EarthQuaker Devices 2012 Press Kit
Click here for our feature article in the October 2012 issue of Premier Guitar! Bell Bottom Blues: Five Modern Effect Pedals That Recreate Groovy ‘70s Sounds Poste 0 12 2012 at 10 01am b o sh art amian anelli
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tra into the a b ack achine herman! o a e re hea in back to that lorious eca e kno n as the 1970s to take a look at five great effect pedals that will transport your rig back to a golden age of uitar
From the overdriven sounds of Jimmy Page and Tony Iommi to the out-of-this-world prog tones of David Gilmour and Alex Lifeson, the ‘70s were pivotal in creating some of the guitar sounds that are still bein ri e off b to a s class of rock uitarists
Whether you’re putting together the ultimate Pink Floyd or Led Zeppelin tribute band or just trying to add a bit of vintage flare to your modern-rock masterpiece, the pedals on this list are sure to help you recapture some of that groovy ‘70s magic.
his list as com ile b a rou of Guitar orl staffers inclu in Gear itor Paul iario
EarthQuaker Devices Bit Commander
Although synths would take over the air waves completely in the next decade, they were still an inescapable part of the ever-evolving guitar lan sca e of the 1 0s
For its simple architecture and versatility, the Earthquaker Devices Bit Comman er is our ick for the uitar s n th o u nee in o ur arsenal Handmade in Akron, Ohio, the Bit Commander proves a grittier alternative to the cleaner, slicker sounds of the Subdecay Octasynth or the POG.
In some ways, the Bit Commander is almost cheating in a list limited to five effects, as it doubles as a useful octave fuzz. The six control knobs — Sub, Down 1, Up 1, Filter, Level and Base — ensure a high degree of control an nearl en less otential for custom settin s
MSRP: $175 | Check out this pedal at EarthquakerDevices.com. Seismic Activity: EarthQuaker Devices Speaker Cranker Poste 0 2 2012 at 10 01am b Paul iario
EarthQuaker Devices is a small, boutique pedal manufacturer from Akron, Ohio, known for a wide variety of colorful stompboxes that just sound great. If you’re looking for fuzz, delay, pitch modulation and more, EarthQuaker Devices has it all.
The Speaker Cranker is an overdrive pedal with one knob for ore an no other controls to t eak or obsess over. It’s not what you would call a boost pedal; instead, it offers some heft and crunch to an already overdriven amplifier without coloring your tone dramatically.
he ore knob ials in the amount of irt ith overdrive creeping in around 9 o’clock on an amp set to clean he eaker Cranker is true b ass an o erates on 9-volt battery or an optional 9-volt regulated power su l
I find that the Speaker Cranker is an essential stompbox if you use a single-ended amplifier, such as the Marshall JCM 800, or a two-channel amp with a rhythm and lead channel to deliver much-needed gain for harmonics and solos he e al oes color o ur soun but in a oo way, slightly darkening the tone to take out any high-end harshness. The gain isn’t overwhelming and offers just the right amount of bite if your amplifier is already over- driven.
If you’re running the amp clean, the “More” control will add some roundness, compression and grit as you move the knob toward noon and finally overdrive past that — just enough to sustain notes. Check back again as I will be certainly covering more of EarthQuaker’s fantastic e als
List Price: $105 EarthQuaker Devices, earthquakerdevices.com
Fuzz Face Off: The GP Staff Tests 25 Fuzzboxes September 2011 Issue
EarthQuaker Devices Hoof Fuzz MICHAEL MOLENDA
KNOBS Tone, Fuzz, Shift, Level
SOUNDS EarthQuaker states the Hoof is based on the Russian-made, greenhued Big Muff, and it can defi nitely deliver the buzzy, aggro glory of Big Muff fuzz. But the Hoof ain’t no one-trick satyr. The Shift knob alters the midrange frequency controlled by the Tone knob, and it’s a powerful weapon that can deliver searing, hollow, warm, fizzy, bom- bastic, and klang-glorious varieties of fuzzy bliss. I was able to dial in everything from Ventures’ “2000 Pound Bee” buzz- ing to Muse-like caterwauls of sustain.
WHO’S IT FOR? This is yet another versatile fuzzbox that offers a good collection of sounds for very reasonable bucks. I can’t imagine anyone who is into fuzz not wanting this baby on his or her e alboar
CONTACT earthquakerdevices.com Gear Reviews
Chorus of Praise The Earthquaker Devices Sea Machine
Known primarily for its mon- the Dimension control adds a crazed strous distortion and fuzz units, the sirenesque resonance to the signal. In- folks at Earthquaker Devices have tensity determines how much the LFO decided to tackle what has often been modulates delay time. The Animate lamented as the wimpiest of effects – control allows users to choose how the chorus pedal. Their take on the much the pitch of the chorus signal effect, the Sea Machine, is certainly a moves (from traditional shimmer to challenge to the notion that chorus is wild pitch swings), and Depth acts EARTHQUAKER the Animate meant only for hair-band choruses and much like a blend control, mixing the DEVICES SEA knob is pushed into renditions of “Message In A Bottle.” affected signal with the dry signal. MACHINE more prominent pitch- The Sea Machine comes equipped Starting with its most tame settings, Price: $215 bending territory. What with true bypass and six knobs. Rate the Sea Machine does indeed prove it Contact: you get is eerie, almost droning determines the speed of the LFO in contains classic chorus tones within, earthquakerdevices.com. tones, perfect for sending chills down the unit, while Shape allows the user and it does so exceptionally, impart- people’s spines. to rotate from a soft triangle to hard ing sparkle and shimmer with a nice mate knob and amazing resonance In all, the Earthquaker Devices Sea square-wave shape. The Dimension hi-fi tone. Further investigation reveals from the Dimension knob. Com- Machine is one awesome little box and knob adds a unique control that, at unorthodox chorus tones. Due to the plex, yet subtle sounds are attainable will charm even the most steadfast its minimum position, adds small interaction between the knobs, great as well, adding depth and intrigue to chorus critics. With a wide range of amounts of slap-back echo to the sounds can be found via experimenta- an otherwise ordinary tone. Adding sounds – subtle, extreme, and every- sound. As the knob is turned clockwise, tion, especially with the Animate and the Sea Machine to a distorted or thing in-between, the Sea Machine is a reverb-like character is introduced Dimension knobs. Huge pitch bends fuzzed out signal also yields some a unique pedal that offers something to the signal. At its fullest positions, are available by maximizing the Ani- very cool sounds, particularly when for everyone. – Max Prown
VINTAGE GUITAR June 2011 VintageGuitar.com GALLERY: Summer NAMM 2011 - Day 1 Editors’ Picks Premier Guitar taff EarthQuaker Devices Rainbow Machine Pedal Review (2 page feature review September 2012 Issue) By Charles Saufley
If you’re a stompbox freak, it’s hard not to be knocked out by the creative explosion at EarthQuaker Devices. In the last half decade, the little Akron, Ohio, company—started b former lack Ke s roa man er a mie tillman a n its modest line of killer fuzz and distortion boxes has morphed into a hydra-headed beast that seems to turn out new sound-manipulation tools faster than Planters cranks out eanuts
These days, EarthQuaker’s irreverence and sonic adven- turism finds the company as willing to toy with analog cir- cuits for purists as DSP pedals for bold experimentalists. The Rainbow Machine reviewed here falls in the latter category, and it’s a great example of how EarthQuaker’s willingness to be bold and deviant and to explore unde- rutilized tone textures results in stompboxes that stoke musical invention just as much as they fine-tune your tone
The Rainbow Machine is a pitch-shifting, modulating, harmonizing, time-warping pedal that not only alters pitch, but also gives you the power to transform those pitch modulations using time-based controls. The effect can be as radical as an analog synth in the hands of a science fiction soundscape artist, but it can also be subtle, tasteful, and highly effective in low-key applications where it can add unexpected and delicious textures to chords and simple leads and hooks.
Six Ways over the Rainbow The DSP-driven Rainbow Machine is not the kind of pedal you’re likely to dial-in right out of the box. Some controls get more extreme on either side of high noon, others increase in intensity as you s ee clock ise hile others ork in the o osite irection o to it off most of these functions are too deep to conveniently define with a single label. And some are just willfully and beautifully obscure. But what the Rainbow Machine lacks in intuitiveness, it pays back with power and flexibility. A little extra time spent learning the power and personality of each control pays big dividends in uncovering the ealth of soun otential in the ainbo achine The pitch control is perhaps the most vital knob. It determines the interval of the shifted signal. When- ever things get too squirrelly, returning the pitch knob to 12 o’clock is they key to dialing everything back. At noon, you get two tones in unison, tones that—depending on other knob settings—tend to have a slightly modulated reverb quality. Turn pitch all the way counterclockwise, and you get a tone that’s a fourth down from your fundamental. All the way clockwise, you get a tone that’s a third up. In between, the pitch knob yields a world of dissonant harmonies that can vary from mellow to mon- strous an emente
To the right of pitch, the primary knob adjusts the level of the pitch-shifted signal. The secondary knob controls the level of a second signal that’s an octave lower or higher than your pitch-shifted signal, e en in on hich si e of noon o u set the ial
The tone control determines how bright or dark your pitch-shifted signal is, and it’s one of the keys to determining how subtle or radical the Rainbow Machine is in a given musical application. The tracking knob dictates the time between the fundamental and pitch shifted signals, enabling everything from arpeggio- to delay- and reverb-like effects. But the Rainbow Machine’s piece d’resistance is the magic knob hich in uces intense re enerations an mo ulatin trails that sen the e al into more cos- mic realms and hallucinogenic states—it’s a control so powerful that it gets its own on-off switch.
Exploding Color It’s best—or easiest, rather—to begin exploring the Rainbow Machine from a more reserved setting. And when you do, you’ll discover that the mellowest settings are the ticket to interesting takes on familiar effects. Keeping the pitch knob even, adding a touch of primary and high-octave secondary tones, and keeping the tracking time short lends a modulated chorus effect that gives jazzy passages a little movement—especially with the tone knob rolled back. With the tone knob up, the chorus takes on a more flanger-like color. With all three pitch-related controls at noon, the pedal takes on a more linear chorus sound that you can shape with a touch of quasi-slapback echo and reverb as you sweep the trackin control counterclock ise
Rolling the pitch-shifted signal to a full fourth down and keeping the primary and secondary controls at mild settings yields an almost-robotic, Duane-and-Dickey harmony-lead sound, while dialing a third up and moderating levels and delay can contribute a queasy barracho feel to Tex-Mex and country chord melodies and single lines. Though I didn’t have an expression pedal to control the pitch, even manual manipulation of the control gives you access to cool, seasick, quasi pedal-steel effects that would be a blast to use on the fly.
For all the sound-twisting potential of the Rainbow Machine’s pitch controls, it’s the magic knob that unlocks its most warped and extreme workings. Crank it and the tone knob up, twist the pitch control a little ri ht of center an turn the trackin knob counterclock ise an the ainbo achine be- comes a teleportation device—generating the kind of star-trail, fade-to-dream sonics that you hear in the intro to the Butthole Surfers’ “Who Was in My Room Last Night.” Yet, for all the narcotic psychosis unleashed by the magic knob, with tone and magic set less aggressively the Rainbow Machine will just as easily approximate an Echoplex-style short delay, replete with tape-warble-like modulation and an ethereal fee back trail The Verdict The enormous range of unique, practical, and downright bonkers sounds within the Rainbow Machine could wear out even the most tireless knob t eaker his ealth of soun s makes it an i eal stu io tool that can transform hooks an solos from or inar to arrestin It’s easy to imagine the Rainbow Machine as a show-stopping live device, too—particularly with an expression pedal in the mix. But for all its o er to sto a listener in their tracks some of the ain- bo achine s most beautiful soun s l ike the mo ulate chorus and slapback—are the most familiar. And the Rainbow Machine does a remarkable job of making those tones just bizarre and left- of-center enough to inspire double takes. We’ve gotten used to such surprises and twists of reality from EarthQuaker, but even by their lofty standards, the Rainbow Machine is one very deep bag of tricks Earthquaker Devices Dispatch Master Pedal Review (November 2011) By Charles Saufley
Akron, Ohio-based Earthquaker Devices may have as- cended on the reputation of their top-notch fuzztones. But it hasn t taken lon for the com an to buil one of the most varied pedal lines by any small manufacturer—one that ranges from quirky tremolos and vintage-style phasers to guitar synths (see the Bit Commander review in the Novem- ber 2011 edition). The Dispatch Master delay and reverb is not Earthquaker’s first delay or reverb unit. In fact, the Dispatch Master is based to some extent on the company’s limited-run Ghost Disaster delay. But it’s one of the com- pany’s first forays into DSP design. And the combination of the digital delay in reverb makes this a exceedingly flexible and beautiful sounding texturizing tool that ranges from analog-sounding and traditional to hyper-spacious ambient zones in a super-compact package. Com act Cosmonaut or such a bi soun in e al the is atch aster is a little thing—such is the benefit of well-orchestrated digital esi n he unit coul n t be much sim ler to use either
The Reverb control effectively controls the size of reverb— transformin the effect from an intimate subtle room effect to outsized deep-in-the-mineshaft reverb. The Time effect controls the delay time, which ranges from analog-sounding sla back to nearl t o full secon s of ela
hose t o controls also act as s itches for isolatin the individual effects. You can use the Dispatch Master exclu- sively as a reverb by dialing back the Time control all the way to zero, which disengages the delay function. You can also use the e eats control to increase the is atch aster s decay and depth. Turning the Reverb control all the way off disengages the Reverb entirely. And the Mix knob controls the overall blend between dry and effected signals whether run to ether or in e en entl Star Voyager Apart from its brilliant simplicity, Earthquaker’s little Dispatch Master stands apart from both its ex- pressive potential and the transparent quality of the digital processing power that is the pedal’s foun- dation. The digital reverb is impressive and exceptionally organic. It’s much more geared toward a ambient room, hall, or cathedral-type sound than a spring reverb. But the absence of digital artificiality is remarkable. And even at maximum settings, the unit retains a very natural decay and immensity that evokes being alone in the dark and empty hold of some enormous freighter. More modest set- tings are also very effective for adding color to an otherwise lifeless tone, as I found when I plugged the pedal in during a late-night practice session at home where I had to keep my volume at infuriat- ingly low levels to spare the cranky neighbors.
The Delay is rangey and sweet-sounding, with a exceptionally natural decay. The limitation of just a Repeat control never feels like a hindrance. And if anything the breadth of the Delay’s capabilities is one of the only sources of frustration. The Time control is wonderfully sensitive, but it can be a chal- lenge to dial in exactly the right delay time without a fair bit of practice. And it’s easy to nudge the delay from a perfect medium-slow echo to near-slapback setting with an errant bump. The only other real trade-off for the pedal’s compact size is the inability to truly control the reverb and delay indepen- entl hen both are en a e hat sai the ela s lon re eat settin s ork so beautifull ith the ee er more ambient ela settin s that o u likel be incline to use them to ether in that manner an a
The Verdict The Dispatch Master is one of those pedals that can find you reconsidering the worth of whole swaths of your stompbox collection. It’s also the kind of effect that you grab when you don’t have much space and when you’re trying to do the most with the least. Together and independently the reverb and delay can move from understated to epic in scale, which makes this a pedal that will get you out of almost any jam. And if you’re anything from a country player, accompanist to a singer-songwriter, pop texuralist, or experimental adventurer, it’s easy to imagine hitting a club gig with this thing, a little fuzz or overdrive, and a Champ and being able to cover just about anything a band throws at you. Even if the Dispatch Master isn’t dirt cheap, considering the built-by-hand-in-Ohio quality, Earthquaker’s admirable track record of innovation, and the sounds-to-weight ratio of this cool little box it represents a real and considerable value.
u if compact, rugged, and versatile reverb and delay in a single small stompbox is more appealing than lu in multi le otentiall lesser e als
ki if strai ht ahea is ho o u like o ur si nal Earthquaker Devices Bit Commander Pedal Review (November 2011) By Charles Saufley The Bit Commander analog guitar synthesizer has an amazing capacity for enhancing melody lines, retaining def- inition in a variety of musical situations, and making sounds that, in the right context, sound just plain beautiful.
Analog synth sounds have a polarizing effect among musi- cians or some la e rs the are cornball relics t he sonic embo iment of cheese ut hile s n th soun s ill remain synonymous with the era of polyester-based tailoring and/ or anxiety about robots, time has proven that the sounds of sines, squares, oscillators, and filters working together can be musicall o erful
EarthQuaker Devices, an Akron, Ohio, company that has made waves over the last few years with a fast-growing line of mean fuzz boxes and unique delay and modulation units, seems to understand the inherent musicality of synths. Its recentl release it Comman er analo uitar s n the- sizer has an amazing capacity for enhancing melody lines, retaining definition in a variety of musical situations, and making sounds that, in the right context, sound just plain beautiful
Synth Simplicity Part of the it Comman er s musicalit is roote in its sim- le architecture ather than et carrie a a ith multi le wave types, envelopes, or oscillators, EarthQuaker based the Bit Commander’s sound on a single square wave, the relative level of which can be adjusted with the Base con- trol. The top three knobs control the level of the octave voices. Sub is two octaves down from the base tone. Down 1 is a single octave down, and Up 1 is an octave up from the base. A Level knob works as a master volume for the summe effect an the ilter control functions more or less as a tone control. Together, it’s an exceptionally well- executed layout that facilitates fast experimentation and tone tweaks on the fly. The controls are also wonderfully responsive. A Toneful Monster One of the real pleasures of the Bit Commander is how well the unit tracks fingering nuance. Quick, full-step slides, fast finger vibrato, hammer-ons, and legato work all retained full harmonic detail and percussive qualities, which few other synth pedals or octave pedals can pull off with such aplomb.
The Bit Commander also displays an impressive capacity for sustain—though, like any synth or octave pedal, this isn’t always a sure thing. I worked out a few lead runs ending in dramatically sus- tained, full-step bends, only to have the bend fizz out every third try. When it does work out, the Bit Commander sings like a Frankensteined fusion of tenor and baritone vocalists and a Univox Su- per Fuzz—a combination that sounds wicked in funky and strutting band settings. That said, even the notes that hang the longest ultimately cut out very abruptly. The square base tone assures that there’s a fuzzy haze to just about anything you play on the Bit Commander. You can remove much of it b rollin back the ilter control ut in oin so o u can lose the s eetest as ect of the it Com- mander’s voice— a warm, round fuzz that’s very much at home in the context of melodic leads while retaining a nasty, funky buzz that sounds like some future-shocked Marc Bolan.
The Bit Commander doesn’t escape all the typical guitar-synth limitations, though: Bridge pickups can create high-end spikes that upset the harmonic balance of low octaves, true chords are all but impos- sible, and tracking notes much below the 7th—or maybe the 5th—fret can get very glitchy, too. How- ever, it’s much less so than with a lot of synth and octave pedals, and at lower master volume levels, I was actually able to play some fat and precise glitch-free bass lines. In general, though, all the money is u ast the th fret for the it Comman er
The Verdict You don’t often think of guitar synths as pedalboard staples, but because the Bit Commander is no one-trick pony—it has the musicality to work as a sonorous octave fuzz, a funky baritone substitute, or a secret weapon for harmonized leads—it could become one for a certain segment of the guitar- playing population. The octave voice controls all have an impressive range and responsiveness that really makes experimentation rewarding. It’s also a very forgiving unit built around an inherently simple circuit with a clear and powerful basic voice. In all, it’s a delicious-sounding and elegant, if emente iece of ork
Buy if... you’re looking for funky and futuristic sounds that are truly responsive to the touch.
Skip if... synthy tones make you squirm. Tone Job: Powerful, sweet sounding active EQ and boost pedal By Phil O’Keefe
e Earthquaker Devices Tone Job (Fig. 1) can be thought of as an all-analog preamp with three band EQ. It is also designed to function as a clean boost. e overall frequency response is quite wide, and the range the EQ covers is fairly broad. Because of this, it not only works great with guitar, but can also be used for bass and key- boards too.
Unlike some boosts, which add some grit of their own, the Tone Job is by nature more of a clean boost, with no distortion to speak of being added to the signal.
JOB DESCRIPTION e controls of the Tone Job are fairly straightforward and self-explanatory. ere are four knobs - three of which are active EQ controls. Unlike graphic or parametric EQ pedals that can sometimes be a little tricky to use for the uninitiated, the Tone Job’s tone knobs, which are labeled similarly to an amp’s tone controls, should be extremely easy to understand. Here’s what they’re labeled, and what they do:
Bass - A shelving lter that works at 500Hz and lower Mid - A bell / resonant lter centered at 1 kHz Treble - A shelving lter that functions from 2 kHz and up
e 12 o’clock noon setting is “ at” for all three EQ controls. ere is up to 20dB of boost / cut available per band. e bandwidth characteristics are illustrated in the pedal’s documentation, and are shown in Figure 2.
By adjusting the relative amounts of each of the three EQ controls, it’s possible to roll o or boost bass, scoop or boost the mids, bring out more treble or dial it back… and then boost the overall output level independently of the EQ. e Level control is post-EQ, and allows you to dial in unity gain, or boost the output up to ve times relative to the input level. Unity gain with the EQ at is at about 10 o’clock on the level knob.
As you might expect, the Tone Job is a mono in, mono output pedal. e input, output and power jacks are all mounted on the top of the pedal. (Fig. 3) e high input impedance of 1MOhm, and low output impedance of 10kOhm means the Tone Job plays well with other pedals and doesn’t load down your pickups. e Tone Job measures 4 5/8” x 2 1/2 x 2 1/4”, including the knobs. It comes with a very cool little drawstring storage bag (also seen in Fig. 1), which is a nice touch. It features true bypass switching with a very bright LED indicator, and is hand-made in Akron Ohio USA. It can run on an internal 9V alkaline battery, or with a 9-18V DC, 2.1mm center-negative power adapter (not included).
PURPOSE AND USES What kinds of things can a pedal like this do for you? Well, for starters, it is great for compensating for tonal and level di erences between two di erent guitars. For example, if you use a Les Paul for half of your set, and switch to a Strat for the other half, then you’re probably used to having to go to your amp to adjust the volume level and tone controls to optimize its settings for each instrument. at’s not so bad if you switch once, but it can be a has- sle if you want to switch more frequently. With a Tone Job, you can make the adjustments via the pedal, switch instantly with the click of a footswitch, and leave the amp settings alone. It’s also a great overall tone-shaper and master level control. Place it at or near the end of your chain to adjust your overall tone and level you send to the amp.
Do your solos need a li? e Tone Job is a solid lead boost pedal, complete with alternative tonal response. Want a fairly standard warm and clean tone for rhythm, but a brighter, stinging lead tone? e Tone Job will al- low you to easily set up and use separate level and EQ settings for leads. As with most boost pedals, it also works fantastic for slamming the input of a tube amp that is on the edge of saturation and throwing it over the edge into full-on distortion.
Another thing the Tone Job excels at is adjusting and shaping the sound of your dirt pedals. Placed in front of a dirt pedal, it can help goose the drive pedal, overdriving the input and allowing it to get dirtier than it normally would without the boost. Additionally, the EQ can be used to help tailor the nature of the distortion. For ex- ample, by placing it in front of an overdrive pedal and adding mids with the Tone Job, you can get that frequency range to more easily distort relative to the highs and lows.
Placed aer dirt, it allows you to sculpt and adjust the overall sound of the preceding pedal. For example, sup- pose you love your Tube Screamer’s overdrive character, but wish it had slightly less midrange, and more in the bass region. Place the Tone Job aer the TS in the signal chain, and dial up a bit of bass boost and midrange cut. Placing the Tone Job aer your dirt pedals is also the preferred location if you want to use the boost to increase overall volume levels for solos instead of increasing overall distortion levels.
OVERALL IMPRESSIONS? JOB WELL DONE! is is a very musical and sweet sounding EQ that is drop-dead easy to use. It’s not a parametric EQ, so if you’re looking for a pedal to address a 60 cycle hum problem, or to do other narrow-band and surgical EQ adjustments with, you may want to look elsewhere, but as a boost and tonal shaper, it’s outstanding. At higher voltages the de- tail and headroom of the pedal both increase, although it’s a relatively high headroom pedal to begin with, even with commonly used 9V power supplies. In fact, even when I slammed the input of it with a variety of high gain, high output dirt pedals, the Tone Job never overloaded or inched in the slightest.
I was also very impressed by the low noise levels of the Tone Job. Unlike some EQ pedals that tend to get very noisy when boosting - especially in the midrange and high frequencies, the Tone Job stays surprisingly clean and relatively noise free, even with signi cant amounts of boost applied to those two EQ bands.
In closing, I’d like to mention the Earthquaker warranty, which is somewhat unusual. Here’s what it says on their website under “warranty”:
“We will repair or replace any device that we made at any time as long as we re still in business! Warranty does not apply to the enclosure, graphics, knobs, hardware or any devices that are deliberately destroyed or modi ed by anyone other than Earthquaker Devices.”
Of course, if you mod or deliberately damage the pedal you’re out of luck, but this is a very generous warranty, and Earthquaker Devices should be commended for having the con dence in their products to stand behind them in this way. Aer having used the Tone Job for a while, I can see why they’re so con dent. Not only is it a very good sounding pedal, it’s solid, well-built (Fig. 4) and utterly reliable.
While EQ and boost pedals are not as glamorous as some other pedal types, they add considerable versatility, adaptability and exibility to any pedalboard, and are thus an essential part of the modern guitarist’s tonal tool- box. If you’re looking for a easy to use and great sounding EQ, or want a boost pedal with the exibility that only comes with extensive EQ control capabilities, you should de nitely look into the Tone Job. It’s a real winner that adds not only a boost, but a lot of tonal exibility to your rig. EarthQuaker Devices Organizer Pedal Review Charles Saufley | Premier Guitar feature review October 2012 issue
One of the things that sets Akron, Ohio’s EarthQuaker Devices apart is a very broad view of what the guitar can do and the many shapes that music can take. That collective mindset among the EarthQuaker staff, along with a wealth of engineering wizardry, makes the EarthQuaker line the stompbox equivalent of a well-stocked kitchen—with the goods to cook up everything from meat- and-potatoes rock tones to psychedelic bouillabaisse.
At first listen, the new Organizer, which (duh) generates organ-like tones based on your guitar’s input, probably seems most suited for the latter category. But EarthQuaker’s thoughtful and stream- lined design make it a very tweakable pedal that can just as easily be used to subtly color a chord sequence as create musical melodrama.
Church Architecture The Organizer has just enough knobs to induce a reflexive “uh-oh” as you extract it from the box. But what you’ll find not long after plugging it in is that the Organizer is intuitive and downright sim- ple. The up knob controls the level of your octave-up signal. Down does the same for the octave- down signal. And the choir knob adds a much more complex flavor—a blend of two-octave-up and two-octave-down voices with a delayed dry signal that can be massive sounding.
On the bottom row of knobs there’s a lag control, which adds a range of very short, slapback-like delay to the octave-up and octave-down signals. The tone control brightens the signal as you twist it clockwise, while the direct signal controls the relative amount of dry and wet signal.
To the Temple EarthQuaker cites the infamous Guitorgan as a source of inspiration for the Organizer. And while the voice of the Organizer is geared more toward the Baldwin-style sounds of the Guitorgan than the Vox Guitar Organ’s reedier combo-organ sounds, the DSP-generated Organizer voice is more akin to the sound of a church organ. The basic voice is also colored by a slight oscillation that’s most pronounced when there’s a lot of high-end content.
Just about any guitar or pickup will work well with the Organizer—even the harmonic complexities of a 12-string remain clear through the color wash of the Organizer. The best pickup match, however, was a clean, neck-position humbucker with a touch of tone roll-off, which contributes a nice balance of body and simple sine-wave content that doesn’t clutter the rich voice of the Organizer too much. And though the Organizer adds a lot of additional hues, little of your guitar signal’s character or playing dynamics are lost in the process, and the pedal tracks bends and finger vibrato perfectly— even when wet-signal content is very high.
When you crank the down, choir, and lag controls, and add a touch of up-octave and high-end content, you can lose track of entire hours of your life, blissing out endlessly to simple first-position chord strumming—especially with the addition of a little outboard delay and reverb. The sounds at these levels are those of a deep-space cathedral, and a light, patient touch works best in this context—heavy strumming is the one playing approach that will overwhelm the Organizer a bit. Bringing in the octave-up content adds a cool warble that turns arpeggiated triads into the sounds of a haunted carousel with a touch of glockenspiel tones on top—and this effect is especially effective on high strings past the 5th fret.
The Organizer isn’t strictly about over-the-top, spooky atmospheres though. Rolling back the lag and octave-up content entirely gets you a very funky, cool cross between a very smooth octave pedal and a Hammond organ’s pedal tones, which is fantastic for adding unexpected color to jazz chords, blues shuffles, and funky leads, or adding a baritone/ bass voice when your bassist fails to show for practice.
The Verdict While it takes a little time and an open mind to uncover the whole of the Organizer’s potential, it is ultimately a pedal of impressive and varied capabilities. And you could easily score an ambient, sci-fi movie soundtrack one night and rock a juke joint with King Curtis jams the next with little more than this stompbox.
There are times that leave you wishing the Organizer could do just a touch more. A switch for an additional voice—a more combo organ-like or Hammond-like sound, for instance—would be cool. And the ability to add simple harmonies like thirds and fifths—a capability that exists in Earth- Quaker’s Rainbow Machine—might make the Organizer a bit more versatile. It’s hard to say what these additions might add to the cost of the pedal—not to mention headaches in a live context. But if you focus on all the things the Organizer can do, you’re bound to uncover a trove of textures and sounds that will expand your repertoire, spur creative composition, and approach your playing in fresh, new ways.