp has top-mounted jacks and the Epoch Boost provides a switchable buffer on the input.

[Misc. and Final Thoughts]

As always, I will return to this thread to share updates, answer questions, or share new insights. Truly, I’m driving myself crazy as to which one will stay on the board for now – most likely keeping the other around for a change of flavor when so needed. Specific to my preferences of taste, I like the base tone/EQ of the Epoch Boost a touch more (that mellow/smooth vibe) yet, don’t really have use for the Boost function. For the Secret Preamp, I find the voice options much more useful as I switch between guitars and various drive pedals but, have to be mindful of accentuating the mids depending.

Some additional observations that may be of interest or consideration: I found that the extra bit of articulation provided by the Secret Preamp really brought to life finger picked notes and chords (to include hammer on and pull-offs) while, the smoothness of the Epoch Boost seemed to better suited when interacting with the sharper attacks of a pick; this, certainly just an matter of taste.

When reflecting on the personalities of these pedals — again, both great options — In a best of both worlds scenario, I’m left sort of wishing that the ‘Dark’ mode on the Secret Preamp had just a fraction less emphasis on the mids to then be a bit more in line with the voice/EQ and sense of smoothness of the Epoch Boost; this, while still providing its two other modes as more contrasting options (both in EQ and the articulation they provide). Certainly I admit that I’m splitting hairs and thus, we find ourselves back to where we started, ‘What’s the flavor of choice?’.

Footnote: In all truthfulness and fairness, the differences between these pedals is at best nuanced. If I didn’t have them sitting side-by-side for real-time comparison, it would have been much harder to discern the differences thereof.

For those who have made similar comparisons, to include the ClinchFX EP-PRE, l’d love to hear your thoughts and experience. As shared, let’s place focus on the intended effect, resulting tone, and applicable function of these pedals instead of delving into the debate of which is most authentic to that of the original Echoplex Ep-3 (and it’s preamp) that most have never had the opportunity to play with.

[Final Update | 2/6/21]

After a great deal of back and forth and back again, I decided to keep the Chase Tone Secret Preamp and to part ways with the Epoch Boost. Each pedal was fantastic and brought something a touch unique to the table. If budget and space were of no issue, I would have kept them both. In the end, the different voices of the Chase Tone better addressed my current ‘needs and wants’ than the added boost function of the Epoch Boost. Certainly, there will be those that find the boost feature of greater value. Either way, one will have access to that magic pixie dust this EP3 preamp circuit can provide.

*** As always, a special note of ‘Thanks’ to my friends at ZSTRING MUSIC who help to make reviews/threads like this possible; a music store owned by a musician, for musicians, and gear aficionado like myself. ***