Clean, clear sounds that will cut in a mix. Simple operation. Great build quality
Not the most tweakable chorus or vibe.
$183
Supercool Pedals Zig-Zag
supercoolpedals.ca
The first modulation effect from Peterborough, Ontario builder Supercool Pedals is a compelling interpretation of a classic BBD chorus.
With just two knobs and a switch to flip between chorus and vibrato wave forms, the Supercool Pedals Zig-Zag demonstrates the enduring importance of the acronym KISS—keep it simple, stupid.
Inside its cheekily decorated, 1590B housing, the Zig-Zag looks built to stand up to harsh treatment for decades. Builder Jamie Muir modeled the pedal’s chorus effect on the Electro-Harmonix Small Clone circuit favored by Kurt Cobain. This rendition is among the clearest and fullest interpretations of the effect that I’ve ever heard. It edged out my Walrus Julia in terms of fidelity and transparency; where the Julia’s transmissions are watery and hazy, dulling the guitar a touch, the Zig-Zag is simply pristine, and more powerful for it. I have to assume the circuit’s simplicity has something to do with that lively presence. Regardless of where it was set for either chorus or vibe, the pedal exhibited breadth and punch. There’s a tasteful, ever-so-slight level boost, too, just enough to make sure modulations don’t go missing in the mix.
I never found myself wanting when using the Zig-Zag. In fact, Zig-Zag’s engaging sounds made me want to use chorus and vibrato more than I normally would, in both its most subtle and most whacked-out configurations. PGThe Man in Black returns with the unreleased Songwriter album. John Carter Cash tells us the story.
“The Man Comes Around” is a much-played song from the final album Johnny Cash recorded before his death in 2003, American IV: The Man Comes Around. Now, the Man in Black himself has come around again, as the voice and soul of an album he initially cut in 1993, titled Songwriter. It hits the street on June 28.
For fans who know Cash only through his much-loved American Recordings series, this is a very different artist—healthy, vital, his signature baritone booming, his acoustic playing lively, percussive, and focused. This is the muscular Johnny Cash heard on his career-defining recordings, from his early Sun Records sides like “Cry! Cry! Cry!” and “Folsom Prison Blues” to “Ring of Fire” and “Sunday Mornin’ Comin’ Down” to later, less familiar hits like “The Baron” and “That Old Wheel.” In short, classic Cash—the performer who became an international icon and remains one even 21 years after his death.
I recently visited the Cash Cabin recording studio—a log cabin on the Cash family property in Hendersonville, Tennessee, that was originally built as a sanctuary where Johnny wrote songs and poetry—with PG’s video team of Chris Kies and Perry Bean to talk about Songwriter with John Carter Cash, the son of Johnny and June Carter Cash.
In addition to getting the lowdown on Songwriter from John Carter Cash, he showed us some of the iconic guitars—including original Johnny Cash lead guitarist Luther Perkin’s 1953 Fender Esquire and a Martin that was favored by the Man himself—that dwell at the busy private studio. Check out this visit.
Smooth-as-satin playability and exacting construction make this accessibly priced slope-shouldered dread an understated star.
Super excellent playability and neck feel. Tip-top quality for the price. Beautiful Grand Pacific shape. Excellent value.
Harder strumming can overemphasize midrange.
$899
Taylor 117e
taylorguitars.com
Though I’ve never owned a Taylor from the affordable end of their price spectrum, they have brought me a lot of joy and inspiration over the years. My encounters with GS Minis and 100-series dreads whilst lounging on friend’s porches and tour host’s living rooms have inspired little riffs that became more elaborate things over time—all born from a casual hang with a flattop that was fun to hold, easy to play, and sounded sweet enough that I didn’t want to ditch the conversation.
The new 117e is a little extra special to me though. That’s because I love Taylor’s Grand Pacific body style. I adore its curves, its dimensions, its feel, and the way it plays with classic round-shouldered dreadnought shapes while arriving at something distinctive. The 117e is the first Grand Pacific to join the 100-series family. And its responsiveness and playability are quite likely to make it a favorite sibling. It’s a beautiful guitar that delivers a lot for $899.
Fine Tailoring
The designers and builders at Taylor are masters of delivering quality and consistency at an attainable price. That’s no mean feat. You can go through a lot of guitars while shopping for an inexpensive one and deal with a lot of compromises. Taylor’s batting average is impressive though, and the 117e is well-built even by Taylor’s high standards.
Though the back and sides are layered sapele you don’t really give the idea of “laminate” much thought when you look it over, touch it, and play the guitar. The torrefied spruce top is very pretty, with just a little figuring in the otherwise straight grain that adds visual interest. Though the 100-series appointments are simple, no-frills stuff, I’d venture the guitar is better for it. The black binding and black-and-white rosette enhance the Grand Pacific’s beautiful lines and complement the ebony fretboard and bridge. I wouldn’t mind having a look at this model with a tortoise pickguard—the black one falls a little flat to my eye. Then again, it contributes to the visual balance here, and anything that detracted from the Grand Pacific silhouette would be a bummer.
The 117e is built with Taylor’s C-bracing, an asymmetric, cantilevered pattern that was originally conceived to contribute low end and sustain to the company’s smaller GT-class guitars. Though, instinctively, it seems like an odd choice for an instrument with a top as expansive as this one, it succeeds in adding low-end resonance to an instrument that has a natural midrange emphasis. Plus, it’s just plain cool to see Taylor toying with design evolutions that mix up staid, if proven, acoustic construction formulas.
No Bum Notes
There’s no way you can’t be struck by the 117e’s playability, particularly given the price. My partner, who is a pretty ace fingerstylist, likened the neck to playing on silk sheets just seconds into playing it, and I’ve seen her get pretty ruthless with guitars she doesn’t bond with. She’s right, too. Though Taylor calls the neck profile “slender,” there is a just-right heft and thickness to the shape that lends a touch of vintage feel without seeming needlessly fat. The action feels fast and low and almost like a really nice electric guitar—especially between frets 1 and 7. Yet it is totally free of fret buzz, even when you strum with vigor, and the strings ring and sustain with the unmistakable feel of a guitar set up to near perfection. Intonation is also spot on and the tuning stability is excellent.
“The action feels fast and low and almost like a really nice electric guitar.”
The 117e’s tone profile is the one area where it pays to really play the guitar and weigh it against your preferences. Both the Grand Pacific body shape and C-bracing are meant to add resonance and low-end heft, and I’d venture that they lend much in that regard in this instrument. But, perhaps because of the layered sapele back and sides, there is an unmistakable midrange focus. The good thing is that it really only verges on strident when you take to the guitar like Townshend. In more nuanced fingerstyle situations or even strumming where you use a lighter touch, the 117e comes off as balanced, sensitive to picking dynamics, full of range and volume, and ringing with attractive and sometimes enveloping overtones. Those ringing, sustaining qualities also make it a great vehicle for acoustic leads. The Expression System 2 electronics, by the way, are reliably solid and sound lively if a touch midrangey at times. But I would also rate the system as especially well-suited for the detailed kind of playing the 117e invites.
The Verdict
Sure, $899 is not the kind of scratch most of us dig up by peeking under the sofa cushions. But in the contemporary scheme of things, it certainly falls within the accessible category, which makes the 117e a great deal and, in many respects, an overachiever. Another observation from my partner: “This is the kind of guitar you buy because it’s inexpensive. Then it becomes indispensable.” Again, I concur. This sweet player is genuinely hard to put down, and it will be hard to send this one home to the Taylor gang in Southern California. But when I do, it may be with a little request: How about a 117 12-string? I can already see that headstock mated to the lovely Grand Pacific body and hear it chiming away as we all jangle our way toward summer. Given the way this guitar is likely to sell, it doesn’t seem like too much to ask.
Six classic dirt circuits are paired across three pedals with recombinant drive and EQ sections, yielding many unexpected sounds.
The BB and OC circuits both sound excellent in standard mode. Hybrid sounds are intriguing and expansive.
Sometimes requires a fair bit of knob twiddling when moving between drive modes.
$199
Keeley Electronics Blues Disorder
robertkeeley.com
Anyone aware of Robert Keeley’s knack for marrying timeless circuits to contemporary functionality knows the sense of anticipation when he decides to take on another classic. In the case of the pedals reviewed here, however, Keeley didn’t take on a single pedal. Instead, these three stomps from the new 4-in-1 Series each combine two classic circuits and then add the ability to use the clipping and EQ sections from each interchangeably. In many cases, these recombinations lead to untapped potential and unexpected sounds.
As a family, the Blues Disorder, Angry Orange, and Super Rodent (along with the Noble Screamer overdrive) have several features in common. All have drive, level, and tone controls with mini-toggles beneath the first and last of these. The pedals also allow the user’s choice of true bypass or buffered bypass operation, which can be switched on the fly with a two-second press of the footswitch. Each is built around a rugged printed circuit board and the pedals are all made in the U.S.
“The drive and tone mini-toggles mean you can choose the juicy, soft clipping and balanced response of the BB, or the hard clipping and midrange bump of the OC.”
Other basics shared throughout the line include a folded-metal enclosure measuring approximately 5" x 2.5" x 1.75", with jacks on the crown of the enclosure, and a standard center-negative power input for any 9-to-18-volt DC supply. I tested all three with a Fender Stratocaster and a Gibson ES-355, along with a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab.
Blues Disorder Overdrive and Distortion
When Marshall released the BluesBreaker pedal back in 1991, which aimed at capturing the overdrive characteristics of its fabled Bluesbreaker amplifier, did they realize they were unveiling a classic in its own right? Few players thought it sounded much like a cranked mid-’60s JTM45 2x12 combo, but plenty of guitarists—John Mayer among them—dug its ability to slather succulent low-gain overdrive tone on a guitar signal. So, what happens if you combine this with another classic, the Fulltone OCD, and offer switching between the circuits or a hybrid mode? Voilà! The Blues Disorder.
Keeley isn’t the first to rethink these circuits. But his outside-the-box approach might make the pairing of the two more versatile than any rendition that has come before. The drive and tone mini-toggles mean you can choose the juicy, soft-clipping and balanced response of the BB, or the hard-clipping and midrange bump of the OC—and chain or double up on both. On the tone side, the BB position yields a transparent tone stage with simple high-frequency roll-off control, and the OC setting adds an active midrange boost with treble bleed from the knob. The brilliant part is you can mix one set of drive characteristics with the other’s tone stack.
The Blues Disorder quickly proved that the design premise is more than a novelty. The rich, warm overdrive of the BB side worked as an always-on tone sweetener or as a low- to medium-gain bump that can be tuned for blues, indie, or classic rock leads. That versatility is a big part of what made the BluesBreaker legendary in the first place. Set to dual OC, the heavier grind provides a canvas for harder-edged rhythm crunch and more in-your-face soloing.
The Verdict
The basic drive sounds here are arguably worth the price of entry. But the hybrid settings enable exponentially more shades of those original colors, many of which are dramatically different than the classic Marshall or Fulltone. I particularly liked the BB gain setting with the OC tone stage, which yielded rawer, throatier medium-gain OD. It’s important to note that output levels can change with switch changes. That inconvenience aside, I could barely find a bad sound in the Blues Disorder.
Angry Orange Distortion and Fuzz
The subjects of Keeley’s shotgun wedding on this occasion are the Sovtek “Civil War” Big Muff on the fuzz side and a ’78 Boss DS-1 on the distortion end. These two effects occupy very different segments of the drive spectrum. But Keeley points out that, while voiced differently, both the Big Muff and DS-1 employed very similar tilt control tone stacks, making them, in Keeley’s view, ripe for hybridization.
Both circuits rely on diode clipping to help generate distortion, but the MF uses soft-diode clipping where the DS mode switches to more jagged-sounding hard-diode clipping, which lends edgy aggression. The mini-toggle in the tone stage taps a slightly scooped-sounding profile in the MF position, then delivers a midrange push in the DS position. Of course, these stages can be mixed to apply one frequency curve to another style of clipping.
Just a few minutes with the Angry Orange offers a surprising lesson in how close these two iconic distortion tools can come to sounding like each other. Both modes excel at thick retro-metal riffs and lurching doomy power chords in their natural clipping and EQ pairings, and add sizzle and edge to lead lines. And though the tone shift between them is clear when you throw the drive switch from DS to MF, they transition quite seamlessly.
The Verdict
Switching to DS for drive and MF for tone tastefully broadens the frequency range of that signature Boss distortion, yielding thicker lows and more jagged highs. The flip side of that coin—the MF drive with DS tone—struck me as less versatile, yielding a very boxy, hollowed-out frequency range. Still, players that like to tinker with filtered fuzz sounds might find many tones to use here, and on the whole there’s a lot to love and explore in this classic fuzz-distortion fusion.
Super Rodent Overdrive and Distortion
Skeptics that view overdrives and distortions as variations on a few basic design riffs might look at the Super Rodent and ask, “Didn’t we already visit this flavor combo in the Blues Disorder?” We would counter that the Super Rodent proves there are many dirt circuits out there in the deep blue sea. And Keeley’s pairing of these unexpected bedfellows underscores that notion, delivering two more variations of hard and slightly less-hard filth via the mix-and-match tone and drive formula. The inspirations this time out are the Pro Co RAT Distortion and Boss SD-1 Super Overdrive, two very different gain pedals that combine here surprisingly well.
Though the basic design is consistent with other pedals in the 4-in-1 series, the combination of circuits here results in four very different and distinct voices, compared to those that we’ve heard so far. The RAT-style RT position of the drive switch accesses the heavier, more aggressive hard-clipping distortion in the pedal, while the SD setting yields a more tube-like, soft-clipping overdrive. Here, the tone switch changes things up significantly—from a basic, easily managed treble roll-off in the RT position to an active low-pass filter that provides rangier low and high end in SD mode.
To my ear, the Super Rodent proved the most successful of the hybridization efforts among the 4-in-1 pedals reviewed here. That observation is not meant to detract from the cool sounds the others achieve, but simply point out how well the Super Rodent expands the potential of these two circuits. Robert Keeley obviously knows his overdrive onions so it’s no surprise that the renditions of the classic RAT and SD-1 are so accurately achieved in their natural drive and tone switches. Flip the drive and tone settings against type in either direction, though, and the sonics expand dramatically.
The Verdict
Settling in quickly to the easy, juicy tone-thickening of the SD drive setting, I found myself totally seduced by this early Japanese overdrive circuit with the unique RAT tone stack grafted on. There’s a little more harmonic swirl in the midrange and a pillowy compression that makes things sound bigger and thicker overall, if a little less punchy. The result? A new overdrive classic that, to my knowledge, never existed. Conversely, mating the RT drive to the SD tone adds aggression, muscle, and bark to the fabled Pro Co sound. In every combination it’s great stuff!
Keeley Blues Disorder, Super Rodent & Angry Orange Demos | First Look
When is an overdrive more than an overdrive? When it touches on distortion and fuzz as well.
Wide range of dirty tones. Touches on the fuzz spectrum.
Can’t use boost circuit on its own.
$269
Silktone Overdrive+
silktone.org
What’s the difference between overdrive and a distortion? For some, the two terms are interchangeable. But the line that divides them can be tricky to find and personal. I take comfort in my own definition: Overdrive feels like an amp stretching its powers and distortion feels like the sound of exploiting those powers. Silktone’s Overdrive+ lives comfortably with one foot on each side of that fence—with a hint of fuzz thrown in for good measure. According to designer Charles Henry, the Overdrive+ is an original circuit that uses a collection of JFETs, op-amps, and diodes to create a wide variety of dirty tones. Even though the Overdrive+ covers a lot of ground, it doesn’t come off as an everything for everyone pedal that will satisfy no one. At its foundation, it’s an amp-like overdrive box, but with Henry’s unique take, it becomes much more.
Double Duty
The Overdrive+ control setup includes the three very standard controls (volume, tone, and gain) along with individual switches for bass cut and clipping modes. A second footswitch introduces the boost section, which includes another toggle for two different modes: strangle and raw. Without touching the knobs you can get several boost, overdrive, and distortion variations that are all incredibly useful.
I feel like I’ve seen a wave of dual-function boost-and-drive pedals in recent years. That’s a wave I’m willing and happy to ride. And the Overdrive+ is an especially appealing and flexible option because the boost circuit adds more than just gain. Let’s start with the main circuit. I reached for an SG with P-90s and a Bad Cat Cub 15R set to a clean tone. After setting the knobs at noon, engaging the bass cut, selecting asymmetrical clipping (in the fashion of a Boss SD-1), I was surprised to hear how much gain there was compared to most overdrives. Henry’s creative design and the extra gain at what would be conservative levels elsewhere highlights the Silktone’s aggressive side. As I reduced the gain and increased the output, the pedal felt more tube-like, like a great overdrive pedal should. It was thick and tight in the low end and midrange heavy. At 1 o'clock and beyond the gain control generates aggressive distortion, heavy with harmonics, that would fit in with drop-D doom metal riffs.
In symmetrical clipping mode, which is akin to the clipping scheme used in an Ibanez Tube Screamer, among others, the high end smoothed out considerably. I found almost Dumble-like tones at slightly lower gain settings with the tone on the darker side. The bass cut was a welcome addition to rhythm parts—especially with a Gibson Les Paul. According to Henry, the cut, which he dialed in by ear, shelves frequencies around 1000-1200kHz. Mixing and matching the clipping with the cut let me tailor the dynamic response quite a bit. I found the asymmetric setting a bit more responsive to dynamics, while the symmetric clipping offered more compression.
Boost or Bust
Even though Henry’s creative names for the boost modes—strangle and raw—aren’t too descriptive, you can basically think of raw as the more open, full-spectrum option and strangle, which uses inductor-based filtering, as the more focused. In strangle mode, you get a pile of harmonics that (depending on your amp setup) generates rich, controllable, and musical feedback. Although I favored this setting for screaming leads, it was quite fun just to hold a note or chord and see how the feedback varied in different parts of the room. I also appreciate that the strangle option took all the guesswork out of nailing a cool cocked-wah tone, which made me want to revisit those Rudolf Schenker’s classic UFO sides.
The Verdict
If you happen to have a slight bias towards either overdrive or distortion, don’t let the name fool you. The Overdrive+ does far more than your standard 3-knob dirt boxes. Henry’s design covers miles of sonic territory and gives you the power to effectively turn a single-channel amp into a three-channel wonder. Blues and classic rock players will dig how nuanced the lower-gain settings are. Those that like things more aggressive will appreciate its hot and smooth characteristics. The Overdrive+ makes a strong case for itself as the only gain device you’ll need on your pedalboard. That’s an impressive feat.