Munnyman Pedals is a small pedal company who, funnily enough, was one of the first contacts I ever made on Instagram. Based out of Dallas, Texas, Munnyman has mostly dealt in fuzzes, overdrives, and distortion pedals, like this Panchito LM308. Unlike the more hyped Rat pedals to hit the market (Ratsbane, DRV, and Packrat) the Panchito is not looking to add flexibility or versatility to the circuit. It is instead a true recreation, with everything from overdrive to fuzz onboard as most Rat fans know. What I’ll be looking for here is how versatile the gain section is, and how it sounds in comparison to the other Rat pedals in my collection. Specifically, for the $200 price tag I would hope it compares favorably to my Pro Co Rat2 or Wampler Ratsbane.
Review & Opinion
The Panchito LM308 is a nice sounding pedal any way you slice it. With classic RAT distortion tones that are not hard to coax out of the pedal. I will say, it didn’t feel quite as versatile as a Pro Co RAT2 or the Wampler Ratsbane in terms of the gain control. It didn’t get quite as fuzzy with my Stanford Crossroad as I might have wanted. Likewise, the overdriven tones don’t go quite as low gain either. So while I do miss the flexibility, I take solace in how good the more straight up the middle distortion tones are. Munnyman Pedals definitely nailed the raw, uncompressed feeling of the RAT circuit.
As it stands now, I think this pedal is best suited for players who want a high quality distortion pedal but won’t be asking it to do too much else. It has very sensitive volume and filter controls which help widen the tonal spectrum you can reach, but it won’t be much more than what it sounds like in my demo.
Conclusion & Final Score: 7 out of 10
Overall I’m very pleased with the sounds that come out of the Munnyman Pedals Panchito LM308. It’s very much worthy of the space it occupies on any pedal board. The distortion tones are rich, open sounding, and have a ton of texture. It does feel a little bit like you are paying for the scarcity of the LM308 chip, which very well may be worth it for some guitar players. However for me, I would probably stick with the RAT options I already own. It earns its above average score for the quality of sound it does posses, the small footprint it takes up on a pedalboard, and the user friendliness.
The Panchito even got some time to hang out on my band board!
While 2021 had a few less guitar reviews than we hoped, it did not lack in quality at all!
All I can say about 2021 is; you could really feel the long term impacts of the pandemic’s impact on the supply chain. Despite being a moderately well known reviewer at best (and that is generous), the number of guitars reviewed this year dropped to 19 from last year’s 41. However, the overall viewership and support for my work has increased in ways I never expected so there is much to be thankful for as well!
And while this year didn’t feature quite the vast number of brands and guitars, it had some incredible quality up and down the list. Some of my biggest surprises this year included how impressive the Sterling by Music Man guitars were as well as how far Fender has taken the Squier products. Vox’s Bobcat S66 was arguably the quirkiest guitar I’ve played in years as well, though it was flanked by some great reissues from Silvertone in 2021 as well.
Interestingly enough, signature models seemed to get a lot of attention this year, both from manufacturers and the media. In a year when it was hard to source loaner guitars to review, I got to try Epiphone’s Joe Bonamassa LP, Sterling’s take on the Mariposa, and Manson’s affordable Matt Bellamy signature.
Some disappointments included the Gibson Explorer, my dream guitar that showed up damaged, and it wasn’t from shipping. On a more positive, two single-P90 guitars absolutely had me drooling from Grez Guitars and Fender, and I’m determined to one day own both of them. In terms of highlights, it is also impossible to put into words how fun the Acoustasonic Stratocaster has been. It is easily the most inspiring and musical instrument I own.
The spec sheet of the Rubato Lassie is unlike one I’ve ever reviewed before. The Lassie sports a one piece body and neck, made from a carbon fibre monocoque that weighs in at a whopping 5.5 pounds. More familiar, but premium guitar specs round out the instrument including a zero fret string guide, mini rotomatic locking tuners, and medium jumbo stainless steel frets. Sporting a 25.5″ scale length, the Lassie should feel more familiar than foreign.
The electronics are stripped down and simple, highlighted by two Porter mini humbucking pickups that are controlled by a 3-way selector alongside single volume and tone knobs. The simple electronics are not lacking in quality either, with Orange drop capacitors, Bourns potentiometers, and a Switchcraft switch. A hipshot fixed bridge joins grover strap-locks in the quality hardware department as well.
The Lassie is a surprisingly flexible beast, despite having only a 3-way selector to control the Porter mini humbucker pickups. These pickups were a great choice, as they balance that single coil top end with the thickness and body of humbuckers nicely. So while it doesn’t have fancy switching or coil splits to create diverse sounds, it is a very open sounding instrument that can easily be shaped by your amp or pedals.
Perhaps most importantly is just how great the guitar sounds. It doesn’t sound “non-guitar-like” in any major sense of the phrase despite such unique construction. This might not sound like a ringing endorsement, but it is. Rubato have completely reworked how an electric guitar can be made yet it feels no different in terms of playing experience. If anything, it just feels and sounds slightly better.
You can further tweak the sonic capabilities of the Lassie by ordering different pickup combinations from Rubato during construction as well. But overall, it is tough to argue with the clean, lush sounds of these minihumbuckers. It’s just a great sounding guitar, through and through.
I cannot emphasize enough how comfortable this carbon fibre neck is. It feels far more rigid than any guitar neck I’ve played but it’s still smooth, fast, and thin across the whole fretboard. The rigidity is actually somewhat comfortable, as I feel like I have complete control over the neck, with no chance of it fighting back. And of course, the tuning stability is supreme. So far, the Lassie has lived up to the hype of having a perfectly intonated neck that will never shift. With no moisture or temperature impacts on the carbon fibre, the guitar did arrive almost perfectly in tune and has stayed that way for about a month now. Other highlights include the great upper fret access and the quality fretwork, which is to be expected on a guitar of this price.
Finish & Construction: 10
Rubato guitars has considered every aspect of guitar construction with the Lassie. And even if some of it is overkill, it all combines to create a really thoughtful instrument. The one piece construction is solid as can be and all the hardware is premium in origin and feel. Even the pickup installation is innovative thanks to spring mounts on the bottom of the pickup that hold it secure to the body, preventing any wobble or drift over time. Mini-rotomatic locking tuners and a borderline too-heavy duty aluminium flight case wrap up the impressive construction and storage feature list.
It is interesting to have a guitar without a true “finish”. Though that isn’t to say that the symmetrical carbon fibre body isn’t gorgeous. It has this amazing pattern and sleek shine to it. The Lassie is also shockingly lightweight and comfortable, with a full scale length making sure it never feels foreign.
Yes, this is an incredibly expensive guitar. And that is something I normally have railed against in my career. However, this is one of the few instruments that is unique in more than just aesthetics or a neat wiring trick. It’s a one piece guitar that will be set up for life while accumulating far less scratches, dings, or dents than any other $4000+ instrument. So while I do acknowledge the ridiculous price compared to the $500-$1200 guitars I normally review, this is really the closest thing to a structurally “perfect” guitar on the market. It’s similar to the Morifone Quarzo in the sense that I appreciate when people bring an actual engineering and sustainability point of view to guitar building. The Lassie is an incredible instrument that will fail you far less than other guitars on the boutique market, and for that it deserves high value marks.
Good for:Rock, Pop, Blues, Jazz, Gigging Musicians, Musicians Who Travel Frequently, Players Who Want To Replace 10 Guitars With One
Announced earlier this summer, Squier’s Affinity range has been rapidly expanding to include more and more classic models at budget prices. While the Affinity Jazzmaster took the offset world by storm, I was more interested in the double humbucker set up of the Affinity Telecaster Deluxe.
A Poplar body is covered by a gloss polyurethane finish, with Burgundy Mist and Charcoal Frost Metallic featuring Indian Laurel fretboards contrasted by the classic Black finish with a Maple fretboard. The necks are the classic Fender C-shape, with 21 medium jumbo frets and a synthetic bone nut.
Two ceramic humbuckers power this LP-killing Tele, with each pickup assigned its own tone and volume control. The three pickup switch also allows for some wonderful Morello-like stuttering if you shut the volume down on one pickup. Fender and Squier also made this guitar with a string through body construction, which is a nice feature if you plan on modding this into a higher end instrument. You can think of the bridge as your standard Fender hardtail bridge, with six adjustable saddles and a classic chrome finish.
For an Affinity series instrument, these pickups are quite pleasant, if not a bit plain. You know exactly what you’re getting here, a loud humbucker that will only sound as good as you EQ it. I did notice that it sounds considerably better through high end amps and amp sims, compared to my cheaper practice amps. But the Tele Deluxe is a bit muddy overall, especially when playing clean.
It’s not too dissimilar from the Donner Tele copy I recently reviewed, though these pickups certainly have a touch more character than those did. On the other hand, they did come alive with overdrive and gain pedals stacked on top, so you can definitely apply this guitar in a variety of situations and still get quality sounds.
The big advantage here is the tone/volume controls for each pickup, which provides a lot of flexibility for such an affordable guitar. You can dial in some subtle yet interesting mixes of the two pickups when in the middle position. As you might expect, this guitar thrives for loud, rock music and the adjacent genres (punk, metal, pop). You shouldn’t expect such pristine cleans, though the neck pickup does have a good bit of body to it, even if it is a touch too muddy for me.
The feel of that C-shaped neck was a pleasant surprise for me. It’s thick, but not too thick, sort of in that classic Telecaster way that many players have grown to love through the years. On the back of the neck, the finish is thin and smooth, a nice contrast from the thick polyurethane on the body. I found the fret edges and tuning stability to all be slightly above average and certainly useable without any major tweaks. There was barely any fret buzz, with only a few frets popping up from time to time as troublemakers. Cheaper Teles always have better tuning stability than cheap Strats because of the obvious bridge discrepancy, and this one was no different. However, the string through body does add a bit more of a premium feel to the neck, with plenty of tension and resonance, even when played acoustically.
Finish & Construction: 7
There was a slight issue with how FedEx handled this guitar, in the sake of transparency, but it was clear the massive crack in the finish was not Fender’s fault. So that blemish aside, this is a solidly built instrument! I really like the look and feel of the Affinity Telecaster Deluxe, because it sacrifices some superficial, premium specs for feel, fit, and reliability. The finish is a bit thick, but is offset by how light the body of the guitar feels. It’s not overwhelming in any which way, but it is unmistakably a great candidate for modifications or a pickup swap. It’s another case of an instrument having “great bones”, so that it can grow alongside you. No matter how “cheap” any of the hardware or electronics may feel, they get some points for being very easily replaced.
Squier’s Affinity Telecaster Deluxe scores off the charts here, as it is simply greater than the sum of its parts. It’s not a perfect instrument, but it lacks any sort of flaw that makes it unplayable. It’s fun, accessible, and could easily be tweaked into a gigging monster with a new set of electronics and some upgraded tuners. This gives it a broad range of potential user as well, from beginners on their first guitar to pros who need a backup instrument, gigging instrument, or a DIY project for these cold winter months. While I generally hold the Affinity series guitars to be the “average” score for guitar reviews (5-6 out of 10), this Tele Deluxe is a notch above and a great product to check out in late 2021 or early 2022!
Good for: Rock, Punk, Blues, Les Paul Fans, Budget Telecaster Fans, DIY Mod Projects, Gigging Musicians
I did not think that pedal reviews would make up the majority of my website’s content this year, yet here we are. In 2021 we have reviewed almost 40 pedals including some major brands I never imagined would want to work with me! We covered everything from clones to original circuits and reissues as well. I have no doubt this will be one of the most diverse, and comprehensive collections of pedal reviews and demos you will read all year!
Part of heavy embrace of the pedal world this year was because of how scarce guitars were. Regardless of price, country of origin, or popularity, there were simply few guitars actually available to demo. I was constantly told that any stock was already sold off and that they were struggling to make more. But pedals, oh they were plentiful, even despite some well documented parts shortages.
I even switched my pedal review/demo format throughout the year to make them quicker reads and easier to digest. Through all this work to source, record, and edit pedal content I was lucky enough to find my new favorite pedal company, Interchange Noise Works, who even helped sponsor my first ever giveaway! Between them, the Shotmaker Instruments Heroine, and a handful of other great builders, my pedal board’s gain stages will never be boring again!
A quick word on the ratings, which have changed for some pedals from their original published score. I re-calculated the score to account for newly released competition, how long something stays on my board, and tried to account for if some pedals faded away quicker than others once the shine wore off. So in some ways, think of less as a rating of the individual pedal and more of a comparison of how they all fit alongside one another.
Obviously this list is heavily tilted towards the gain side of the pedal spectrum. This is partially because gain (overdrive, distortion, boosters, fuzz) are generally the easiest circuits to make and are the most popular. In fact, everyone and their mother is now making some version of an overdrive pedal.
However, many of them are clones of older circuits and only a few actually have some unique characteristics. I think the Heroine is one of the most versatile and useful gain pedals I have ever played, with the Element 119, NVMBR Fuzz, and the Streamline Series I following in close behind. These all do unique and/or multiple gain sounds that took no time to fit into my rig and playing experience.
In terms of clones and clone-ish pedals, the Wampler Ratsbane is arguably the best RAT distortion pedal I’ve ever played. It’s not only incredibly versatile, but it is a very creative take on the classic circuit that is more clone-ish than pure clone. The Lyla Drive is a phenomenal Timmy-style pedal that will absolutely be sticking around my board as well. The Crook, from Poison Noises is also not a pure clone, but is one of the coolest overdrives I’ve played in a while, with LED or Mosfet clipping options.
When it comes to the more atmospheric side of things, where I love to hang out, the Astral Destiny was shockingly worth the hype generated by its 2021 release. It’s versatile, useable, and honestly a great value for the price tag. The MOOD is intimidating, and amazing, but even if you just use the reverb and delay features it is a blast. The granular delay and micro looping is still taking me some getting used to, but it is definitely a groundbreaking approach to sound generation.
Lastly, I wanted to touch on the huge jump in amp/cab sim technology. The Iridium is perfect for me, with tons of onboard gain and three very distinct amplifier voices. I could easily replace my live and recording rigs with this pedal, and I plan on doing just that. The Walrus Audio ACS-1 is probably actually a better pedal, owing to its incredible feature set and hi-fi, crystal clear tones.
If we look over at Reverb’s best selling pedals released in 2021, gear I reviewed is well represented. Earthquaker Devices and their Astral Destiny check in at #1 overall, while the Walrus ACS-1 is close behind at #4. In the best selling pedals of 2021 list, which includes more than just new releases, the Iridium cracks the top 10 list as well, checking in as the 9th most purchased pedal on Reverb all year.
Another way to look at our reviews, by brand!
Interchange Noise Works
Music Box Pedals
Summer School Electronics
Chase Bliss Audio
Time Box Instruments
Top Pedals Reviewed In 2021 By My Friends (Who You Should Follow)
And last but not least, some closing words by my good friend Sebastian from Var Guitar on his favorite pedals of the year, Tone Bender heartbreak, and effects modeling!
“I have two “pedals of the year”, for completely different reasons. The first is the Line 6 HX Effects. You’ve heard of the Helix family of modelers; the HX Effects has all their effects, it just omits the amp modeling. I wanted a flexible way to route delay, reverb, and modulation around my analog drives without needing to unplug my whole board every time I change my mind. I’m not enough of a mod connoisseur to feel like I need discrete analog pedals for everything – I was using a Boss MD-500 and DD-500 beforehand – and the HX Effects does everything I used them for, plus vastly more, in one box. The onboard editing is really easy, the effects are incredibly high quality, and I feel like I can now spend more time making music and experimenting than unplugging and re-connecting patch cables. The Line 6 crew are constantly issuing firmware updates, but even if they never released another, the effects in the current version will do 90% of everything I’ll ever want. It’s the centerpiece of my pedalboard and I can’t wait to see what effects the Line 6 crew add next.
My second pedal of the year is the Ramble FX Twin Bender. I had gotten really hyped up for the Boss TB-2W, and even managed to place an order for one, but when the place I ordered from ended up cancelling my order due to lack of supply, my fuzzy dreams came crashing down. I refuse to pay the secondary market premium for a TB-2W, so I did a lot of research into what would make for a suitable consolation prize; now that I have the Twin Bender, my search has come to an end. Like the TB-2W, it contains a Tone Bender MK II circuit, but it goes even further. For one, whereas the Boss has three bias settings, the Twin Bender has a fully adjustable bias knob, enabling you to starve the transistors for squelchy splattering tones or get ripping fuzz at full voltage. What’s more, it also contains a Tone Bender MK 1.5 circuit, has a few EQ options, and an adjustable input impede-r so that it plays nicely with buffers/wireless/et cetera. I’m extremely happy with it, and i don’t imagine you can get a fuller-featured Bender for the price.
This all being said, if you are a Guitars For Idiots reader looking to sell a TB-2W at its original MSRP, please get in touch.”
Time Box Instruments is one of the most incredible pedal companies I have found in the year 2021. Nicky Fuzzbox, the man behind the pedal company, is a circuit bender by trade who makes very unique pedals in all shapes and forms. The Meltdown, the subject of today’s review, is a lo-fi modulated delay with an aptly named Chaos switch. However, this delay is a very long, almost micro-looping delay, that is best suited for creating atmospheric swirls of chords and melodies rather than doing your best U2 impersonation.
You do have typical delay controls including volume (of the effect), feedback, and delay. However, they are paired with modulation controls like depth, rate, and wave shape, which all work together to transform the cacophony of sound that the Meltdown creates. As far as I can tell, the Chaos switch serves as a way to sort of max out all these controls, sending your tone into momentary overload. The Meltdown isn’t a perfect pedal, but what it might lack in some more traditional departments it more than makes up for in inspirational qualities. As I think you’ll see throughout this review, this is a pedal that makes you want to play guitar or bass when you’ve come home from a miserable work day. And that, much like my argument for the CBA Mood, is a wonderful feature!
Review & Opinion
While it took me a few minutes to figure out how to best use the Meltdown, it has been one of the most fun pedals in my arsenal the last few weeks. You can’t approach this pedal like you might approach another delay, as it is more of a sonic blender than what you and me think of as a “modulated delay”. It’s not a Memory Man, plain and simple.
What it is might be better described as a lo-fi filter, that adds some amount of fuzz and dirt to your clean tone, while delaying your signal a good bit of time so that you can often play over a loop. However, the ability to control the modulation and length of that loop is what makes this really interesting. You can essentially smear your riffs together in a washy, textural stream of sound while what you’re actively playing pierces through with much more clarity and bite.
I approach my use of the Meltdown a bit like a synthesizer. This is the pedal that creates pads and movement underneath more traditional guitar or bass tones. And while I’m sure someone far more creative than me could harness this is a lead instrument tone, I found it has endless possibilities in the rhythm section of my music. The Chaos switch specifically does give this a punk breakdown or noise solo potential unlike most pedals out there however. But really, that Chaos is better for specific moments of carefully chosen sonic bliss while the pedal is chugging along as a synth for guitarists who can’t play piano.
Conclusions & Final Score: 9 out of 10
There is a lot I could say about the Time Box Instruments Meltdown to justify why I love it. The obvious comparison is to the MOOD, which I don’t make lightly. I loved the CBA MOOD, but this is the type of pedal that a DIY, garbage guitar player like myself can more easily build into my rig. This has all the randomness and glitchiness that keeps a pedal from being too predictable, but it still far and away very musical. Time Box Instruments is doing some unique stuff, that doesn’t necessarily cost you a whole lot more than any other boutique builder out there. In some cases, the gear is even affordable in comparison. Stay tuned for more reviews, as I was sent another pedal that is somehow even more fun than the Meltdown!
Announced during the relatively quiet Summer NAMM, IK Multimedia has firmly entered the pedal world after dipping their toes in a few years back. The X-VIBE is an entirely new beast however, packing their popular AmpliTube software into this all-in-one solution for modulation effects. With 16 different effect algorithms, you can make use of 50 loaded presets from the factory, with storage for 300 total presets. These presets can be managed via your computer, making them much more user friendly, via the USB port. This USB port also doubles as a connection for using this X-VIBE as a recording interface.
There’s also MIDI functionality, letting you automate your modulation effects as much or as little as you prefer. While I myself will be using this a more simple multi-effect, the programming power of the X-VIBE is immense for stereo or mono rigs alike. There’s a wide range of effects, including different chorus, phaser, flanger, tremolo, and rotary speaker modes. Some famous modulation models like the MXR Phase 90, EHX Electric Mistress, EHX Small Stone, and Roland RS chorus are built-in as well. Though you have total control thanks to typical speed and depth controls, which are paired with a 3-band EQ. Plus, the parameter knob controls a different factor for each effect that you’ve engaged, given you more flexibility when programming your X-VIBE.
Review & Opinion
The main calling card here is versatility, as the X-Vibe can totally replace the 4 modulation pedals I’ve been keeping on my board full time. My CH-1, TR-2, Phase 90, and Electric Mistress can be very easily replaced, thanks to the sound-alike AmpliTube alternatives. The Phase 90 and Electric Mistress models in the X-Vibe are dead ringers, and I’m not playing vintage, sought after versions of those pedals anyway. So this is a completely viable option where I’ve noticed no real difference in the sound of my standalone pedals versus these algorithms.
I’m sure that some more high end modulation effects might not be easily replicated via the X-VIBE, or at least I haven’t been able to dial those tones in myself yet. So if you’re board is loaded with things like a Polychrome Flanger, a Warped Vinyl, etc…you will have to work harder to get the X-VIBE locked in. However, if you’re like me and use pretty standard mods because you grew up listening to London Calling, Regatta de Blanc, or She Sells Sanctuary, this is a phenomenal sounding product.
What the X-VIBE excels in though is tweak-ability of these classic sounds, even adding in some unexpectedly useful modes like Step Filter and Step Slicer. The sound quality is all there, providing a bit more analog warmth than I expected for some of these classic effects. But to discuss each in detail would take up, well, 16 pedals worth of reviews. What does make a big difference is the ability to control the EQ of your modulation voice, which is uncommon on most standard pedals. The Bass, Mid, and Treble knobs open up a lot more texture within the Phase 90 voice or super chorus mode. This is where most musicians, myself included, will really spend time dialing in the X-VIBE to better suit their guitar or amps’ unique characteristics.
Conclusion & Final Score: 8.3 out of 10
Overall, the X-VIBE is a phenomenal solution to your guitar modulation needs if you’re willing to spend the time tweaking these classic algorithms to your specific liking. It will never be as novel as insane modulation pedals rolling out of boutique builders these days, but it will always supplant the old classics.
You should see this is as 16 modulation pedals for $400, which compares favorably to the $300+ I spent on my TR-2, CH-1, Phase 90, and Electric Mistress pedals. Which have far less tone shaping potential, no onboard programmability, and require 4 distinct 9v power supplies to the X-VIBES one. So you can see how this can be convenient solution for many players. It’s also worth noting you get a full virtual suite of these X-VIBE effects when you buy the hardware, pedal product. So essentially, you get the pedal and all the plug-in versions, providing solid value for the money.
Hailing from Syracuse, NY Summer School Electronics is led by a part time teacher/part time punk rocker whose first release to the world of pedals is an updated take on the DOD 250 and MXR Distortion+. The Gus-Drive, named after his loveable dog (as if there was an unlovable dog) is a two knob overdrive with volume (Bark) and gain (Howl) controls. With an impressive range from subtle to saturated, the Gus-Drive can be both distortion and overdrive, depending on how you want to use it. Convenient modern features like top mounted jacks help make the Gus Drive pedalboard friendly, and the pedal is powered by your standard 9v supply.
Review & Opinion:
I really favored the Gus Drive with the gain turned all the way up, leaving volume at unison with the amp. This creates a very crisp distortion that sounds full and amp-like, with no extraneous compression or muddiness. In fact, it is a relatively treble-rich gain, as opposed to the bass heavy sounds of many dirt boxes. I suppose that is where the DOD 250 gets its reputation as a “crispy” overdrive/distortion. But in this case, it works very well with humbuckers that I might otherwise find a bit too bass rich.
While I’m not very educated on the internal diode and clipping schematics, it seems this is one with quite a bit of headroom, as there is a lot of boost and light drive sounds in the Gus Drive. Specifically, it has a very wide range of overdrive just within the sweep of the Howl knob. I think many players would find this to be an exception treble boost even, though I definitely think it comes alive at the highest gain settings for garage and punk rock power chords. Another nice feature is the sensitivity of the volume knob, which doesn’t drastically jump up in output once you move past noon. While some people love their pedals loud, it does bother me when a pedal only has a “quiet-unison-way too loud” form factor. This is not the case, with a variety of subtle volume jumps to help dial in the right tone based on the pickup choice.
While I don’t have much experience with the circuits that inspired the Gus Drive, this feels like a very nice take on the idea of the smooth, preamp overdrive associated with ’70s music. The ability to add sustain with the flexible gain level also seems well suited to play nicely with tube amplifiers. And while I record my demos with amp/cab sims for simplicity, I was really loving how this accentuated the natural gain in my Vox AC15.
Conclusion & Final Rating: 7.5 out of 10
Overall I’m very impressed with the Gus Drive and only have mild comments on the pedal as a whole. I do love supporting local builders, or atleast domestic builders, but $150 is a bit steep when there is no shortage of 250s/MXR Distortion+ pedals ranging from $75-$100. However, a vintage one will definitely set you back quite a bit, and this feels like a bit more solid than whatever import reissue of the 250 is probably floating around right now. So if you want that classic, preamp gain with sizzle, I do think this is a worthy investment. Though it is overflowing with “value” points all the same.
You can definitely tell though that this pedal was built by a player, because it is convenient, quiet, and honestly just a lot of fun. I would say it really works best as a distortion, though it has a no shortage of room to find your favorite low gain/high volume tones for pushing a tube amp. And there is something to be said for pedals with stripped down controls, there’s no room to hide bad sounds or poor wiring! And fortunately, the Gus Drive possesses neither of those two features and is a really great introduction into the pedal world for Summer School Electronics.
In one of the biggest surprises of the year, this $46 Donner tape delay has become one of my absolute favorite guitar pedals. The White Tape is a stereo analog tape delay pedal that lets you control the level, time, and feedback of a delay on the right side and another delay on the left side. This gives you the unique ability to “ping pong” delay sounds back and forth, or create some very interesting textural pads of sound. At first glance, you might be confused as to why you’d want to have two different delay signals in stereo, but once you hear the sound of one short delay cresting before a series of long repeats, it is hard to resist. Aside from your stereo ins and outs, a standard 9v power supply input, you’ll find very straightforward controls over the level (or mix), number of repeats, and length of delay for both left and right channels.
Review & Opinion:
Donner’s White Tape pedal should have been on my radar much earlier. In fact, I probably wouldn’t have gone out and purchased an Echoplex if I had tried this first. This analog delay pedal is based on simulating the classic tape echo sounds we all know and love. Except it not only does that incredibly well, it does it incredibly well in stereo.
The analog delay voice has a pretty decent in range in both the length and number of repeats. It also sounds a lot more authentic than I anticipated as well. The White Tape is also largely devoid of the two perils most cheap delay pedals face: short delay time and low output volume. Both of these problems are well displayed by another cheap analog delay, the Musiclily AD-01 I reviewed. So it was incredible to plug into this Donner box and feel right at home.
Then, just to add more to the fun, the White Tape can even get a little bit weird. With lots of tape echo saturation when you crank the mix and lots of tape echo oscillation when you crank the feedback! So while it isn’t the most beautiful, lush delay I’ve ever owned, it is like 80% of the way there, with a great price tag and unique feature set meant for stereo rigs. And in terms of the actual delay voicing here, there is more than enough quality to have this sit on your board as a go-to delay.
Conclusion & Final Rating: 8.4 out of 10
This is such a cool idea for a pedal, let alone an affordable and mass produced pedal. It’s actually really refreshing to see Donner invest some time and energy into making a cheap pedal that isn’t just a clone, copy, or clickbait circuit. But even more impressive is that the White Tape is not just a gimmick. In fact, this Donner White Tape dual delay sounds really freaking good for what it is. You get utility, function, and tonality for $46, and that is very deserving of the high marks awarded here. I do understand not everyone will want, have need for, or even have access to stereo guitar rigs, thus limiting the scope of this pedal in some ways. However, if you have something like a Walrus ACS-1, an HX Stomp or Pod Go, this is a real tool for you to create with. This might be the highest rating I’ve ever given out to a sub-$50 pedal, and it is definitely setting a very high standard for the affordable gear to follow!
Poison Noises is a relatively young pedal company, having only launched as a pedal company in January 2020. However, their previous history as an audio engineering group has no doubt helped them release an astounding 12 pedals (and counting) in under two years. Despite those 12 pedals containing many interesting takes on fuzz and modulation circuits, “The Crook” overdrive is their flagship pedal and seeks to replace any and all overdrive pedals that currently populate your board. And after a long year of reviewing overdrive pedals, I was shocked to find that this one beat the rest out!
The Crook is a Mosfet-style drive that can adjusted into an alternate diode mode (LED-based instead of Mosfet) using the “The Goods” toggle switch. You get a master tone control plus an extra low end control, the “Lay Low” knob, which functions like the bass knob on a Timmy overdrive (though this is NOT a Timmy pedal) to bring some bass back into the mix. You’re left then with just straightforward volume (Entering) and gain (Breaking) controls. Without giving away too much of the next section, there is a very clear difference between the two diode selections that make this pedal feel very versatile. The LED transistor clipping is much more open and amp-like, compared to the more compressed crunch of the Mosfet mode.
Review & Opinion:
I’ve never had any sort of run-in with an overdrive pedal of this flavor. I know the TS9 is pretty similar in some ways, though certainly not a direct sibling in any way. The more compressed Mosfet-mode definitely had some tube screamer-like tones, but with far more versatile EQ controls and less of that pure mid-hump. But while it didn’t sound the same, I use the TS9 as a good reference point for how this fit into my sound. When I needed that warm, compressed lead line, this comes in handy.
However the highlight and the majority of the praise will be heaped on the wide open sounding LED-diode clipping mode. This is an amp-like overdrive that sits somewhere between distortion and a lighter, airy drive. It’s perfect for creating a thick, punchy sound that brings power chords to life for punk, pop-punk, and hard rock. However, it can be pushed pretty hard over the edge into distortion and chug-worthy tones.
The calling card isn’t just that flexibility, but the overall quality of the overdrive for only $99. The ability to mix in extra low end is what helps keep this so tight and focused as an overdrive, but it never gets too muddy when you turn up the gain and volume. It’s a wonderful high gain overdrive, and it also played really nice with my single coil pickups, both Tele and P90 variety. It succeeds in making them sound almost humbucker-like, as in huge and rich.
Final Conclusion & Rating: 8.7 out of 10
Two different flavors of overdrive clipping pair nicely with the extra bass control to make this one tweakable pedal. But at the same time, it is very easy to coax wonderful tones out of it, making it user friendly. The value for the money is a big plus as well, with some of the comparable overdrive pedals costing $150+ as opposed to this $99 price tag. It’s also a nice change of pace to see someone try a new take on a Mosfet drive, instead of the transparent overdrive market that has been thoroughly saturated. I can strongly recommend this for anyone who wants a higher gain drive, with some versatility, but isn’t willing to spend $200 on a premium, boutique pedal that is trendier than it is functional.