TONE REPORT

J A N U A R Y 8 T H , 2 0 1 6 W E E K L Y

P L A Y ‘ T I L Y O U R F I N G E R S B L E E D

c r e a t e
aw a l l
o f s o u n d
w i t h t h e s e
5 s h o e g a z e
B o x e s
 Here
comes
the
Fuzz

Click Here
to watch Demo
$
69
buy now
95
StreeT Price

ModTone
 Int
roducing
THE THIRD RAIL
A Discrete Dual Channel Overdrive
+ much more

WWW.FUNCTION-FX.COM
CLICK TO WATCH DEMO
 Int
roducing
CLUSTERFUZZ
A Tweaker’s Delight

WWW.FUNCTION-FX.COM
CLICK TO WATCH DEMO
TABLE OF CONTENTS ISSUE 109 JANUARY 8TH

10 TONE TALK
CREATE A WALL OF
SOUND WITH THESE 5
SHOEGAZE BOXES
20 TONE TALK
10 DARK, BIZARRE
RELICS FROM THE HISTORY
OF IBANEZ 10
30 TONE TALK
TURN A JUNK GUITAR INTO
A SUPERSTAR
40 TONE TALK
GO DIGITAL, YOUNG MAN:
USING ANALOG PEDALS IN 20 30 40
A DIGITAL RIG

46 CATALINBREAD
ADINEKO
50 GIBSON
LES PAUL ‘50s
TRIBUTE 2016 T
54 BLACK CAT PEDALS 46
D&S
58 MODTONE
THE FUZZ

50 54 58
6 ToneReport.com
Better. By people.

No Velcro
Patents Issued
Lifetime Warranty
Curved Deck
2 Levels

Quick.Tight.Better.
www.chemistrydesignwerks.com
 NOW PLAY THIS
➊ ROCK STOCK PEDALS ROLLS
OUT THE SKYLINE REVERB
The Skyline reverb is a fully-featured
spring reverb emulator with some tricks
up its sleeve. With a combination of
Body and Decay controls, the Skyline
acts like a convolution reverb, to
simulate spring conditions within various
➊ room sizes. The Tone control is actually
a low-pass filter that affects only the
reverb signal, allowing your guitar to
shine through with the Mix control.

➋ VEIN-TAP SUMMONS
SAINT DOOM
Vein-Tap’s Saint Doom is here, and
provides an incredible power-to-size
ratio, as it packs cascades of brutal fuzz
into a tiny box sure to fit on nearly any
➋ doom board. With just one knob—
volume—the Saint Doom is an all-or-
nothing fuzz onslaught, and you’ll be
sure to crank that volume knob liberally
and frequently.

➌ ALEKS K PRODUCTION
RELEASES THE RED SCORPION
MEGA DISTORTION
The Red Scorpion from Aleks K
Production promises to be the final piece
➌ of the dirt puzzle for all you high-gain dirt-
heads out there. With a full and generous
three-band EQ and a Gain knob with tons
of dirt on tap, the Red Scorpion excels at
high-gain sounds but when dialed back, it
cops sounds usable with other genres as
well, from classic rock to blues and more.

8 NOW PLAY THIS // Buzzworthy Gear

 ➍ MENATONE GETS FUZZY
WITH THE LAW
Not content to churn out copies of
copies, Menatone releases The Law fuzz,
which is a carefully tuned silicon fuzz
that doesn’t need to be dimed in order
➍ to achieve total fuzz bliss. A unique Bias
control redistributes voltage to the first
transistor for a very dynamic range, both
fuzz and overdrive tones are to be had.
Respect The Law.

➎ KEELEY ELECTRONICS
UNVEILS THE GOLD STAR
REVERB
The next logical step in studio reverb
emulation, the Gold Star reverb is based
on reverbs that came to prominence
➎ in Gold Star Studios at the hands of
Phil Spector and his mentors. This
unique reverb pedal combines Flanged,
Compressed and Distorted reverb
modes for users to find their own “walls
of sound” in their own practice spaces.

➏ STOMP UNDER FOOT

EXPLORES SONIC SPACE WITH
THE COSMONAUT
The Cosmonaut is a new pedal from fuzz
master Stomp Under Foot. The sound
of the Cosmonaut is akin to two fuzz
➏ circuits in series. The first is an incredibly
powerful machete of a fuzz, trying its
hardest to hack through the dense thicket
of the second fuzz. The result is an ultra-
powerful, harmonically rich fuzz pedal
that demands attention in a live setting.

ToneReport.com 9
10 TONE TALK // Create a Wall of Sound with these 5 Shoegaze Boxes
If you’re a guitar effects enthusiast, it’s hard to
not be a fan of shoegaze. This subgenre of rock—
perhaps more so than any other—seems tailor-
made for pedal geeks. The pioneering bands
of the scene were among the first to appear on
stage with massive, sprawling pedalboards, and
the attention they paid to these pedalboards
during live performances contributed to them
being tagged with the “shoegaze” moniker by
mocking British music critics. Despite this initial
criticism, many bands involved in the first wave of
shoegaze went on to become highly influential,
and their music still resonates today, inspiring
countless droning, fuzz-obsessed bands and
gleeful bedroom noisemongers. Over the years
the shoegaze scene has developed something
of a symbiotic relationship with the guitar effects
industry as well, inspiring the creation of many
pedals, and even entire pedal companies.

In modern times, shoegaze and shoegaze-

influencedmusic is more popular than ever, with
innumerable radio-friendly pop and alternative
acts, and even hip-hop and black metal bands
(yes, “blackgaze” is a thing), incorporating
obvious shoegaze textures into their sound. Any
random rock show in any city will likely feature
a “nü-gaze” band or three, and online forums
where pedal nerds congregate are peppered with
threads about assembling shoegaze pedalboards.
Naturally, we here at Tone Report Weekly are
big fans of the genre, and we certainly owe a
debt of professional gratitude to bands like My
Bloody Valentine and Swervdriver, as well as to
newer bands like Deerhunter and A Place to Bury
Strangers, for keeping us inspired and employed.
As a small tribute to the bastard child of punk,
garage, and psychedelic rock, we’ve assembled a
short-list of must-have stompboxes for the modern
shoegazer’s arsenal of sonic destruction devices. 

ToneReport.com 11
 ThorpyFX
Muffroom Cloud
Everyone needs a Big Muff. For shoegazers, it’s practically a required tone. There’s
no need to go hunting down a vintage Triangle Muff to get the real thing, though, as
the ThorpyFX Muffroom Cloud is simply the best Big Muff ever made. I have heaped
praise on this pedal before, and I will continue to do so into the foreseeable future.
The Muffroom Cloud is one of those rare pieces of gear that just doesn’t have an
unspectacular sound in it. Turn the knobs any which way you like, and it will never
sound harsh, muddy, weak, or anything other than stunningly badass. Based on a
specific, magical sounding vintage PNP Triangle Muff, its superior tone is reflected
in its weapons grade enclosure and mil-spec guts. ThorpyFX has created a genuine
modern classic with the Muffroom Cloud, and Big Muff fanatics should do whatever
is necessary to get one on their pedalboard promptly. 

12 TONE TALK // Create a Wall of Sound with these 5 Shoegaze Boxes

EarthQuaker
Afterneath
One of the unifying concepts of the
shoegaze aesthetic is that of sonic
exploration and experimentation,
using effects in new ways to achieve
unique textures. So obviously, when
one is shopping for a reverb pedal
with this in mind, a standard issue
spring, hall, or plate emulation will
not suffice. Luckily, Akron, Ohio’s
EarthQuaker Devices has you covered
with its Afterneath Reverb. Rather
than emulating a particular classic
reverb sound, the Afterneath conjures
up its own unique ambient universe.
It truly sounds like nothing else, and
its range of sounds is dizzying and
expansive. Using a series of short
delays, the Afterneath can create odd
stuttering, oscillating, warped reverb
tones the likes of which have never
been heard in these parts. It can also
sound like you’re in a warm bath
inside your space capsule, floating
above the world in a most peculiar
way. EarthQuaker’s Afterneath is a
pedal that plays along with you—an
instrument and accompanist that will
support and inspire your musical flights
of fancy in ways you cannot imagine.
Follow the wizard into the cave, and
never look back.

ToneReport.com 13
 Alexander
Pedals
Waveland 
Versatility and size are often deciding
factors in a new pedal purchase.
With modern pedalboards becoming
ever more crowded, the modern day
shoegazer must choose his or her
tools carefully, and compact pedals
that can do more than one job well
are worth their weight in gold. The
Waveland, from Alexander Pedals,
is just such an effect pedal. With
three switchable modes that include
tremolo, chorus, and phaser, as
well as a rate/ramp switch that lets
the user choose between two rate
presets, the Waveland can quite
ably handle the majority of one’s
modulation duties, or greatly expand
one’s modulation possibilities while
taking up only a minimal amount of
pedalboard real estate. Its Tweak
knob further expands its already
impressive feature set, altering the
function of the pedal differently
depending on the mode, allowing
for a huge range of trem sounds,
up to eight voices of lush chorus,
and some impossibly chewy phaser-
vibrato sounds. 

14 TONE TALK // Create a Wall of Sound with these 5 Shoegaze Boxes

Endangered Audio Research
AD4096 Analog Delay
With today’s delay market bursting with do-it-all digital delay pedals that are outfitted with
tap-tempo, 37 modes, 18 beat subdivisions, six footswitches, and MIDI control, it’s refreshing
to find a simple, classically designed echo box that focuses on doing one thing really well.
With this concept in at the fore, Endangered Audio Research’s AD4096 Analog Delay is
one of the most inspiring delay pedals available. It’s all analog, with 40–400 milliseconds of
warm, yet defined repeats—no MIDI, no tap-tempo, no nonsense. It’s one of those pedals
that sounds amazing and musical wherever the knobs happen to be set, and plugging into
it will cause even the most ardent digital delay fanatic to begin viewing tap-tempo as a
needless distraction suitable only for dilettantes and heartless manipulators. This is not
to suggest that the AD4096 doesn’t have some inventive modern features, however. It
has a momentary footswitch for kicking in instant oscillation, an infinity mode that loops
the repeats till the end of time, creating a gorgeous ambient wash, and an aux output for
splitting the signal and creating spillover effects. The Endangered Audio Research AD4096
will never leave your pedalboard.

ToneReport.com 15
Electro-
Every shoegazer needs a good looper. Looping
has been a staple technique of the genre since
My Bloody Valentine’s Kevin Shields began

Harmonix using tape loops and samplers to reinforce his

band’s captivating, multi-layered wall of sound.

45000
These days, looper pedals abound, ranging from
simple, compact models, to giant, foot-operated
looping workstations that are the size of an

Looper entire pedalboard. One of the most intriguing

new models comes from Electro-Harmonix, a
company with a well-respected legacy of looping,
and it’s laid out like the four-track recorders of
olden days, with four mono loop tracks than can
be mixed with tiny faders, combining for stereo
output. The user can overdub, punch in and out,
reverse the loop, quantize it, shift it up or down
an octave, and more. The 45000 is one of the
most remarkable new loopers on the market, and
despite that, it’s relatively compact, and as easy
to use as an old cassette four-track. 
16 TONE TALK // 6 Face-Melting
Create a Wall ofFuzzstortion
Sound with these
Boxes5 Shoegaze Boxes
 One of the
unifying
The modern shoegazer is blessed concepts of
the shoegaze
with an embarrassment of riches,
as least as far as options with which
to fill a pedalboard go. There has
never been a better time to be a
guitar-wielding, sound-mangling, aesthetic is
that of sonic
effect pedal fanatic. As such, I have
a number of honorable candidates
that need mentioning, including
the Death By Audio Echo Dream,
the Walrus Audio Bellwether, Dr. exploration
and experi-
Scientist’s BitQuest, the Chase
Bliss Audio Gravitas Tremolo, the
Function f(x) Clusterfuzz, and every
pedal Z. Vex has ever made (most of
which I have mentioned many times mentation,
using effects
in previous articles). We are living in
a golden age of sound, my friends.
Never take this for granted, and
keep on exploring with ears, heart,
and hands. There are many noises in new ways
to achieve
yet unmade. 

unique
textures.
ToneReport.com 17
I
t’s kind of hard to believe that the often created several downright head-
company whose bread and butter is the scratchers before the silicon road between
Tube Screamer could have a past that Japan and the States opened up in the mid
birthed a medley of bizarre effects, but ‘70s. Even after this cargo corridor opened
I am here to tell you that it is absolutely up, Ibanez spent a spell designing some of
true. As a connoisseur of bizarre effects, the wackiest items in pedal history. Some of
it didn’t strike me as particularly odd that them are bizarre in name, some in function,
Ibanez had so many proverbial skeletons in and some in both, and what follows is the
its closet—Japanese pedal manufacturers cream of the curious crop:

O V E R D R I V E
OD-85 0

From Ibanez’s early “Hrgney logo” days only a scant half-decade after the original
comes the mysterious Overdrive OD-850. left the office of Mike Matthews and
While the concept of a pedal simply labeled company. Of course, the circuit is slightly
“Overdrive” in that awesome “futuristic modified, with an altered tone stack and
computer” font from the ‘70s isn’t all that filtering capacitors that helps emphasize
strange, what lies under the hood is pretty more high frequencies. All in all, this was
interesting. The Overdrive actually isn’t “overdrive” before a lot of people knew
an overdrive at all; it’s actually one of the what “overdrive” meant.
earliest Big Muff clones out there, released

ToneReport.com 21
 FL-305 FLANGER

Back when folks knew they wanted a tape A/DA Flanger with a Harmonics control
flanger and didn’t care how they got it, among others. The Ibanez FL305 looks like
several companies released huge flanger a Fisher-Price “My First Flanger” but the
pedals with circuit boards that looked graphics were just as unconventional as
straight out of a UNIVAC I. Before “rate” the idea of a full-featured flanger pedal in
and “regen” controls dominated the flanger the mid-‘70s. There was a knob to shift the
control template, nobody really knew delay time of the effected signal, which was
what they wanted. DOD released the 670 a pretty unique feature at the time.
that included a Manual control, and the

- 7 7 7 F L Y I N G P AN
F P

When talking turkey about strange Ibanez butterfly wings. Its peculiarity has given
effects, the chatter normally begins and way to its value (which has gone down as of
ends with the Flying Pan, a casualty of late), and in 2007, Ibanez actually reissued
translation. From the top to the bottom, them. The reissue sold quickly, and it too
the Flying Pan is decidedly confusing for is now valuable. As the model number
all involved parties. What is it? A phaser? suggests, the reissue was limited to 777
An auto-panner? It’s both, replete with pieces, so the dilution wasn’t as widespread
weirdness, from the end cheeks to the as most reissues.
downright bizarre graphic of a hand with
22 TONE TALK // 10 Dark, Bizarre Relics from the History of Ibanez
 J E T L Y Z E R
JL -7 0

Many players searching for a pedal that and this is where the similarities ended. The
sounds like an actual jet airplane often Jetlyzer incorporated a strange frequency
turn to the flanger. Before this was the boost that wasn’t so much a distortion
convention, however, two pedals—the (Ibanez actually called it “Jet”) as it was an
JL-70 Jetlyzer and the Roland AP7 Jet “enhancer.” There’s an accompanying Tone
Phaser—tried very hard to convince us control that switches the range it boosts,
that “jet noises” were instead made by and it sounds eerie similar to an actual jet
phasers. Both pedals accomplished this by engine.
integrating some sort of distortion circuit,

EC SERIES

Personally speaking, the EC series might knobs are on the right. This is a recipe for
be the worst designed pedals I’ve ever a terrible design. To top it all off, there
seen in my entire life. Look at this picture, are four models in this series, and all of
and tell me otherwise. You might say, them are named after animals: the Shark
“That’s no pedal, it’s some sort of half-rack Distortion, Elephant Comp, Canary Chorus
unit.” False. It’s actually a pedal with the and Parrot Box. In my opinion, the ghastly
knobs on the side. There’s a huge unwieldy design and puzzling names put the entire
footswitch on top, and all the inputs and near the apex of the most perplexing
outputs are on the left side. The recessed Ibanez offerings.
ToneReport.com 23
 B L U B B E R W AH

One simply has to wonder about some of Maxon Blubber Crying Baby Machine. Were
these pedal names; let’s take the Jetlyzer for guitarists of this era actually looking to make
example. Many would be right to believe that their axes sound like crying babies, or was
the name is just a name, a fancy portmanteau the name just a riff on the popular Cry Baby
meant to lure players to it. There’s no way pedal? The sound of the Blubber is much
that guitarists are looking to actually replicate like a normal wah, except it has a distinct
a jet engine, are they? Then, one hears the emphasis in the lower mids, lending it an
pedal, and nobody knows what to think unusual vocal quality that sounds—
anymore. Let us use this as an introduction to you guessed it—like a colicky child.
the Ibanez Blubber Wah, also known as the Hats off, Ibanez.

ST E R EO B O X
ST-800
functionality. There’s an input jack and two
output jacks—seems the mystery is over,
the Stereo Box is an old school Y-splitter.
However, there is more to this case than
what it seems. How many Y-splitters have a
knob attached? And why is that knob labeled
“Speed?” The answer is half mislabeling, half
bizarre. The Stereo Box is actually a tremolo
It seems as if a pedal called “Stereo Box” pedal in disguise. The unit is designed to pan
is an open and shut case with regards to between two outputs at a rate set by the
24 TONE TALK // 10 Dark, Bizarre Relics from the History of Ibanez
Speed control, but when only one output a juicy amp-style effect. Tremolo was called
is used, the Stereo Box pans between the tremolo long before the Stereo Box was
used and unused outputs, resulting in a very released, so why not call it tremolo? Only
nice sounding triangle-wave trem, not unlike Ibanez knows.

DCP SERIES

There are barely any words that can do that constitutes fightin’ words. It should
this series justice—one look at any pedal come as quite a shock then, that Distortion,
in the line says it all: these things are Overdrive and Parametric EQ round out the
unapologetically digital. For starters, they offerings. Admittedly, in 1987, when these
look like digital calculators, complete with confusing relics were produced, the idea
ugly LCD screen. Five pedals make up the of a digital overdrive wasn’t typically met
entire DCP line, and two of those are delays. with revulsion, but these boxes are now
We guitarists have always had a love-hate only mere footnotes in the effects saga.
relationship with digital pedals; digital is fine Understandably, they were produced for just
for delays and reverbs, but anything beyond one calendar year before Ibanez wised up.

ToneReport.com 25
 PUE-5 TUBE

Many “all I need is my guitar and my amp” in it. Of course, this tube isn’t actually in
players are surprised to learn that the name the Screamer, but instead a second Tube
“Tube Screamer” is more of a suggestion Drive section; the Screamer feeds the Drive
than a list of contents. Us pedal nerds know in this one unit, which then feeds a delay
that no actual tubes drive a Tube Screamer. and chorus. The whole unit constitutes a
Imagine, then, if Biff Tannen got ahold of standard effects setup from the mid-‘80s
the sports almanac and transported us to an and sounds excellent. This amalgamation
alternate dimension where Tube Screamers isn’t “bizarre” per se, but it is awesome to
had actual tubes. Enter: the PUE-5 Tube, think that there was once a Screamer-type
a multi effects unit with an actual 12AX7 unit that made good on its name.

V IS U A L S U P E R P ROD
-K 10 UC
S

T
SOUND FROM USA
known as the SK-10. This absolutely
ridiculous box was a Japan-only release, and
nothing about the sound is certain. In fact,
I’ve never played one, but every bit of text
on the SK-10 pushes it closer and closer into
Ibanez’s court of peculiarity. Three controls
adorn the front: Tube, EQ and Power, with
At last, we arrive at the most ambitious Tube and EQ combining to form the Warp
name ever slapped onto a pedal, the Visual Selector. What all of this means is anyone’s
Super Product Sound From USA, otherwise guess, but it’s all too surreal not to include.

26 TONE TALK // 10 Dark, Bizarre Relics from the History of Ibanez

This man tried to invent a
cure for the common cold. He
failed.
He did, however, accidently
invent the perfect fuzz!
 FREEPEDALFRIDAY
S 30 MS DOUBLE TRACKER
PRESENTED BY

E A T UR E S

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30 TONE TALK // Turn a Junk Guitar into a Superstar
I have an infatuation with cheap guitars, and
when I say that, I feel compelled to clarify
that I'm not referring to the respectable
kind of "affordable" electric guitar, like a
PRS SE, a Mexican-made Fender Standard,
or something similar. I'm talking about
guitars that one might only encounter in the
darkest, moldiest recesses of a pawn shop
in the dangerous part of town, or something
that your dad might have pulled out of a
dumpster one night as he stumbled home
drunk (again). Finding a misfit guitar like this,
and rescuing it from the brink of oblivion,
holds a special fascination for me that I can't
quite explain. I'm a sucker for trash turned
into treasure. 
The best part about making junk guitars into
players is that it costs hardly anything, and
the stakes are really low, so even if you screw
it up and end up with a pile of unplayable
garbage, you haven't lost much, and you
probably learned a valuable lesson or two
that will inform your future endeavors in the
field. The other best part is that, if you make
smart decisions and the gods are on your
side, then you will end up with a new (to
you) guitar that cost very little money, and
is probably pretty damned good, or maybe
even spectacular. 
ToneReport.com 31
 One can acquire a junk guitar for a project such as this in any number of
ways. Finding one in the garbage is nice, and it does happen from time-
to-time, but this scenario cannot be depended upon as a regular source. If
you're known among friends and family as a guitar enthusiast, sometimes
people will give you a crappy guitar they dug out of a basement, garage,
or crawlspace. Most of the time, though, one must be more purposeful
when embarking on a junk guitar rehab project. Pawn shops, music stores
of ill repute, Craigslist, and eBay are all good places to troll for a potential
candidate. 
When laying down some cash for a clunker, I like to keep the investment as
minimal as possible. 100 dollars is my standard maximum investment. Within
this price range, there are often a fair number of interesting possibilities.
It's important to find something with "good bones," which basically means
that it has a sturdily constructed body (made of real wood), and a straight
neck with decent frets and a functioning truss rod. Common brands and
models that are usually good bets include Fender Squire
series guitars, pretty much anything Yamaha or Ibanez,
Epiphones, Jacksons, and Schecters, among others. I
try to stick with well known brands, if possible, as the
quality is typically uniformly high even on their budget
lines, and replacement parts are easy to find. 

32 TONE TALK // Turn a Junk Guitar into a Superstar

These days, it is entirely possible for one to scrounge up a sub-100-dollar
guitar that is both playable and decent sounding, so before you go gutting
the electronics and yanking the hardware, spend a minute or two playing
the guitar and ascertaining its tonal qualities. Get some fresh strings on it,
check the action and intonation, see how well it tunes up, and if it stays that
way for very long. 
Sometimes you'll come across a pawn shop prize that has good pickups,
reliable hardware, and stays in tune, and maybe just needs a proper setup to
be a functional and inspiring instrument. More often, though, these guitars
will need more dramatic improvements to live up to their full potential,
usually in the form of better pickups and electronics, and sturdier hardware.
These days, there are a lot of options for acquiring quality guitar parts for
very little cash. 

ToneReport.com 33
 The most dramatic way to improve the
sound of an electric guitar is by changing
the pickups. There is simply no other single
element that has as powerful an effect on
the tone. So, if the tone sucks, start with the
pickups. Fancy boutique pickups are nice,
of course, but if you go that route you'll
end up spending more on the pickups than
you spent on the guitar. That's not at all in
the spirit of what we're trying to do here.
For sprucing up a junk guitar, second-hand
pickups are an excellent choice. Lightly used
pickups from Seymour Duncan, Dimarzio,
Gibson, Fender, Bill Lawrence, and other
major manufacturers can all be had pretty
inexpensively on eBay and elsewhere, and
they're very common, so it's easy to get an
accurate idea of what they sound like before
installing them. 
If you want a new set of pickups, there are
many modern budget pickups that sound
just as good (or really, really close to as good)
as pickups from the big manufacturers.
Companies like GFS offer a bewildering
array of guitar transducers, from vintage-
style Strat and Tele replacements, to
firebreathing humbuckers, P-90s, gold foils,
Filter’Tron styles, and many more. Other
reputable sources include Mighty Mite and
Carvin, both of which offer an array of great
pickups that won't push a stressed budget
over the edge. There are also companies like
Tonerider, out of the U.K., that offer genuine
boutique quality at prices that are less than
a typical set of mass-manufactured pickups. 
34 TONE TALK // Turn a Junk Guitar into a Superstar
As long as pickups are being upgraded, it pays to swap out some of the other
electronic parts as well. Cheap guitars are usually loaded with shoddy, no-name
pots, jacks, and switches, so replacing these with sturdier models from CTS, Alpha,
Switchcraft, or another high quality brand, can make a noticeable improvement
in sound and function. This is a pretty cheap upgrade, as these parts can be had
for just a few dollars a piece. Stewert-MacDonald, Allparts, and GFS are excellent
resources for guitar electronics.

Once the pickup situation is sorted out, the next round of improvements should
focus on hardware, primarily bridges and bridge saddles. Cheap guitars are often
equipped with equally cheap bridges, especially if the guitar in question is set up
with a vibrato system of some sort. Cheap vibrato systems are almost uniformly
horrible, and should be avoided. They can be replaced easily and inexpensively
if they're of a standard Fender variety, but if they are of a more unusual make,
finding a suitable replacement could be exceedingly difficult. In this case, either
plan on blocking it to make the guitar into a hardtail, or get a different junk
guitar. Shoddy vibratos are rarely worth the trouble. 
If your junk guitar is already a hardtail, with a tune-o-matic style bridge or
something similar, then it might be fine as-is. Many budget hardtail bridges
are perfectly functional once the guitar is set up properly, but if yours is not,
or you simply desire something more robust, then there are plenty of options
available through the usual suppliers of guitar parts. For the finest in Tune-O-
Matic replacements, I love the TonePros bridges. They are extremely well made,
with tighter tolerances and improved intonation over vintage-style bridges, and
they offer a noticeable sonic enhancement. TonePros are also reasonably priced
new, and can be found used for even less.

ToneReport.com 35
 Tuners are the next crucial element of the
hardware equation. As with bridges, many
modern sets of budget tuning machines,
such as those one might find on a newer
Yamaha Pacifica or Squire Strat, are pretty
decent. Use good strings and wind them
properly, and they will keep the guitar
reliably in tune. Better tuners are available,
though. Standard styles from well known
brands like Grover, Fender, and Gotoh are
dependable, affordable choices, and if
you've got a little more cheese to spread
around, the locking tuners from Schaller
and Sperzel are superb, and will probably
make your life a lot easier. These are more
expensive new, but used sets are widely
available on eBay and elsewhere for a lot
less dough. 

Transforming a junk guitar into a player is an excellent way

for those of us who "jam econo", either by necessity or by
choice, to expand our guitar collections without starving to
death, drowning in credit card debt, or ending up divorced.
It's also a great way to get a solid first electric guitar for a
kid or a friend just starting out. Cheap instruments of very
good quality abound these days, and well made aftermarket
parts are easy to come by as well. If one resolves to acquire
every part for the project second-hand, on Ebay, Craigslist,
or elsewhere, a guitar rehabilitation like the kind I have
descibed can be completed for next to nothing.  Beyond these
economic concerns, it's also extremely satisfying to see an
instrument that was once destined for the trash heap return
to life as a functional, and possibly even beautiful, tool for
music creation. 

36 TONE TALK // Turn a Junk Guitar into a Superstar

Reverberation Machine Mini-Ultimate Overdrive Analog Octave Up Dual Resonant Filter

Hand Made in Akron, Ohio | www.earthquakerdevices.com

40 TONE TALK // Go Digital, Young Man: Using Analog Pedals in a Digital Rig
Analog Asylum and mechanical means of expression
because we are electrical and

Seekers in a mechanical. We are also emotional,

idiosyncratic and nuanced and we

Digital World need this all to translate in finite detail

to express ourselves as individuals.
The digital revolution has brought us Our emotional circuit runs from our
so many amazing things in the last brains into our nervous system and
decade. TV and movie buffs enjoy conducts our fingers as they help us
streaming media instantaneously, say how we really feel in wood and
music lovers can access nearly wire tongues. In the past, only analog
anything at the click of a mouse and all circuits and tubes spoke our language
anyone needs show their creative work well enough to articulate these
to the world is a laptop and an internet feelings, but this is the future and the
connection. Yes, it is a big wide digital rules have changed.
world that integrates seamlessly into
our organic existence at an alarming
or exciting rate, depending on how
Circuit
one looks at it. It has always fascinated
me that the most reluctant group of
Modeling 101
For those unfamiliar with circuit
people to latch on to the benefits
modeling, it is the technology
of going digital is guitar players.
that started the diffusion of digital
While synth tweakers, producers and
skepticism amongst analog loyalists—
recording engineers typically embrace
of which I was one for many years.
and adapt to each new technological
Basically, circuit modeling digitally
milestone that makes workflow easier,
replicates the inner workings of analog
guitar players mostly remain steadfast
gear down to the component level.
in yesteryear’s tech.
It sounds gimmicky, but it is far from
I believe our unwillingness to digitize so. Serious pro players with acute
is rooted in our relationship to our tonal ears use it. Guthrie Govan,
instrument and our base need for Dweezil Zappa, Devin Townsend, Dave
physicality. It is an elemental, feral and Mustaine and Alex Lifeson all swear
ritualistic experience. The anticipation by Fractal’s Axe-FX units, and the
builds as we warm up our favorite technology gets better and cheaper
tube amp. The satisfying click of every year. Even tube-associated amp
the standby switch and the ramp up companies like Blackstar and Vox have
to volume is our heroin. It spreads dived deep into the digital rabbit hole
warmth and relief throughout our of circuit modeling.
entire being. We are fine with electrical

ToneReport.com 41
 My first foray into the world of circuit
modeling was the Yamaha THR5,
which still resides in my kitchen and
home studio. It sounded so good and
responded so dynamically; it always
left me wondering if it would retain
the mojo at gigging volume. A few
ALEX LIFESON
years later, the THR100HD arrives and
confirms my suspicions that a digital
PHOTO BY SHIPGUY

amp is indeed a more than viable

option for modern guitarists. There are
so many advantages to owning a good
modeling amp—power amp breakup
at any volume, reliability, portability,
no maintenance and custom sound
creation are all attributes that can
make a guitar player’s life easier. But,
what about all of the analog drive and
fuzz pedals in the collection? How are
they going to sound rammed into a
digital amp?

GUTHRIE GOVAN
PHOTO BY ARTBROM

DAVE MUSTAINE DWEEZIL ZAPPA

PHOTO BY OPETHPAINTER PHOTO BY BJÖRN SÖDERQVIST

42 TONE TALK // Go Digital, Young Man: Using Analog Pedals in a Digital Rig
Analog Dose for built-in noise gate that worked a treat
keeping some of the more unruly fuzz

a Digital Host pedals in check between picking. This

is just one example of how a circuit
Having already achieved and modeling amp can equal and in some
documented some stunning results cases surpass our good old glass
with analog pedals into my favorite bottled rock boxes.
amp modeling plug-in—BIAS from
Positive Grid—I wanted to plug
my analog board into Yamaha’s
THR100HD to hear if the experience
was as good at stage volumes
through a speaker cabinet. Now,
the THR100HD has some excellent
onboard circuit modeled boosts of it’s
own, so I was curious to see how the
real deal would stack up against the
clones.
To start, I dialed in the Lead setting
on the THR and tweaked up an
edge-of-breakup British amp tone to
compliment my boost and overdrive
pedals. I engaged my old Crowther
Hotcake (set as a clean boost) and it
melted into the modeled amp front
end in all the right ways: goosing it
into juicy breakup without any harsh
artifacts. I then compared the Hotcake
to the THR’s onboard White overdrive
emulation and the experience was
very similar, although with slightly less
background noise. Speaking of noise,
I then ran my collection of fuzz pedals
into the THR set to the Clean platform.
My Park Fuzz Sound, Magnetic Effects
White Atom and TomKat fuzzes all
sounded just as hefty and haywire
as they would in front of a big, clean
American amp. The THR100HD has a

ToneReport.com 43
 Tubes, Wires,
Ones and Zeros
Hopefully this article will open up
the ears of those who have ignored
digital amplification for so long. I
sympathize, because early digital
guitar amps were undeniably the
most horrid sounding pieces of audio
equipment ever created. In real life, I
still have yet to hear a more majestic
guitar sound than a vintage Marshall
JMP with the channels jumped and
cranked to the hilt, or, my new Victory
Kraken blowing the wind of Rock on
my back out of a beefy closed-back
4x12 cabinet. However, take these two
living, breathing tube amps, record
them into a DAW, add compression, “While synth tweakers,
sculpt the EQ to sit well in the mix and producers and recording
it could be argued that a similar tone
could have been produced quicker and
engineers typically embrace,
easier with a modeling amp. adapt to and even celebrate each
The point is, unless one records new technological milestone that
straight to tape, masters in analog and makes their workflow easier,
happens to own a vinyl lathe to cut the
final product with, all recorded sound guitar players mostly remain
is going digital anyway. This leaves steadfast in yesteryear’s tech.”
only one thing left to consider: A good
amp that responds well to dynamics
and takes pedals well is down to
a well-designed circuit—digital or
analog. This is why I won’t be getting
rid of my tube amps or analog pedals
anytime soon. If it sounds good, it is
good. Now, after all that, it is time for
my ritual—flick that standby switch.
Quick, Watson, the needle…

44 TONE TALK // Go Digital, Young Man: Using Analog Pedals in a Digital Rig
ModTone own
your TONE

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 CATALINBREAD
ADINEKO
REVIEW BY PHILLIP DODGE
STREET PRICE $199.99

Based on the old oil-can The easiest way to get started one of the delay channels,
delays that utilized a rotating with the Adineko is to dig the individual repeats still
drum of electrolytic oil, the through each of the controls speed up and slow down as
Adineko offers some serious one by one to understand they did on the original units
vibe. Labeling it as a delay is the big picture. Let’s start at (the fluid wasn’t known for
certainly reasonable, but you the top-left and work our way being precise). As a result,
should know that the Adineko over. But before we do that, it’s the repeats sort of reflect off
is almost a multi-effect since worth noting the gear I used of each other and gravitate
it offers pitch vibrato and when exploring the Adineko; toward reverberations versus
some reverb-esque sounds I ran it mainly through a Carr straight echoes. When you
as well. This isn’t a perfect, Sportsman and an old Fender take the reverb control much
dotted-eighth, tap-tempo Vibro Champ with a Reverend higher than noon the pedal
delay machine, this is late-‘60s Tricky Gomez P90, a Reverend starts to self-oscillate. Settings
garage awesomeness in a Pete Anderson RT, and my between 1 and 2 o’clock create
box. And it’s worth noting that trusty ol’ PRS S2 Mira semi- a nice slowly building bed of
while original oil-can delays hollow. ambience behind what you
were good for only slapback, The Reverb control is what play. Once you get past 2
Catalinbread stretched out the you would call the feedback o’clock, the self-oscillation gets
amount of delay time available. control on a standard delay pretty intense—a good thing if
I for one am thrilled that they pedal. In this case the repeats that is what you’re looking for.
elected to be historically don’t occur at a constant rate. The Viscosity control governs
inaccurate on this front. Even if you are only using a makeshift vibrato effect—at

46 GEAR REVIEW // Catalinbread Adineko

least that’s probably the easiest Blend is another easy one. It unlike a lot of delay pedals,
way to think of it. A good goes between 100 percent it sounds great before or
way to hear this section of the dry signal when turned after dirt pedals. In this case
Adineko is to set the Blend counterclockwise to 100 I had a Boss Super Overdrive
all the way up and the rest percent wet signal when running into the front end of
of the controls all of the way turned fully clockwise. the Adineko and Catalinbread’s
down. Doing this, you can hear And finally, that brings us to Formula 5 on the backend.
the subtle pitch fluctuations the Balance knob—it shifts My settings for my base “set
that it creates. If you really between two delay lines one it and forget it” tone are
crank the Viscosity you’ll hear short one, that’s all the way Reverb at noon, Viscosity at 9
some pretty extreme pitch left and one long one that’s all o’clock, Timing at 11 o’clock,
fluctuations. Set like this, the way right. In between, you and Balance right between 10
there’s a pretty cool chorus have a perfect blend of the and 11 o’clock and Blend to
pedal built into the Adineko. two. Depending on how you taste. At these settings, I never
Taking the Balance, Timing, set the Balance knob, you can wanted to turn the thing off.
Reverb and turning them all dial in some really interesting
the way down, then putting WHAT WE LIKE
rhythmic patterns. The Adineko brings authentic
the Blend control at about
10 o’clock and the Viscosity At face value, the Adineko tones of an effect many of us
at about 9 o’clock yields a might seem like kind of a have never had the chance to
beautiful chorus effect that “weird” pedal but at more play in a small, well-designed,
sounds better than many subtle settings it’s pretty damn and reasonably priced package.
chorus pedals I’ve owned. classic sounding and toneful. I It’s another Catalinbread delay
While on these settings, go was able to quickly incorporate pedal that I didn’t even know I
ahead and crank the Blend and it into my “small” pedalboard needed or wanted.
Viscosity all the way up and you that I use for roots rock and CONCERNS
can hear just how seasick this Americana kind of sounds. I This isn’t just an average delay
thing can get. found that it was perfect for pedal. It has a sound of its own
adding slapback, reverb, and that won’t necessarily work for
The Timing is exactly what it just the tiniest bit of vibrato all
sounds like; it covers the time every genre or playing style.
at the same time. I could then
it takes for each echo repeat just make subtle adjustments
to occur and it works for both to the Blend to determine how
the fast echo and the slow subtle or intense the effect
echo. As such, this knob is would be. The vibrato doesn’t
extremely interactive with the really become apparent until
Balance knob. you let the notes sustain. And

ToneReport.com 47
 GIBSON
LES PAUL ‘50s
TRIBUTE 2016 T
REVIEW BY IAN GARRETT
STREET PRICE $899.99

2015 was a challenging to these changes, they did and a simple nitro finish, while
year for Gibson’s iconic Les exactly what they should have ideally staying under $1,000.
Paul guitar. You see, many done in the first place, by Would Gibson even offer
guitarists, especially those creating the: “T” or Traditional anything for a budget-minded
who play a ‘traditional’ type line which has none of these buyer like me anymore?
of guitar like a Les Paul, well - new changes, and goes back And then suddenly I found
they don’t do change all that to what most will find familiar. it, the 2016 Studio Tribute,
well. Yet this past year’s model A recent milestone birthday which for me checked all the
had a slew of changes; a wider for myself, combined with boxes. Absent from the 2015
modern neck profile, a new GAS (gear acquisition line, the 2016 Tributes come
brass nut design, robotically syndrome) had me looking in two styles; the ‘50s model
controlled tuners that didn’t once again for a new which has a bit beefier neck
always work as advertised, and guitar. But which one? I and humbuckers, or the ‘60s
in honor of what would have set my buying criteria fairly model which has a slim taper
been Les’s 100th birthday, strategically. I wanted a real neck and P-90 pickups. I
a comically large “100” Les Paul made in the USA, ended up with the ‘50s model
signature that looked like my and not an import. I wanted in the iconic gold top finish.
elementary school aged child new, and not used this time.
might have painted right on The Tribute had the basic
I wanted the traditional mix features I wanted, a mahogany
the headstock. of a mahogany body and body and neck, maple top,
Once Gibson realized that neck, maple cap, rosewood rosewood fingerboard, with
customers were not flocking fingerboard, dual humbuckers, that slightly beefier ‘50s neck
50 GEAR REVIEW // Gibson Les Paul '50s Tribute 2016 T
profile that I really wanted to feature. Otherwise, most and you get warm, deep
try this time. The finish comes other features are pretty much lows, and that wonderful high
in four choices: Gold top, the same. end bite without being shrill.
honey burst, vintage burst and Without the neck binding, With a little amp adjustment,
black. The sides and back are initially I was concerned that I found both the neck and
black, with the entire guitar the frets could be sharp and bridge pickups had a nice
finished in a “Satin” finish poking out, but there was variety to them. I like to roll
which has a bit of sheen to it, none of that, and the fact back the neck’s volume control
but is not glossy. With a little that Gibson PLEK’s all of their just a little, and on the bridge
work, you can probably buff guitars for consistent fret pickup I roll back the tone
it out to a glossier finish, but levels and it was very evident control to tame some of the
personally I really like the look here. No buzzing, everything top end. This gives me a great
and feel of the satin finish, was nearly perfect, even the combination of bluesy tones,
especially on my gold top. It intonation was extremely close and great rock crunch just by
has a certain vintage vibe to it, to being spot on. switching the toggle position.
without going the relic route. It Right out of the gates, the new
has a thin nitro cellulose finish Want a gloss finish? Then you
have to step up to the regular 2016 Tribute models may be
which I love, as it seems to just the bargain of the year. If you
breathe better than a thick Studio model that retails for
$600 more. Want binding on don’t need all of the flash of
poly finish. The natural sustain the more expensive models,
of this guitar is very impressive. the body and neck? Sure it
looks good, but then you need but want the playability and
While it’s true that the Studio/ to move up to the Traditional tone of a real Les Paul, made
Tribute body is not quite as or Standard model, which is in the USA, this is certainly a
thick as the Traditional or close to triple the price. Those worthy contender for guitar
Standard models, it’s barely models offer higher grade of the year. Welcome back
perceptible - about a 1/16” wood tops as well, and some Gibson.
at most. Like most modern other features, but in the end it WHAT WE LIKE
era Les Pauls, it also features all depends on what you want, Great tone, great playability,
modern weight relief and and your budget. For me, the and all the essential Les Paul
mine weighed in at 8lbs, 3oz. Tribute is everything I need, features for under $1,000.
Pickups are standard fare and nothing I don’t.
here; a 490r alnico II pickup CONCERNS
in the neck, and the hotter Like a Les Paul should. Nice Little to none. Only a gig bag
wound 498t alnico V bridge clean tones from both pickups, is included, but with a little
humbucker. Both feature and great rock tones with my negotiating, many retailers
exposed black bobbins, and Marshall amp cranked up. The might throw in a hard-shell
neither have the split coil sustain rings out with authority, case for you.

ToneReport.com 51
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 BLACK CAT
PEDALS
D&S
REVIEW BY PHILLIP DODGE
STREET PRICE $175.00

Hey kids, it’s time for goodness and range of mild that I reviewed a few
another installment of Tone to wild tones as a muff, months back, the D&S also
Report Weekly history thanks to this different tone started based on a request
lessons. I’m sure you all stack it had a somewhat from Black Cat’s Japanese
know that the Japanese different flavor and a little distributor.
company Maxon was more versatility. The magic of the D&S really
responsible for the design Our good friends over does lie in the “new and
and manufacture of the at Black Cat Pedals now improved” tone stack. I
venerable Ibanez Tube bring us their own version say “new and improved”
Screamer, the TS-808 if of the D&S. It’s furnished in quotes, because Maxon
you will. What you might in a lovely sparkly teal released this pedal way back
not have known is that box with white knobs and in 1978, but back to that
they also turned out their white lettering (both of Tone control. Rather than
own variation on the Ram’s which make it easy to see just going from screeching
Head Big Muff circuit. It on a dark stage). Digging bright when cranked up, to
was known as the D&S under the hood, the D&S muddy when dialed back,
and while it had the same looks just as great on the the tone stack in the D&S is
transistor array and general inside and it even has the useful throughout its entire
circuit of the Ram’s Head same Toshiba 2SC1815- range. When turned fully
Muff, its tone stack was BL transistors found in the counterclockwise it boost
quite different. So while the original Maxon version. lows without fully gutting
D&S had the same fuzzy And like the Bee Baa Fuzz the high-end. As such it

54 GEAR REVIEW // Black Cat Pedals D&S

makes the D&S great for When you crank the Sustain WHAT WE LIKE
pairing with a bass guitar or and cop those extra high In a sea of Muff circuits, it’s
really cool with a baritone frequencies, you can then nice to see one that mixes
like Reverend’s Descent H90 dial back the Tone almost up the formula. The D&S is
(a guitar I used extensively fully counterclockwise built well, looks great, and
while reviewing the D&S). without fully disappearing sounds fantastic. The color
With the tone knob at from the mix. scheme looks great and the
around 1 o’clock, it has that Like most Muff circuits, contrast greatly improves
perfect blend of a Big Muff’s rolling off on your guitar’s readability.
juicy low-end and just the volume knob with the D&S CONCERNS
right amount of treble to does darken the tone a None.
brighten the mix without little as well as clean up
getting harsh. As you crank and lighten a little bit. In
things further you can get all this case, it actually works
the way to a mosquito-buzz really well because you can
fuzz that, while not boasting have a bright tone with your
a pretty sound, certainly has volume all the way up, with
its applications. a lot of thickness and a lot
It’s worth noting that the of volume and then you
Tone knob and the Sustain back off and things darken
knob are interactive. At a little bit, lighten up, and
lower Sustain settings, the you get a great rhythm tone
fuzz tends to be a little at the flick of your volume
darker. As you crank it up, it knob.
gets a lot brighter. And like
many Muffs, once you get
past noon on the Sustain
dial, you don’t so much get
more fuzz as you just get
a little thickening, a little
more sustain, and of course
a little extra noise. But as
you crank that gain up, you
have a little more leeway in
the darker ends of the tone;
you can have a lot of edge
and still have that low end.
ToneReport.com 55
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 MODTONE
THE FUZZ
REVIEW BY FLETCHER STEWART
STREET PRICE $69.99

PRECIOUS AND from lows to highs right— fuzz units—which may or

GRACE-LIKE MUFF The Fuzz’s Tone control may not be what one is
AND FACE keeps just enough chime in after. The lows aren’t as
the high end throughout the flabby and the highs avoid
Here, we have another no-
entire sweep of the dial to the puppy-teeth-piercing,
frills sparkling blue buzz box
be usable at all times. tinnitus-inducing screech.
from ModTone. It sports
Within the first minute This is a very sociable fuzz
a familiar control set of
or so, the range of tones that gets on well with single
Volume, Tone and indeed
through a semi-clean amp coils and humbuckers,
Fuzz, but under the hood is
platform burned into the whether it is plugged into
a fine-tuned custom circuit
‘70s tone-zone of my guitar a pristine, high-headroom
that to my ears, straddles
brain. I was hearing shades amp structure or a Class
the line between classic
of ZZ Top’s Tres Hombres, A crumbling foundation.
silicon Muff and Fuzz Face
T-Rex’s Tanx, and even This is a fuzzy overdrive
circuits. The overall tone is
some early Buzzcocks machine with the guitar’s
that of a lower-midrange
started to chainsaw through fundamental frequencies
growler with just enough
the speakers as the Tone intact.
sizzle on top to sparkle and
rise to the surface of the knob rolled past midnight. BIG BUZZ, BIG FUZZ
mix. Unlike a typical Big This circuit has been well AND SPARKLE BLUE
Muff tone sweep—where thought out and exhibits With the Tone and Volume
one has to perform tiny a much more refined raw set fairly neutral and the
tweaks to get the balance edge than most vintage Fuzz control set to just

58 GEAR REVIEW // ModTone The Fuzz

around 11 o’ clock, the fuzzy overdrive for not much buzz box from the legions
volume control on the cash. This chameleon of a of options out there right
guitar acts a throaty gain circuit blends in with many now. How about “The Sore
attenuator—much like a different guitar and amp Throat” with a depiction of
good full-frequency low- combinations and doesn’t a square wave caught in the
gain overdrive might. The completely color one’s full esophagus of a little cartoon
guitar purrs like a cabaret rig. In ways, it is as non- head? Anything, really…
cougar in a sultry vocal descript as it’s graphics
fry at lower knob settings and title, but this is exactly
and starts gruffing up the the strength of The Fuzz;
lung butter as the guitar it imparts just enough
volume is wound up. Dialing sizzle, gravel and heft to
the Fuzz control to the add intrigue when a simple
further extremes injects boost or OD sounds boring.
more pebbly cascading The Fuzz can also yield a
gain waves into the mix, fantastic core tone on it’s
but stops saturating just own in lower-gain settings
shy of total meltdown. This as well—it is more amp-like
is great for amps that are than many more notable
already cooking without and twitchy fuzz boxes that
the addition of pedals. often need a certain kind of
Introducing the full Fuzz amp to partner up with.
whack to a Marshall-like CONCERNS
classic rock platform yields a At this price point, one
J. Mascis-type searing lead would be crazy to scoff at
tone that is totally “Out such a great sounding and
There” if you get my drift. It robust pedal. However, if
can be a revelation to have one is after total coloration
a less-gainy fuzz box in the and haywire frequency
tone arsenal if one prefers abusing filth oscillations,
the amp’s breakup as a look further. I know sound
tonal foundation. and reliability is the main
WHAT WE LIKE criteria for a great pedal,
Low noise, low price and but I do think a unique name
high build quality make and some kind of eyeball-
The Fuzz a winner if one grabbing graphics would
is after a versatile, usable help separate this fine
ToneReport.com 59
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