Home tools Buyer's Guides from tech enthusiast who loves technology and clever solutions for better living.
Best volume pedal 2018 – [Buyer’s Guide]Last Updated September 1, 2023
Best volume pedal of 2018
You can make a choice based on the my list as you shop. I have a variety of material used in the construction of volume pedal including metal, plastic, and glass.
Many brands have introduced volume pedal on the market. These brands have resulted in a variety for the user. These require that the consumers be well aware of what they are buying so as to make the best choice. I’ve based my selection methodology on customer feedback, the size, functionality, and budget to meet various demands.
Test Results and Ratings
Why did this volume pedal win the first place?
The material is stylish, but it smells for the first couple of days. I don’t know anything about other models from this brand, but I am fully satisfied with this product. I really enjoy the design. It is compact, comfortable and reliable. And it looks amazing! I am very happy with the purchase. It is definitely worth its money. The product is top-notch!
Why did this volume pedal come in second place?
Managers explained me all the details about the product range, price, and delivery. Seems that the material is good. It has a very beautiful color but I don’t really like the texture. This is a pretty decent product that perfectly fitted the interior of our office. I like this product. For such a low price, I didn’t even hope it to be any better. It’s decently made.
Why did this volume pedal take third place?
I liked the design. We’ve been using it for 2 months and it still looks like brand new. This price is appropriate since the product is very well built. It is inconvenient to use due to the size. I am going to get something different next time. The material is incredibly nice to the touch. It has a great color, which will suit any wallpapers.
volume pedal Buyer’s Guide
What To Look For In A Volume Pedal
We mentioned that volume pedals can be rather complicated little pieces of gear, and after reading this section hopefully you’ll be convinced (and much more knowledgable)! We’re big fans of lists, so we’ll make a list of what you need to consider and the knowledge you need to arm yourself with.
No tone loss: The dreaded “tone loss” or “tone suck” issue has been known to plague some of the more popular guitar volume pedals out there – even ones that are widely considered to be the best. The Ernie Ball VP Jr. in particular gets a bad rap for this. Your guitar signal, which in itself is a weak signal, can get split into two by a volume pedal that has a dedicated tuner output. In layman’s terms, you take a weak signal and weaken it further by splitting it, which robs the high end of your tone. Not all guitarists seem to be affected, and everyone’s signal chain and tolerance for “imperfections” is different, so your milage may vary. But it’s definitely something to be aware of.
Passive vs. active: A passive volume pedal usually doesn’t require power (through a battery or an adapter). This is convenient and simplifies your setup, but a passive volume pedal is more sensitive and finicky. You have to pay more attention to where you place it in your signal chain (beginning, middle, end) and what instrument you’re using it with. Passive volume pedals, especially ones with a tuner output, can be the cause of the tone loss we mentioned above. For a passive volume pedal, you need to pay attention to its impedance (measured in ohms). In fact, several passive pedals come in two flavors, high and low impedance. An electric guitar like a Tele, Strat, Les Paul, etc has passive pickups, so a passive volume pedal between 250k and 500k ohms will work well with it. An impedance mismatch does not make your volume pedal useless, but can adversely affect your tone. An active volume pedal needs to be powered, and you don’t have to be as careful at where in your signal chain you place it. It’s not susceptible to the “tone suck” issue.
Build quality: This is important for any piece of gear you buy, but particularly something you’ll use as often as a volume pedal. What mechanism is responsible for adjusting the pedal? Do reviewers say it is prone to breaking? Is it easy to fix? In terms of the pedal’s housing, look for one with metal construction from a brand known for building durable gear. The budget volume pedal recommendation we make in this guide is the only one on our list that is housed in plastic, not metal. Whether or not this is ok for you depends on how hard you are on your gear, how heavy your foot is, how frequently you gig, etc.
Stereo vs. mono: This is definitely lower on the list for most people shopping for a volume pedal, but we’ll mention it just in case. Most guitar chains are mono, so that will suffice. If you want a volume pedal you can also use for a stereo instrument like a keyboard, look for one with stereo capability.
Tuner output: Several volume pedals have a tuner output separate from their main output. This is so you can connect your tuner pedal to it, and silently tune, which can be massively handy during a gig in between songs. As we mentioned, be careful if you’re using a tuner output and your volume pedal is passive, as you might be sacrificing some of the high end of your tone.
Adjustability/versatility: Some volume pedals are dead simple – you can rock the pedal back and forth and increase/decrease volume, and that’s it! Some are more versatile, letting you adjust the minimum volume level, the tension/torque of the pedal, the taper (i.e. how the volume curve behaves as you step on the pedal), etc. More features generally means the price increases. This is also where we’ll include the feel of the volume pedal, meaning, if the amount the pedal travels and how it feels under your foot suffices for your needs.
Pro player usage: We as musicians are all unique snowflakes, but sometimes looking at other pedalboards helps our decision making process, particularly when those pedalboards belong to the pro musicians we love. Have a look around Equipboard at your favorite artists’ gear setups, and look at the volume pedals they use. We’ll mention some famous users of the pedals on our best-of list within our reviews.
I never needed or understood volume pedals until I started playing at a church regularly — ambient guitar swells and/or whale sounds are essential in that arena. To be honest, I went straight to this one mostly because my pedal board already has a Crybaby, and since this pedal’s body is literally the same, I knew it would fit into my crowded setup, unlike most of these other behemoths. I also like the brick-like solidity of this Dunlop one, and that it features no weird little bits of string in its ingredients (I’m sure the Ernie Ball, etc. are great, there is just something that rubs me the wrong way about a piece of electronics that relies on an actual, honest-to-goodness piece of twine).
My experience with it so far has been great. It’s as sturdy as the Crybaby, and has a broader sweep of motion, enabling me to use a certain amount of subtlety in my fade-ins. Other reviewers have mentioned that sometimes this pedal’s “off position” isnt’ absolute zero — mine isn’t doing that, so maybe it varies. I know there is a hack for fixing that, but I didn’t seem to need it.
I can’t say I’ve road-tested it extensively yet but my impression is that this is a simple, no-frills volume pedal that works perfectly for what I need, and looks like it would survive a ten-story drop.
There MUST be something better
Before doing the hack (Google it), this volume pedal doesn’t go to zero volume. The whole point is to play roll-ons, but you can’t roll on if you’re never off. After the hack, it’ll go to zero, but when you try to roll on, it the volume is zero….zero…..zero….EIGHT! Hardly the effect I’m looking for. I haven’t tried any other volume pedals yet, but that’s next on my To Buy list. I’m open to suggestions.
While a smooth taper and a durable casing are a must-have for gigging musicians, those of us who mostly play in our bedroom and lightly (if ever) gig don’t really need to shell out a bunch of money for the best gear money can buy.
While Valeton may not be a household name, the EP-is worth a solid look for anyone who’s just wanting a basic volume/expression pedal to get the job done. The unit, as implied by the name, pulls double duty as an expression and volume pedal; two tasks which it performs admirably.
Right off the bat, contrary to what you may believe this volume pedal actually isn’t intended for high-gain genres. Rather, when they say high-gain it’s a designation to make it clear that it’s for guitars as opposed to keyboards. It does seem like a bit of an odd choice to give this pedal that particular designation when in reality it would be better suited to passive pickups.
With that out of the way, the Dunlop GCB-80 is incredibly reminiscent of the company’s most well-known product the Crybaby Wah. Because the designs are so similar, the unit shares both the strengths and weaknesses of the design.
Get the Right Pedal For Your Pickups
One of the most important things to know before you buy a volume pedal is that when using a volume pedal you have to match the impedance of your pedal to that of your pickups. If there is an impedance mismatch, it can cause tone loss.
Thankfully, matching impedance between a volume pedal and a guitar pickup is actually pretty simple. All you’ve got to remember is that if you’re using passive pickups you’re going to want a volume pedal in the 250-500K range, and if you’re using active pickups you’re going to want a volume pedal in the 25K – 50K range.
Also, if you want to use your volume pedal in an effects loop (which allows you to control the overall volume without having the pedal color your tone) you’re going to want a low impedance volume pedal.
To tell whether your instrument has active pickups, all you need to do is figure out whether or not your guitar needs a battery. Guitars that do have a black panel on either the back or side which, if popped open, reveals a battery enclosure.
Passive vs. Active Volume Pedals
Basically, think of a passive volume effect as a physical limitation of a signal and an active volume pedal as a circuit. You have more options with what an active volume pedal can achieve, though the extra expense may not be worth it if you aren’t going to take advantage of the extra features.
Expression and volume pedals are often lumped together, but in reality they’re two distinct pieces of equipment. Basically, expression controls a parameter of an effect while a volume pedal controls volume. Expression includes things like increasing a delay’s repeats, or a chorus pedal’s depth.
However, while the two effects are different you can actually use a volume pedal as an expression pedal if you purchase a TRS insert cable. However, should you choose to go this route you do need a passive volume pedal as opposed to an active one. There are also volume pedals which double as expression pedals.
In summation, do not buy an expression pedal if you want a volume pedal. Also, should you purchase an active volume pedal and a TRS insert cable or a dual function volume/expression pedal you can get a pedal which will perform adequately at both tasks.
Where to Put a Volume Pedal In Your Signal Chain
There are two schools of thought when it comes to volume pedals. Some musicians prefer to have a volume pedal first in their chain (or second if they’re using a compressor), and others want it last. Basically, when a volume pedal is first in the chain it acts like your guitar’s volume; controlling the amount of gain that comes through. When placed last, a volume pedal controls the overall volume as opposed to gain.
Think of it like this, all a volume pedal does is reduce the strength of a signal. A higher signal going into a distortion pedal (which already boosts the signal) will create more distortion. If used after all of your effects, it will boost the entire signal chain.
Minimum Volume Setting
A minimum volume setting allows you to control the amount a volume pedal will reduce a signal. So, as you turn up the minimum volume control the lowest setting of the pedal becomes louder. Likewise, as you turn the minimum volume control down the lowest setting of the pedal becomes quieter.
For worship guitarists, the main use appears to be for volume swells, which is when you strum a chord or play a note and slowly roll up the volume on either your VP or guitar’s volume control for an ambient ‘swelling’ effect. This swelling sound is usually increased with the use of staining effects like overdrive, delay and reverb.
The second most common use of a VP is as a kill switch. While I love the sound of a volume swell, almost 90% of the time, when I’ve used a VP, it’s been to “kill” the sound off my board. This most common at the start and finish of a worship time, but there are also places during the set when a kill switch would be useful. Many guitarists use their tuner like the Boss Tu-or TC Polytune for the same result.
If you are using your VP to create ambient volume swells, then I would recommend placing your VP directly after your gain pedals. There are two reasons for this. The first is that you hit the VP with the most intensity possible by having your gain pedals in front rather than behind. The second reason is that you allow time based effects like reverb and delay the chance to trail off naturally instead of being cut off by the VP. This will produce what is commonly considered to be a better sounding swell effect.
Something that is often overlooked in discussions about VP placement is that they are often large, long and bulky. Pedalboards aren’t put together in a vacuum and the size and shape of other pedals play a role in your rigs set up as well.
Now, technically you could put the VP anywhere and it will kill the signal from your guitar to your amp. But, whatever you put after the VP can still send signal to your amp, even if it’s just background noise, it might be very unwanted on a Sunday Morning. So, while I understand if there are space or size reasons why you’d want to put your VP somewhere else in the signal chain, I would advise you put it very last if at all possible. This way you kill any and all possible signal and noise that could go to your amp.
If you’re using your VP as a volume control be careful. Remember that your guitars own volume control is still there and no matter what you do with the VP it will still affect how much signal your guitar is sending out. Personally, I would experiment with both the VP’s placement in the signal chain, and the setting of your guitar’s volume control to figure out what’s best for you.
Volume Based Effects
SPARE a thought for the unsung heroes of the pedalboard. If a Whammy pedal is the good-time girl down your local, then volume, EQ and compression are the three hapless dullards sat in the corner playing Scrabble and nursing a pint-and-a-half of shandy: they’re dependable, keep themselves busy, and they’ll lend you enough for the last bus home.
COMPRESSION is used on almost every piece of recorded music we listen to. The idea of compression in recorded music is to level out the dynamic range of a sound by removing loud jumps in level.
For guitar players, it can be used to boost your signal, increase sustain for soloing, create the snappy attack that you hear on country and funk guitar parts, or even bring out a fingerpicked part.
Imagine someone manually controlling your volume for you, so every time you hit a note above a set volume level (threshold), they turn it back down by a percentage. That’s essentially how a compressor works. Studio compressors usually feature more controls than their stompbox counterparts, which often only have a few knobs. Attack usually governs how quickly the signal is attenuated (the reduction of amplitude) after the volume reaches the threshold level, and sustain controls how much the signal is turned down by.
Once you’ve compressed your signal, you’ll need to turn the whole lot back up again, and that’s what your level/output control is for. The result is a much smoother signal with noticeably less dynamic range, and a greater consistency in volume.
Give it up for the Swiss Army knife of pedals
A GRAPHIC equaliser or EQ pedal is a pretty simple effect. Just like the bass, middle and treble controls on your amp, it offers you control over the overall shape of your sound.
Rather than giving you one control for each frequency range of your tone, though, a graphic EQ splits your sound into finer ‘bands’ for more specific fine tuning. Six- or 10-band EQs are most common in guitar pedals, enabling you to hone in on a particular area of your guitar’s frequency range.
It may look a bit daunting, but a graphic EQ works exactly the same as the one on your hi-fi. The bands to the left cover bass/low mid, and the bands to the right cover the treble frequencies. If we need to explain the middle ones, you should probably take up the drums…
Each of the sliders either boosts or cuts its respective frequency, and in most cases the middle of each slider’s range is your ‘flat’ or unaffected point.
A solid EQ pedal can be used for a number of tricks: you can scoop your mids for a thrash sound; create a ‘telephone’ effect by cutting the bass and treble and boosting the midrange; or even use it as a flat volume boost by pushing all of the frequency bands equally. It’s also handy for either killing or introducing feedback onstage, or levelling out any unwanted tonal variations when you’re switching guitars.
First, your hands should be busy playing the guitar. This leaves your feet to control impromptu volume boosts/ cuts. You can also use your volume pedal to ‘swell’ your notes, for manual tremolo, or gradually fade in the effects in your effects loop.
Ernie Ball VP Jr.
Although it is not the volume pedal that sits on the peak of the industry, it is still undeniable that the Ernie Ball VP Jr. has the qualities of being a great stompbox.
Obviously, it is a cousin of the Ernie Ball MVP. But it still has different arsenals on its sleeve.
One of the best selling points of this product is its simplicity. You don’t have to burn your head just to learn how this volume pedal work.
Also, the Ernie Ball VP Jr. is the compact and sleek version oof the MVP. It is the real meaning behind its name. However, it doesn’t mean that this one has a poor performance.
Ernie Ball MVP
The closest contender of the Boss FV-500H is the Ernie Ball MVP. The MVP means Most Valuable Pedal, by the way.
Because it claims such title, the Ernie Ball MVP seems to have something to show off. And we tested, it is indeed an excellent unit of a volume pedal.
Because this volume pedal is buffered, it can accommodate passive and active signals. Of course, it also means that you can put this pedal in any location of your signal chain.
Fender FVP-Volume Pedal
If you are looking for another affordable volume pedal, the Fender FVP-is a good choice. Although the brand Fender is not usually akin to pedals, their units are still commendable.
The setup of the Fender FVP-Volume Pedal is pretty basic. It appears as similar to those standard volume pedals you can see on sales garage. However, such simplicity is perfect for those who doesn’t want to complicate their lives.
This particular volume pedal is sensitive to the finest changes in volume. It doesn’t color the sound, nor induce any alterations on the signal.
Dunlop DVPVolume X
Another good volume pedal that you should try is the Dunlop DVPIt can perform well on any applications. It has fantastic construction and interface, too, which makes it a favorite of many guitar players out there.
Specifically, it is the top competitor of the Ernie Ball VP Jr., considering they share almost similar specs.
This product comes with three outputs (Tuner, Expression, and Audio). Therefore, this product provides its users with some freedom of modification. It also uses and audio taper.
This technology enables a slow increase in volume at the start of the rotation then peaks during the later part.
Meanwhile, the overall aesthetics of device is top-notch, too. It has a beautiful appearance that instantly blends with your instrument.
Signstek Guitar Stereo Sound
The battle for the best volume pedal is always dominated by the brands of Dunlop, Ernie Ball, and Morley. However, they are not the only players who seem to stand out in the scene.
An interesting dark horse, the Signstek Guitar Stereo Sound, is a volume pedal is definitely worth your attention.
The Signstek Guitar Stereo Sound is a performing volume pedal. But despite its excellent features, it has a very low price.
The glides for this pedal is pretty smooth. It provides a nice feeling to the feel. Although there are some mechanical grinds that you can hear, that is not exactly a deal breaker that can make you turn off.
What is a Volume Pedal
Before we begin, we should clarify that volume pedals are not limited to guitars alone. There are volume pedals you can use for other electronic instruments such as your synthesizer and keyboard.
However, in this article, we will just limit the product selection to volume pedals for bass and standard guitars.
By operational standards, a volume pedal is a variant of “dynamics” stompboxes. Guitarists use this device to modify the volume of their instruments through the increase and decrease of the audio signal’s aptitude. By concept, it is not that complicated process.
However, once you dissect this product, you will discover that there are a lot of things that operates it. The presence of multiple factors becomes a detriment to what brand of volume pedal you are going to choose.
Moreover, volume pedals have the same appearance as wah pedals. Many beginners always mistook one for the other.
Transparency and Sound
You can consider that a volume pedal is great if it is transparent. Specifically, the device should not induce their character to the sound of your instrument. If you want such kind of pedal, you must choose wahs and overdrives, not volume pedals.
If you are going to buy a volume pedal, make sure that it doesn’t suffer from “tone loss.” Many pedals are suffering from such kind of detriment.
By nature, the signal is already weak. Once the latter travels to the pedal, it becomes weaker because of the tuner.
Of course, many players won’t notice this. One reason is that the tolerance of our ears for such kind of imperfections varies. However, you should still be aware of this concept.
Passive and Active Volume Pedal
A volume pedal that is passive does not use power coming from an adapter or battery. It is a simple setup that gives you an irreplaceable form convenience, wherever you look at it. But still, passive volume pedals still tend to be finicky and sensitive.
Specifically, you have to pay attention to the location of your signal chain as well as the instrument that you are using. Most of the passive pedals have tuner controls. As we mentioned earlier, this particular part is the culprit for tone loss.
Meanwhile, an active volume pedal requires power to operate. But as compensation, it will free you from any worries of tone loss.
Multi Effects Units
As a beginner you’re probably anxious to try out all of the different effects above and then some. A very costly endeavour to undertake, and where to start!? If you’re taking your first tentative steps into the world of guitar effects then a much more money efficient option is a multi-fx unit. These will generally contain the majority of the effects listed above, enabling you to sample each one and find out which you like the best. As a bonus, multi-fx units will often contain other useful features such as a built-in metronome and tuner. You can absolutely use one of these units in place of an amp while you learn the ropes, all you need is a pair of headphones.
Each unit features 100 effects and amp models, of which can be used simultaneously. They have a built-in drum machine (metronome) featuring almost 70 different patterns for you to practice along with at your own speed. An accurate tuner ensures you are always playing at perfect pitch. Another awesome feature is the built-in looper, which allows you to record up to 30 seconds of high quality audio. A headphone jack allows for quiet practice. Unbelievably at this price, both units also include a well-lit LCD screen for easy navigation of the menu system. An auxilliary input on the back allows you to connect a music source, to allow you to jam to your favorite songs.
Both units can be powered with 4xAA batteries. Alternatively they can be powered with a standard 9V PSU (such as this one), or USB mini cable (such as this one).
Check out this excellent overview and demo video from our friends over at GuitarWorld magazine.
Both units include 70 different high quality effects, amp and cab emulators, and the ability to chain of them together in any order. Other key features include a built-in tuner, drum machine, looper with up to 80 seconds of recording. Three large LCD displays with corresponding footswitches and knobs makes it easy to view and edit multiple effects at a glance.
Computer Based Effects
Ernie Ball is a company known for its history of making volume pedals that are most sought after by professional guitarists. The VP Jr. P06180 is known as the best guitar volume pedal that is perfect for passive pickups because of its 250k potentiometer. It is a nice, solid and compact volume pedal with a smaller footprint and sandpaper like grit on the pedal surface. It has a micro taper switch right behind the input jack under the footplate that provides you the option to select between two volume swell rates. It also has a tuner output that allows silent tuning when the pedal is in the heel down position which means there will be no sound leak. This Ernie Ball volume pedal is a very versatile and popular pedal that adds an expressive dynamics to your playing.
The Fender FVP-is a passive volume pedal that is ideal for guitars and can control volumes using the passive 250k potentiometer with a high life cycle. The FVP-is a mono pedal meaning there is one in and out jacks along with a tuner jack that allows silent tuning during live performances. This volume pedal is heavy and sturdy but compact. It can be used as an expression pedal also by connecting the out jack to the expression in jack of the desired stomp box. It is a strong and sturdy tank like device made with die-cast aluminium. The sound from the FVP-volume pedal is loud, clear and natural.
Gear returned in mint condition. If you’re looking for a virtually new instrument in possibly less-than-perfect packaging, this is a great value.
Worth The Trouble
I have taken mine apart and put it back together many times now. It started to squeak at the pivot bar so I sprayed some gun oil in it. The squeak stopped but the feel of it changed to a loose/mushy feel. I completely tore it down, cleaned the parts with alcohol, then greased the friction points with Vaseline to restore the smooth action I wanted. Then the pot started causing a crackling noise in the signal. Sprayed the pot with brake cleaner and fixed it for about weeks then it locked up completely. After replacing the pot, I stretched the spring out of shape and tension was too loose. The string kept coming off so I had to replace the spring. I have tried to find a better pedal but I keep coming back to this one. Nothing else has the same gradual swell I want. Besides, now that I’m an expert on it I can fix just about anything else that may go wrong with it again. It’s been a real pain but I can’t find anything that works better.
It’s best to start with the most obvious pedal, one you’ve probably heard of already. Distortion! The term “distortion pedal” is actually used quite a bit as an umbrella term to refer to different types of pedals.
Although it’s not really wrong to do this (they all distort the signal of the guitar) I’m going to be a little bit more specific and split the group up into types – distortion, overdrive and fuzz (these second two are discussed below).
Distortion is can be quit a heavy, obvious effect which provides a good amount of sustain & crunch to your sound. Because it heavily distorts the sound, it can sometimes hide the actual tone of the guitar.
However you can still hear the original tone of your guitar and amp in there somewhere. It just makes everything sound much more aggressive.
An overdrive pedal still distorts your sound, and gives it an extra punch, but it’s great at keeping more of the sound of your amplifier & guitar intact. So it sounds a little bit more natural.
It drives or “pushes” your amplifier more subtly than a distortion pedal so it doesn’t sound too heavy or overpowering. Yet it still gives you that beefy, thicker sound.
It’s often used in classic rock and blues but is a versatile pedal which is on the pedal board of millions of guitarists around the world.
Fuzz is the most extreme of the distortion effects and kind of sounds like it’s pushing your amplifier to breaking point. It provides a bass heavy and noisy guitar tone and means that it’s very hard to hear any of your original guitar tone.
However it’s still a very diverse pedal depending on how you use it. It can be used to create very heavy attacking sounds, or add more of a discrete buzz which isn’t too overpowering.
The different pedals are differentiated by the amount of the distortion / saturation they provide. Overdrive has the least, fuzz has the most, and distortion is somewhere in the middle.
Delay is another effect which does what it says on the tin. It delays your signal by a varying amount and then plays it back. This creates a doubling effect. The pedal will let you define how long the delay is.
Digital pedals can usually delay for longer, but some people think that these digital pedals don’t sound as good as analogue alternatives. Delay pedals are great for creating experimental effects and sounds, but can be subtle too.
The chours effect sounds like hundreds of different guitarists playing what you are, but very slightly out of time. The effect also creates a mild wobble type noise.
Overall the sound sound rich, full and thick because of the chorus effect.
It can be used effectively both as a subtle effect or a more obvious experimental effect.
Flanger is very similar to chorus, however it can provide a little bit more of an obvious effect.
It’s got more of a wooshing sound which goes up in pitch and then down again. People often say it sounds like a plane flying past.
Unlike the chorus effect it doesn’t sound like there are hundreds of guitarists copying your sound, but still can thicken your tone up.
Again the phaser pedal is similar to the flanger and chorus effects. It creates a sweeping sound by creating peaks and troughs in your guitar tone. You can alter the height of these peaks and troughs by manipulating the controls on the pedal.
The phaser also adds a similar, but not as obvious, effect to the guitar tone as the chorus. So it sounds like there are a few guitarists playing the same as you.
Tremolo sounds like your volume is being turned up and down very quickly after you play a note. However the sounds gets blended together nicely so it doesn’t sound too obvious or out of place. Essentially it proves a nice wobble sound.
The controls on the pedal control how big this volume change is, and how quickly it occurs. It’s not too far away from the phaser, flanger and chorus pedals, but still sounds unique when compared to them.
With the advent of technology, a huge selection of stompboxes have saturated the music industry and have made it difficult to choose and even decipher the effects inside the track. I knew you have tried to copy the exact sound of your favorite artist and failed a lot of times. You even bought their signature pedal and found yourself crying in the middle of your practice, frustrated and feeling ripped off.
Other Things to Consider
You can’t judge it by its price. Hey, it’s cheap. Yeah, we could all agree on that and maybe it cannot live up to the quality of analog stompboxes. But you could use this to learn a few things about almost everything and work your way from there. It’s like having a slice of everything.
TC Electronic Guitar Ditto Looper Effects Pedal
This might be the best looper pedal in its category brought to you by TC Electronics. It is handy and small but fulfills its purpose well above its competitors. This pedal is straightforward, thanks to its simplistic design. With only a single knob for volume and a footswitch for control, it’s hard to go wrong.
A single press activates the looper to start recording a layer up to 300 seconds! That’s almost the whole song’s length. Another click stops recording and starts playback. Your next stomp would signal the device to record an overdub. This is where you might want to adjust the volume to achieve the right balance for your mix and then insert your riff.
The RC-300 is built for
Breaking out of the traditional foot pedal design, the RC-50offers up some significant looping power – at your fingertips! Beatboxers, singers, and club performers, your Loop Station has arrived. This compact tabletop device, has five stereo phrase tracks and various loop playback behaviors, plus INPUT FX and TRACK FX that deliver a wide range of real-time processing options for dynamic, expressive sound creation. Just plug in a mic, instrument, or other audio source, and then ride the intuitive panel controls to build and mix some amazing loops! The RC-50also supports computer integration via USB and operation with external pedals and MIDI, opening a world of advanced looping possibilities for all types of musicians.
What is an EQ pedal and what does it do
An EQ also is known as an equalizer is an underestimated and depreciated tool when it comes to playing the guitar. However, a good equalizer will save you a lot of time especially if you are thinking of getting to the right sound. While settings on the amp work as well, they may not be as efficient or as fast as with using an equalizer. It is the most useful tool that will help you fix what is missing in your music while correcting what is in excess.
There are several reasons why you should consider getting yourself an EQ pedal.
How to use an EQ pedal
You have bought the perfect EQ pedals you could find on the market, and they look impressive. If you have never used them before, it may get confusing for you. This guide will help make it easier for you to use the pedals without feeling overwhelmed.
Classic Tone Shaping
An equalizer is a tool that makes your amplifier sound modern. If you are using a real world amplifier, you can use the equalizer right after the amplifier in an FX loop. This way you can cut the mids and bump up the mid-lows and the high-mids.
Because of their architecture, equalizers such very low and very high frequencies. When put right after your favorite overdrive, you will be able to take back those frequencies, and you will back to the original tone of your guitar.
The first thing you will notice about this equalizer is that it does not come with any graphic sliders. Instead, for each of the seven bands available, there are LED strips. At first, this may overwhelm you, and you may be tempted to think that it ‘s hard to use. However, it is not. With time you realize that the configuration is practical and straightforward.
Its programming is yet another cool and straightforward feature. You can set different EQ presets. You can even shuffle through them automatically. Once you have learned how to go through the settings and how each changes your music, this because of a whole new beast.
This one does not come with controls that are standard. To change between the frequencies provided, you have to select the band you want to use and the use the main knob to set the levels. However, the left side contains the four presets you can use.
Canyon’s Grand Canyon cross-country hardtail
Cross-country bikes tend to use larger diameter 29in wheels — so are often referred to as 29ers — combined with lightly treaded, low-volume and fast-rolling tyres for maximum speed, though some brands offer them with 650b wheels — also called 27.5in.
They tend to use steeper head angles combined with longer stems and narrower bars for quick reacting handling and to place the rider into an efficient pedalling position.
The downside of this type of geometry is that it can make them harder to control on steeper descents, especially when combined with shorter-travel suspension and skinnier tyres.
Cheaper cross-country bikes will use alloy frames, but carbon is the default choice for top-end race bikes — although exotic materials such as titanium are sometimes seen. They tend to have a very wide range of gears to allow steep climbing as well as a high top speed.
Buy one if: you like pushing your heart rate as high as it’ll go and riding for hours on end.
Entry: £750 (hardtail), £1,000 (full suspension)
This is the most popular style of bike because it can be used for pretty much anything.
Enduro is a racing format in which the descents are timed, but you still have to pedal yourself around the course. That means that these bikes are designed to perform exceptionally well down steep and difficult trails but are still light and efficient enough to pedal back to the top.
Enduro bikes tend to have more travel than ‘normal’ trail bikes, and are almost exclusively full suspension. Most use around 160-170mm of travel at either end, paired to tough wheels and reinforced tyres. The suspension units they use are still air-sprung but tend to be heavier duty with a wide range of damping adjustments to tune their downhill performance.
Some have remotes that allow you to change the bike’s geometry and travel between a downhill and uphill mode. Many have just one chainring and a device to prevent the chain falling off paired to a wide range of gears at the back. Enduro bikes are also called ‘all mountain’ bikes as they’re ideal for riding in mountainous and technical terrain.
As the name suggests, these bikes are about doing one thing; going down steep and technical tracks very, very quickly.
They have around 200mm of travel at either end, often using coil sprung suspension that’s optimised for pure traction and support, rather than pedalling ability.
To put up with the huge forces the bikes are put under, the forks have legs that extend above the head tube and are then braced together, known as a ‘double-crown’ or ‘triple-clamp’ fork. Again, aluminium is the choice for cheaper bikes, while pro-level machinery will be carbon.
Electric mountain bike
Motorised mountain bikes are becoming very popular indeed, and it’s now possible to find electric mountain bikes in pretty much all of the disciplines listed above.
These bikes incorporate a motor and battery into their design and work by assisting the pedalling that a rider delivers. The power on offer is usually adjusted via a control unit at the bike’s handlebar.
These bikes are significantly heavier than their non-motorised equivalents but can make light work of climbing up the steepest of gradients. Don’t go thinking riding an e-bike is a piece of cake though, these can deliver a workout that many pros use to train with.
Dirt jump bikes
As the name suggests, these are meant for hitting jumps or pump tracks.
They use tough frames that are easy to move about in the air, short-travel forks and often only have one gear for simplicity.
Singlespeed mountain bikes
Popular with masochists, these bikes only have one gear.
The lack of moving parts means they’re simple to maintain and many people like to run them through the winter months to prevent damaging another bike.
They can be very cheap but many are also expensive, exotic bikes built by niche custom framebuilders. They’re usually hardtails or fully rigid.
The other classic option is the VOX V847A which is a reissue of the classic 60s V84Some guitarists prefer the Crybaby and some prefer the VOX to get a classic wah tone. Just like the Crybaby, this pedal is incredibly simple without any flexibility or features you will see in the pedals later on.
Creating presets for your performance can be a lot handy rather than constantly changing pedals as you play your songs.
You can simply use the patch option for using different reverberations in split-seconds without any hassle of switching to different stomp boxes.
Hard to tweak
Reaching a stomp box to tweak some settings take no time and experience but if you have just bought a new multi-effects device we can’t predict anything. multi-effects device have a variety of effects built into one package that makes tweaking every single effect a little hard. We are not saying that it’s impossible but the newbies will surely face many difficulties.
What Categories of Volume Pedal to Look Out For
There are a few main things that you need to look out for when choosing your volume pedal. Each different feature will affect the way your pedal works, sounds, and how long it will last before wearing out.
Yes…Made of Pots…
What happens is the Pots get worn out, and then they start to get scratchy and make some pretty irritating noise when you are trying to control your volume.
The upside of the Pots is that they are common. You will find them in almost every volume pedal out there. advantage of the Electro-Optical Circuit is that it doesn’t wear out.
That is because there are no moving parts in it. The Optical Circuit just uses optical technology to read the position you have put the pedal in, rather than an analog connector.
If you choose to have 2
Inputs/Outputs (Stereo), then you have the option of plugging in up to instruments into your pedal. You are probably already aware of the types of possibilities that it opens up for you.
As well, it gives you the opportunity to output your signal to more than one amplifier. If you do this, you now have the ability to create a “stereo” setting, which can be very useful for you if you are playing with different effects.
Some Guitar Volume pedals even give you the option to use your Stereo Guitar Volume Pedal as a pan, to pan the mix of your signal between two amps. Doing this can allow you to make some pretty wicked tones as you shoot your amp sound from one side of the stage to the other.
MOCREO Universal World Charger
That should help you do some comparison shopping yourself, but if you just want to buy an adapter and get on with your life, here are a few of our recommendations.
First, we drained all remaining power by plugging it into multiple devices, till the battery pack can no longer charge any devices. Then we plugged in the power brick to charge the battery pack. It took hours and 1minutes to fully charge the battery pack. Now, you may seem the charging time is ridiculously long, but let me explain a few bit: this is a 54,000 mAh charger, twice as much the runner up. And you should charge this battery pack overnight.
After the battery pack was fully charged, we plugged in devices: Apple Macbook Air 2015, Apple iPad 4, Apple iPhone We continuously used all devices until the battery pack went out of juice: it took hour and 4minutes to drain the battery with all devices. However, the device was heated up pretty quickly, and sometimes could reach upto 80 degrees Celsius (17degrees Fahrenheit).
We then fully charged the ChargeTech PLUG battery pack, and plugged in the Apple Macbook Air with 0% battery. After hours and 0minutes, the Macbook Air was fully charged, and the ChargeTech battery pack still had 80% juice.
Compare to other battery packs we tested, the ChargeTech PLUG battery pack has the largest battery capacity, quickest charging time, and passed all the tests without shutting down itself.
The ChargeTech Portable AC Battery features a sleek design with black color. On top, you can see the logo ChargeTech, a button to check whether the device is on or off and battery level. Next to the button is LED to indicate the battery power level. There is nothing on the side, except the charging port.
The ChargeTech Battery Pack is quite heavy compares to other battery pack: 2.3pounds (or 1kg), and quite big: 7.2inches long, 5.2inches wide and inches thick.
Flying with batteries
The FAA allows passengers to bring spare battery pack (uninstalled) in carry-on bags, but not in checked luggage. There is no limit to the number of batteries you can carry, so long each has a capacity of 100 watt-hours or less. All the battery packs that we reviewed for this article have capacities designed to fall beneath the threshold.
Dodocool USB-C Charging Hub
The Dodocool is a great-looking device, available with a gold or grey matt aluminium outer casing. It feels well made and is easy to use, with no drivers required.
OWC USB-C Dock
One of the unavoidable facts about the USB-C MacBook is the lack of ports. But, if you’re here, you probably don’t mind and have taken the plunge anyway. If you love the portability of the MacBook but also want the option of full-on ports and desktop usability, then the OWC dock is the best product on the market.
It allows you to connect a plethora of devices of all ages to your brand new laptop, as well as connect it to a display via HDMI. This is thankfully compatible with DisplayPort and can manage 4K options, so if you want you use your MacBook at home or in the office with four or five things plugged in, this is the option to go for.
It’s a tad complicated to set up and only comes with cables (power and USB-C to USB-C) but as long as you only use it at one workstation it’s the best all-out solution we’ve used.
The two most important features
While it’s still possible to purchase a wired router, the type that require you to physically plug in your devices with an Ethernet cable, Wi-Fi (wireless) models are the most flexible tools for connecting devices in today’s increasingly wireless world.
Here’s some quick info on the top two features that matter most when it comes to wireless routers: wireless range and wireless speed.
Wireless speeds have come a long way since Wi-Fi routers first hit the market. Wireless AC routers are 3x faster than Wireless N and Wireless N routers are 14x faster than Wireless G. Moral of the story? If you use real-time applications, like gaming or streaming video, Wireless AC will offer a superior experience to N or G.
In typical wireless routers, Wi-Fi signals broadcast using multiple antennas and Multiple Input Multiple Output (MIMO) technology. MIMO allows for higher data transfer rate due to the transmission of multiple data symbols by simultaneously using multiple antennas. The Wi-Fi signals are broadcast in a donut shape pattern from the router to blanket the area with Wi-Fi coverage. In more advanced routers, beamforming technology is added, which provides additional performance and coverage to devices. Rather than emit Wi-Fi waves in a donut shape, routers with beamforming technology find and track devices on your network and aim Wi-Fi signals directly at them, providing a much stronger signal especially beneficial for mobile devices.
You only want the best of the best, whether it’s 4K media streaming, or lag free online gaming all on multiple devices you’re looking for top 11AC speeds, and the latest wireless technologies like Smart Connect, AC Smart Beam, Tri-Band Wi-Fi and MU-MIMO Technology D-Link recommends the AC5300 Ultra Wi-Fi Router (DIR-895L/R).
Maximum wireless signal rate derived from IEEE Standard 802.1specifications. Actual data throughput will vary. Network conditions and environmental factors, including volume of network traffic, buildings materials and construction, and network overhead, lower actual data throughput rate. Environmental factors will adversely affect wireless signal range. D-Link is a registered trademark of D-Link Corporation or its subsidiaries. All other third-party marks mentioned herein may be trademarks of their respective owners.
Truetone SPOT Pro CS12
You’re sick of using batteries to power your pedals. Your pedals suck them dry before you’ve had time to buy new ones, and you don’t want to chance a dead battery at an inopportune time (like a live performance).
Your current pedal power setup is a mess. You have two or three times as many cables as you have pedals, your pedal board is a spaghetti mess, and you’ve long run out of power outlets.
There are unwanted noise issues in your signal chain. An unruly pedal in your setup is causing a hum, and your daisy chain of power is making it worse.
Your different pedals have differing power requirements. You want a rig that just works and don’t want to constantly keep track of which pedals need what voltage.
As you can see, things can get complicated in a hurry. The right solution can ensure your pedal chain has adequate power and can accommodate any future pedals, your tone is clean and free of noise and hum, and your setup is nice and tidy regardless of if you’re a touring musician, or play at home for fun.
USB-C Charger Problems
One of the most confusing things for many people when it comes to working out which power bank they should buy is figuring out how fast it is, or rather how fast it should be.
If a power bank has several outputs the maximum total output capacity is key, since it may not be able to simultaneously support each at full power.
A USB PD charger that can charge a computer
This is the only charger we tested that you can trust to charge your computer in the car (though at less than full speed).
How we picked and tested
Many two-port chargers provide only 2.amps total, not per port simultaneously, so you need to look at specs carefully. For example, this Satechi charger has a compact design, a good reputation, and can put out 2.amps from either USB port, but it provides only a total of 2.amps. This means that if you’re charging a phone from one port, you won’t be able to charge a tablet, or even another smartphone, at full speed from the other—the total output is shared across the two ports, so it will take longer to charge each device. Though this may not be a dealbreaker for some people, there’s no reason to accept such a trade-off when similar models that can supply 4.amps overall are available for the same price. With this in mind, we didn’t consider anything below 4.total amps.
We also dismissed models with permanently attached USB cables, because such a design is so limiting: You can’t swap out the cable to charge different kinds of devices, attach a longer cable, or have any other control over what kind of connections you can use. Most people are better off with the capability to use their own cables, whether those are the cables that came with their devices or third-party Micro-USB and Lightning-to-USB cables. Just as important, if a built-in cable fails, you have to replace the entire package, charger and all.
Flaws but not dealbreakers
Unlike our runner-up pick, below, the Anker PowerDrive doesn’t have illuminated ports. Its LED above the ports provides a bit of illumination, and is potentially less distracting during use, but this does make it a bit more difficult to plug in a cable in the dark than with our runner-up.
The Scosche USBC242M ReVolt Dual is the next-best pick when it comes to 4.8-amp, dual-port car chargers. It performs just as well as the PowerDrive Dual in terms of both maximum charging speed and automatically adjusting the current to match the connected device(s). The ReVolt is a fine alternative—indeed, it was our previous top pick—but we like the Anker unit a little better, mainly due to the PowerDrive 2’s lower price and a size that makes it slightly easier to remove.
The ReVolt Dual is impressively small—at just shy of two inches, it barely sticks out of the car’s accessory port. (It’s not the smallest we’ve seen, but some of the smaller ones are actually difficult to remove from the accessory jack.) The end with the USB ports is round with two flat edges across from each other; small indentations underneath make it easy to get a grip on the charger to remove it from the power jack. We like that the USB ports glow a mellow blue, making it easy to find them in the dark.
Scosche told us that the ReVolt Dual “features over-voltage, under-voltage, over-current (including short circuit), and over-temperature protection.” We haven’t independently tested these features, although we’ll explore ways to do so in the future.
It might seem crazy to some people, but if you really need to charge more than two devices at once in the car, the Anker 4-Port USB Car Charger is a great pick. It puts four USB-charging ports that can handle a total of 9.amps in a package that’s of course much larger than the PowerDrive and ReVolt, but still impressively compact.
With a glossy plastic body that’s 3.inches long (ports to tip), 1.inches tall, and 1.inches wide when oriented vertically, the charger is reasonably sized. Its ports are aligned (on a metal cap) in a single row, so you can rotate the charger 90 degrees if a horizontal row better fits your car’s setup.
We connected two iPad Air units, an iPad Air, and a 12.9-inch iPad Pro—each of which can draw 2.amps —to the Anker charger. As we moved our two power monitors from port to port, we saw a consistent power draw from each iPad. A second test with the Galaxy Ssaw that it was drawing the max of 1.amps, indicating the proper current adjustment. This charger charged the OnePlus One at a slightly slower rate than the Scosche charger did, however.
The USB-C connector is steadily replacing Micro-USB for charging mobile devices, especially on Android phones. You can charge a USB-C phone from a USB-A port if you have the right cable, but you’ll be able to charge that phone quite a bit more quickly (V/A) when using an actual USB-C charger. The best charger for these devices is Tronsmart’s CCTA. It hosts a permanently attached USB-C cable and a Quick Charge 3.0 USB-A port, and in our tests it delivered exactly what it promises.
Nonda’s Zus is a more-advanced charger that provides information about your car and its whereabouts in addition to powering your devices. It has two 2.4-amp USB ports, both of which accept a USB plug in either orientation. Our tests showed that both ports worked as advertised. Connecting the Zus to your phone via Bluetooth and installing the Zus app unlocks the capability to (relatively accurately) see where your car is parked and how to get there, share the car’s location with family members, monitor the car’s battery health, and, for a fee, track your mileage. Whether these features are valuable is subjective, and the parking locator may be superfluous—some smartphones already offer similar features. (For example, if you have an iPhone running iOS connected to your car via Bluetooth, Maps can automatically note your parking location.) Overall, the Zus offers solid hardware at a reasonable price with some neat tricks, but we don’t think most people need it over the PowerDrive 2.
All but one of the nine two-port, 4.8-amp chargers we tested performed as promised. Small details kept them from earning our top pick, but most of them work fine and would be decent buys if you find one at a substantially lower price than our picks.
The Aukey CC-SDual USB Car Charger was a former runner-up. It’s so impressively small that we actually consider it too small: Though the charger sits flush with most ports, looking like something that’s built into the car, it’s actually difficult to remove. The Scosche charger isn’t that much larger, and is much easier to take out.
The Maxboost 2-Port USB Car Charger and the KabelDirekt Port High Speed Car Charger are identical to one another save for the name and model numbers printed on the side. They’re both fine options, but they don’t come from brands with strong reputations. We’re more familiar with iXCC, which has the Dual USB 4.Amp Car Charger, but the overall size isn’t as convenient as that of our picks.
The only two-port charger we tested that didn’t not come close to its promised output was the Bracketron EZCharge Dual Pro 4.8A. We like that it lets you connect USB plugs in either direction, but in our tests, it provided only amp of current to each port, even with only one iPad plugged in.
The iClever BoostDrive and iXCC’s four-port charger are direct competitors to Anker’s four-port model; the latter appears to be identical. They work just fine, but Anker’s reputation and customer satisfaction push it to the top. The Aukey 4-Port USB Car Charger, on the other hand, is a bit problematic. Though the company promises 9.amps of total output, which should mean 2.amps per port, we measured just 2.amps per port.
Choetech’s USB Type C Car Charger with Quick Charge 3.0 worked as advertised, but it doesn’t come with a USB-C cable, making our pick a better value.
Anker’s PowerDrive+ is pretty huge, and one of the heaviest car chargers we’ve tested. It’s also more expensive than our pick. It has two 2.4-amp USB-A ports plus a Quick Charge 3.0 port in addition to its USB-C port. Everything worked as expected in our testing, so consider this one if you need all the ports. We think our less-expensive top pick will be better for most people.
Aukey’s CC-Ydelivered only V/1.A over its USB-C port, half what it promises. The CC-Ydoesn’t have a Quick Charge port but works well otherwise.
If you own an iPhone, you will certainly have at least one, but probably more. The same can be said for Samsung Galaxy, iPad, iPod etc. You can simply plug the USB cable into any of these AC adapters and your SNES Mini will be up and running.
As a Boost – This will boost the sound coming out of your guitar, but it will not necessarily add a ton of crunch. You will have to set your amp to its dirtiest or full gain. Then set your pedal to clean for a Fender-esque sound.
Then, you will need to set the volume on both the pedal and the amp to a relatively high level. Next, match up your tones. You can activate the foot switch in the middle of the tone for a precision setting. The resulting sound will be boosted without a lot of distortion.
As a Full Gain Device – This will be the crunchiest and will provide a tone that’s perfect for metal or industrial. Use your amp’s cleanest sound and let the pedal manage all of your distortion. Even out the volume levels and you are done.
The wah-wah or just the wah pedal is one of the most iconic-sounding options available for your new pedal board.
This was one of the first effects pedals made. The Dunlop Crybaby Wah was the original, but you can use any wah pedal in your pedal board.
For the most part, you will be using this to add a little funk to your guitar, and for most models, you can simply adjust the knob to remove or add the wah tone to your notes.
Copy – This is the standard digital delay effect. If your delay pedal is a digital delay, the echoes of the tone will be exact copies of the original one.
Analog Copy – With this type of delay option, each of the echoes that follow your original tone will get progressively crunchier as they reverberate.
Modulate – This can save you on a chorus pedal, though some like delays and chorus pedals in their pedal board.
Reverse – This produces a counterpoint to your sound by producing a tone that’s the exact opposite of the note or chord you played. This makes for a fuller delay sound.
Fuzz – A heavier bassy sound wave is added to your tone. This is the perfect way to add a layer of fuzzy warmth to your produced guitar tone. I really recommend having a distortion pedal with this function in your pedal board.
High Gain – This is a dedicated setting on a distortion pedal, which is a change up from the high gain setting on an overdrive that you have to set yourself.
This setting is designed to increase the gain of the tone to such a level that the amplifier actually starts to become overwhelmed. This will cause a harsher, more distorted sound.
Valve Distortion – Distortion pedals with this feature will use a vacuum tube to craft a very different type of distortion. For the most part, it sounds great in solos and provides a more rounded tone.
Wrapping It Up
A pedal board is a great tool for a dedicated electric guitarist. Having the effects so easily accessible with just a quick footswitch adds a ton of versatility to your sound. The Boss BCB-60 Deluxe is definitely my top pick, and I think it will work great for the overwhelming majority of guitarists; professional or amateur.
If you would like a more premium experience, then I have covered a few of those as well. In any situation, I hope that this pedal board guide has provided you with the information you need to find your next board with ease.
The Boss AW-Dynamic Wah is by far the most popular pedal in the auto-wah category. It combines classic Auto Wah effects, Dynamic Wah effects, and a Humanizer effect that simulates a human voice producing vowel sounds. It has separate inputs for Guitar and Bass to optimize the effect for the frequency range. You can even attach the AW-to an optional expression pedal to control the Wah effect with a traditional foot pedal.
The Electro Harmonix Riddle Q Balls Envelope Filter for Guitar gives you ultimate control over the filter with an extremely responsive envelope follower fine-tuned for guitar frequencies, resulting in a classic funk guitar sound. The Riddle Q Balls Envelope filter includes switchable analog distortion, optional expression pedal control over the Wah filter, selectable Low Pass, Band Pass, and High Pass filters, and control over filter sweep.
The flangers are ideal for the production of heavier and oppressive sound results by introducing more control of the positioning of the notches produced by the phase relationship. Most of the conventional circuitry that is available with flanging might require complex engineering to produce customized sound results. These highly compact units are ideal for replicating sounds of two big reel machines that are in motion.
Some of the higher end flangers come with complex ICs that are perfect for customized sounds. In fact, the IC is perfect for producing melodic tunes especial in the out of phase peaks and notches. This unique melodious spacing qualifies the flanger pedal as an excellent addition to any music production needs. The flanger can be used to divide the signal into two and the slow one of the signals down while playing the other two to create a unique `whoosh-like` sound.
The MXR EVH 90 features a unique blend of Van Halen and Dunlop Manufacturing to deliver the best quality sound results each time. In fact, this Phase 90 will work well to produce space swirls and hypnotic warbles to make it an excellent addition for your music production needs. This superior design makes it perfect for various music production activities.
Instant Toggle Feature
It also comes with an instant toggle feature that lets users conveniently choose their ideal settings. For instance, users can instantly toggle between the vintage Script Logo and the more modern Block Logo for customized sound results. The instant toggle feature makes it a convenient addition even for novice users.
Well-positioned Color switch
The color switch changes the sound of the phase between a full and robust phase for simple sound customization. In fact, users can easily monitor the changes in the sound as well as the shifting effects, all while customizing the phaser to suit their needs.
Realize the superior quality of top quality sound production with the Boss Ph-3r Phaser that comes with special multi-stage phasers with various selectable stages for your unique sound customization needs. This unit also comes with a compact pedal and versatile vintage and modern Boss Phasing feature as well. Simply put,the inclusion of the new The Boss PH-3R pedal lets you immerse yourself in a broad spectrum of sound tones each time. With its special resonance, speed and depth controls, this unit let you tweak your sound for top quality sounds that suit almost any type of music genre.
Perhaps the most important feature of this unit is that It provides multi-stage phasers with selectable stages. All you simply need to do is to select the perfect stage for your unique production needs with hassle-free results.
Compact pedal with dynamic phasing capabilities
More so, this Boss guitar pedal lets you enjoy the best of superior quality sound as it adds noise to your signal. To meet the needs of tough applications that the Boss PH-1R goes through, this unit is built for long lasting durability results.
Music enthusiast will also appreciate the inclusion of innovative rise and fall modes. To be specific, this type of visual effects creates unidirectional phasing for added convenience when customizing and producing sounds.
Pigtronix EPEnvelope Phaser Guitar Effects Pedal
Make the best quality sound with the Pigtronix EPphaser that adds a new dynamic to your conventional sound production regime. This unit can be used to accentuate and sweep through the harmonics of almost any music source. Users will also appreciate that this unit can be controlled by using a special LFO, Envelope or perhaps by combining both tools. Similar to all the top quality phasers, this unit comes with a compact design to leave sufficient space for your music production needs. More so, this phaser makes it simple to dial in monster envelope tones that are perfect for any instrument and any style of music play as well. The inclusion of a unique `Staccato` function makes it ideal for fast picking, tight rhythm and funky bass results.
Funky envelope controlled phasing
This unit comes with a funky envelope controlled phasing that provides incredibly responsive envelope performance results, even during rapid fire playing. More so, the Rotary LFO modulation makes it tunable with depth and center controls that can be used to customize the range of operation.
Unique 1stage phaser
The MF10comes with a special phaser that produces responses back and forth across the frequency spectrum, for optimal customization of sound. As a result, this unit can be used to create shimmering, vibrating and swirling effects as well. Additionally, this unit comes with a variable feedback circuit which enhances the resonance and the depth of the phasers sound.
Combines filter response
Additionally, thins unit can produce two comb filter response. These are referred to as the stage and 1stage filter, which will produce distinct sound qualities. Furthermore, this unit comes with a unique variable feedback circuit, which enhances the resonance of sound.
Dynamic mode settings
More so, this Moreover unit also comes with the vintage and the modern tones for customized sound production results. The modern tone is ideal for vintage phasing tones that are warm and psychedelic in nature. The modern mode is ideal for rich and deep sounds.
Subtle and exquisite design construction
Three-way toggle design
From the unique Rate for a sweep, Rate for reducing the LFO and rate for fast sweep mode, this unit lets you produce customized sounds with just the flick of a button. In `Vibrato mode`, this acts as a volume control feature for added convenience.
Master rate control
The inclusion of the master rate control feature is ideal for fine-tuning the speed of the LFO in each of the unique modes. The added benefit is that this unit comes with a flashing red LED that acts a visual indicator, even when the effect is in bypass mode. With its additional LFO kill mode, this unit lets you use the orbiter as a fixed resonant filter.
MXR M10Phase 90
The MXR M-10Phase 90 pedal provides you with classic phasing capabilities with variable speed control features. Furthermore, this unit lets you add shimmer to leader passage or even jet plane resonance to muted strumming sounds. The versatile design makes it ideal for than guitars, in fact, it works well with bass, vocals, and keyboards as well. Users can also vary the speed from a subtle, watery warble to even a long cycle with a fast tempo. This unit is powered using a single 9-volt battery or even an AC adapter. The practical design demonstrates the simulation chorus, and the transparent texture sounds unique and natural. The MXR M10works well with various types of guitars and pickups as well.
Superior phase shifter deign
The MXR M10comes with a superior phase shifter design that lets you add shimmery velocity and swooshing effects to your favorite music tunes. Moreover,The timeless design of the phase shifter often used by several musicians worldwide including Van Halen Productions.
Superior design construction
On top of that, the superior design construction of this unit is not only appealing but durable enough to guarantee long lasting performance. By the same token, this unit is also compact enough to leave sufficient space for other music production equipment such as your piano.
First of all thanks for reading my article to the end! I hope you find my reviews listed here useful and that it allows you to make a proper comparison of what is best to fit your needs and budget. Don’t be afraid to try more than one product if your first pick doesn’t do the trick.
Most important, have fun and choose your volume pedal wisely! Good luck!
So, TOP3 of volume pedal
- №1 — Tapestry Audio Bloomery Active Volume Pedal
- №2 — Donner 2 in 1 Viper Mini Passive Volume Expression Guitar Effect Pedal
- №3 — Fender FVP-1 Volume Pedal