The world of effects pedals is in constant motion. There are many well-established companies that are releasing new and innovative products in addition to re-creations of classics. This year has already seen substantial new additions to the effect pedal landscape with new iterations of already prolific pedals and other large music tech companies making waves by entering the landscape.
Today, we’re highlighting the best of the new additions to the market.
Whether you use pedals exclusively for guitar or bass, for synthesizers (either keyboard synths, desktop units or Eurorack systems) or perhaps on an effects send on a hardware mixer, hopefully you can discover a suitable and or potential use for one or more of the following pedals.
Universal Audio Enter the Pedal Market
UAFX is here with the announcement of a trio of exciting new pedals from Universal Audio (UAD), which for good reason, came with a buzz and intrigue. UAD are no strangers to analog modelling, in fact some would argue they are the best in the world at it! Their world class team of DSP (digital signal processing) engineers have made three stunning pedals that deserve some attention.
Universal Audio are an established and well respected name in the audio technology industry. Their audio interfaces are world class and utilize top quality analog to digital converters, allowing for pristine tracking.
Something that sets UAD interfaces aside from other manufacturers' offerings is the utilization of what UAD call “Unison Technology.” With Unison Technology, the physical components inside the interface itself will behave differently depending on what plug-in is inserted on a given channel.
A simple example: say you were to plug a guitar into the 1/4” input on the front of UAD interface, in order to monitor that guitar, you would need to have the signal come through a channel in your DAW or through the UAD Meter & Control Panel (UAD’s virtual mixer and routing console application). Depending on which Unison compatible plug-in you place on your guitar's channel strip, the behaviour of the circuitry inside of the interface will change in order to help replicate the nuances of analog hardware that a given plug-in is replicating.
Even though the core of the signal processing is rendered digitally, changes in things like impedance levels and gain-staging earlier on in the signal path have an effect on the way a signal behaves once it leaves the analog domain and is converted to a digital signal for further processing. This facilitates accurate replications of vintage and sought after analog effects processing units, like UAD’s own compressors and preamps.
So why is all of this relevant? Because similar processes are taking place in UAD’s new lineup of effects pedals. The same meticulous attention to signal processing detail is present in these beautiful new pedals. The difference being that the circuitry wizardry is not controlled by a software interface, instead it is controlled by the physical parameters on the units themselves.
Common Features
Before talking about the pedals individually first lets list a few of the features shared by each of the pedals…
Newly Designed
In their promotional material for the products, UAD stress that the pedals are not just a small device running existing UAD plug-ins, rather they have been designed from the ground up with a completely new super-powerful quad processor based hardware platform that allows for incredible possibilities.
Each stylish enclosure is robust and built to endure decades of use. Each pedal features the same set of controls, six sturdy aluminum knobs, three toggle switches and two foot-switches.
Two Years in Research
UAD claim that they have searched for the best sounding vintage units to model. Each device that the pedals emulate have been meticulously re-created, every little nuance of the original devices has been captured.
Mono + Stereo IO
Each pedal has been designed to work in both mono and stereo, whether that be mono to mono, mono to stereo or tru stereo. The pedals will detect whether a mono or stereo signal is present at the input and adjust routing automatically for stereo or mono processing.
Tru-Bypass
Tru-bypass is a deal-breaker for the tone purists, fortunately UAFX feature tru-bypass, the dry signal remains completely in the analog domain.
Choices Within
Each pedal has three effects that come as standard. These are clearly labelled on the units themselves and are selected via a toggle switch on the right side of each unit. Each effect models a specific piece of gear, with a similar name to that of the original.
Quality over quantity seems to be a key theme in these pedals. As opposed to having a large number of algorithms inside each unit, the algorithms are designed to accurately replicate specific desirable tones.
But wait, there’s more!… When registering the product on the UAD website, additional effects can be loaded onto the pedals via the USB connection on the rear of each pedal.
The UAFX pedals are dedicated pieces of hardware, each built with a specific purpose. Let’s explore what those purposes are.
UNIVERSAL AUDIO ASTRA MODULATION PEDAL
The first pedal we’ll look at is the Astra Modulation Machine. Stereo modulation effects is the name of the game and this pedal delivers a choice of classic effects. It is a one stop shop for some of the most recognizable modulation tones out there. The UAFX engine powers separate stereo instances of each modulation effect.
Let’s look at the three stereo modulation effects that come standard with the Astra.
Standard - Three Stereo Modulation Effects
Chorus Brigade
The first effect on the Astra is a re-creation of the Boss CE-1 Chorus ensemble. It was originally released in 1976, one year after the Roland Jazz Chorus amplifier, the Boss CE-1 is essentially the chorus circuit from that amp. It is a distinguished and instantly recognizable tone, arguably the most famous chorus tone out there. The original pedal used a bucket-brigade device (BBD) to create the modulation effect and is an entirely analog signal path.
The CE-1 has a few circuit intricacies that make it unique, such as a preamp section that starts with an op-amp to enhance the signal before it enters the BBD. All of this has been carefully re-created in the Astra and it will modulate the signal in the same way, anything from lush chorus to undulating vibrato.
Flanger DBLR
Next up is the Flanger DBLR setting, inspired by the rack-mount MXR Flanger Doubler. This late 1970s unit uses two BBD devices to create a doubling effect. In addition to the doubling effect is a flanger, not too dissimilar from the MXR 117 pedal.
The Astra re-creates all of the sounds found within this rack unit, anything from doubling guitar tones made popular by Dimebag Darrell, to whirling flange tones akin to those of Eddie Van Halen and Eric Johnson. Again whilst these devices may take inspiration from guitar centric units, it does not mean that spicing up a synth signal is any less rewarding. The doubler effect seems like it could be a really useful tool when bringing a little more life to a simple synth sound.
Trem 65
Finally the Trem 65 rounds out the Astra’s modulation capabilities with a simple tremolo. Perhaps simple is a slight understatement as although tremolo by nature is simply a modulation of a signal's amplitude, the way in which the signal is amplified can heavily impact the tone.
Amplification of a signal is often associated with increasing a signal's volume, however an amplifier is also needed to decrease a signal's amplitude (for those familiar with synth terminology just think of a VCA). The Astra is a faithful emulation of the tube tremolo effect from a vintage 1965 Fender Deluxe amp.
This warm sounding tremolo effect can go from shimmering ripples to choppy mayhem. There is the option to create your own tremolo textures with variable sine and square wave settings.
Bonus - two additional modulation effects
As previously mentioned, when registering the product on the UAD website, additional effects can be loaded onto the pedals via the USB connection on the rear of each pedal. In this case the effects are: MXR Phase 90 phaser and a harmonic tremolo.
With it’s SEGA style font printed on the front of the unit, it appears that nostalgia is a core ideal of the pedal. Those looking for classic modulation sounds in one unit should look no further as this pedal delivers those and then some. Of the three pedals the Astra is arguably the most guitar focused, purely due to the nature of the effects.
Other instruments are often processed with delay and reverb, however chorus, flanger and tremolo are more often used in the guitar world. However this does not imply that the Astra cannot be used on other instruments such as synths. Adding anything from subtle chorus, flanger or tremolo tones to your instrument's signal is a nice way to add a bit of movement.
These can be dialed up to the extremes too, a great way to slap some not so subtle movement on your signals, perfect for cutting through the mix and declaring a modulation heavy signature tone.
UNIVERSAL AUDIO GOLDEN REVERB PEDAL
Next up is the Golden Reverberator. This beautiful gold machine looks as classy as it sounds. First impressions tell us that this is a “tip of the hat” to classic reverb algorithms as opposed to a groundbreaking new product packed with various mystical reverb algorithms. Nevertheless, innovation lies within, as these particular classic reverb sounds are all available within one unit as opposed to their individual predecessors.
Reverb is the heart and soul of many pedalboards and studios around the world, and the Golden Reverberator is designed to bathe your signals in class.
Standard - Three Classic Reverbs
Spring 65
The first effect on the Golden Reverberator is Spring 65, a re-creation of the spring reverb found in a Fender 65 Deluxe amp. The classic Fender spring reverb sound is one that many of us are familiar with.
The term ‘Spring Reverb’ comes from the fact that in original Fender amps and other classic spring reverb units, the signal would pass through a metal spring which creates a metallic bright reverb effect.
It makes sense that the Golden Reverberator would start at this classic sound, as it is arguably the most distinguished of all reverb sounds. It goes without saying that this pedal nails that sound—these UAD guys really know what they’re doing!
Plate 140
The next effect modelled in the Golden Reverberator is Plate 140 named after the EMT 140 plate reverb. Plate reverb was one of the first types of synthetic reverbs. In original units the effect is created by playing sounds through an enclosure with a suspended plate, the resonance of the plate is what creates the reverb effect. Similar to spring reverb, it can sound metallic and bright.
However, the way in which it defuses differs from spring reverb, it tends to be a little darker and less… springy (for lack of a better description). These units are found in studios around the world and are often the choice source of reverb when mixing vocals and other sounds that tend to occupy the vocal frequency range, sounds that sing.
With the ability to dial in sounds from warm and hazy to snappy and crisp, the plate reverb is a diverse tool. Plate reverbs find use in mixing many other sounds outside of just vocals, from drums and guitars to synths and beyond. The Golden Reverberator faithfully re-creates this classic versatile sound and is sure to see a wide variety of use.
Hall 224
The final effect on the Golden Reverberator is named Hall 224 after the legendary Lexicon 224 studio digital reverb. Many consider this to be the most groundbreaking of digital reverbs, becoming a mainstay in top studios around the world. Created in the late 1970’s, the 224 is an algorithmic reverb capable of creating some of the most luscious reverb sounds in existence.
From short, seemingly real room sounds to gorgeous long dreamy tails, this reverb can do it all. UAD already have a history of faithfully emulating lexicon reverbs and this experience can be heard in the Hall 224 plug-in. Those of you looking to send your reverb signal into another space entirely, look no further!
Bonus - two additional Lexicon inspired reverb effects
The Golden Reverberator features bonus effects taken from the Lexicon 224 in the form of the Lexicon 224 Chamber and The Lexicon 224 Room Hall. This provides users with even more reverb-y goodness to elongate your signals.
Providing users with a solid selection of quality reverbs that covers most bases is a fantastic idea for a pedal. Reverb is a must have for many instrumentalists and often larger effects pedals can be daunting with the sheer number of options. In the same vein as the rest of the UAFX, the Golden Reverberator strikes a careful balance between quality and quantity.
UNIVERSAL AUDIO STARLIGHT DELAY PEDAL
The third offering from UAFX is the Starlight Echo station delay pedal. With three of the most recognizable and sought after tones on offer, the Starlight really stands out as a high quality delay pedal that allows for great choices over the sound of the repeats.
This unit builds upon those which it models, providing that very sought after feature on modern delay pedals: tap-tempo, something previously unavailable on some of the units that inspire this beautiful little wonder.
Standard - Three Echo Station Delays
Tape EP-III
The Starlight starts off with arguably the most classic of delay methods, tape delay. This effect models the vintage early 70’s Echoplex EP III Tape Delay. The engineers seem to have gone completely overboard when modelling this unit, capturing every little nuance and idiosyncrasy of the original unit.
From the wow and flutter randomness of the tape sounds, the distinct preamp built into the unit, to the sound of the tape splice, every little detail has been obsessively captured. The Starlight provides lots of control over the sound of the repeats, from a relatively clean sound to a dark fluttery soundscape, this thing can do it all.
This pedal is a must-have for those looking to have those classic tape echo sounds without the laborious responsibilities that come with owning an analog tape delay.
Analog DMM
The next effect on the Starlight is named Analog DMM, a faithful re-creation of the Electro Harmonix Deluxe Memory Man. This analog BBD delay is an icon in the industry and has been repeating sounds for decades. To say the Starlight does this pedal justice is an understatement— it would be a highly impressive feat to blindly tell the difference between the Starlight and an original DMM.
The Starlight provides control over the modulation on the repeats allowing the user to dial in a desired sound. This particular effect is my favourite of all the UAFX as it really seems to nail the vibe of the original. If this were the only effect on the Starlight, it would probably still be very popular, and this is due in part to the slightly fragile nature of the original DMM.
Precision
Finally the Starlight offers a pristine precision digital delay. Rather than a direct replication of a particular unit, this effect pays tribute to the precision digital delay effect. With tape and BBD delay covered by the other two effects on the Starlight, it makes sense to add a clean sounding delay for a wide tonal palette. However, this effect does not have to be a straight up delay, experimenting with the parameters can lead to interesting tones such as flanging, chorus and stereo ping-pong sounds.
Bonus - Cooper Timecube delay
The one bonus effect on the Starlight takes the form of a re-creation of the Cooper Timecube delay. This delay is a garden-hose based mechanical delay device introduced in 1971. It’s particularly useful for short delay and doubling sounds.
By re-creating three of the most well known methods for creating the delay effect (namely tape echo, Analog BBD and clean digital delay) The Starlight echo station is an homage to the delay effect itself. This pedal is sure to inspire many users with its carefully curated palette of incredible delay sounds—a real instant classic.
UAFX Have Arrived in Style
With the RRP of the pedals at $529, they sit toward the higher end of effects pedals. However, considering that UAD interfaces start at $669 for even the most basic of their lineup, the barrier for entry has been lowered for musicians looking to add some of that UAD DSP magic to their signals.
It is possible that UAFX will continue beyond what is currently on offer. Already it would seem there is hope for a distortion of some kind, and maybe a compressor? Perhaps a venture out toward slightly more esoteric effects such as pitch-shifting and ring-modulation? Only time will tell what the magicians at UAD will conjure up. For now, these three delights seem like a solid foundation upon which to build.
More Reverb Pedals
If the aforementioned Golden Reverberator does not quite suit your reverb needs, or perhaps you (like myself) are obsessed with reverb, then hopefully the following pedals will further excite your inner reverberatory elation.
WALRUS AUDIO MAKO SERIES R1
Winter last year saw the release of the Walrus Audio Mako Series D1 High-Fidelity Delay. This January saw the continuation of the MAKO Series with the new addition of the MAKO Series R1 High-Fidelity Reverb.
Programs
This extremely powerful and versatile reverb features six different reverb programs selected by the clearly labelled program knob in the middle of the unit. This simple selection of programs prevents any deep menu diving whilst still providing the user with a good selection of studio quality reverb programs.
In addition to the “Prog” knob there are five other knobs to further customize your reverb tones. The unit also features three toggle switches, two of which select which parameters the “tweak” and “tune” knob control.
The following description of the programs is taken directly from the R1’s manual, and offers a clear understanding of each of the programs.
MIDI
The R1 can also be controlled by MIDI, should the 9 onboard presets not be enough, 128 are accessible via standard MIDI Messages. Simply connect a MIDI controller to the MIDI IN on the top of the unit.
Tru-Bypass
Not just content with standard tru-bypass, The R1 has three different bypass modes; True Bypass, DSP+True Bypass (trails) and DSP Bypass (trails).
Mono + Stereo IO
The R1 has been designed to work in both mono and stereo with the left channel acting as the mono channel.
Somewhat simple, compact and full of incredible sounds
The Mako R1 is an ideal reverb pedal for those looking for a wide selection of reverb tones from lush ambient soundscapes to subtle spring reverbs, this can do it all. Its somewhat simple design may be appealing to those looking for a high quality reverb pedal with a deep amount of settings that are easily navigable through knobs and switches, as opposed to scrolling through menus on a built in screen.
Presets can be navigated through the built in foot-switches or through MIDI for a deeper selection. It is in a smaller enclosure (similar to that of a standard Boss pedal) than other complex reverb offerings in the market making it a great choice for the space conscious pedal users out there.
GFI SYSTEM SKYLAR REVERB
GFI System are no strangers to digital algorithmic modulation products. Their incredible “Specular Tempus” is highly regarded as one of the best Reverb + Delay pedals on the market.
Following on from the success of their more expansive units, GFI have released two stripped back pedals in the form of the Skylar Reverb and the Orca Delay.
Let’s be clear: these pedals are stripped back in terms of the number of algorithms that they hold, not the quality of the algorithms themselves. In fact they both host four of what GFI consider to be quintessential algorithms.
Let's first look at the key features of the Skylar Reverb taken from the GFI System website.
Key Features
- 4 select reverb algorithms.
- 2 presets
- Analog dry-through
- 4 knobs with button
- Intuitive interface with LCD screen.
- Mono / Stereo input and output.
- Expression pedal and tap-tempo input.
- Momentary action supported.
Quality over Quantity
The Skylar hosts four reverb modes, selected by the “Modes” knob on the front of the pedals. These algorithms are as follows…
- Spatium
- Shimmer
- Plate
- Tremble (tremolo-reverb with tap-tempo)
Mono + Stereo IO
Skylar supports both mono and stereo input/output. Mono connection is made using standard TS patch cables while stereo connection is made via TRS patch cables (a splitter-Y cable may be needed).
Simple, Lush and Affordable
The Skylar reverb is an essential piece of gear for those who are looking for some incredible sounding algorithmic reverbs in a compact, easy to navigate and affordable pedal.
The algorithms are truly world class and could be mistaken for those in units a lot more expensive than this. With the Skylar Reverb, GFI have impressively brought studio quality reverb algorithms to a wide audience.
I don’t want to repeat myself... or do I? Here are some more delay pedals
Again, if the aforementioned Starlight Echo System does not quite suit your delay needs, or perhaps you (like myself) are obsessed with delay, then hopefully the following pedals will further highlight your repetition needs.
Eventide - UltraTAP
Eventide are one of the most prolific names in the world of DSP. With their flagship rack-mount units such as the H9000 being capable of creating almost any type of effect, it is clear the team at eventide know what they’re doing when it comes to algorithmic effects. The newest addition to the lineup is the unique multi-tap effect, the UltraTap.
Not Just a Delay
The UltraTap is a unique multi-tap effects pedal capable of rhythmic delays, glitchy reverbs, huge pad-like volume swells, and extraordinary modulation. Here’s a look at some more features of the UltraTap as listed on the Eventide website…
- Control the stereo image of taps to alternate between hard-panned and mono.
- Five presets loaded at your feet with dozens more available with Eventide Device Manager (EDM) software.
- Dual-action Active Foot-switch is latching or momentary.
- Onboard LFOs and envelopes to chop the sound source into stuttered rhythms.
- Rear panel Guitar/Line Level switch for matching levels of guitars, synths, FX loops, or DAW interface.
- Map any combination of parameters to an Expression Pedal.
- Use a single Aux switch to Tap Tempo or a triple Aux switch for easy preset changing (up/down/load).
- MIDI capability over TRS (use with a MIDI to TRS cable or converter box) or USB.
- Multiple Bypass options: Buffered, Relay, DSP+FX, or Kill dry.
- Catch-up mode helps dial in your sound when toggling between presets/parameters.
- Eventide Device Manager PC or Mac application for software updates, system settings, and creating/saving presets.
Mono + Stereo IO
The UltraTap features dual 1/4 inch inputs and outputs allowing for both Mono and Stereo use. The unit has one switch below the input jacks for switching between Mono and Stereo.
Something Different
The team at Eventide have released a unique product in a compact and affordable pedal. It blurs these lines between delay, reverb and modulation whilst providing clear control over its separate parameters. This seems to be a great choice for those looking for something a little different to other more vanilla reverb, delay and modulation choices currently available.
GFI SYSTEM ORCA DELAY
Following on from the previously mentioned Sklyar Reverb, the Orca Delay follows the same design philosophy. Packing four incredible sounding delay algorithms into one compact pedal.
Let’s look at the key features of the Orca Delay taken from the GFI System website.
Key Features
- 4 select delay algorithms.
- 2 presets
- Analog dry-through
- 4 knobs with button
- Intuitive interface with LCD screen.
- Mono / Stereo input and output.
- Expression pedal and tap-tempo input.
- Momentary action supported.
Quality over Quantity
The Orca hosts four delay modes, selected by the “Modes” knob on the front of the pedals. These algorithms are as follows…
- Digital (max delay time : 1 second)
- Tape (max delay time : 1 second)
- Diffuse (max delay time : 1 second)
- Ambiental (max delay time : 840 milliseconds)
Mono + Stereo IO
Orca supports both mono and stereo input/output. Mono connection is made using standard TS patch cables while stereo connection is made via TRS patch cables (a splitter-Y cable may be needed).
Again—Simple, Lush and Affordable
Like its brother, The Orca Delay is an essential piece of gear for those who are looking for some incredible sounding algorithmic delays in a compact, easy-to-navigate and affordable pedal. It would be a great addition to any pedal board, or a great way to spice up your instrument's signal.
Get your signals moving with these modulation pedals
Finally, in a similar manner to the previous sections, we will take a look at what is on offer in the world of modulation, with some alternatives to the Astra modulation machine. Hopefully these following pedals will inspire you to add a little bit (or a lot!) of movement to your signal.
NEUNABER INSPIRE TRI-CHORUS PLUS
Spring of this year saw the release of the Inspire Tri-Chorus Plus from the brilliant minds at Neunaber. This pedal aims to give users a massive selection of chorus tones to thicken up sounds.
Here is a breakdown of the settings on the pedal.
- Tri — the classic rack chorus effect
- Hex — two tri-choruses paralleled for an ultra-dense effect
- Tri2 Tone (Cascade Tone) — two tri-choruses in series create a rich, lush effect
- Tri2 Vibe (Cascade Vibe) — tri-chorus and tri-vibrato in series makes for a complex sound
- Hi/Lo Vibe (Harmonic Vibe) — Low-frequency tri-chorus and high-frequency tri-vibrato, a more subtle effect that works well with overdrive
- Hi/Lo Detune (Harmonic Detune) — low-frequency detune and high-frequency tri-chorus, even more subtle and sounds great with heavy distortion
- +Detune — tri-chorus+detune for that ultimate rack chorus tone
- +Echo — tri-chorus+echo is a classic combo
WALRUS AUDIO POLYCHROME FLANGER
The final pedal on the list is the Walrus Audio Polychrome Analog Flanger. With all of the digital modelling and algorithmic wonderment out there, sometimes it’s nice to get back to good old straightforward analog.
This beautiful analog device is designed to make your signal stand out or subtly move in the background. This pedal features classic flange tones in addition to some newer more experimental sounds. Let's look at what Walrus Audio have to say about the pedal:
“Like the Iguana that’s malleable to its environment, blending into its surroundings for harmonious balance or standing out with vibrant confidence, the Polychrome Flanger is a uniquely colorful tool for adding modulated textures to songs.
The Polychrome is a true bypass, analog flanger pulling in familiar layout controls from the Julia and Lillian. Dial in a wealth of colorful flange with the D-F-V (Dry, Flange, Vibrato) blend knob and the shape and voice switches.
The Shape Switch lets you select from sine, triangle, or random LFO waves to modulate the delay line.
The Voice Switch lets you select between two voices for the flanging effect. In the down position, the flanger is more traditional and full frequency. In the up position, you get a more complex and notched flange effect with less low end.
Like the other members of the Walrus Audio modulation family, the Polychrome has a blend knob. The D-F-V (Dry, Flange, Vibrato) knob lets you blend the dry and delayed signal from full dry at minimum (no effect), to traditional flange at noon to full pitch vibrato at maximum. Don’t sleep on the vibrato sounds in the Polychrome. Set the D-F-V knob to maximum, feedback to a minimum, and the voice switch up for some unique pitch vibrato.
Top-mounted input, output, and power jacks as well as soft switch relay bypassing make the Polychrome fit well on your board and ensure smooth operation for years to come.”
THE TAKEAWAY
While this post has mainly focused on reverb and delay, further into the new year we hope to touch on some other pedals and key effect archetypes such as overdrive and fuzz. 2021 has already presented some amazing offerings and the following months are sure to bring even more!
