Dynamic or volume pedals

(Originally written by SlapKid/translated from Audiofanzine FR) I've been using this compressor for three weeks. I was looking for a simple and effective device and it is exactly the tool I needed. My first surprise was that it has a true bypass (without battery and PSU the signal just goes through...). Second surprise: you must remove the housing screws to access the battery, which is really stupid. Third surprise: once you open the housing you can see a small brass screw to make adjustments. I didn't touch it because I'm satisfied with the sound of the DC9 and my Telecaster. UTILIZATION Very easy... I love it. The level control affects only the output level. With the sensitivity control you set the level at which the compressor starts working, depending on the guitar (each guitar requires its own sensitivity setting). It's great because you still have the trim pot inside to fine tune. It won't take you long to set the compressor correctly. SOUND QUALITY I don't own the Dynacomp (the one I tested at the shop sounded like a hair blower and it altered the signal) but I own many compressors (they all have disadvantages so I'm always for new models...). First of all, the DC9 sounds transparent and intelligible without saturation. It also adds high frequencies. It's like adding a pinch of salt to the food, it enhances the taste. The compression is not that strong (no pumping effect compared with other pedals). I insert the DC9 between my guitar and the amp (a 30 watts Line6 Spider3) and it enhances the overall sound response (clarity, punch, definition). And it's the same thing when connected between my Sansamp Triod and a clean amp. The DC9 doesn't amplify too much the noise. It's the ideal effect with the neck pickup of my Telecaster: without effect I get a jazz sound while with effect I get a perfect sound for funky rhythm parts. OVERALL OPINION I give it a 10. However, if you want an extreme compression it's not the right pedal for you. Perhaps the trim pot can change that. The CS100 sounds clear but it saturates. The Boss CS3 sounds awful like the Ibanez CP5. The DOD Milkbox creates too much noise and colors the mids. The Fat Burner is too expensive and it doesn't sound natural. The Compnova is not effective enough but it offers the best quality among effect pedals. I think all these compressors use the same technology (Ross-type). If you want a product in another category try the BBE Orange Squash, which has a fully different technology. But it's much more expensive (too expensive for me)! The DC9 is very useful and it is always on. I use it as a soft and discreet enhancer, and it is exactly what I expected.

SOUND: If you’re looking to clean up your signal and return those sparkling highs, Steampunk makes for an excellent Buffer choice. Moreover, this pedal also is designed to drive your pedals and amp harder with up to 20 dB of clean boost, as demonstrated in the YouTube video below. There’s a little switch under Steampunk’s chassis that allows you to disengage the Buffer component of this Boost/Buffer pedal. I was curious to know how well it ‘buffered,’ and so I did some comparisons with both clean and distorted signals in the above video, and the result was surprising. The signal sounded fine without the Buffer, but when engaged the tone suddenly cleared up and became defined (particularly the high-ends), as though an EQ was added in the mix. I had a total of six pedals in the demo – the four JET series pedals (including Steampunk), the Le Lead Preamp and the Rock Bug amp/cab simulator. Not exactly a large signal chain, but apparently enough to muddy the waters. Significant, but not exaggerated, the Boost does a fine job (some boost pedals are so extreme I can’t imagine anyone using the full amount as it would cause clipping). There is some added noise when using the boost, but considering you would use such an effect when pushing heavy rhythms or going into a lead solo, you would not hear the noise (only if you stopped playing with complete silence). This is not an entirely clean boost, but it’s not too dirty either. I found it added some ‘oomph’ to the original tone and in a good way, as though the crunch became crunchier and the leads had some added sustain and body. OVERALL IMPRESSION: Developed by J. Rockett Pedals, the Steampunk Boost/Buffer is one of a limited edition four pedals in the JET collection. Also available is the Squeegee Compressor, the Touch Overdrive and the Immortal Echo. Half the size of a regular pedal, Steampunk comes in at only $99 USD (as do the others in the collection). The Buffer aspect works exceptionally well by clearing up the tone by regaining any high-end loss that may occur with long cables or a lot of pedals within the chain (and it can be used without engaging the Boost). The Boost provides upward of 20 dB to push your solos or to add some drive to your amp for some noticeable crunch-factor. It is a fairly clean boost, but it’s obvious that the tone takes on some added aggression when already distorted or driven; as for clean signals, they become more pronounced with some additional rowdy push (as opposed to any distortion). Overall, an extremely useful pedal as you get two common features in one and the price is excellent. It’s available at: https://rockettpedals.com/product/steampunk-boostbuffer/ EASE OF USE: Super simple to use, the Buffer switches on and off via an internal switch, and so you need to decide whether you need it or not (necessitating the removal of four screws to gain access), whereas the Boost is controlled by a single knob. Steampunk’s Boost is marked by a small line (about quarter way) to show parity, which does not boost the signal, but does add some energy and sustain when turned on and kept low. Of course, there’s a lot more sustain and grain to be added as you crank the Boost upward of 20 dB extra. RELIABILITY & DURABILITY: The Steampunk Boost/Buffer is a hefty little guy with its all-steel chassis, while barely taking up any pedal board space and measuring in at 1.75 x 3.5 inches (4.44 x 8.89 cm). There’s only one knob/pot, which feels very solid and smooth when turned. Due to Steampunk’s small size, a big foot may touch down on the plastic knob occasionally, but the knob feels of heavy enough construction that there shouldn’t be an issue in cracking or breakage. The Buffer aspect is turned on and off via an internal switch, which may be an annoyance if you’re constantly turning it on and off, but since the Buffer makes such a significant different in sound quality I doubt you would want it off. And if you do want it off, then there’s no issue in wanting to turn it on. The input/output for cables are located in the back, whereas the power supply (standard 9v 2.1 mm) insert is on the side. Even with the power insert located on the side, you still can fit pedals rather tightly around Steampunk, which helps to keep the power input snug and in place (another pedal sets up against the power input cable), and out of harm’s way.

- Controls for volume, tone, and compressor -Tilt EQ - True Bypass - Solid Hammond enclosure - Quality parts, top notch Diamond Assembly - Powered by 9v Battery, or standard Boss style 9v(-) adapter. - Bright yellow, won't get lost ;) - LED indicates compression level peaking UTILIZATION Very straightforward to use. Controls are pretty basic, volume, compression, and tone, just as you'd expect to see in most compressors. That said, there are some really cool features within that simple setup. The tone knob isn't the usual dial-in-treble control. It is a tilt-EQ that works somewhat like a see-saw. As you turn the knob, it will dial in treble, but at the same time pull out some bass, and vice-versa. Diamond use it in most of their pedals, and it is awesome. The LED works like a standard on/off indicator, but at higher compression settings, it will flash red as you dig in, giving you an idea of how much you are actually compressing your attack. As with all Diamond products, its impeccably built, with all pots and switches offboard. SOUND QUALITY It just sounds fantastic. It doesn't squash your signal unless you really ask it to, dialing the compression knob all the way up. It adds quite a bit of clarity to your playing, bringing your high strings up to where you can really here them. It just makes pretty much any amp sound better, and the sustain is very sweet. The tone knob really allows you to shape the compression, but can also be used to adjust it so that it is pretty much transparent, identical to your amp. I kept this compressor over one that was worth over $800 at one point. Yep, it sounds that good. OVERALL OPINION This is the compressor to buy. I recommend it to pretty much any guitarist who uses any aspect of compression in his playing. I'm just blown away day by day at how fantastic this one sounds. I've had no regrets with it, and will be keeping it for quite a while. If you are looking for a compressor that won't completely squish your tone, but add quite a bit more to it, I would definitely recommend the diamond.

- CB version - Switch between compression and sustain setting - Controls for volume, compression, tone - Powered by 9v battery of regular boss style adapter - Pretty neatly wired, seems stable. - Solid enclosure UTILIZATION Pretty straightforward to compressor to use. Tone, volume, and compression controls are all pretty basic. The problem is the way the controls change completely between the compression and sustain modes. It becomes a completely different pedal, and its very difficult to keep a similar sound between the two. My other complaint is how difficult it was to dial in a transparent tone on the pedal. The paint is a lot more sturdy then the original BJFE pedals, but still pretty easy to chip. SOUND QUALITY Its alright. I found it a little noisy for a high end compressor, especially compared to the original BJFE Pine Green Compressor or the much cheaper Diamond. In terms of actual compression, it did a pretty good job on the compression side. It just didn't add the character or clarity I was looking for. The sustain side is a pretty cool feature, and one I'd never seen before. It basically leaves the attack intact but draws out the decay. Could be very useful for a metal guitarist looking for more sustain but without any squish. OVERALL OPINION To be honest, I just wasn't that impressed with this one. I tried it alongside a PGC and Diamond, and have used numerous other compressors in the past. The actual compression and sustain sounds, once dialed in, where pretty good. But it was just annoying to dial in and didn't really add the character I was looking for. At $200 new, its not a bad compressor. But honestly, I would pass, and there is no way I'd shell over $350-400 for the hand wired version. If you can afford an original BJFE Pine Green Compressor, they are fantastic. As as of May 4th, 2011, the crazy ebay prices seem to be dropped. On more of a budget, I would recommend the Diamond compressor which is fantastic.

The Super C seems to be designed to specifically to be used in the effects loops of amplifiers and great for rack units effects loops. It is dual mono and can be used to quiet my two Crate Power Blocks effects loop along side a BBE 482 Sonic Maximizer. The only con about this device, is the fact that it has a single light indicator to tell you when it's about to close. Older Hush / Rocktron 2CX's had 5 lights to visually aid you, but the Super C is just as good . So you're going to have to depend on your ears to get this great device to work for you . It's pretty much a super sensitive noise gate, that when properly set up, it will " shut off " the amp when you are not playing . Here is how I set up my Super C ; 1. I get a program in my processor that has a long delay and reverb effects signal . 2. Hit a chord and adjust the the Threshold knob and the Release knob to not close or or open too soon . 3. I repeat the process, until both, the closing and releasing isn't too premature . After, you tightened up the release and closing features, it will work just as hoped and planed. After I was done, I have an expression pedal to losen the noise gate so well, that when I do tight chugging Pantera or Metallica type rhythms, it closes perfectly. Or if I use clean choursly, Flanged out tones, that are reminiscent of Pink Floyd's " Run Like Hell", Eric Johnson's " Trademark " or the Police's "DA Doo Doo Doo, DA Da Da", it releases and closes perfectly, no matter if it's clean or distorted to the maximum. And at rehearsal or gigs, the Super C is perfect to the point that I have no hum or hiss from my amps at all .

This is the first Seymore Duncan Pickup Booster, the SFX-1 Pickup Booster. I have one as the first thing my guitar plugs into to take advantage of the pickup enhancement mode. The signal then goes into a Decibel Eleven Loop Expander that has a Buffer, then a Digitech RP-12, Digitech RP-1, then into another Seymour Duncan SFX-1 Pickup Booster with the toggle switch set to zero to drive my pedalboards signal 9dB's up with out altering my tone . I run both SD SFX-1's at 12 volts to get more out of them, instead of 9 volts, fed from my Decibel Eleven Hot Stone Deluxe for the cleanest sound possible. There is only one chicken head knob for raising the volume / gain boost , 6dB's to a whopping 25dB's. You can use it to add girth and gain to your overdrive, distortion or fuzz foot pedals, make your tubes sizzle harder when you go past 10 o'clock or just use it for pickup enhancement. The switch is 1,0 or 2. # 1 will give single coils a hot rodded P90ish kick but still retain the Classic Strat Quack. # 0 will only give you only un altered boost that is dictated by the gain knob and # 2 will give your single coil pickups the drive of a medium drive of 12k ohms pickup or maybe 13k ohms. If you love to drive your humbuckers slightly harder, use mode 1, unaltered w/ boost use mode 0 or if you want to make your passive humbucker pickup have the drive of a pickup ranging 18k ohms to 23k ohms, use mode #2. The older Seymour Duncan Pickup Boosters, like the SFX-1, boost range goes from 6dB's to 25dB's, while the current version goes from 0db's with pickup enhancement mode and up to 25dB's of with or with out pickup enhancement . I tried the newer ones, but I like the sounds of the older SFX-1 Pickup Boosters much better. They seem to hit the two tubes of my Digitech 2112 SGS and the tubes in my two VHT Valvulators 1's, like an extra tube before going into two Crate Power Blocks. If you get any version of the Pickup Boosters, get two , one as the first thing your guitar plugs into, to enjoy the pickup enhancement. And the second one to drive your signal hotter to you rack and or amps . You may not need to get new pickups, this unique Booster, will illiminate the need of more aggressive sounding pickups.

Boostequila is a diverse beast! It is a dual-boost, which means two channels, one you can dedicate to a clean channel and the other a dirty channel, or one for rhythm crunch and the other lead, as two common examples. Switching channels is done direct from the footswitch (hold for 0.4 seconds versus a quick click to turn on/off). Each channel has its own EQ (treble, mid & bass), and those can act as a boost on their own, besides sculpting and fine-tuning the tone. Also, each channel shares a ‘Muscle’ knob, which adds or takes away from the low end. When on Bone, bass is removed, but what you get is utter clarity and sparkle, as though having a presence knob; this can clean up any dark amp. As you turn the knob counter-clockwise, toward the middle, the Muscle adds a great tight low-end. The more you turn the knob, the fatter the tone becomes. In terms of loudness, with the EQ set at 12-noon, I doubt anyone would need to set the level past 1-2 o’clock. In my demo, I only had the Level at 1-o’clock 9 (as well as the treble EQ), since any louder and I would have clipped my signal. In other words, there is plenty of headroom. If the above isn’t enough, Boostequila drives an amp in such a way that the mids burst through, and this produces a very similar response to a low-to-mid gain pedal. But what makes it even more impressive is the nature of Boostequila. This must be one of the cleanest boosts available. Cleans remain clean and dirty simply becomes more aggressive; in either instance, the added detail and robustness is superb and noticeable. The demo included touches on some basic examples, but there could be quite a bit of tweaking, if so desired. Each EQ knob makes a difference, anywhere from a simple treble boost (fantastic without any upper-end harshness) to producing a massive, heavy crunch with a typical dirty amp. The ‘Muscle’ knob then permits you to hone in on the bottom end, to clean up any mud or to add deep punch to thin-sounding pickups. Boostequila is one of those ‘always-on’ pedals. It retails as a stand-alone pedal (complete with dual-switching mode), but also is a module for a LiberaToe pedal switching platform.

The VALVE is a ‘keep on’ pedal, and Jim Hagerman classifies it as a boost (upward of 20dB), but it is a tone charmer that has overdrive properties. At $129 USD, the VALVE is one of the best bangs for the buck, as it fattens up a Strat, makes humbuckers growl, and simply adds more life and dimension. Moreover, by placing a boost in front of the VALVE, to push its 12AU7 tube even harder, there is a BK Butler pedal effect, as demoed in the final lead section to the intro composition on the accompanying video. https://www.youtube.com/watch?v=Q2zycMzNb5c Now, keep in mind that this is a tube-driven pedal with no silicon involved, operating in starved-plate and starved-heater mode (viz., the tube receives adequate voltage, but the plate and grid are starved of higher voltages that would bring them within their intended headroom and total harmonic distortion parameters) and all done on a typical 9VDC power supply (also works with 12V). This configuration has not been successful until now, although others have tried. The Matsumi 12V ValveCaster attempts this, but has limited performance due to not addressing grid current at such a low bias. I did indicate what it does to a tone in general terms, but insofar as my own experience, I added the Hagerman Valve to two different tube amps (Orange Tiny Terror and the Peavey Classic 20), as well as the Fractal FM3 modeler. Jim Hagerman claims great things with solid state amps, but I did not have access to that platform. Without fail, the results were superb. This full-bandwidth pedal resulted in tube amps sounding thicker and richer; and the FM3 becomes more energized and realistic. Clean signals sounded glassier and vibrant, merely by placing the VALVE’s ‘level’ at parity (about 9:30 o’clock); and once past that level, there is increasing dirt/breakup, and to the point of a classic rock sound (with level cranked full). And yet, the amp still retains its underlying tonal characteristics. Dirty and hi-gain amps mixed very well with the VALVE, and with greater richness, gain and boost at only 10-o’clock, as though modded and super-charged. Of course, you can get a lot more saturated for those creamy, gooey leads by placing the level all the way up for lead solos. The VALVE is true-bypass and well-built with a heavy aluminum chassis power-coated in black with white lettering/graphics. It comes with a 12AU7 tube, which should be removed during transport, unless you have a protective pedalboard cover/case. Its design permits it to be Velcroed as usual, but also screwed down into a wooden pedalboard or bolted onto a metal unit. As mentioned, it takes both 9VDC and 12VDC power supplies, requiring only 135mA power (150mA if running 12V) via a standard negative-center cable. Other specs include 100k ohm input impedance and 100Hz to 20kHz bandwidth. One caveat is that the VALVE’s level control knob is small, which makes it a bit awkward if changing the level on stage. However, that is where an extra boost comes in handy (such as the Hagerman Boost), i.e., the VALVE can be left on and used to add dimension to rhythms, and then the added Boost engaged for fat leads and that BK Butler effect. NOTE: The company notified me... they added a rubber o-ring where the tube plugs in, making the structure a bit more rugged, and now you can dump a beer on pedal without worry. Tube still sticks out and can be damaged if clumsy, but it's only tube that breaks, not pedal.

Behringer SNR201 Guitar Pream-Denoiser rack noise reduction gate (Vintage) Model: SNR-201 (Made in Germany) Audio Interactive Noise Reduction System mit Vorverstärker + Ton Dynamic Filter, zu 19 Zoll Rack. Hi-Z und einen Line input und einen -20dB und einen line output. Preamp, Dynamic Filter, Expander / Gate Der Behringer SNR201 stellt ohne Frage einen Qualität-Meilenstein in der nunmehr Firmengeschichte des deutschen Audio-Spezialisten dar. Die Preamp klingt, wie es sich für ein Referenzgerät gehört, überhaupt nicht. Soll heißen, es treten keinerlei Verfärbungen auf, das Gerät überträgt absolut linear und präzise feinzeichnend. Haben das sogar mal mit einem Audio Analysesystem überprüft. Die Soundqualität ist wirklich genial.

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SOUND: The Noise Terminator is a great tool when you want to remove unwanted background noise from your gear. The effect from this pedal can range from very subtle to a near complete blockage of the signal (not just the noise, but a guitar’s signal, as well). This means being able to adjust and dial in small increments until you no longer can hear what you don’t want to hear, and I did this under exaggerated conditions. In the accompanying video I hooked up two high-gain pedals, one considered ‘modern,’ being the Friedman BE-OD Deluxe, and the other ‘vintage-modern’ (it’s a current pedal, but based on a 1960s-1970s design and sound), being the Buzz Tone by Jext Telez. With the gain at 2-o’clock on the second channel of the Friedman there was some hum, but nothing extreme, although extreme enough to engage the Hard Gate on the Noise Terminator to a 2-o’clock position as well and in order to completely remove any slight hum or hiss. Next, I linked the Jext Telez at full gain into the first channel of the Friedman (its gain at 12-noon) to create significant and exaggerated amount of background noise – within an environment that is not usual (not many people would put a fuzz/distortion up full and into a high-gain pedal). The Noise Terminator’s High Gate had to be increased to about 95% to completely eradicate any background noise, but it did so and without affecting the original tone. As a bonus, you don’t hear the clicking of the footswitch when engaged or disengaged. OVERALL IMPRESSION: Carl Martin’s Noise Terminator is a precision Gate that allows you to customize the degree of noise to be removed from a signal; that humming, hissing or crackling that messes with a great tone. A small amount of noise is forgivable in a live setting, which likely will go unnoticed unless the entire band and audience is absolutely quiet, but is an annoyance in studio recording conditions. The Noise Terminator allows two levels of artifact control, with a Soft Gate for very minor sounds and a Hard Gate for those high-gain and noisy fuzz pedal situations. For $165 USD the Noise Terminator is a fair price, considering you can switch between two Gate levels, which means keeping your signal quiet while playing clean or with some crunch and then stepping on the footswitch to engage greater line silence during more intense and higher-gain moments. As well, being able to activate the unit via MIDI with its Remote Jack, that you don’t hear any clicking noise from the footswitch and that it doesn’t mess with your original tone are definite features that make the Noise Terminator worth investigating. GENERAL USE: With your gear powered on, the Noise Terminator’s Soft Gate engages automatically. If you want to have no Gated effect, simply keep the Soft Gate turned down completely. However, even when turned up to 12-noon the Soft Gate is very modest and would not interfere with softer playing. The unit shows power received with either a battery (with a guitar plugged in) or via the power adapter and by way of a green LED light located directly below the Soft Gate knob. If you require a more powerful gate, then the Hard Gate can be engaged via the footswitch that shows a red LED light located directly below the Hard Gate knob. If your signal noise is significant, you likely will require the Hard Gate activated, although you can begin by turning up the Soft Gate to determine how much noise can be removed with that control. If still requiring the Hard Gate, activate via the footswitch and begin turning up the Hard Gate until you notice very little or no noise interference. Turning up the Hard Gate to its fullest will result in some of the desired guitar signal being truncated. In regard to proper positioning of the Gate, I find it appropriate to place it after any noisy pedals and likely best to place it before any reverb or delay as their tails and trails could be cut off. However, that may be a desired effect worth exploring. Another option is to place the Noise Terminator within your amplifier’s effect loop. An added feature of the Noise Terminator is the Remote Jack, which allows you to connect the pedal to an external MIDI switching system. In doing so, you can go between the Soft and Hard settings without the need of using the Noise Terminator’s footswitch. OTHER DETAILS: Weighing 250g (12.34 oz) and measuring in at 120 (w) x 95 (D) x 56 (H) mm (4.72 x 3.74 x 2.2 inches), the Carl Martin Noise Terminator has a steel chassis and quality paint job. It has a signal-to-noise ratio of 87dB, input of 20K Ohm and output of 50 Ohm. The Noise Terminator can work on a 9V battery or a standard 9V DC (regulated) 2.1 mm female plug that provides a minimum 50mA power supply (while consuming maximum 12 mA). The power input is located in the back of the pedal, whereas the cable input and outputs are located along the sides. The footswitch has a solid click in feel, yet produces no audio signal when engaged or disengaged. Both knobs and LED lights are situated far enough from the footswitch to prevent any damage or mishaps while stomping. The knobs have a very solid and smooth feel – they are not stiff to turn, but they do require good tension when turning (which means they stay in place once in place).

SOUND: Volume pedals are fairly straight forward, although the quality of a volume pedal’s electronics will make a difference in what you hear when using it. The YouTube video below goes through various features of Mission Engineering’s VM-PRO, which is not like any other volume pedal out there, making it far more diverse and complete for a wider audience of gear heads: I’m covering all the features in the Overall Impressions of this review, but suffice to say that the ability to tweak the VM-PRO makes a considerable difference when comparing to typical volume pedals. As the video demonstrates, the BUFFER in the VM-PRO produces a higher quality and truer sound in your tone. As well, you can adjust the VM-PRO to work with Active pickups, which tend to push volume pedals too hard (and high-gain amps/pedals produce a rougher edge to the tone). As with other volume pedals, you can have the VM-PRO roll off the highs and get a little darker as volume fades – or you can add ‘SPARKLE’ (keep the highs in). Not all volume pedals work well with vintage-style fuzzes, but with the VM-PRO you can flip a switch so that it drives a little harder and with a higher impedance. Nor do you don’t have to have zero sound when rolling off the volume – there’s a set screw that allows you to adjust just how much comes through in the heel-down positions, to the point of having a lot come through to produce your regular volume, followed by a BOOST for lead in the toe down position. Finally, there’s an option of a separate Tuner out, to keep that pedal out of the chain and to prevent more tone sucking. OVERALL IMPRESSION: Beyond a typical and simple volume pedal, I’m impressed with Mission Engineering’s VM-PRO. It provides several options, which I’ll address here, that typically are not found on lesser volume pedals. This model is a bit pricier, but you get a lot more for your dollar – and likely a lot less frustration if working with active pickups, fuzz pedals or dislike how volume pedals typically roll off the highs when decreasing volume. The first bonus on this pedal is the built-in buffer, which stays on all the time. Anyone with a long line of true-bypass pedals or long cable runs knows the value of a Buffer, which controls the input and output of the signal for a truer tone. A simple buffer can cost $100 or more, and so now you have it in the VM-PRO (and it works well with other buffers). The three dip-switch options inside adds to your customization. The VM-PRO is set for passive pickups, but you can switch the pedal over to better accept active pickups, an important feature since active pickups can overdrive a volume pedal and produce unwanted distortion at full volume. Next, volume pedals always remove the ‘highs’ as you roll off on the volume, and sometimes that is a good thing if you want a darker sound or feel to the tone when doing so. However, the VM-PRO allows you to add in some ‘Sparkle’ by keeping the highs as you roll off on the volume (making it a truer volume controller by not altering the tone). Third, vintage and vintage-style fuzz pedals require a high impedance output from a guitar and most volume pedals will not accommodate this need (which means less of a ‘kick’ in your fuzz tone). Conversely, if you’re an avid fuzz user then all you have to do is flip on the third dip-switch to support the best fuzz tone possible. There still are more features. A cool one is the trim-pot adjustment screw (also under the hood of the VM-PRO). Usually a volume pedal will roll off the sound completely – going from 100% signal to no signal (with heel down). The VM-PRO allows you to adjust this, so that maybe a little bit of signal still is audible, or perhaps a moderate amount of signal is to your liking. In effect, what you can do is adjust the trim-pot so that 80% of your signal can be heard with heel down and then 100% with toe down, allowing you to use the VM-PRO as a boost. Finally, with the inclusion of an adapter (available through Mission Engineering) you can have a separate tuner out, which is useful if you want to keep your tuner out of the signal chain (since tuners can be tone suckers). EASE OF USE: A volume pedal works in a particular manner… as the heel goes down volume decreases, and as toe goes down volume increases. Pretty straight-forward. How you want to control volume output can vary depending if you have the VM-PRO in front of or at the end of the chain (just before the amp/cab). If you have it at the front you take advantage of the built-in Buffer for superior and truer sound; as well, when you roll off the volume the delay/echo and reverb still are heard, but will decrease according to their settings. Conversely, if the VM-PRO (or any volume pedal) is placed at the end of the chain you reduce any echo/delay and/or reverb as you roll off the volume. (NOTE: If you suddenly drop the heel to complete silence, any delay/reverb is cut off suddenly as well.) Next, the use of the special features of the VM-PRO is not so straight forward as selecting what you want. If you like to swap guitars in the middle of a set, going from passive pickups to active pickups you will need to choose what dip-switch setting you want since you would have to unscrew the rubber feet to gain access to the electronics. Do you get sufficient quality of tone if set on passive or active? The same is true whether you want the ‘Sparkle’ or if using a vintage-style fuzz pedal – you need to decide what works best on average. Adjusting the volume on the trim-pot poses similar issues. You can have no sound or just a bit of sound with the heel down, which is how most people use a volume pedal. Conversely, if you want to have the pedal act as a Boost, then you set the trim-pot accordingly. However, in doing so you cannot roll off the volume completely (although using the guitar’s volume knob would work as an adjunct). Perhaps if these options were available as switches on the side of the VM-PRO it would be best, but then again that may just complicate the design and likely spike production costs. Nonetheless, the fact that these options are available make the VM-PRO far more versatile than standard volume pedals (even a simple buffer will cost as much as half this pedal’s worth). RELIABILITY & DURABILITY: Mission Engineering’s VM-PRO is very study with a good weight to it. Both the base and foot pedal are steel, with my particular version having a carbon fiber finish (also available in solid black, vintage white and red). The top of the foot pedal is rubber, which increases grip and stability when in use, and is easy to clean (I also have a Mission Engineering expression pedal and was able to clean some dirt off it easily with some mild soap and a damp cloth). Movement of the foot pedal is smooth and solid, set up at the factory with just the right amount of tension (although you can adjust this with the Allen Key provided). The quality of the pedal’s moving parts indicates clearly that it was built to last, which it needs to because of regular up and down movement. Pots always wear, depending on how much you use them, and so it’s difficult to say how long the pot in this particular VM-PRO will last. Regardless, it is quiet without any crackling or other extraneous noises. The cable input, output and power input are located on the sides, which are typical of a rocker-type pedal (e.g., wah, volume, expression). Lastly, do note that the VM-PRO can operate on a 9v battery if you don’t want to use an electrical power source, and consumes only 1mA of power – and so a battery will last a very long time (but do unplug from the guitar input when not in use to avoid draining the battery). If using a power source, it will handle anything from 9v to 18v, making it versatile in that aspect as well.

SOUND: If you’re looking for a pedal that provides a cleaner, clearer and crisper tone… one that can wash away a bit of that ‘mud,’ and one that makes all your other pedals sound better, then likely you will benefit from and appreciate a buffer. Below is a YouTube demo video demonstrating how the Buff DeLuxe by Carl Martin works and sounds when compared to a direct signal (without a buffer) and with this gem in the mix: In every instance you can hear how the highs are re-introduced into the tone, how there is added clarity and crispness and definitely less mud. This buffer effect is most noticeable with high-gain tones, and the guitar I used in the video (a Kiesel Vader) often had a slightly ‘dark’ sound whenever I used it. Typically I had to EQ it in the mix to brighten it up a bit. Even then there always was a bit less ‘life’ in the tone than I wanted, thinking I had to increase gain or distortion to make it ring out as it should. However, when introducing the Buff DeLuxe it was like I replaced the pickups and everything sounded livelier as a result. OVERALL IMPRESSION: When you run a lot of effects, use pedals with weak outputs, use true-bypass switching or run long cables on stage, you will lose some of your tone. Pedal boards are notorious tone-thieves. Any and all of this darkens the tone to some degree and can cause your signal to sound a bit ‘muddy,’ mostly because of the loss of higher frequencies that help define one’s tone. The purpose of a Buffer is keep your guitar signal strong – to provide an electrical impedance transformation from one circuit to another. In doing so, it prevents the signal source (guitar) from being affected by whatever current/voltage the load may produce. If you can imagine running your guitar direct to an amp with a quality 10-foot cable (nothing too long), then you get an idea how pure the signal and tone will be. A buffer helps to maintain that integrity, although some buffers are better than others. What attracted me to the Carl Martin Buff DeLuxe is that unlike other buffers, this one does not simply start at the front of the chain and end there. Rather, you plug your guitar into the Buff DeLuxe, and then from there you plug into your first effect/pedal. Once at the end of the chain of effects, you then reconnect back to the Buff DeLuxe, which then goes out to your amp. This internal looping design of the Buff DeLuxe maintains the guitar’s truest tone best and with greater quality and efficiency. EASE OF USE: Operation-wise, the Buff DeLuxe is very simple to use. Either it is on or off. When on it protects your tone, which is its job. When you switch it off, via the footswitch, the signal goes to a tuner (via a separate Tuner Out). If you don’t have a tuner, then the signal still cuts, but what makes this feature nice is that it places your tuner outside the signal chain, and so there’s one less thing for the Buff DeLuxe to be concerned with when it comes to keeping your tone clear and true. The only minor challenge is one of cables. You plug your guitar into the Buff DeLuxe (Input 1), and from there a cable runs to your first pedal or effect (via Output 1). One pedal then cascades to another, and then at the end of the line the final effect or pedal connects back to the Buff DeLuxe (via Input 2). And so, no matter where you place the Buff DeLuxe on your pedal board, you’re going to have a cable or two zig-zagging across the board, which is easy enough to keep tidy if avoiding overly-long cables and using tape or ties to keep things orderly. Then from the Buff DeLuxe a cable goes direct to an amp/cabinet. However, in my set-up, for the demo video, I have a pre-amp pedal (the Greg Howe Lick Box) in the loop and running into the Buff DeLuxe. I then have the Buff DeLuxe go into an amp-cabinet simulator (the Rock Bug), which then goes into my computer/DAW for direct recording. Overall, the Buff DeLuxe is easy to use and not much to think about, although initially having two Inputs and two Outputs may be slightly confusing at first. However, compared to a multi-effects unit with multiple buttons and an LCD screen, it’s hardly worth mentioning any challenges with the Buff DeLuxe. RELIABILITY & DURABILITY: The Buff DeLuxe comes in Carl Martin’s trademark black with a purple racing stripe. The steel housing is of a heavy grade, and so you likely would have to drop it from an airplane to damage it. It only has one switch, for Muting, which redirects your signal to a tuner and makes it uber-simple to use (either it’s on or it’s off) and for little to go wrong with the electronics. The foot switch is metal and the standard 9v 12mA power input is located at the back, which means less chance of a power cord mishap (twisting or bending of the input). The cable inputs and outputs are located along the side, which can eat up a bit of pedal board real estate once you connect cables, but with two inputs and two outputs the design makes sense. As a final note, you cannot use batteries with the Buff DeLuxe – a typical 9v power source/adapter must be used.