One of my favorite ‘unheard’ guitar effects is Ibanez’s AW7 from their super-ugly but also super-versatile early 2000s Tone-Lock series. The AW in the name stands for Auto-Wah, but this stomper is not simply a clone of the usual Wah/Filter suspects. The designers of the AW7 took the auto-wah idea as a starting point and then just kept piling on the features. What they ended up with was a pedal that not only allows you to select from two distinct Wah/Filters — a standard Wah and a Low Pass Filter (LPF on the pedal) — but also gives you a sweetly raunchy Rat-like built-in distortion circuit that can be either completely off, placed BEFORE the Wah, or placed AFTER the Wah. This placement option is a cool feature that only a few boutique builders still bother with, but it allows you to experiment with a huge variety of tones. Like what? The tone chefs at Gibson.com have a good description:
Wah-wah placed before distortion will allow the distortion pedal to interact with the peaks and valleys of the Wah’s signal. Wah-wah placed after distortion will sound thick and full, but will not be as harmonically rich. It’s worth a try just to see what it sounds like, and although most players swap right back, don’t let that stop ya! Some very famous players have gone the ‘gain-into-Wah’ route.
On top of all that, you can also use the AW7 as a ‘cocked’ or fixed wah by turning the Sensitivity knob down to zero, and you’ve basically got one pedal that does the work of four. Make that five, if you count the placement-changing ability that would require a separate effects loop.
Here’s a no-frills video I did showing some of the features I mentioned above:
The auto-wah, touch-wah/envelope filter is a bit of a niche effect. Die-hard rockers and funkmeisters always seem to go for the clunky, full-size Vox or Dunlop wahs, and there are no shortage of those and their imitators to go around. I could never get the hang of constantly working a pedal with my foot while having to focus on what my hands were (supposed to be) doing. I can’t pat my head and rub my stomach at the same time, either. For the hopelessly uncoordinated who still want to get funky, a wah/filter effects pedal is a must-have. Since trading away my first Cry Baby after many thwarted attempts at playing “Tales of Brave Ulysses,” I’ve owned several of them. My first was a little purple Guyatone WR2 “Wah Rocker” that I bought used out of the window of a music store in Nashville for around $90, I think, in 2004. It was a very simple auto wah, with knobs for Threshold and Decay, and a bypass switch. Even an idiot like me could use it! Sadly, it disappeared somewhere along the long, winding and somewhat inebriatedly navigated road of my semi-professional music career. At this very moment it’s probably being used as a door stop in the ladies’ bathroom at a truck stop somewhere between Richmond and Bristol, VA. Enjoy your second life, my tiny purple friend!
My next companion in the funk wars was the dutifully named Modtone Funk Filter. With three knobs, which included settings for low pass, mid pass, and high pass filters, it was more tweakable, if less actually ‘funky’ than the Guyatone. Still, it had a thick tone, especially in the ‘mp’ setting, that fattened up single string riffs and give an interesting punch to my brief solo breaks. Unlike the Guyatone, which was an auto-wah (the sweep of the filter — what’s controlled by the pedal on a “big” wah pedal — is automatic, and controlled by a speed, or in the case of the WR2, a “Decay” knob), the MFF is a touch-wah or classic envelope filter: it responds to the signal going in, and an “attack” control gauges how sensitive the filters affect is to your playing dynamics.
Speaking of breaks, the Modtone is now broken. The 9V input assembly cracked (that’s weird, I know!) but that was a simple enough, straight-forward fix: $1 for a new power jack and some soldering time. However, I am not the world’s most deft electrical tinkerer; when attaching the new 9V assemble (which worked!), I also seemed to have dripped some solder or got something too hot — in any case, now it powers up, but doesn’t work. It will probably take awhile before I can trace down all the components that will need to be replaced in order to fix what I unfixed when I was fixing. No worries, though, as it joins yet another broken Modtone pedal in my “I’ll get around to it” box which I will probably cannibalize for parts.
Which leads me, finally, to the SolidGoldFX Funkzilla, which I borrowed when I recently re-upped my subscription Pedal Genie. For those of you unfamiliar with the service, it’s like Netflix for guitar pedals. You pay a monthly subscription fee, create a “wish list,” and they send you a pedal from that list. Keep it as long as you like; when you are ready to return it, put your pedal back in the provided box, and email the kind folks at Pedal Genie to request a mailing label. They will shoot it to you via email; tape it onto the padded flat rate envelope they sent along inside your pedal order, seal the boxed-up pedal into the envelope, and drop it in the mail. As soon as they receive it at the Pedal Genie office, they will send you another pedal on your list. It’s cool, and convenient, and a great way to try out unusual and/or boutique pedals before actually dropping $200-300 on one. I’ve gotten a Caroline Kilobyte, a Strymon Lex, an EHX B9 Organ Machine, a Tech21 Fuzz/Boost, and, now, the SolidGoldFx Funkzilla. Of all these, the Funkzilla has been my favorite, and it’s the only one I’ve been so enamored with that I’ve begun stalking it on Reverb and eBay. They are still running in the low $200’s, even for a used one!
The Funkzilla is more than just an auto-wah or filter effect; the ease of use, tweakability, and overall design make it almost an instrument itself. Billed as the “ultimate filter pedal,” the device comes in a sparkly purple rectangular enclosure; with its white knobs and white “Electric Company” style lettering, I was immediately struck by how ‘funky’ this pedal looked. While the rows of knobs and switches made my brain hurt a little, I decided to plug and play before searching online for a manual. It didn’t take long at all to figure out how the controls worked and to get busy using the various settings for musical inspiration.
The Funkzilla is basically a two-function monster. There’s Tap mode, which utilizes the Speed, Mode, and Depth knobs, as well as switches to select among three wave-forms, repeat-multipliers (1, 2, or 4), and >dir< which controls the “direction” of the filter’s sweep in both modes. I’d liken the Funkzilla’s Tap to an extremely tweakable Tremolo; the Mode knob gives you several different rhythmic “chopping” patterns to select from, and their character and speed are easily shaped by the aforementioned knobs, the ‘tap’ button, the wave-form selector or the multiplier switch. I could’ve spent hours playing around with just half of the pedal’s functions, but what I was looking for was the funk, so my quest continued.
Envelope mode is where you find the familiar filter effects lazy-footed guitarists are in search of — and this pedal certainly delivers. The Depth, Frequency and Attack knobs are active in this mode, and allow you to contour the filter to mimic a wide range of sound shapes, from a spanky quack to very musical, talkbox-sounding vowel sounds. And the >dir< feature really comes alive in this Envelope mode. I’d never imagined that reversing the filter sweep would do much more than muddy the initial input signal, but the effect was something nearly akin to a Slow Gear volume swell. For something I would’ve considered superfluous before trying this pedal out, the >dir< feature is one of the things that really sets this pedal apart from the pack.
My gigging experience with the Funkzilla was a very positive one. I put it after my EHX Soul Food overdrive, basically in the middle of my pedal chain. (BTW I know most sources say to put a Wah before an overdrive, fuzz or boost, but I actually prefer the ‘darker’ results of distortion going through the filter, instead of the other way around.) I stuck exclusively with Envelope mode, as I felt that I’d need more time to really get a handle on Tap mode before I could use it effectively. Even using only half the pedal, I found the results exciting and inspirational, both for rhythm and some solo passages. I had to do very little tweaking during the show, and was pleased to see that the purple sparkle of the pedal, contrasting with the white knobs and white labeling, made onstage, low-light knob twiddling easier. So, the funky color is both a stylish choice and a practical one. I don’t currently have an expression pedal that I could use to test the effect’s functionality with the added interface, but I imagine it would add even greater flexibility and increase the possibilities for live exploration and invention.
I don’t have a rating system for gear reviews — should I have one? — but if I did, I’d give the SolidGoldFX Funkzilla two thumbs up, four guitar picks, five gold stars, etc. My only knock would be the cost, but my experience with guitar effects is that you often get what you pay for, and the Funkzilla, even at $250 new (and still $200-225 used), packs a lot of value into that funky purple box!