Hotone Audio

SOUND: The sound you produce (using the same gear) with a 1x12 cabinet as opposed to a 4x10 cabinet can be significantly different and particularly when comparing a Fender cabinet to a Marshall or MESA – each company has its own flair and uniqueness that can sound great with one type of guitar or a slew of pedals, and yet sound mediocre with other gear. The OMNI IR is an impulse response pedal that enables you to get that cabinet feel and depth while playing into a FRFR speaker, into a mixing board (PA system) or into your DAW. Based on other IR pedals in its price range, it sounds as good as the best and definitely better than others (no names mentioned, but I have found some IR pedals/devices sound boxy and as though playing through a metal can or drum). The OMNI IR sounds authentic, clear and detailed. In the demo included with this review I work through three different preamps by Victory – The Countess, The Sheriff and The Kraken. I apply each to various cabinet sizes on the OMNI IR, but in each instance I strum a few clean chords so that you can hear Channel 1 on each of the preamps, and then switch into high gear with Channel 2 on each. Thus, you get to hear small (1x10) and large (4x12) cabinets with three different preamp types, as well as three different guitars. Often I use a MESA cabinet on my Axe-Fx II Mark II, and when running through all the samples on the OMNI IR I found one that could go head-to-head with the Axe-Fx (in terms of matching the tone I like). As it so happens, it’s a MESA cabinet (although there’s a Bogner 2x12 I really like as well). OVERALL: The OMNI IR offers a very good selection of 39 of the most popular sizes and cabinet models, and it’s quality makes its $199 USD price reasonable. There are eight cabs in the 1x10 and 1x12 categories that mimic the likes of Fender, Marshall, Orange, Gibson, Vox and MESA. There are nine cabs in the 2x12 category with responses from Selmer, Two-Rock, Fender, Vox, MESA, Orange, Marshall and Bogner. There are three 4x10 cabs that mimic Fender, Bogner and Marshall. There are thirteen cabs with responses from Marshall, MESA, Friedman, Orange, Randall, Engl, Diezel, EVH, Bogner and Electro-Voice. To even things out, there also are six bass cabinets that mimic Ampeg, Eden and Gallien-Krueger. Having all these responses in a small pedal format is ideal for those home studios recording/playing direct to DAW, but a godsend for those plugging direct to a PA/Mixer (common in many night club settings). Extremely easy to use and dial in a great tone, no matter your gear, you can create several unique sounds/tones simply by selecting different cabinets – and without having to haul around actual cabinets. GENERAL USE: The OMNI IR’s knobs and switches provides access to all controls and parameters (visible via the OLED screen), but also accessible through the free computer OMNI software (which I find easier to navigate) via the included USB cable. OMNI IR has a Master volume control and a Function knob. When turning the Function knob left or right a preset is selected. When pressing down the Function knob you access the menu system, whereby you can make a number of changes (again, this can be done via the computer software) to any of the 39 presets. Through onboard or via the software you can set the preset volume and control and the frequency/gain for bass, midrange, treble and presence. The ranges vary for each, such as Low (frequency range of 50Hz-500Hz with gain of 10Hz -12~0~+12dB) Midrange (frequency of 500Hz-1kHz with gain of 10Hz -12~0~+12 dB) , High (frequency of 1kHz-5kHz with gain of 0.1kHz -12~0~+12dB) and Presence (frequency of 5kHz-16kHz with gain of 0.1kHz -12~0~+12 dB). You are able to change and save any preset to any of the preset numbers (besides resetting the factory settings). The Footswitch is assignable so that it can bypass, mute or scroll up or down the presets. Like the OMNI AC (acoustic) pedal, the OMNI IR has a Thru so that you can blend your original guitar tone with one from the OMNI IR. As well, there is a balanced XLR out (to a mixing board, for example) with a ground lift option, a headphones jack and an Aux In (to connect an MP3 player or other device). The OMNI IR comes with its own 9VDC power supply while consuming less than 200mA of power.

SOUND: Your acoustic guitar will sound like an acoustic when combined with the OMNI AC (it does not sound artificial) You are taking your raw acoustic tone and customizing it so that it sounds more like a different type of acoustic. For example, you could have a nylon string and have it sound like a steel string, or a dreadnaught, a Gibson Hummingbird, or a grand auditorium acoustic. Likewise, your steel string mid-sized body could sound more like a jumbo or a nylon/classical string guitar. In essence, you are taking the tonal characteristics of a different acoustic and applying it to your acoustic. The options in the OMNI AC certainly are varied, with the second ‘grand auditorium model’ being my favorite (while playing my Ibanez Euphoria guitar… each guitar will have different outcomes). In the demo I use the Ibanez through an Orange Acoustic Pre, which produces a particular flavor or tone. Certainly I can customize that tone via the EQ of the Orange Acoustic Pre, but the ‘flavors’ offered via the OMNI AC certainly sound convincing, unique and affords you a host of other instrument choices without having to buy more acoustic guitars. I also found many of the models added ‘life’ to my tone – a bold, crisp attack that made the notes stand out even more. Now, while using an electric guitar the OMNI AC did not make the electric sound 100% like an acoustic. However, certain models (the Gibson Hummingbird matched with my Eastwood-Backlund 200 electric with middle pickup selection) did a pretty convincing job of producing a more lush and ‘acoustic-like’ ambience – it sounded as though there was more ‘air’ in the notes. OVERALL: Why buy several acoustic guitars when you can play the one you like and still have it sound like other acoustics? This is the objective of the OMNI AC as it simulates the tonal characteristics of various steel strings, dreadnaughts, jumbos, grand auditoriums and nylons. There’s even a preset for mandolin and two types of acoustic bass (fretless and double). The sounds are very convincing when working with an acoustic guitar (you’re simply altering the characteristics of what you’re playing, and although an electric guitar may not sound exactly like an acoustic, selecting your pickups properly and fiddling with the pedal’s EQ certainly give a very close representation. Relatively easy to use, you have access to all parameter changes via the knobs (while viewing the OLED), or via the free downloadable computer software (IOS and Windows), either of which allows you to select various parameters – the acoustic guitar type, the adjustment of volume, and EQ and Gain associated with each EQ parameter (bass, mid and treble). At $199 USD the price is reasonable relative to the quality of sounds produced and particularly if you still don’t have the acoustic sound you need or if you want to spice up the sound you do like. GENERAL USE: You can access all controls and functions via the OMNI AC’s knobs and switches, but also through the free computer software. The software certainly makes it easier to navigate, providing a larger and clearer representation of the controls that necessitate hooking up to your computer via an 8-inch USB cable, but the onboard controls are easy enough to use (visible via the OLED screen). The pedal has a master volume control and a Function knob. When you turn the Function knob left or right you select a preset. When you press down on the Function knob you enter the menu system, whereby you can make a number of changes (again, this can be done via the computer software). There are 15 presets or options, e.g., steel string, jumbo, dreadnaught, etc. You could have all 15 presets the same guitar with different EQ and Gain settings or each one can be a different guitar/acoustic instrument (and any combination between). Via onboard or through the software you can set the overall preset volume, whether playing an electric or acoustic, and the EQ setting associated with low, mid, high and presence. With each EQ setting you can set the Gain, thereby reducing the bass, upping the midrange, etc. The Footswitch is assignable so that it can bypass, mute, change modes (whether using an electric or acoustic guitar) or scroll up or down the presets. What’s cool about this pedal is that it has a Thru so that you can blend your original acoustic or electric guitar tone with one from the OMNI AC. There’s also a balanced XLR out (to a mixing board, for example) with a ground lift option, a headphones jack and an Aux In (to connect an MP3 player or other device). OTHER DETAILS: Slightly smaller than a standard pedal, the OMNI AC measures 101 mm (D) x 58 mm (W) x 47mm (H) or (3.97 x 2.28 x 1.85 inches). The metal chassis (feels aluminum, although there is good weight to the pedal at 224g) has a gold finish, which does not appear to be painted, but rather the color of the metal. The input impedance is 1MΩ (mono) and its output 100Ω (mono). The two knobs are made of aluminum and will withstand normal use and abuse. The footswitch produces a solid click without any popping or significant signal noise when switching. All inputs (cable inputs/outputs, USB, power input, etc.) are located in the back and along the sides of the pedal; some modest care is required to prevent damage to any input/output when stomping. The OLED screen is sandwiched between the knobs and footswitch and is safe from regular and normal use. The OMNI AC requires a 9VDC power supply while consuming less than 200mA of power – as a bonus this pedal also comes with its own power supply.

SOUND: The Loudster is a unique piece of gear, allowing you to take regular pedal board gear, including amp sims, and get optimum loudness through your speakers with higher ‘sound pressure levels,’ and while maintaining the tone you like. The video below demonstrates the Loudster and how it works within the signal chain and for the modern guitarist looking to downsize audio equipment to just a pedal board: Although some may consider Hotone Audio’s Loudster a one-trick pony, it does its job exceptionally well and as intended. First, it enables you to work with pedals and preamps on a pedal board without having to haul around a full-sized amp head (the Loudster is the amp, and it sits nicely on the floor or on your pedal board). Second, the Loudster does not color your sound as an amp head would (each amp has its only tonal characteristics) – the Loudster has a high-quality tone and high input impedance to keep your tone as you originally intended. Third, it’s not just a volume/decibel increase that is produced, but high SPLs (sound pressure level), which gives that push or ‘oomph’ to speakers, which is what makes it seem so much louder. OVERALL IMPRESSION: Power amps have been around for decades… Eddie Van Halen used them to drive his speakers harder. In essence, they are used to amplify low-power electronic audio signals (e.g., guitar pickups/preamp/amp modelers) to a level strong enough to drive loudspeakers/cabinets. Often power amps are sized to fill a space or two in a rack-mount unit. Hotone Audio has developed the Loudster, the middle man between your tone and speaker cab, which produces upward of 75 watts of power and plenty of SPLs to push loudspeakers and cabinets. This is important for those gigging or jamming who may like digital effects or perhaps some preamps/amp modelers, none of which likely have the ability to push speakers sufficiently to achieve optimum speaker performance and/or volume to be heard effectively over a drummer and other instruments. This has become a more important factor in the past few years as musicians desire to downsize what they have to lug around, and carrying a 15-pound amp head is not only cumbersome, but adds to the cost of the gear and can alter the much desired tone you achieved with other gear, e.g., preamps, distortion pedals, etc. If you’re looking to push the envelope in volume and speaker performance, whether plugging into the house’s loudspeakers or your own cabinet and while keeping a small footprint, the Loudster is an ideal consideration for about $199 USD. EASE OF USE: The Loudster is so simple, all you need to do is turn the volume knob. Perhaps there’s a bit more to it. Sitting at the end of your signal chain (just before any speakers) the Loudster needs to be turned on first and then turned off last, to help protect against any power surging or loud pops, etc., that may damage your speakers or other audio equipment. It’s also best to keep it dialed down all the way when doing this. This little powerhouse does come with its own power supply, since it necessitates 18-20v and 5A, which tells you how serious the Loudster is. As well, it is compatible with cabinets of different impedances ranging from 4-16Ω, and so you need only plug into any cabinet and you’re ready to go. You can place anything in front of it, including amp sims and preamps, distortion pedals, etc. RELIABILITY & DURABILITY: The Loudster’s chassis is made of light-weight aluminum, measuring 4.75 x 7.50 inches (12.0 x 19.0 cm). There is no stomp switch to wear or break, but a power switch located in the back of the unit. There is no LED light on top, but rather there are lights that glow through the top grill to indicate that the unit is on (or off if you see nothing). All inputs and outputs are located in the back, which helps to prevent accidental stepping and strain at the input/output sites. The large volume knob feels like aluminum to the touch and is of good quality when turned (smooth). The little guard rails are a nice visual touch (to resemble common power amps with handles in a rack), but they do not serve a significant purpose beyond which to pick up the unit.

SOUND: If you’re looking for a super clear-sounding delay with a ton of options at a fantastic price, then the Binary Eko should be considered. Below is a YouTube demonstrating its qualities: This 24-bit pedal (44.1 kHz sample rate) boasts a dual-DSP (Digital Signal Processing) powered platform and a CDCM (Comprehensive Dynamic Circuit Modeling) system. This is one reason why the Binary Eko’s clarity found a secure spot on my pedal board. Not only are the tones super clear, even when adding modulation or tremolo (built into the Binary Eko), but you get a lot of usable delay variations based on several classic delay pedals and concepts, including EHX Memory Man, several Maxon models, 1980s rack delay, tape and tube delays, etc. As impressive is how flexible the Binary Eko is and within such a small footprint, thus allowing for a lot of tweaking possibilities. As cool is the fact that you can use an expression pedal with the Binary Eko to control the degree of mix, modulation, feedback (repeats) and time. OVERALL IMPRESSION: At a price of about $139 USD, there is a lot to like about this pedal. With 17 different types of delay, along with a host of features (being able to add modulation, tremolo, sweep, etc.) that can be controlled with an expression pedal, you get an incredible amount of bang for your buck. The clarity is awesome, and even when adding modulation and sweep the signal stays very clear, and this goes for the Dual Eko delay on the Binary Eko… with two delays working in unison or with different times/feedbacks – very impressive. Not only that, there is one delay in particular on the Binary Eko that is so pure (called the Pure Eko, of course) that must be one of the cleanest and clearest available. One thing I noticed that the Binary Eko does not have is a ‘tone’ knob, but having said that… I don’t miss it or think it necessary. There are plenty of delay variations that offer more ‘dirt’ (e.g., Tube Eko, Sweep Eko to name two) that allows you to achieve varying qualities in your overall tone. And if you’re working with any degree of distortion or drive, you likely want the delay to remain crystal clear and relative to the guitar’s signal – which the Binary Eko does in spades. EASE OF USE: I really appreciate the easy-to-use downloadable software. This allows you to control the pedal from your computer monitor, if you wish, rather than having to stoop down to your pedal board to make adjustments. Obviously this is a perk for home-users, but also initially to create your patches since you can be very exact (e.g., 23% mix), as opposed to dialing in a knob. Scrolling through patches is very simple (two Banks x 5 patches each) – stepping on the Patch/Tap switch moves from one patch to the other (A1 through A5), whereas you need to step on both switches (Patch/Tap and the On/Off) simultaneously to access B1 through B5. Because of this, you would want your most used patches to be in A1 through A5 when gigging since stomping two switches 3-inches/8mm apart at the same time may not work fluidly always. As with any digital delay pedal with a lot of features, the difficulty with the Binary Eko is what settings to choose, and there are plenty. You have 17 types of delay, ranging from vintage stuff (Tape, Tube, Rack and Slap Back) to modern classics (several Maxon models, an EHX Memory Man, Sweep Eko, Tremolo Eko, Dual Eko, Ping Pong, Lo-Fi, etc.). As with any delay pedal you then need to figure out your mix, feedback, time (or use the Tap Tempo feature accordingly) and if you’re going to add any modulation and how much. And to make matters more complicated and super fun, you can hook up an expression pedal (and determine the range parameters) so that you can achieve some very cool effects, like having a basic delay transform into a sweep delay. The Binary Eko may not be a basic plug-and-play pedal, but it’s certainly addictive and enjoyable to explore. RELIABILITY & DURABILITY: Hotone’s Binary Eko appears to have a cast aluminum body (it’s not very heavy and feels like aluminum to the touch). The soft touch foot switches (no hard-lock clicking) feel very solid and are raised much higher than the other knobs and buttons – consequently, it is unlikely stomping will produce any damage issues to the other controls. The push buttons (those controlling Global, Save/Exit and the +/-) are small and only slightly higher than surface level; the OLED screen is at surface level and would not encounter damage under normal conditions. The top knobs (Mix, A/B, Feedback and Time) are small and encased in rubber for added protection (those knobs light up, which makes it easy to see in dark environments, and so the rubber is a good idea to help protect the contents, besides feeling good to the touch). All the connections are in the back, which saves on pedal board space and keeps the inputs/outputs away from a stomping foot. One thing to be aware of is that the Binary Eko requires a 200mA, whereas many power supplies may provide 150mA per outlet – make certain of a proper power supply. Lastly, the Binary Eko does not operate on batteries.

Soul Press II is a true bypass pedal and an upgrade from the original Soul Press, and with some significant changes. This pedal has Volume, Wah, an Expression out and a Volume/Wah combo. In the latter instance, the toe switch acts as a control between the Volume/Wah (shifting from one to the other), whereas the toe switch turns the Volume or Wah on/off if selected individually. The demo helps to clarify this. The Expression works independently, so that you can have the Volume or Wah operating, as well as controlling parameters from other gear and with the Expression. There’s also a Tuner Out feature. Another cool function is the adjustable mode treadle status indicator, which shows the pedal’s position in real time, allowing you to visually zero in on a particular Volume, Wah or Expression range. Next, comes the sound. Overall, this is a quiet pedal with no noticeable noise (or noise interference), even with the wah. In use, the tone remains very true, as a result of the pedal’s newly-designed active volume circuit. Some wahs have noise artifacts, whereas the Soul Press II does not. The Volume and Expression work as those two aspects usually do – very straight-forward. The Wah has two tones – Warm (290Hz to 1.4kHz) and Classic (360Hz to 1.8kHz). In either instance there is a very decent range of tone via the Q knob, which adjusts the frequency. When compared to a Morley ‘classic’ wah, the Soul Press II’s classic setting has a broader sweep with the Q up full. Bringing the Q down to about 2-o’clock makes it comparable to the Morley’s frequency range. The warm setting definitely is warm, and extremely vocal sounding, with big vowel-like expressions. The classic setting is more typical of what you would expect, e.g., via a Morley or Cry Baby type wah. Both sound incredible with a clean guitar tone. With a hi-gain tone, I found it sounded best with the Q around 12-noon to 1-o’clock, as going deeper in Q produces more high-end frequency, which is OK for dark amps and pickups, but a bit shrill otherwise (including the hi-gain gear I used in the demo). The most important point is that you can adjust this parameter to accommodate any guitar and amp. Now, this version of the Soul Press does have a larger footprint, but it’s still rather small, measuring 3” (W) x 6.3” (L) x 2” (H) or 81 x 162 x 51 mm, and weighing only 1.1 pounds or 500g. Hotone Audio made the Soul Press II’s footprint slightly larger to increase user surface, together with a textured treadle surface made of slip-resistant material. The chassis (a polarized finish that changes colors at different angles and lighting) is made of lightweight aluminum alloy with a steel shaft connection. It is powered by a standard 9V DC power supply (negative center with 30mA draw) or 9V battery, although the Expression function works without power. Overall, the Soul Press II is a massive space saver, offering several functions in a small footprint area. The Volume and Expression are noiseless in use, the active LEDs are cool and help to zero in on specific ranges when playing, and the Tuner Out certainly is a nice bonus. The wahs are very decent in their own right, although the warm simply sounds fantastic with a clean guitar – I’m most impressed with that function. For $119 USD, Soul Press II has got to be one of the best deals of 2021, a true winner in the category of size and function.