Anyway, seeing this diagram, I decided to post it up and write a few words about this pedal. The BOSS SD-1 Super Overdrive has been around for ages. According to the interwebs, the SD-1 was launch in 1981 as a follow up to the OD-1 Overdrive. Since then it has become an absolute legend.

Here’s the thing about the BOSS SD-1. Actually, I’ll make a big deal about what I’m going to say next…

There are so many guitarists that follow the hype and buy many of the latest and greatest boutique overdrive pedals and every time they come back to the SD-1 their response is along the lines of, “this sounds so good I don’t even know why I bother trying anything else.”

Legendary pedal with tried-and-true settings

Granted, it’s always fun to try other stuff. But my point is, the BOSS SD-1 is a staple in the world of guitar and it really sounds amazing. Not just that, but it’s really versatile. Some guitarists run it with traditional overdrive settings – essentially, adding distortion to taste. Then, other guitarists, specially those that play into high gain amplifiers swear by the tried and true settings of cranking the level, but turning down the drive all the way to zero. This tightens the lows in high distortion amps. For these settings you’ll find that having the tone hovering around 11 O’clock is pretty common. However, I’ve seeing it above or below this. It just depends on you and your setup.

Given it’s been around for so long, the BOSS SD-1 has had various versions. You’ll also find older ones have through-hole components while the newer ones have surface mounted components – Sometimes referred to SMT for surface mounted technology or SMD for surface mounted devices. The through-hole ones are sought-after since they are easier to repair or modify.

Many versions of the Boss SD-1

Common newer version of the BOSS SD-1 Super Overdrive include the black SD-1 4A 40th Anniversary Edition, the Waza Craft SD-1W and of course the standard Made in Malaysia SD-1.

While we’ve mostly have gotten over the fact that these are buffered pedals, deep inside we wish BOSS would offer a true-bypass version. For those looking for a true-bypass SD-1, the options are to either mod one, or put it in the loop of a true-bypass switcher.

Time to try one?

If you haven’t tried a BOSS SD-1 yet, I encourage you to find one and give it a shot. I bet you’ll like it. These are generally not expensive overdrive pedals, and buying a used one is more than reasonable. The fact is, you’ve probably spent 3 times as much on the latest and greatest boutique overdrive, more than once.

The guitar-related post The Legendary BOSS SD-1 Super Overdrive Pedal is original and was published first on SixStringSensei.

I’ve owned and played the Strymon Sunset and Strymon Riverside for a number of years now. Often I run into questions online where people want to know: Strymon Sunset vs Riverside? In most cases, these questions lead to long-winded threads that are confusing and far from clear.

For this reason, I will give you 3 clear and easy to understand comparisons between the Riverside and Sunset. This way you can decide which is best for you… or if both are best for you!

Tones

The Strymon Sunset offers more variety of tones than the Strymon Riverside. However, these tones have distinctive voicings. For example, tube-screamer and Rat. This makes the Sunset more versatile and can emulate various pedal sounds. On the other hand, the Riverside is a lot more neutral and the tones can fit situations where you would rather not have something that sounds a lot like a specific pedal. Additionally, the Riverside can do high gain a lot better. You can also scoop or boost mids – Something you cannot do on the Sunset apart from the baked-in mid-boost you get from some of the modes.

Stacking

The Sunset is naturally a stackable pedal. The fact that there are two sides and you can stack them in either order or in parallel make that more evident. Furthermore, it takes other pedals into it perfectly fine. The Riverside on the other hand can be voiced differently by putting analog overdrives after it. This is a great way to change the pedal’s voicing to be less neutral and more like something else – say for example the mid-hump of a BOSS SD-1 or the chime of a Klon. However, I’ve found the Riverside does not like other dirt pedals going into it quite as much. For this reason, I tend to put it before other overdrive and distortion pedals on the chain.

Blending

The Strymon Riverside is the better one in blending in with your overall tone. They say it sounds more like an amp than a pedal. That’s a pretty accurate description, except for the part of it not liking other overdrives going into it quite as much as the Sunset. An amp normally takes pedals just fine. As a boost, the Riverside is a better option as well as it adds less color to the tone.

Strymon Sunset vs Riverside – Which is best?

My personal opinion is that the Strymon Sunset is a better pedal than the Riverside. I used to have two of each – One pair in the original red and gold colors, but then when the Strymon Midnight series came out I bought one of each in black. Since then, I have sold the gold Riverside, but I intend to keep the midnight blackout one. And when it comes to the Sunset, since I definitely like it more, I plan to keep both the red and blacked out one for different pedalboards.

For more overdrive awesomeness check out my review on the Jackson Audio Optimist Cory Wong Pedal:

Jackson Audio Optimist Review

For one of the most versatile overdrive pedals around see this:

Browne Protein Dual Overdrive Review

The guitar-related post Strymon Sunset vs Riverside – 3 Definitive Easy to Digest Comparisons is original and was published first on SixStringSensei.

All of these approaches work — but here’s my personal philosophy:

If I’m building a MIDI-capable pedalboard, I want every pedal on that board to be controllable via MIDI. Having a MIDI switcher for the non-MIDI pedals qualifies.

The Problem With Hybrid Pedalboard Setups

Hybrid setups create mental overhead. You have to remember which pedals respond to presets and which don’t. This alone is enough to make you want to ensure the entire rig is MIDI-capable. If you switch to a new preset but an analog pedal is still on, you end up tap-dancing to correct the signal chain. That defeats the whole point of MIDI control: one action = complete rig change.

Please note that in this article I’m focusing on more complex MIDI-controlled pedalboards. I’m still a big fan of simple, non-MIDI pedalboards where everything is front and center. What I refer to in this story is that if I’m building a MIDI-rig, I want that rig to be fully MIDI-controlled – No hybrids.

Exceptions and Caveats

There are cases where some pedals can essentially be “always on,” like compressors, some boosts, and buffers. If you never need to toggle them mid-song, it’s fine to keep them outside the MIDI chain of command. And realistically, compressors and boosts are the least likely pedals to include MIDI control anyway. There simply isn’t very many options for MIDI-controlled compressors out there. We have the Strymon Compadre with boost, the Chase Bliss Clean and the Jackson Audio Bloom V2 – which also happens to include an awesome boost. Worth mentioning is Shur Koji Comp. Even though it doesn’t actually have MIDI control, it does include a way to perform remote-switching compatible with a number of MIDI controllers that have hardware bypass switching like the Morningstar MC8 Pro and MC6 Pro.

However, if you switch gain levels or tone settings often, you may still want those pedals to have parameter controls via MIDI or the ability to save presets to be recalled using PC messages.

This same logic applies when using MIDI loop switchers like the Morningstar ML5 / ML5R or RJM PBC-6X. The loop switchers alone don’t control parameters, but they let you bring analog pedals in and out of the signal path using MIDI. For me, that’s the minimum functionality I want on a MIDI-based board. As a plus, the RJM PBC-6X is not only a loop switcher, but an entire MIDI control system where the Morningstar ML5 / ML5R, you need to connect to an actual controller.

The Importance of “Stomp Mode”

Even when using presets, I always want a stomp mode — a way to turn any pedal on or off instantly, without scrolling through menus. I jam and improvise a lot, not follow strict setlists, so I need hands-on, real-time control.

Sometimes that means using a dedicated secondary MIDI controller for stomp mode, or something like the Disaster Area DPC.Micro, which provides a switch for each loop. Other times, I’ll create a “Home” or “Stomp” bank on the main MIDI controller so each switch corresponds to a single pedal for instant bypass state control.

Final Thoughts on MIDI-Controlled Pedalboards

If you’re planning a new MIDI board, think through usability, not just connectivity. Ask yourself:

• Will mixing MIDI and non-MIDI pedals cause switching confusion?
• Can every pedal I need to toggle be turned on/off via MIDI or a loop switcher?
• If I place pedals under a riser, will quick adjustments still be possible?

Too often, players take their new MIDI board to practice or a gig — only to realize the workflow is too complicated. A good MIDI system should make your rig more playable, not more frustrating.

If you want to keep learning about this subject, the next step is to learn more about MIDI controllers. Read my article about the Morningstar MC6 Pro:

Morningstar MC6 Pro MIDI Controller Review

If you’re rethinking your pedalboard layout, you might also like my guide on arranging pedal order for best signal flow:

Guitar Pedal Order

The guitar-related post Why I Prefer Fully MIDI-Controlled Pedalboards (No Hybrids) is original and was published first on SixStringSensei.

The fact that it doesn’t have modulation or a fuzz pedal is not a mistake. This was done on purpose to allow for flexibility. See, the Origin Effects Cali76 Compact Deluxe compressor is a buffered pedal. To allow this pedal board the ability to run any type off fuzz pedal, the idea is to patch your fuzz pedal of choice on the floor right before the board. You then plug the guitar into it, then from there you plug into the main input of the pedalboard’s patchbay. The auxiliary external 9v power power at the top of the board can then be used to power that fuzz.

Patch in Modulation

This also works if you would like to run a modulation pedal. You can use that external 9v power port to power it, but instead of patching the modulation pedal before the main input, you would patch it into the middle two plugs of the patch bay. Those are the send and return for the board that allows you to patch in any pedal, or an amp’s pre-amp, after the Browne Protein overdrive, yet before the time-based effects which is this case are the Universal Audio Starlight delay and Universal Audio Golden Reverberator. Essentially, this patch points allows you to put anything you want right in the middle of the signal chain.

Small Guitar Pedalboard Parts list

Many of the details are in the video below. However, here’s a list of what’s on it.

Pedalboard platform: Creation Music Company Aero 18×7

Patchbay is by American Loopers.

The power supply is a Strymon Ojai R30 with 5 outputs. One of the outputs is set at 18v to power the Cali76. The external power port is set to 9v and center negative so that it works with most pedals safely.

The power cables are by Strymon with right angle Kobiconn DC connectors on the bottom end to allow for custom lengths. I’m using green-backed 3M Dual-Lock TB4750 / SJ4570 (low-profile) to affix the pedal into the board. This low-profile Dual-Lock Velcro is not as strong as the higher profile stuff, but it’s more than enough for this particular situation.

The signal cable is Mogami 2319 which is a very popular size for pedalboards because it’s not as thick as instrument cable, nor as thin as the 2314 variety. Additionally, a small guitar pedalboard like this uses short cable runs, so Mogami 2319 is ideal because you’re not too worried about cable capacitance or noise for such a short run. The audio plugs at the top are right angle Squareplug SP500. At the bottom, for the patch bay I’m using straight SPS5 Squareplug connectors. Everything is soldered.

Watch the Video

The signal chain goes like this. Input 1 in the patch bay goes into the Cali 76 Compressor and then into the Browne Amplification Protein. From that pedals output it goes back to the patch bay to jack 2. From here you can go to the amp’s input, or just patch it back into jack 3. Then the signal goes into the UA Starlight Delay and then into the UA Golden Reverb. Finally it goes back to out, to jack 4 where it can go to the amps effects return, or to the front of the amp if you’re running it all in front.

The guitar-related post Small Guitar Pedalboard Build for the Meat and Potatoes Effects is original and was published first on SixStringSensei.

Let’s call this a Mini Chase Bliss Clean Review.

Yesterday I wrote a post that discussed whether or not you truly need a compressor pedal on your pedalboard. While I was writing that I made a list of my 5 favorite compressor pedals. In that list you can find the Chase Bliss Clean Compressor. I’m going to take some time to focus on that pedal. There are various reasons which I shall explain here in a sec.

Why am I singling out the Chase Bliss Clean as the focus of a compressor pedal review when I even mention that I have a few pedals above it in my list?

The reason is simple, the Chase Bliss Clean can do things none of the other pedals in my list can do. The main draw for me is the MIDI control.

You can generate overdrive with various compressor pedals by boosting the signal. This works particularly well if the pedal can boost the signal into the compression circuit as it allows you to get overdrive and distortion, without raising the overall volume too much.

The Jackson Audio Bloom V2 can do this pretty well as it has a separate boost circuit that runs independently of the compression circuit. By the way, that pedal also has MIDI. However, the MIDI functionality isn’t as extensive as it is on the Chase Bliss Clean. After a lot of testing I’ve concluded that I prefer how boosted cleans sound on the Jackson Audio Bloom V2, even more than I do on the Chase Bliss Clean… BUT, the Chase Bliss Clean does a much better overdrive and distortion. Odd, I know. Specially for a pedal called CLEAN.

As a compressor alone, the Chase Bliss Clean does a very good job. It really sweetens everything. It also possesses all the important controls such as attack and release. Ratio is there too, but it’s controlled a little differently by using a combination of Dynamics and Sensitivity control. The level of compression is dialed in more by feel than by using exact ratios like on other compressors.

Here come the extra functions

Like other Chase Bliss pedals, there’s a whole array of extra functions by using the DIP switches at the back of the pedal. This opens a whole world of possibilities. But, before you even consider taking a look at those DIP switches, the pedal can already achieve sounds that no other compression pedal can by using the Mode and Physics switches. Making changes to the position of the Physics and Mode switches changes the function of the Dynamics and EQ knobs. These can produce sagging sounds that organically sputter or mimic a vibe pedal. You can compare these sounds to a gated velcro fuzz, but without the fuzz! These sounds are really inspiring and work extremely well for textured lofi effects. Yeah, you wouldn’t use these effects for playing 70s funk, but they are definitely very useful.

Let me also point out that the vibe sounds are different than your traditional vibe pedal. It’s almost as if the vibe movement is based on the dynamics or amplitude of a sound, almost like if the vibe were a tremolo, unlike a traditional vibe that uses frequency or pitch modulation depending on whether it’s based on a chorus or a vibrato.

The EQ dial on the pedal is very effective. It’s true that you don’t get individual low, mid and high frequency controls… but most compressor pedals don’t have this feature anyway. The Jackson Audio Bloom V2 does however.

Let’s talk about the blend, or dry knob

The Chase Bliss Clean Compressor also has a blend control which is called DRY. The more you turn it clockwise, the more dry signal you add to the mix.

I have a pet peeve regarding most compressor pedals that have a blend control and call it “blend” or “mix.” It’s something that REALLY bothers me. The reason is that they don’t mention what you’re blending in. Are you blending in dry signal or wet signal? Are you mixing in dry signal or wet signal? It gets worse when you realize some compressors use that knob to add dry, while other use it to mix in the wet signal. Basically, some compressors’ mix knobs work in reverse. AND I CAN NEVER REMEMBER WHICH DOES WHAT!

If the knobs says “DRY” or “WET” you know EXACTLY what you’re mixing in. This is something I praise the Chase Bliss Clean for. For my other compressors, I intend to make little sticker labels change what they say so I can remember exactly what they do.

Let’s wrap this up

Ok, true, I haven’t mentioned every feature of the Chase Bliss Clean Compressor. That was never the intention of this article. That’s why I called it a Mini Chase Bliss Clean Review. I didn’t go into sidechain use or expression control. But it doesn’t matter. That’s the beauty of it. Those features are there for you to explore and discover more once you have your hands on it.

My goal here is to point out that as a compressor pedal, the Chase Bliss Clean is up there with the best of them. Add the fact that it has MIDI control, which is something very few compressor pedals have and you have a clear (Clean?) winner.

While I’m here, I’ll mention the Source Audio Atlas and Strymon Compadre as the only compressors I’m aware of that have full MIDI implementation. Then there’s the aforementioned Jackson Audio Bloom V2 that uses limited MIDI switching. Lastly, we have the Suhr Koji Comp that only allows for external relay switching that can be integrated with MIDI. I’ll wager that switching is the most important feature, at the very least, to allow for MIDI control. But it must be said that having more control is better.

I’ll reiterate that I love the Chase Bliss Clean. I don’t expect to get rid of my Cali76 Compact Deluxe nor my two Thorpy Fat General compressors, but the Chase Bliss Clean is quickly becoming one of very favorites. Oh, and one more thing. This write-up isn’t sponsored. My CB Clean came from a Chase Bliss Mystery box, and I purchased it from a friend. He got one in a Mystery Box and already had one so he decided to sell the new one. Believe or not, I traded a Chase Bliss CXM 1978 and got the Clean and some cash in return. I’m happy with my trade but I do miss the CXM.

You can learn more about this compressor pedal right on CB’s website: Chase Bliss Clean.

The guitar-related post Mini Chase Bliss Clean Review is original and was published first on SixStringSensei.

Do I Need a Compressor Pedal?

I get this question a lot. Compression is often misunderstood. It’s too easy to set a compressor incorrectly and get frustrated with it. It’s also an effect that’s usually felt more than it is heard. But set it right, and it’s an immensely useful tool for any guitarist or bassist.

The obvious answer is: you don’t need a compressor pedal, or any other pedal for that matter. But, that’s not fun. Guitar pedals are music making tools, so what we really need to decide is how useful of a tool a compressor pedal is.

First of all, what does a compressor pedal do?

A compressor pedal is a dynamic circuit that in the simplest of forms, does two things.

1. It compresses loud peaks in your playing.
2. It increases the loudness of the softer parts of your playing.

When you put those two functions together you end up with a more even sound wave devoid of really high peaks and less dynamic range in the quieter parts of your playing. This yields a more even, or compressed, sound wave that tends to not be overbearingly loud but it does overall sound louder.

There are a number of finer settings that one has to be aware of when setting a compressor pedal. These include things like attack, release, ratio and mix (or the amount of dry signal allowed through). However, these finer settings go beyond the scope of this story, so those will be left at that.

Compressor pedals are equally useful for guitar or bass. However, it’s typical to see a guitar rig without one, but a bass pedalboard almost always has a compressor. This doesn’t mean that a compressor pedal is more useful for bass than guitar. What it means is that most bass players are not as heavy on effects as guitarists are. When given the usual minimalist nature of bass rigs, compressor pedals are usually meat and potatoes when it comes to bass… therefore, you’ll see one on most bass pedalboards.

But do I need one?

Here’s one way I like to look at it. On a small pedalboard going from last effect to first, I usually put reverb, delay, two overdrives and a compressor pedal. That’s 5 pedals. In that small board, the compressor is my least important pedal. However, if you take that pedalboard and double its size and now also have a chorus, tremolo, phaser, octave and EQ pedals, the compressor will STILL remain in my top 5 most important pedals on that board. Period.

For my style of playing, I need to have a reverb and a delay on my pedalboard, as well as a good overdrive or two. But the compressor pedal is very close to those in importance. It does so much for my playing and also helps me level out different guitars and pickups. Additionally, I play really percussive rhythm parts that simply don’t sound right without a healthy dose of compression.

One thing to keep in mind is that compression is essential to the unique tone of some artists. Cory Wong wouldn’t sound the same without a compressor pedal.

In conclusion – do I need a compressor pedal or not?

No, you don’t necessarily need a compressor pedal. However, if you decide not to use one in your guitar or bass rig, you are really depriving yourself of one of the most useful sound shaping tools available to guitarists and bassists. In short, every single pedal board I build for myself, always has one.

For fun, I’ll list my top 5 compressor pedals in order, starting with my most favorite. Any of these will sure be amazing for guitar or bass. I’ve tested a lot of compressors before I arrived at this conclusion.

1. Thorpy FX The Fat General (or Thorpy Fat General V2)
2. Empress Effects Compressor MKII – Guitar or bass versions
3. Origin Effects Cali 76 Compact Deluxe (Or any of the various versions)
4. Chase Bliss Clean
5. Source Audio Atlas

Keeley definitely gets a huge honorary mention. I have an old Keeley 2-Knob from the mid 2000s, but haven’t put enough time on the Keeley Compressor Plus 4-Knob version. That said, it’s so popular I expect it to sit somewhere in that list above if I were to play one back to back against the others.

Additionally, I also like the Wampler Ego and the Jackson Audio Bloom V2. The major draw of the Bloom V2 is the versatility and the MIDI control. Both of these I particularly love on bass guitar.

The guitar-related post Do I Need a Compressor Pedal? is original and was published first on SixStringSensei.

Like I said, I’ve had the pleasure of owning or extensively playing so many delay pedals in the huge guitar effects space. This has brought me to the realization that the ideal delay pedal must not only sound good, but should have important features like tap tempo, easily accessible subdivisions and preferably also MIDI control. Those are standard features that can be found in my favorite delay pedal.

I’ll give you an example of some delay pedals I have yet to try. I haven’t had the pleasure of playing the small box Strymon Brig nor the latest Strymon EC-1 released… yet. That’s the keyword… YET! However, I’ve played or owned just about every big box delay out there.

I’ll mention my favorite right now (since you’re seeing it in the cover photo anyway.) It’s the Strymon Volante is my favorite delay pedal, ever.

However, read on because I need to tell you why.

Of all the delay pedals I’ve had the pleasure to own or play extensively, there are a number of awesome standouts. I’ll list those below before getting into the details about my favorite one. This will help set a basis for comparison.

My shortlist of favorite delay pedals

1. Strymon Timeline – This one can do everything and it can do it all extremely well. It’s definitely at the top 5 best delay pedals ever. Doesn’t make the cut as my ultimate favorite due to the size and the menu diving.
2. Empress Echosystem – As far as the big box delay pedals go, the Empress Echosystem to me is the BEST sounding of them all. I even prefer the sound of the Echosystem over the Volante. The reason it doesn’t make the final cut is simply because it’s a little tricky to use on a live board. I much prefer this one on the desk or in the studio when I feel like getting inspired.
3. Strymon El Capistan – This delay pedal, as a tape delay, technically sounds sweeter to my ears than the Volante. Yes, I know the Volante is multi-head drum delay, like an Echorec – But it still emulates tape to an extent. Not to mention, multi-heads and drum aside, the recordings in the original version it emulates go on TAPE. El Capistan also sounds better than the tape emulations on the Echosystem. In fact, in my opinion, there is no better tape emulation than the Strymon El Capistan and El Capistan V2. The only reason it doesn’t beat the Strymon Volante is because I use different subdivisions often, and those are much easier to dial in on the Volante. I understand that flicking a toggle switch on the El Cap is pretty easy, but I often forget which selection I need. On the Volante, I know that if I want a dotted-8th delay I simply need to have head 3 on only.
4. Meris LVX – This delay is truly inspiring and super fun. I could get lost for hours with this one. It sounds glorious and it’s probably the deepest pedal here… even more than the Timeline. But it doesn’t beat the Volante due to ease of use. You need to be on your game 100% to dial this guy out correctly.

As you have probably figured out by now, to me the perfect balance of sound quality and ease of use is the reason I love the Strymon Volante the most. That’s the entire reason why it’s my favorite from the bunch, including pedals that may perhaps sound marginally better.

I understand some people don’t think the Volante is easy to use. I assure you it is. You just need to spend a little time with it and it completely becomes second nature. I find that dialing subdivisions on it is extremely easy. The extra features such as onboard spring reverb and Sound on Sound (SOS) looping also make it ideal for when you want to explore deeper.

MIDI is important to me

Additionally, MIDI implementation is important to me. Notice all the pedals I mentioned above also include MIDI integration. Granted, for the El Capistan, you need a V2 version to get MIDI.

Yes, the Strymon Volante is still a rather big delay pedal. If I was in a pinch for space, my top choice would be the El Cap then. You could say that based on balancing size, sound and features, it would be my second favorite.

One thing I’d like to point out is that the standout pedals in this article are digital emulations of classic tape or multi-head delay units. That’s not to say that dedicated digital delay pedals aren’t great. No, they are excellent in many applications. You might want to read my story on why Digital Delay Pedals are Great next!

The guitar-related post My Favorite Delay Pedal Ever! is original and was published first on SixStringSensei.

A lot of the short videos I’ve been making for YouTube Shorts or Instagram Reels are usually just single song parts. Given these videos are so short, there isn’t a whole lot of time do get too complicated. Scroll to the bottom for the video.

For the video here I decided to try and squish a couple of guitar, bass and drum parts into short video less than a minute long.

I’ve played many versions of this piece at different tempos over the last few years. Normally I play it faster than this and using fuzz instead of high gain distortion. However, this morning I was playing around with a drum track and decided to arrange it into a musical piece with various guitar parts, but also various drums parts, and somehow fit it all into the typical length of an Instagram Reel.

A Harmonic Minor

The piece is written in A Harmonic Minor, using the technique of also including notes of the A Natural Minor scale during some of the parts.

To one-up the stuff I’ve been posting I’ve recorded a bass track this time. I don’t really like following the guitar’s root notes on bass, but for this video this is how I did it this time. So it is what it is. I plan to continue making these videos more elaborate as I go along.

The guitar and bass featured in the video

The guitar is a Squier J Mascis Jazzmaster in mostly stock state, but with a Fender AVRI trem. The bass is a Fender Player British Racing Green Precision Bass from a special edition run done by Fender for Guitar Center.

The guitar is recorded directly into an RME BabyFace Pro FS using a BOSS IR-2 set to the Hi-Gain algorithm. The bass was recorded into the same audio interface but using a Tech 21 VTBass DI as the amp and cab sim.

It would be nice if you follow along. I’ll put links to my Instagram account and YouTube channel below.

SixStringSensei – Danny Cruz Creations Instagram Profile

SixStringSensei – Danny Cruz Creations YouTube Channel

The guitar-related post A Harmonic Minor Piece Squished Into a Minute is original and was published first on SixStringSensei.

I then found this thread on The Gear Page that supposedly confirms the Wampler Terraform as having analog dry-through.

Note that analog dry-through and true-bypass are completely different things. Before we get too carried away, in case you want to learn what analog dry-through actually means, check out the following:

What is the Meaning of Analog Dry Through?

Analog Dry-Through Delay Pedals

Is it possible digital modulation pedal have analog dry through?

That question is above my pay grade. However, what I can tell you is that most of the time, digital modulation guitar pedals simply don’t have analog dry-through because the entire signal needs to be processed for the effect to work. One good example is tremolo. Usually, the entire signal is processed in order to yield a tremolo effect. Now. I’m not saying it isn’t possible. I suppose that with some very clever programming and circuitry, a low mix shallow tremolo could be set so that the dry sound remains analog. I’m just not aware of anyone doing that.

For example, the famous Strymon Flint’s reverb has analog dry-through. But guess what? The tremolo side does not, for the reasons explained above.

What about the Eventide H90 and H9?

The Eventide H90, and original H9 for that matter, are 100% unapologetically digital. They’re not even going to consider analog dry-through because it wouldn’t be possible with the vast amount of complex effects in this thing. Not to mention, when you mix an analog signal with a digitally processed copy you end up with slight latency in that digital copy. Some claim it’s anywhere up to 5ms. If you lay that delayed signal alongside a dry original you’re going to end up with phase and combing issues. Most digital pedals with analog dry-through have nifty ways of dealing with that problem, and still sometimes end up causing problems on a pedalboard when someone tries more complex routing setups such as dry-wet, or wet-dry-wet.

So then, is the Wampler Terraform Analog Dry-Through or not?

Now, back to the Wampler Terraform. I looked on Wampler’s website and even downloaded all the documentation available there for that pedal and I couldn’t find a single reference of it having analog dry-through. It’s quite possible that maybe some of the algorithms have it but it would be too complicated to make that claim and prove it, so that’s why they don’t claim it in the documentation. I don’t know. Either way, I’m going to assume the Wampler Terraform does not have analog dry-through but I’m also not going to fault it for that. As stated earlier, it’s not common to find a digital modulation pedal that somehow also manages to pull that off.

The guitar-related post Wampler Terraform – Can a Digital Modulation Pedal Have Analog Dry-Through? is original and was published first on SixStringSensei.