From Effects Database:
More than 23000 guitar effects pedals from 4000 brands:
http://www.effectsdatabase.com/model/chasebliss/thermae
Showing posts with label Tap Tempo. Show all posts
Showing posts with label Tap Tempo. Show all posts
Thursday, January 25, 2018
NAMM 2018: Chase Bliss Audio Thermea Analog Delay/Pitch Shift
At this point, I think that the guys over at Chase Bliss are messing with us. A lot of people love their nontraditional approach to guitar effect making. Yes, some of the most interesting products from recent history have come from them, but at some point they have to cross a line. Over that line lay pedals that are overpriced, complicated, and impractical. (I'm looking at you Rainbow Maker). The Thermea from Chase Bliss flirts with that line. However, the ability to convert to an analog delay saves this particular pedal from being cast in with those pedals. While a delay that can pitch shift its repeat isn't a new idea. The Thermea seems to take that idea and do what Chase Bliss does best, lets you manipulate absolutely everything. I dig the Thermea, but at the same time I am slightly confused by it.
From Effects Database:
Release: 5/31/18.
$499.
100% analog signal path with digital control / presets / midi.
Max delay time: at least 4 seconds (it likes to be under-clocked) via 4x MN3005 chipset.
Sequence mode, step mode, or normal mode for shifting through delay time intervals.
Three modulation types with three subtypes.
Glide knob for setting transition time between pitch intervals.
Slightly resonant low pass filter for repeats.
Full ramping and expression control.
Optional trails or true bypass via dip switch.
Momentary or latching bypass via dip switch.
More than 23000 guitar effects pedals from 4000 brands:
http://www.effectsdatabase.com/model/chasebliss/thermae
From Effects Database:
More than 23000 guitar effects pedals from 4000 brands:
http://www.effectsdatabase.com/model/chasebliss/thermae
Saturday, October 7, 2017
Ugly Guitar Truth: MXR Carbon Copy Deluxe
Whether you love the Carbon Copy or you passed on it. Nearly everyone's ears perked up when MXR/Dunlop announced the Carbon Copy Deluxe. Nearly everyone agrees that's the original Carbon Copy sounds great (or it is too dark). Whatever you think about the original, the Deluxe fixes some problems about the original and gives us everything that you could want, right? Let's take a look.
There's More To Love
So those that love the Carbon Copy have a lot more to happy about. A larger format allows for additions like Tap Tempo and moves the Width and Speed of the Mod to the outside of the pedal this time. We also get the bright mod added to the Deluxe. I glad they added this, that way we avoid the predictable Carbon Copy Deluxe (Bright). All this in addition to the neat add-ons like expression and instrument/line level options make this a well thought out pedal. So is it all roses?
It's Not All Roses
Yeah, The Carbon Copy is loved by many players, but is it really live up to all the hype? It's not an all-around type delay. Coming from the point of do-it-all digital delay, analog delays have a big gap to make up in way of value. There are no fancy tricks (well, not many) or dizzying specs. One could argue that an analog delay with 1.2 seconds of delay is a pretty good trick. Others would say that a mono delay just doesn't cut it anymore. With the addition of sub-divides, tap-tempo, and expression, one would difficult not to admit that the Deluxe is a serious step up for the Carbon Copy
It All Adds Up
Given the popularity of the Carbon Copy and the current trend of analog delays, the Carbon Copy Deluxe gives players looking for that sound even more. The sound that many of us love is still there, but now there is so much more to love. It is even in a top-jack format, which is more-and-more becoming my favorite format. The price of the original, to me, seems a little steep. Then again, I'm a penny-pinching, old so-and-so. The Deluxe, on the other hand, seems to fit well in the market for modern analog delays.
Conclusion
The worse new in this entire post might be for the original Carbon Copy (including the Cabon Copy Bright). There just isn't enough reason to buy the original anymore. There is so much more in the Deluxe that it would just make sense to make the leap. Does it do everything? Of course not. What it does do, it does very well.
There's More To Love
So those that love the Carbon Copy have a lot more to happy about. A larger format allows for additions like Tap Tempo and moves the Width and Speed of the Mod to the outside of the pedal this time. We also get the bright mod added to the Deluxe. I glad they added this, that way we avoid the predictable Carbon Copy Deluxe (Bright). All this in addition to the neat add-ons like expression and instrument/line level options make this a well thought out pedal. So is it all roses?
It's Not All Roses
Yeah, The Carbon Copy is loved by many players, but is it really live up to all the hype? It's not an all-around type delay. Coming from the point of do-it-all digital delay, analog delays have a big gap to make up in way of value. There are no fancy tricks (well, not many) or dizzying specs. One could argue that an analog delay with 1.2 seconds of delay is a pretty good trick. Others would say that a mono delay just doesn't cut it anymore. With the addition of sub-divides, tap-tempo, and expression, one would difficult not to admit that the Deluxe is a serious step up for the Carbon Copy
It All Adds Up
Given the popularity of the Carbon Copy and the current trend of analog delays, the Carbon Copy Deluxe gives players looking for that sound even more. The sound that many of us love is still there, but now there is so much more to love. It is even in a top-jack format, which is more-and-more becoming my favorite format. The price of the original, to me, seems a little steep. Then again, I'm a penny-pinching, old so-and-so. The Deluxe, on the other hand, seems to fit well in the market for modern analog delays.
Conclusion
The worse new in this entire post might be for the original Carbon Copy (including the Cabon Copy Bright). There just isn't enough reason to buy the original anymore. There is so much more in the Deluxe that it would just make sense to make the leap. Does it do everything? Of course not. What it does do, it does very well.
Friday, February 10, 2017
More Ugly Truth About JHS Pedals
Love them, or hate them, JHS Pedals have made quite a name for themselves. JHS has been designing and building effects for a few years now and there is a long list of high profile names that have endorsed them. They claim to be played by Andy Timmons, Ryan Adams, and John Mayer. So they must be doing something right. However, they are also doing something wrong and that's what I want to talk about.
Shame
JHS has a fair sized collection of effects that bare there name. Overdrives, distortions, Delay, Reverb, Boosts and more. All of them pedals demand a price that fans of boutique pedal are accustom to. $250 for an overdrive and boost is middle of the road for the market, but I've notice a few new faces in the line up that seem not to fit in the typical 'JHS' mold. There are half a dozen or so utilitarian type pedals that seem affordable next to the other offering by JHS. So if they are a fraction of the cost of the others, then what's the problem?
Shame
These pedal include a Remote (Tap), Stutter (kill switch), Amp Box, Mute Switch, A/B, Buffer, and Splitter. "Great!" You say. Cheap boxes that do little jobs. That's not an ugly truth, that's just a good heads up. I'm sure that's what any JHS fanboy would think, but let look a little hard at the little boxes. When we do, we discover that there is little in these boxes that make it worth what they want for them. I know that the 'cost of materials' debate is not a new one (ie it only cost $40 for all the parts that go into a pedal. why do I have to pay $200 for it). Lets take the Red Remote for example. It is literally a footswitch wired to a 1/4" jack. A few dollars of materials and an equally few minute of work, but put JHS on it and it's a $35 pedal. The Stutter is no different. It is just the same switch between two jacks. The Mute switch adds an LED to the formula and charges an extra $10 for it. Wire that up slightly differently and you get the JHS A/B Box. The buffer does add some actual signal processing, but for the few part that it cobbles together you pay another $25 for it. Sad. Just Sad.
Shame
I know what JHS is thinking. Not everyone can afford their pedals, but they want everyone to own a piece of their gear and represent JHS on their board. Make something for the little guy or the beginner. Simple tools of the trade that everyone needs. Or they might just feel like they can charge a premium for simple boxes filled with mostly air. It kills me that I know you can get the same pedal for half of what they want for the JHS version. Maybe I'm missing something here. Maybe there is more to it. But from what I can see, this is just a case of taking advantage of you customer. I wish there was something redeemable about this 'pedals', but I just don't see it.
Support the blog by shopping on Amazon by using my link!
There should be an ad below:
Shame
JHS has a fair sized collection of effects that bare there name. Overdrives, distortions, Delay, Reverb, Boosts and more. All of them pedals demand a price that fans of boutique pedal are accustom to. $250 for an overdrive and boost is middle of the road for the market, but I've notice a few new faces in the line up that seem not to fit in the typical 'JHS' mold. There are half a dozen or so utilitarian type pedals that seem affordable next to the other offering by JHS. So if they are a fraction of the cost of the others, then what's the problem?
Shame
These pedal include a Remote (Tap), Stutter (kill switch), Amp Box, Mute Switch, A/B, Buffer, and Splitter. "Great!" You say. Cheap boxes that do little jobs. That's not an ugly truth, that's just a good heads up. I'm sure that's what any JHS fanboy would think, but let look a little hard at the little boxes. When we do, we discover that there is little in these boxes that make it worth what they want for them. I know that the 'cost of materials' debate is not a new one (ie it only cost $40 for all the parts that go into a pedal. why do I have to pay $200 for it). Lets take the Red Remote for example. It is literally a footswitch wired to a 1/4" jack. A few dollars of materials and an equally few minute of work, but put JHS on it and it's a $35 pedal. The Stutter is no different. It is just the same switch between two jacks. The Mute switch adds an LED to the formula and charges an extra $10 for it. Wire that up slightly differently and you get the JHS A/B Box. The buffer does add some actual signal processing, but for the few part that it cobbles together you pay another $25 for it. Sad. Just Sad.
Shame
I know what JHS is thinking. Not everyone can afford their pedals, but they want everyone to own a piece of their gear and represent JHS on their board. Make something for the little guy or the beginner. Simple tools of the trade that everyone needs. Or they might just feel like they can charge a premium for simple boxes filled with mostly air. It kills me that I know you can get the same pedal for half of what they want for the JHS version. Maybe I'm missing something here. Maybe there is more to it. But from what I can see, this is just a case of taking advantage of you customer. I wish there was something redeemable about this 'pedals', but I just don't see it.
Support the blog by shopping on Amazon by using my link!
There should be an ad below:
Subscribe to:
Posts (Atom)