Magazine article Guitar Player

Stompbox Fever

Magazine article Guitar Player

Stompbox Fever

Article excerpt


Offering tap tempo, stereo outs, and up to three seconds of delay time, the AD-1 ($149 retail/$129 street) is a workman-like echo pedal with an excellent reverse delay that will put you in touch with your psychedelic alterego. The only drag is that you can only access the reverse function by engaging a button on the pedal's control panel--and trust me, you can't do this with your foot, so don't even try.

Still, the reverse effects are stunning, and the Tap function allows you to sync them up perfectly. I dug setting up the reverse delay as a mild slapback, which yields an eerie, yet subtle effect that's not too strange to use all the time. The AD-1 also does "straight" delay very well, and the pedal's inclusion of a Hi Cut control will delight those who prefer to bask in the warm glow of simulated tape repeats.


The AO-I ($129 retail/$99 street) offers four EQ Select settings that let you drastically reshape the pedal's grind. Set to its Flat position, the AO-1 sounds like a rather conventional overdrive in the classic Tube Screamer mold. By clicking the EQ Settings knob clockwise, the AO-1 goes through a series of tonal makeovers that provide everything from hard-hitting metal tones with tons of low-end thwump, to aggressive blues/rock flavors (think slightly distorted Marshall JCM 800), to a junky, lo-fi tone that'll turn any amplifier into a funky-ass 1x8 combo. Pretty sweet.

The Boost function (which can be set to +5dB or +10dB) is a godsend that not only affords you some extra "comfort volume" to assure that your solos are heard loud and clear, but it can also be used independently of the pedal's overdrive circuit to coerce a tube amp into silky breakup. The AO-1 is actually two tasty pedals in one. Yum.


The AX-1 ($129 retail/$99 street) is technically a distortion pedal--I mean, that's what they call the thing--but what do you call a box that conjures twisted fuzz sputters, intense uber crunch, and all sorts of tonal perversion? …

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