http://www.sourceaudio.net/site.php/blog/ Expressive Guitar Effects en salesinfo@sourceaudio.net Copyright 2012 2012-04-18T15:12:35+00:00 http://www.sourceaudio.net/blog/post/the-gear-page-reviews-source-audio http://www.sourceaudio.net/blog/post/the-gear-page-reviews-source-audio#When:15:12:35Z   Written by Scott Auld of The Gear Page   This month I had three unique pedals hit my doorstep, and more than being just more fun noisemakers, they actually awakened that curiosity about effects that seemed to be asleep in me for a long time. I remember how excited I was in my early teen when I first got to play with distortion – it was like I had discovered fire. The new Source Audio pedals actually got me feeling that way again. Let me explain why. In a world where every pedal seems to come in the same old boring Hammond enclosure and only the screen printed graphics change (insert cool artwork here, kids!) it was a breath of fresh air to open up the pedals from Source Audio. They’re just so … different-looking! I didn’t know it yet, but this should have been my hint that they were engineered differently. The team at Source Audio appear to be a rare breed among engineers – they seem to be futurists as much as designers. It’s as if they’ve realized that we musicians have been stuck in the same rut for 40 years, and they appear to be determined to help us get moving forward again, into a future filled with possibilities. Source Audio sent us a Soundblox Dimension Reverb pedal, a really interestingly laid-out pedal with its sideways-rectangle control knob layout and button panel below that. With 12 different flavors of reverb (6 different room sounds, 2 plate reverb settings, 2 spring reverb settings, and a modulation or an echo setting) and a massive amount of parameters you can tweak, the Soundblox Dimension 2 is a really versatile reverb unit that should find a home on everyone’s board.     To read the full review, head over to The Gear Page! Gear Reviews, 2012-04-18T15:12:35+00:00 http://www.sourceaudio.net/blog/post/premier-guitar-reviews-the-source-audio-programmable-eq http://www.sourceaudio.net/blog/post/premier-guitar-reviews-the-source-audio-programmable-eq#When:17:06:05Z We got a great review of the Source Audio Programmable EQ in the May, 2012 issue of Premier Guitar. Read the Article!   Gear Reviews, News, 2012-04-11T17:06:05+00:00 http://www.sourceaudio.net/blog/post/the-source-audio-dual-expression-pedal-is-coming-soon http://www.sourceaudio.net/blog/post/the-source-audio-dual-expression-pedal-is-coming-soon#When:15:10:41Z Ladies and Gents, we proudly introduce the Source Audio Dual Expression Pedal - it's the latest addition to our series of utility pedals. Just like our Programmable EQ, we've added multiple forward thinking features that boost this expression pedal from your basic utilitarian, "any brand will do" unit to an absolutely essential piece of gear. As its name suggests, SA161 has dual expression connectors so you can run two pedals simultaneously! It's also outfitted with a special Hot Hand style expression connector that's compatible with every Soundblox and Soundblox 2 pedal. If you own one of our Envelope Filters, this pedal is a must have for those moments when you need traditional wah-wah pedal control. I couldn't begin to explain the unbelievable sounds we created during the testing process. Just imagine the sound of a simultaneous Envelope Filter sweep and Multiwave effect morph - nobody in the world has heard sounds like that...EVER! The Source Audio Dual Expression Pedal is similar to a classic Cry Baby Wah in size and materials (cast aluminum) so go ahead and throw it off your roof, it ain't gonna break (disclaimer: don't really throw it off your roof). Look for a release date in mid March with an expected street price of $109. 2012-02-24T15:10:41+00:00 http://www.sourceaudio.net/blog/post/source-audio-announces-the-release-of-soundblox-2-at-winter-namm-2012 http://www.sourceaudio.net/blog/post/source-audio-announces-the-release-of-soundblox-2-at-winter-namm-2012#When:02:59:07Z After years of releasing multi-award winning guitar and bass effects, we are excited to be taking another significant step forward with the creation of the Soundblox 2 series! The new line of pedals boasts a variety of new features in a compact, rugged cast-aluminum housing. This NAMM, we will be releasing three new products in the Soundblox 2 format. The first two are Source Audio's award-winning Multiwave™ distortions available in both guitar and bass models. The third is Source Audio's new Dimension Reverb, created by legendary effects engineer, Bob Chidlaw. It features twelve distinct reverb sounds and a range of controls. All Soundblox 2 pedals have a universal true-bypass switching system, two user presets, precision 56-bit signal processing, and a multi-function input that supports MIDI, expression pedal, or Hot Hand® control signals. The cast-aluminum housing of the Soundblox 2 pedals has a super-compact 4" by 4" footprint. The MSRP for the Soundblox 2 is expected to be $239. They will be available in the first quarter of 2012.    Come visit us at Booth 5599 in Hall B to try out the Soundblox 2 pedals first-hand!  News, 2012-01-17T02:59:07+00:00 http://www.sourceaudio.net/blog/post/hot-hand-from-source-audio-helps-dubstep-video-go-viral2 http://www.sourceaudio.net/blog/post/hot-hand-from-source-audio-helps-dubstep-video-go-viral2#When:06:30:12Z Three weeks after its YouTube release, Pinn Panelle’s cover of the Skrillex recording, Scary Monsters and Nice Sprites surpassed the viral milestone of 1,000,000 views, since then it has topped 3 million and shows no sign of slowing down. The video establishes a dynamic new hybrid genre, combining elements of live rock performance and the electronic/DJ based sound of dubstep. Often discussed in the video’s comments section is the role of the Hot Hand Wireless Adapter with the Soundblox Bass Envelope Filter in the achievement of bassist Nathan Navarro’s dubstep wobble.            Navarro explains his desire to take dubstep, a style of music traditionally performed with preprogrammed loops and effect modulation, and transport it to the realm of actual live performance: “I was looking for a controller that could articulate the oscillations of a wobble with accuracy and in real time.  I bought the Hot Hand and it’s been my weapon of choice since.” The Hot Hand Wireless Adapter is comprised of a lightweight motion sensor ring and receiver that plugs directly into all Soundblox, Soundblox Pro, and Hot Hand pedals. The ring attaches to a musician’s hand, foot, headstock, etc. and an internal accelerometer translates motion into an exceptionally precise and dynamic expression signal. When used with Source Audio’s envelope filters, wahs, phasers, and flangers, Hot Hand executes filter and modulation sweeps with a level of speed and exactitude previously unachievable. Traditionalists may take issue with Bluetooth controllers and laptop computers occupying a rock and roll stage, but for the members of Pinn Panelle a full embrace of innovative and high-tech musical gear is instrumental in their mission to bridge the gap between rock music and dubstep. Guitarist, Derek Song and keyboardist, Jonah Wei-Hass had to find new methods for manually directing their dubstep wobbles. Song reveals, “I really got into alternate ways of controlling my effects.  Essentially what I’m doing is using a Bluetooth key pad to control the rate of the LFO and filter.” Drummer Justin Conway says, “I use Ddrum triggers for samples plus the Roland Octapad for additional processing and samples, then mix it all in with my acoustic sound.” It’s this intriguing fusion of the digital and the organic that really gives Pinn Panelle’s music its edgy explosiveness. “As a bassist, I enjoy playing dubstep” adds Navarro, “because of the power in the tones I get to use.  Real-time wobbles make me feel like a Jedi.”  Real-time bass wobbles certainly makes him sound like a Jedi, just imagine dropping a light saber duel into the center of a rave dance floor and you’ve got a pretty good idea of the signature Pinn Panelle sound. Bassist Nathan Navarro will demonstrate his Hot Hand inspired dubstep technique at the Source Audio booth (#5599 in Hall B) at this year’s NAMM Show in Anahiem, CA from January 19 to 22. Artist / Heroes, News, 2011-11-18T06:30:12+00:00 http://www.sourceaudio.net/blog/post/the-impact-of-steve-jobs http://www.sourceaudio.net/blog/post/the-impact-of-steve-jobs#When:18:47:49Z Steve Jobs had a strong influence on thousands of people and businesses, especially me and Source Audio. As a freshly minted electrical engineer in the mid 1980s, I told my new semiconductor chip-making employer Analog Devices that I wanted to be in sales or marketing.  The only open slot was in Silicon Valley, so after a few months of training I packed my bags and headed west from New England to make my fortune (and see some Grateful Dead shows at the Greek).  
  Boston-based Analog Devices could not attract experienced sales engineers in Silicon Valley, because locals such as Intel and AMD paid more and were more prestigious at the time.  As such, Analog gave me one of the most amazing sales territories in the world right out of college and with zero experience, and I mean zero, nada, zilch.  It just so happened that Cupertino was in my territory, and that meant Apple Computer.  Few people had been to Apple from Analog, but it seemed like a good idea to me.  I figured that Analog would start to make more audio, video, and graphics chips over time, and that a company like Apple just might be in the vanguard of integrating such media functions into their future products.
  Apple soon became my obsession.  I visited the Advanced Technology Group in “DeAnza One” constantly and became friendly with wide range of passionate Apple technologists who had been given wide latitude to explore what was called at the time “multimedia”.  I had uncombed wild hair, but wore 1950s era Savile Row business suits and French designer ties which had belonged to my grandfather.  It was an odd mix, but accepted at Apple where corporate dress was considered completely outrageous by the rest of the business world during that era.  I purchased my own MAC SE (still the best PC I have ever owned), was invited to be on Apple’s internal network, and I read everything about Apple I could get my hands on.  There was one catch to all of this: Apple was not purchasing one thing from Analog and the kind Apple folks in ATC always made sure I knew that their projects were never going to production.   Undeterred, I kept on giving them $1000s of dollars in free samples and hours and hours of my time.
  Luckily, my boss gave me lots of latitude.  His name was Mike Mello, if you can believe it, and he was totally mellow with me and Apple.  I may have been odd and a dreamer, but I was hardworking and earnest.  One day things started to change.  Apple made a big step to integrate color graphics and stereo audio across the product line.  I was in the perfect place at the perfect time.  Apple would go on to grow into one of Analog’s largest worldwide customers, and my pressure on the company to invest in multimedia chips would open the door to vast emerging opportunities in both the PC industry and consumer electronics in general.
  I eventually moved back to Boston and into Analog’s video product development group.  When audio was added to the mix, I was asked to lead the combined entity.  What had started at Apple 15 years earlier was now a big responsibility.  
  We always talked about guitar effects pedal.  It was an interesting market to us, because it was kind of pro, kind of consumer, it was all about music, and, here is the big one, it seemed to be on the cusp of transition as chip processing capabilities grew more and more powerful and appropriate for the application.  It just so happened that one of my audio development teams was working on what seemed like the perfect processing chip for guitar effects.  The product was called SigmaDSP, and the development effort was being led by Bob Adams, who is a Fellow of the Audio Engineering Society and Analog as well.  The more I studied the functionality of the chip the more perfect I thought it would be for guitar effects.  It was finally so tempting that Jesse Remignanti and I told ADI we needed to start up a dedicated company.  And that is how Source Audio was born.
  It ought to be clear that I would never have made it into the guitar effects business without my formative years of working with Apple Computer.  That whole experience influenced my thinking on  everything and you can see it all over Source Audio.  Apple seeks great, distinctive industrial design.  Apple seeks high quality high volume manufacturing via 3rd parties with that expertise.  Apple seeks a clean, powerful yet intuitive user interface experience.  Apple seeks to create a fun and innovative yet challenging work environment with an obsession for small detail.  All of these things are in Apple because of Steve Jobs.  They were his passions and will be in Apple’s DNA for many years to come.  These are also Source Audio’s passions, and in a world of effect pedals which are often in old-styled housings trying to capture old-fashioned tones, we are trying our best to THINK DIFFERENT.
  Source Audio joins thousands offering a heartfelt thank you to Steven Paul Jobs.  We will miss you, but will continue to try and carry on your legacy in our company.  Artist / Heroes, 2011-10-13T18:47:49+00:00 http://www.sourceaudio.net/blog/post/why-choose-the-source-audio-programmable-eq http://www.sourceaudio.net/blog/post/why-choose-the-source-audio-programmable-eq#When:17:38:18Z Tips and Tricks, 2011-10-04T17:38:18+00:00 http://www.sourceaudio.net/blog/post/the-top-10-greatest-bass-effects-songs-of-all-time http://www.sourceaudio.net/blog/post/the-top-10-greatest-bass-effects-songs-of-all-time#When:17:39:05Z Taking a page out of the Jeff McAlack playbook, I present to you my list of the top ten greatest bass effect songs OF ALL TIME.  The list is full of songs that have a strong place in my own personal experience so it is tremendously biased.  If you find that I’m missing a song that’s so key to the world of bass effects that it’s absence has to be commented on, send it my way to will@sourceaudio.net   In order for a song to make it on this very exclusive and highly regarded list, it has to be some sort of creative use of an effect that defines not just the bass line, but the entire song.  Distortions give you some grit to push the emotion of a line even higher, envelope filters allow you to freely embellish different aspects of the timbre in each note, and phaser/flangers give you the sound of an intergalactic space machine.  A good bass effect…like, ahem, the Soundblox Pro Bass Envelope Filter for instance….adds an entirely new creative dimension to your instrument.  Here’s our own song using the BEF Pro:     So without further adieu, the list (in no particular order):   1.)  Red Hot Chili Peppers – Coffee Shop [Wah Pedal]   I’ve got to kick off the list with ‘Coffee Shop’ because this was the song that got me into bass effects in the first place, inspiring me to go out and buy my first pedal.  This tune, off of the criminally underrated One Hot Minute literally caused me to toss my discman off my lap across the room when I jumped out of my seat.  I had no idea a bass could do that!  While it’s an example of more of the brutish just step on the box and just play the piss out of your bass attitude, it’s done so friggin’ well that it becomes the defining moment in the song, as if the entire purpose was to build up to this bass solo.   It’s unclear if he used an auto-wah here or a standard wah pedal.  My ears tell me that he used a wah pedal because of how the rhythm of the modulation changes during his solo…and because I used to play this solo in my bedroom with a wah pedal when I was in high school.  It's quite a workout for the ankle, but given Flea's history of jumping and wiggling, it adds up.    2.)  NIN – Closer (NSFW language) [Envelope Filter]   I'm sure that this one will be a controversial pick and not solely because of the NSFW language.  It’s admittedly debatable whether or not the ‘bass line’ is, well, a bass.  I’m going to let the potential synth issue slide here for two reasons though.  First, because this is a bass line that was an earworm for me for years and years as I tried to figure out what was what with effects that make it so interesting. In the very least, it's a bass register part that is the strongest hook in the song.   I remember playing the tune for an old teacher of mine and asking him what was going on.  He told me that there must be two envelope filters on at the same time.  That didn’t make any sense then and it doesn’t make any sense now.  As a kid though, that still got a pretty solid jee wiz out of me.  The second reason, is because this song is a regular staple for me on my cover gigs and I love playing it through the BEF Pro.  The key is to use a slow attack on one of the tighter envelope filters like the Single Peaks to capture that dirty, sloppy, sexy sound that permeates the song.  I get some bonus points by stomping on the Multiwave to pound through that chorus with some extra grit.   3.)  Pink Floyd – One of These Days [Delay & Tremolo]   This song rocks.  It’s a mean, powerful way to kick off one of my favorite all-time records, Meddle.  The studio version has both Roger Waters and David Gilmour hitting the bass through a tape delay, but I’ve decided to sub out that video for some footage from their epic concert to rock the lost souls at Pompeii.  You’ve got to respect the effort and ambition Pink Floyd put into elevating the entire genre of Rock and Roll to new levels throughout their career.  They had a real sense of history in their performances at places like Pompeii, the pyramids of Giza and the Berlin Wall.  In a way, they were the first to succssfully make Rock into high art while maintaining its commercial appeal.   Pink Floyd pushed boundaries first and foremost in their compositions.  It’s still unconventional today to use delay on a bass, let alone make that the main feature of a song.  I imagine this was quite an experience to hear this song for the first time when this record dropped.  The distorted guitar takes a back seat here occupying an atmospheric role over the two-chord progression.  It doesn’t take any real prominence until the song bursts into a full out rockgasm after the arresting tremolo bass bridge with the unsettling line “One of these days I’m going to cut you up into little pieces!”  I’m not sure what they were going for there, but I’m also not sure that I really care.  This song is just too awesome.  Take some time and just check out drummer Nick Mason getting his solo on with that Mediterranean wind in his hair.  That must have been quite a feeling!   4.)  Jamiroquai – Deeper Underground [Distortion]   Ah, the Godzilla Motion Picture Soundtrack.  Back in 1998 when the Music Industry was the biggest, bloated balloon only about two or three years away from the pin-prick of Napster that promptly deflated it to its current defeated state.  The pop music coming out may have come extra sugary and in a nice expensive wrapper, but sometimes the big business side of produced something that was as incredible enjoyable as it was contrived and stupid.  For me, the Godzilla Motion Picture Soundtrack was the pinnacle of imbecilic pop that was too tasty not to enjoy.  In hindsight, I love the sheer poetry of my dad, a hippie, pounding his fist against my door screaming ‘turn that @#$% off!’ while I blasted Puff Daddy’s (before his P. Diddy name change) blasphemous remix of Led Zeppelin’s ‘Kashmir’.  I bet he never saw that reality coming.  Let's bring the focus back to where it belongs.  Jamiroquai is legitimately a killer pop act that’s been around for some time churning out hit after hit in the UK.  Remember 'Virtual Insanity'?  This song, 'Deeper Underground' is a lesser known Jamiroquai tune, but still a live favorite with his audience.  The main hook is propelled almost entirely by the synthy bass line.  It's all groove with a repetive rundown fill that never gets old.  It's stayed in my psyche long enough to be the first bass line I tried out to test the Soundblox Multiwave Bass Distortion.  It passed.  I recommend the Singleband Foldback settings with a good deal of Drive to soften up the tone.  Boost the highs to give it that synthy shrill.   5.)  Red Hot Chili Peppers – Sir Psycho Sexy (Extremely NSFW Language) [Distortion & Envelope Filter]   Yeah I know.  This song as absolutely filthy.  I mean that in every possibly interpretation of the word…and I think that was exactly the intention of the Chili Peppers as they channeled their inner P-Funk when they recorded this tune.  Flea, who appears on this list a second time and probably deserves his own countdown, starts the song off with a brutally aggressive bass line that thumps alongside Will Ferrell, sorry I mean Chad Smith’s heavy hitting beats.  That groove would be enough as it is, but right when Keidis introduces the voice of Sir Psycho Sexy, the uber-squishiness comes in.    Flea’s combination of envelope filter and distortion are so freaking tasty that bass players have argued endlessly in the depths of the internet over how to get that precise sound.  Legend has it that Flea used a Mutron that ran out of battery mid-take.  He subbed in the batteries for another pass, but they and producer Rick Rubin liked the fuzz sound so much, they blended the takes together.  Huh.  Hard to replicate that!  Unless you’re using the Multiwave’s singleband octave distortion going into effect type #6 on the BEF Pro that is ;-)     6.)  Beastie Boys – Sabotage [Fuzz]   Yup.  Beastie Boys.  Sabotage.  The distorted bass riff that opens this song is absolutely killer.  Even better is the video which carries the ever poignant theme of mustaches.  This video like literally every other Beastie Boys video features them just running around doing stuff and that’s a wonderful thing.  You could waste a full hour and a half YouTubing their catalog of awesome Spike Jonze directed videos.   For the bass in this song, there’s a lot more gain on the distortion than you would typically put on a bass.  The bottom end is kind of lost, but it creates a sound that just works perfectly.  Their earlier albums all had a typically lo-fi sound because of the relatively DIY nature of the boys from Long Island doing their thing in the Brooklyn rap underground.  It was this rocking sound that was the edge they brought to an otherwise funky table.  They had started out trying to be some sort of instrumental rock band, but couldn't get it togther.  It goes without saying that they found their niche as the whiny rapping jewish kids churning out a steady stream of party anthems.     7.)  Parliament – P-Funk (Wants to Get Funked Up) [Envelope Filter]   This is definitely a more subdued use of bass effects compared to some of the other songs on this list, but it makes the grade because it is a classic.  This is the opening track off of Parliament’s debut record, Mothership Connection so in reality, it was one of the first times anyone had ever heard that soupy envelope filter bass sound for which Bootsy Collins is so well known today.  The fact that this song was so pioneering is enough reason alone to include it on the list.  On top of its place in music history, it’s also a killer groove with some wacky lyrics that keep you listening.  To get the squishiness of that chorus bass line on your BEF Pro, dial it in to one of the Triple Peak settings and slow down the attack just a touch.     8.)  Phish – Boogie On Reggae Woman [Distortion and Envelope]   Mike Gordon is one of the most respected bass players in the business when it comes to his bass effects and the chops he has to make them sing.  In Phish’s commonly heard cover of Stevie Wonder’s ‘Boogie On Reggae Woman’, he goes full bore with a spindly, funky tone that didn’t earn him the nickname ‘cactus’ but has become its defining sound.    We met up with Mike Gordon in early 2010 to help him outfit his rig with the Soundblox pedals that he had become interested in after some online research.  He’s still touring today getting that cactus sound with the Soundblox Pro Multiwave Bass Distortion and Bass Envelope Filter.  In fact, the sound you hear in this video are those two pedals!  Mike’s success with those two pedals have made them a marquee combination of our effects.  For more info on how Mike uses our pedals check out this blog.   9.)  The O’Jays – For the Love of Money [Flanger]   It’s hard to get more classic than The O’Jays.  This is actually a repost from another countdown of Top Flanger songs, but it’s such an essential that we needed to double down on it.  There’s not much to say here really except that I love that the main hook is entirely on the bass.  Respect is deserved to Anthony Jackson for writing a classic line.   10.)       Justice – D.A.N.C.E. [Compressor]   It’s an odd choice to include a compressor as a bass effect.  However, heavy compression creates such a signature sound on the bass that I’m including it on this list.  The compressor pushes the bass to the front of the mix and adds a bit of grind to the tone by boosting the quieter parts of the signal up to the level of the loudest.  It completely alters the tone of the instrument. Why this song in particular?  Because Justice takes the bass driven sound of French electronica and kicks it up a notch.  Many of their tunes feature a bass line that is first of all, played on a bass by a human being and second of all, is a great line that mashes up old school flavor with their colorful sound. The bass doesn't provide the hook here, but it is the defining flavor of the entire song. Bonus points for the cleverness of this video. Artist / Heroes, Music Reviews, 2011-09-13T17:39:05+00:00 http://www.sourceaudio.net/blog/post/new-steven-wilson-video-remainder-the-black-dog http://www.sourceaudio.net/blog/post/new-steven-wilson-video-remainder-the-black-dog#When:19:24:45Z Lack of musical ambition is not something Steven Wilson will ever be accused of. Wilson has taken a break from his regular gig as the band Porcupine Tree’s singer, songwriter, guitarist and producer to release a new solo record, Grace For Drowning which is scheduled to be released Sept. 27, 2011. Check out the new video below, it’s an unbelievably epic tune combining a tidal wave of modern avant-rock majesty with the seedy grit and virtuosity of be-bop jazz - a convoluted new amalgam of prog rock and jazz fusion. Check out the jarring transitions from the frantic stream-of-consciousness tenor sax solo, to the obscenely fuzzed guitar riff to the jazz fusion drenched piano stabs – it’s one unexpected turn after another that will leave the discerning listener blissfully off balance. And Hell, just to crank the intensity up to absurd levels, Wilson throws in a truly macabre video with a healthy dose of Bergmanesque cinematic imagery. Below is another sneak preview, a song entitled, "Index". Steven often gets serious props from his enthusiasts for his talents as a musician, arranger, and producer, but he's also quite a lyricists. Check these truly twisted lyrics, really horrifying stuff that isn't weighed down by the boring cliches that tend to mire most writers who try to go in this direction. We at Source Audio are very happy to have Mr. Wilson among the illustrious list of players currently using the Soundblox Multiwave Distortion, and congratulate him on another fantastic record.  Artist / Heroes, Music Reviews, 2011-09-01T19:24:45+00:00 http://www.sourceaudio.net/blog/post/rick-savage-of-def-leppard-uses-the-soundblox-pro-multiwave-bass-disto http://www.sourceaudio.net/blog/post/rick-savage-of-def-leppard-uses-the-soundblox-pro-multiwave-bass-disto#When:14:30:51Z I recently had the pleasure and privilege of hanging with bass technician Aidan Mullen prior to the Def Leppard concert at the Comcast Center in Mansfield, MA this past July.  Aidan works intensely with both Rick Savage of Def Leppard and Tom Hamilton of Aerosmith to achieve bass tones large enough to meet the low-end needs of both bands’ notoriously massive live sound. I’m proud to report that the Soundblox Pro Multiwave Bass Distortion plays a huge role in the overall sound of both players. Below is a video snippet from my visit with Aidan in which he describes how Rick Savage utilizes the Soundblox Pro Multiwave Bass Distortion. As many bass players will tell you, a distortion box that effects the entire bass signal tends to muddy up a band’s overall sound and suck the low-end foundation into a quagmire of a-tonal fuzz. The Multiwave eliminates that problem with separate Clean and Distorted Mix knobs, providing users the option to maintaining the original signal while adding the teeth of distortion. Aidan is particularly fond of this feature—he explained that the Multiwave distorts the frequencies you want effected without losing the “impact” and “tightness” of the overall bass tone. It’s no secret that the Multiwave produces a monster fuzz tone, but possibly the most interesting little tid-bit I learned about Rick and Tom’s use of the Multiwave is their attraction to the Clean Boost/EQ Mode. It seems that when they’re not dialing in the dirt, both players like the punch and body of the Multiwave’s 7-band EQ. Basically they engage the Multiwave as soon as they turn on the amp, so if you go to a Def Leppard or Aerosmith show this summer/fall you’ll be listening to the Multiwave ALL NIGHT LONG – you gotta love that. Aidan describes the difference between switching from bypass to the Clean Boost/EQ mode as going from “bigger to biggest.” Rick's pedal rack. "Biggest" is a nice way to describe Def Leppard’s sound, I watched the band’s set from the audience and was blown away by the rich full sound of their front of house mix. I’m not lying, we’re talking huge. Thanks for talking with us, Aidan—it was a blast.  Artist / Heroes, News, 2011-08-29T14:30:51+00:00