Archive for December, 2009

Zoom G1X Guitar Effects Pedal – review

Saturday, December 19th, 2009

Bargin beginners processor with a great batch of effects and amp sims.

Zoom have come a long way from the average processed sounds of their older budget effects processors like the 505. When the G series floor processors were launched a few years ago Zoom blew apart previous qualms about their products. The top of the line G7.1ut and G9.2tt processors boast hybrid tube technology that really makes a difference in the tones their respective processors create. The amp and effects models were top-notch too.

I owned a G7.1ut for a few years, and loved the tones I got out of my unit. I especially loved the Marshall JCM 800 model, which provided amazing hot-rodded Marshall tones when combined with the booster effect and compressor. The digital and analogue delays were a particular favourite of mine, along with the flanger and phaser effects.

In fact the only reason I got rid of the G7.1ut was because it didn’t hook up so well with my newly purchased Blackstar HT-5. The G9.2tt was capable of working in the effects loop of an amp, providing access to the effects and such, but the G7.1ut was able to do this. I really wished that I’d saved a little more and bought one in the first place. I’m back to pedals now though, as I have a great idea of the effects I want.

So when Better Music offered me a Zoom G1X Guitar Effects Pedal I was pretty excited to see what was on offer with one of the lower line, stripped down Zoom products.

The G1 and G1X are the basic bottom tier in the G series processors, aimed directly at the beginner market.  Being predominately plastic, they aren’t as solidly built as the higher end G series, which offer metal casing and switches. But they provide the same basic chipset, and some of the effects. They also don’t offer as much room to play around with settings.

For the beginner guitar player this is probably perfect though. There are just enough amp sims and effects to whet their appetite.  And there aren’t too many buttons and dials to confuse. Reading the manual makes operating the G1 series quite easy.

Powering the G1X is a breeze, as it can use a standard Boss-style power supply, or even 4 AA batteries. The batteries probably wouldn’t last too long, but a 9volt negative tipped power supply with enough juice to run the pedal wont cost too much, and if you are lucky your store might even just throw a supply in.

The difference between the G1 and the G1X is a built-in foot pedal. The foot pedal is extremely basic, and only offers a standard sweep. There is no “on-off” switch underneath, so the effect for the most part is “on”, and if the pedal is in the lowest position the effect is pretty much at “0″, up to 100% in the top position.  Unless you are using the wah effects, and then the pedal provides the wah sweep.

I’ve always thought that effects processors in the same category as the G1X are designed to provide beginners a basic well-rounded package of amp sounds and effects to give them an understanding of what all of the common tones guitarists can have sound like. None of them are perfect, otherwise why would experienced guitar players purchase higher end effects, amps and processors?

The Great thing with the G1X is that it does a pretty damn good job of creating acceptable tones. Running through the effects loop (bypassing the preamp) of a reasonable solid state amp like my Kustom KGA 65 allowed the G1X to provide the tones as Zoom intended. Playing through my Blackstar HT-5 just coloured the tone to its detriment, even when bypassing the HT-5′s preamp.

I particularly found the higher gain amp sims like the Peavey 5150  and the Marshall JCM2000 quite nice, and gave a great rock to metal tone. Unfortunately my favourite from the G7.1ut, the Marshall JCM800 wasn’t present, but I could still find some nice rock and metal tones. There are a nice range of clean amp sims too, such as the Fender and Vox clean ones in particular.

I wish that the effects had slightly more control over them. In particular the delay settings. It was a little annoying that I could only select a set amount of delay times, and the rate, but couldn’t have complete control over the delay times, or the overall level of the effect. I don’ think that a little more control over them would have really been detrimental to the sales of Zooms higher end G series processors, nor would have it cost any more to build these features in to the G1X.

A great feature that’s been thrown in to the G1X is a basic drum machine. There are a range of standard drum beats, and the tempos can be changed within a range of beats per minute. This is fantastic for practicing, and even coming up with new song ideas.

For home practice use the Zoom G1X is a great choice for beginners, or even experienced guitar players on a tight budget. The plastic construction probably wouldn’t stand up to heavy gig use, but should last a good few years at the very least when used in a home environment. The effects are above average for its price point, and give beginners a great taste of the effects and amp tones available out there.


A big thanks goes out to Better Music in Canberra for allowing me the privilege of borrowing gear from their store. There are a great bunch of knowledgeable guys there.

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Boss CS-3 Compression Sustainer – review

Tuesday, December 15th, 2009

A reasonable Compression Sustainer pedal with great build quality

Compressor/sustainer pedals can be very useful for guitar players. You can use them as a boost of sorts, pushing the gain of your amp/distortion pedal harder, resulting in more dirt and longer sustain. You can also use them to lower the gain on your amp. Paul Gilbert uses a compressor combined with an EQ pedal to clean up his Vintage Modern amps.

I first bought a compressor to try and get some more sustain out of my guitar for a particular part in a song my band at the time was playing. I bought a cheap little Behringer unit to see if the effect would work for me. Whilst it sounded pretty crappy it gave me the effect I was after, and I was hooked.

When I bought my Blackstar HT-5 head I tried out the little Behringer unit and it was just way too messy. It distorted on the clean channel, and in general buzzed a lot more when engaged than it did when I was running through my solid state amp.

When I was trading in some gear to get my Digitech Hardwire DL-8 I also got myself a Boss CS-3 Compression Sustainer to make up the difference in the trade. The CS-3 is definitely the pedal that Behringer used as the archetype for their little pedal as the controls are exactly the same as the CS-3.

The CS-3 Compression Sustainer is a fairly easy pedal to use. 4 knobs (Level, Tone, Attack and Sustain) are available to tweak, and it is all fairly self explanatory. The instruction does a fairly reasonable job of explaining how to set up the pedal too.

It is quite easy to dial up a sustaining and compression effect, as well as a limiting effect if you are wanting to use the pedal to soften a dirty channel to sound quite clean. The attack knob also helps you with softening or sharpening the attack on your notes as desired. The tone knob can help get to somewhat close to the tone of your dry signal too.

The CS-3 is a fairly typical Boss pedal. It’s a well built, solid pedal, as you would expect from the company, but is fairly average in terms of the sound it produces.

The pedal certainly does a good job in terms of the compression or limiting you might set on the pedal, but it comes at a cost. Unfortunately the CS-3 does have a slight effect on your natural tone. Also the pedal is quite noisy when you need to turn the level and the sustain knobs up whilst playing through the dirty channel of your amp. Thankfully it’s not so bad if you have a mains power supply to power the pedal, but it is still apparent.

When using the pedal in front of my Blackstar HT-5 head I found that if I kept the level knob at around half, and the sustain at two thirds I was able to minimise the unwanted noise somewhat, but still keep the pedal at a point where it didn’t, make the volume of my guitar parts lower than with the pedal off. This gave me a fairly sweet sustained sound which could carry on for a reasonable time.

If you are looking at using the CS-3 as a limiter to tame your distorted tone down to cleaner levels you will get a bit more joy.

As you probably would expect the noise level drops as you turn down the Sustain knob, and if you roll the Attack knob back in to the first half of it’s range you tame a fairly aggressive distortion tone down to a sweet over driven one. Roll back your guitars volume knob a little, and you’ve got yourself a pretty convincing clean tone.

My primary use of the CS-3 though is as a sustainer, and unfortunately the unwanted noise is a little frustrating, especially if I want to use my overdrive pedal to push my dirty channel a little harder. Both both pedals on there is just a tonne of noise when not playing. Of course it doesn’t help though that my overdrive pedal can be a little noisy too.

I have done some research on modifications to the CS-3 to quieten it down a little and make it more transparent, and I think I will embark on that journey soon. As it is though the Boss CS-3 is quite a reasonably priced pedal, so if you’ve only got a little cash this pedal is definitely worth getting now, and doing some simple mods if you are so inclined.

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Ibanez 20th Anniversary RG550RFR – review

Saturday, December 5th, 2009

A modern reissue of a true classic.

Ibanez created a true classic when they released the RG550 line in 1987. Originally released as a scaled down version of the Steve Vai signature JEM line, the RG550 became a special guitar in its own right.

The original release ’87 spec RG550s came in Desert Sun Yellow, Black, White, and of course Road Flare Red. All colours were used on the RG550  over the years, except for Road Flare Red. It only lasted the one year, which is a real shame as the colour is one of the most amazing colours ever used on a guitar.

When the 20th anniversary RG550s were announced for 2007 release I knew that I just had to get myself a Road Flare Red one. As soon as the rumours came out in December 2006 of the proposed released I put an order in at my local music shop. 6 months later the numbers for Australia were released: 16 guitars in total. Luckily enough my store ended up with one of each colour, and I was able to get the Road Flare Red.

The specs for the 20th Anniversary RG550 are as follows:

  • Slim, fast Wizard neck
  • Maple fretboard
  • Jumbo frets for easy leads and chording
  • Lightweight basswood body with upper edge sculpted for comfort
  • Floyd Rose-licensed Edge tremolo with die-cast saddles
  • Pickups include Vintage 7 and 8 humbuckers framing a high-output single coil
  • 5-way switching for a full range of instantly selectable sounds

The Ibanez RG550 in stock form is a little inconsistent when it comes to how it sounds. Unplugged it is a little muddy. I believe this is attributed to the basswood body, and probably the fact that the pickups are mounted on a plastic pickguard.

There is a reasonable amount of sustain for a floating Floyd Rose type guitar, and the maple fret board enables a bit of snap from the notes too.

Plug in the guitar and set the bridge humbucker, and unfortunately there is still a little bit of mud. The notes don’t really cut through that well. Again I think the basswood body doesn’t allow bright punchy notes like an alder bodied guitar would. The Re-issue V series pickup in the bridge just doesn’t quite have enough high-end, and the low-end is a little over bearing.

However, the neck position V series humbucker is actually quite nice. When soloing high up the fret board you get a nice rounded musical tone that just sings. I think I’ll be happy with keeping the stock neck humbucker in the guitar.

The single coil is nothing special, but it does the job. Lower the pickup considerably, and split a humbucker with it and it drops your distorted sound quite considerably. Roll back the volume a bit and you’ve got a pretty convincing strat type chiming sound for cleans. I personally prefer splitting with the neck humbucker.

The action was just as I expected from a Japanese Ibanez. Nice and low, enabling effortless playing. The frets were pretty reasonable, although they could have been rounded off a little on the edges.

I did adjust the pickups to my personal preferences, but they were only minor changes. As always, the original Edge trem is a joy, intonation was pretty much in tune, and it was a comfortable height to allow the nice low action.

The Road Flare Red finish on my guitar is just as amazing as I expected to be. It is a colour that just cannot be captured in photos, and it truly looks like it could glow. When the guitar case was opened up to me for the first time at the music store people walking past stopped just to check it out. Gasps were heard!

The newly updated neck with the 5 piece construction and titanium reinforcement bars is amazing too. Beautifully smooth, and easy to slide around, it is a joy to play. The 20th anniversary cavity cover is a nice touch too.

There are a few issues with finish as far as I am concerned though. It is pretty well-known that Ibanez quality control isn’t quite as good as it once was, and that there can be little bits on a guitar that aren’t quite up to their traditional level of quality.

The paint is quite thin, and I do worry about chipping it accidentally. I’ve been pretty lucky with that so far. The thin application of paint is really apparent in the trem cavity.

Some of the insulation on the pickguard was also showing a little on the outside of the pickguard which is a bit of a shame on such a high level instrument.

Despite the few little problems I mentioned previously, I think that the RG550 reissues are built to last. With the reinforced 5 piece neck, I don’t even see that needing a truss rod adjustment too often. I haven’t touched it since I bought the guitar. Maybe only if string gauge is changed might you need to adjust it.

The paint certainly stands a chance of chipping, but that wont really affect the tone or playability of the guitar.

The Ibanez RG550 20th anniversary reissues really are a fantastic guitar. Once you replace the stock pickups with your pickups of choice you are really going to have an amazing guitar. The neck is absolutely shred-tastic, and of course the original Edge trem is a classic in its’ own right too. If you are lucky enough to come across one, definitely try it out.

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Ibanez Paul Gilbert signature AF2 Airplane Flanger – review

Saturday, December 5th, 2009

This purple monster will rock your world!

Paul Gilbert has been making people drool over his modified ADA flanger for many years. It’s all well and good GASing for an effects pedal, but when ADA were a company that had folded many years ago, and finding ADA flangers is an improbable exercise what is one to do?

Thankfully Paul Gilbert and Ibanez had been working on making a signature flanger with all the cool tones Paul’s modified monster is capable of, and more.

At the start of this year Ibanez and Paul announced the release of the Ibanez AF2 Airplane Flanger, an awesome retro-looking purple monster of a pedal.

Thanks to the guys at Better Music in Canberra, I was able to borrow an AF2 for me to review. After seeing the specs, and the videos on the Internet I was wanting one of these bad boys, and it certainly didn’t disappoint. I hope to pick up one to keep in the new year.

The Ibanez Paul Gilbert signature AF2 Airplane Flanger is a fantastic pedal to use.  It has two modes available in the pedal; the “Taxi” mode which offers you four controls (Manual, Speed, Range and Enhance); and the “Takeoff” mode which gives you the crazy flange sound previously only available in modified old ADA Flangers. There are two footswitches, one to turn the flanger on and off, and one to switch between Taxi and Takeoff mode.

Paul Gilbert was kind enough to write up some of his favourite settings for the pedal, enabling you to dial in awesome tones as soon as you open the box. From here you can build on them and create your own flanger sounds.

The only real problem with regards to ease of use (and it’s not really a big problem) is that the pedal can only be powered by your standard Boss style 9 volt DC negative tipped power supply. It’s no great deal though, Ibanez clearly must have thought that the there was no point to putting a battery option on the pedal. It would probably chew through them pretty quickly.

Ibanez and Paul Gilbert really did some wonderful work designing the AF2. The pedal is really easy to get awesome vintage, modern, and crazy flanger sounds out of. Add to it that the aforementioned Paul Gilbert settings are available in the instructions, and dialing in great tones are easy.

Another awesome thing that Ibanez have packed in to the AF2 is some sort of noise gate. Flangers are quite often noisy pedals, and Ibanez saw fit to fix this straight out of the box. With the flanger engaged it is cutting out all noise almost instantly when you stop playing notes.

The AF2 really is a versatile flanger pedal, as it is capable of generating flanger tones heard in many different styles of music. You can get  those psychedelic vintage 60′s tones, EVH and 80′s rock/metals swirls, through to awesome slow flange tones that sound great in modern metal.

One of the settings listed in the manual is a Wah Tone. It mimics the “sweet spot” on a wah pedal where some might set their wah for a great cutting solo sound. It definitely works nicely at cutting through, and could be very useful for soloists who don’t have a wah pedal.  Paul Gilbert says he has never heard this sort of tone from a flanger pedal before.

You can also go all out with the AF2 and create retro SCI-FI lazer pistol sounds, police sirens, and of course the signature Paul Gilbert “Takeoff” effect.

The AF2 is a well-built pedal with metal chassis construction, and nice solid footswitches giving that nice sturdy click you expect from good footswitches. The pots used for the controls seem to decent units too. The base of te pedal also has some nice rubber feet lifting it off the ground slightly. Ibanez have taken care to build a solid, quality unit, and I see these pedals lasting for some time.

If you are looking for a versatile flanger that provides amazing tones, and out of this world sounds look no further than the AF2 Airplane Flanger. It’s built to last, and will inspire you with the sounds you can create.


A big thanks goes out to Better Music in Canberra for allowing me the privilege of borrowing gear from their store. There are a great bunch of knowledgeable guys there.

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