With a name derived from its Sex Pistols-inspired color scheme, the “Swindle” distortion pedal from UT&T seems designed to emulate the BIG GUITAR sounds of the ’70s. With just two knobs — volume (left) and gain (right) — the Swindle delivers a trouser-load of boost and a smoothly ascending gain. The controls are very interactive, eliciting a surprisingly wide range of raunch, and the pedal cleans up quite nicely with a some roll-back on your guitar’s volume knob, making it a prime candidate for an “always-on” tone shaper that can also cut through the mix when it’s time for your solo.
Check out my no-frills video for some Swindle riffage:
So, lately I’ve been on kind of a pedal kick. Since I’ve decided to go back to using a smaller amp — a fond farewell to my Vox AC15 and a big hello to my new purple Vox AC4 (and also to a black 2005 Bad Cat Mini Cat, which I’m still thinking of selling — I just feel so decadent owning three guitar amps … I’m counting the little Fender G-DEC I have, too) — I appear to be making up the difference by acquiring pedals as well as adding old pedals back to my effects chain. Not only am I buying and selling stomp boxes via Reverb and eBay — I’ve bought three, sold three — but I just joined and received my first pedal from Pedal Genie, which is like a Netflix (or Neckflix) for guitar pedals. I got a Caroline Kilobyte, which is supposed to create all sorts of crazy-cool lo-fi sounds. I’m hoping to hook it up early tomorrow morning and wake up the sleepyheads upstairs!
As of right now, my pedal board is rocking a Boss TU-2 chromatic tuner (thanks to Jared Bentley), a Modtone Funk Filter Enveloper (basically an auto-wah), a Visual Sound Garage Tone Drivetrain (an overdrive modeled on my old fave, the Reverend Drivetrain II pedal, used mainly for chunky rhythm), an Electro-Harmonix Soul Food overdrive (mainly for leads), Visual Sound H2O stereo chorus/delay, and a Mooer Micro-DI with a built-in 4 x 12 cabinet simulator. I’m using the H2O as a delay and signal splitter so that one effects send goes to the amp, while the other goes to the DI and then into the PA board. The little 4-watt Vox then acts as my stage monitor, which I can adjust without affecting the signal that’s going to the board, as the sound man will be working with the signal coming through the pedals and then the DI/cab simulator.
I bought a Caline Pedal Power 5 to eliminate the need for multiple wall-warts or batteries, but it’s much noisier than I expected. I’m going to try a few different configurations and see if that helps, but I still have a one-spot with a multi-plug that I could use. The Caline was supposed to be quieter as it supposedly has isolated circuits for each power output … but it sure doesn’t sound like it.
I’d like to get a good Tremolo and a good Reverb pedal. The only real downside of the Vox AC4 is that it doesn’t have the AC15’s awesome built-in tremolo and reverb. I tend to use tremolo quite a bit, so I’m definitely going to need that … and where would guitarists be with reeve? In any case, I’m torn right now between getting one pedal that is both, like a Strymon Flint or a VHT Melo-Verb — or two separate ones, like an E-H Holy Grail (reverb) nd a Z-Vex Sonar (tremolo).
Other than getting the humming power supply problem out of the way and the order/configuration of the pedals set, I’m hoping that I can eventually try out a Wampler Thirty Something between the H2O and the DI to see if I can improve my tone through the PA. This pedal, designed by Wampler with the help of Queen’s Brian May, is supposed to be pretty close to a Vox AC30. They are pricey, though, so I’m hoping I can try one out through Pedal Genie before I shell out the big bucks for it.
Well, that’s enough of my nerdy guitar blathering. If you are a guitarist or musical experimenter or any sort, check out some the links above.