Spector’s NS Pulse I 4 and Markbass’ brand-new MB58R Series make for a quality pairing

When I was offered the chance to test drive a couple of cool new products from Spector Bass Guitars and Markbass, I grabbed it with both hands, of course.

Spector’s recent NS Pulse I Series is a couple of steps up from the company’s Legend and Performer ranges. It combines South Korean craftsmanship with a few upmarket features with a couple of very tasty and tactile sandblasted body finishes.

Italy’s Markbass is a bass amp maker known for its lightweight and compact amp heads and speaker cabinets. Markbass’ brand-new MB58R Series (the ”R” stands for ”Revolution”) is centred around a whole range of different speaker cabinets. These cabinets are built in a very unique way, which further helps cut down their weight, and also makes them almost fully recyclable.

Additionally Markbass has introduced a matching new version of their Little Mark amp head, called the Little Mark 58R. The Little Mark 58R sports an eco-friendly composite housing and a new control layout, making the amp even lighter in weight and easier to use.

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The Spector NS Pulse I 4 (current price in Finland: 1,149 €) uses Ned Steinberger’s (yes, he of headless bass fame) original, highly ergonomic curved body design. In the Pulse I Series’ case the body is made of highly figured ash.

The bolt-on neck – using six separate screws and washers – is a three-strip heat-treated maple affair. The Macassar ebony fretboard is home to 24 medium-sized frets.

The Pulse I Series comes in two sandblasted ash finishes:

Our review sample comes in a finish called charcoal grey, which combines a grey body with black wood grain. The second finish is called cinder red, and it sports a black body with red grain.

The headstock sports a matching ash veneer, the famous Stuart Spector Design inlay, and four modern black machine heads.

Spector’s chunky bridge is known as a sustain monster.

The Spector NS Pulse I 4 comes with an active PJ-set from EMG Pickups.

Spector’s Tone Pump Jr. preamp features two individual volume controls – one for each pickup – as well as boost-only controls for bass and treble EQ.

The NS Pulse I 4 is a lightweight bass that fits your body like the proverbial glove, thanks to its gentle body curvature and the additional ribcage chamfer.

The neck feels very slender and fast. The relatively thin, rounded neck profile, combined with the review sample’s excellent set-up, makes for an effortless playing feel. This is definitely a bass guitar that does not stand in your way.

The Spector’s acoustic tone is very woody with a nice bit of top-end sheen. The EMG pickups and Spector’s Tone Pump Jr. preamp offer an excellent range of bass sounds, covering the whole range of musical genres you’d normally play on an electric bass.

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The brand-new Markbass Little Mark 58R (current price in Finland: 612 €) is an eco-friendly, super-lightweight (only 2 kg) 500/300 watts amp head, made especially to complement the company’s MB58R range of speaker cabinets.

Although the Little Mark 58R retains all of the brilliant features of the regular Little Mark – like the four-band EQ with additional, footswitchable ”Mid-Scoop” feature and the ”Old School” control – the layout of the front and back panels has been changed for the 58R model.

All controls and in- and outputs – save for the speaker connectors – have been placed on the front panel for quick and easy access. This makes the front panel more ”busy”, but doesn’t make it feel crammed. Everything is easily accessible and logically placed.

The Little Mark 58R’s fan is more than quiet enough for serious studio use.

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The Markbass MB58 102P (top; 612 €) and MB58 102Pure (bottom; 716 €) share the same revolutionary cabinet construction, but differ in the detailed speaker specifications.

Markbass uses a recyclable and eco-friendly type of polystyrene as the basic material for all its MB58R cabinets.

Make no mistake, this isn’t your bog standard and easy-to-dent styrofoam, but rather something very sturdy, not unlike what the car industry uses to fill front and back bumpers.

The MB58R 102P is the most affordable 2 x 10″ cabinet, sporting a pair of ceramic magnet-driven speakers and a piezo tweeter. It weighs in at just a tad over 12 kilogrammes.

The MB58R 102Pure sports neodymium-powered speakers and a Hi-Fi tweeter. This cabinet weighs only 9.8 kilogrammes.

On both cabinets the middle part of all four sides features a black carpet material. There are large side handles sunk into the cabinets, and both cabinets sport two sets of rubber feet – one set for vertical, and one for horizontal placement.

Both MB58R cabinets tested are rear-ported designs. The back panel comes with a pair of Speakon connectors, and three switches for tweeter attenuation.

In terms of their sound, both the 102P and 102Pure offer that famous Markbass punch, with only small details dividing them. The Markbass MB58R 102P is the slightly more aggressive cabinet of the pair, displaying a relatively neutral sound (in the best possible sense). The MB58R 102Pure retains all of the punch, but adds a more silky top end and more warmth in the low-mids.

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To paraphrase Carlos Santana, the hallmark of high-quality musical equipment is that it doesn’t give you any excuses. If your playing and/or your sound isn’t up to snuff, it isn’t down to your instrument or amp.

In this respect the Spector NS Pulse I 4, the Markbass Little Mark 58R, and the MB58R 102P and 102Pure cabinets pass this review with flying colours.

The Spector NS Pulse plays like a dream and offers a plethora of useable sounds. Paired with any of the two cabinets the Markbass Little Mark 58R offers a fantastic full-range bass sound with all EQ-settings (and the Old School control) in neutral. This means you can use the EQ to fine-tune your sound and/or to deal with problematic frequencies in a venue, and not for masking any possible inherent problems with your rig.

I had so much fun playing the Spector NS Pulse I 4 through the new Markbass rig, that I can only recommend you do the same.

Spector NS Pulse 4 & Markbass MB58R Series – Fingerstyle Demo

Here’s a short demo of the fingerstyle bass sound of a Spector NS Pulse 4 played through a Markbass Little Mark 58R into either a Markbass 58R 102 P cabinet or a Markbass 58R 102 Pure cabinet.
All EQ controls on the Little Mark head were set to neutral. The Old School feature was turned to 11 o’clock.
The demo is based on the ABBA classic ”Dancing Queen”.

Spector NS Pulse 4 Charcoal Grey
• Made in South Korea
• Swamp ash body
• Three-stripe roasted maple neck, bolt on
• Macassar ebony fretboard
• Active EMG PJ set
• Spector Tone Pump Jr preamp

Markbass Little Mark 58R
• Ultralight (2.2 kg) 500 W bass amplifier

Markbass 58R 102 P
• Ultralight bass cabinet
• 2 x ceramic speakers plus piezo tweeter

Markbass 58R 102 Pure
• Ultralight bass cabinet
• 2 x neodymium speakers plus Hi-Fi tweeter

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• Microphone used: Shure SM7B (mid-boost on)
• Preamp used: Cranborne Audio Camden EC2
• Audio interface used: Universal Audio Volt 2

Spector NS Pulse 4 & Markbass MB58R Series – Plectrum Demo

Here’s a short demo of the plectrum bass sound of a Spector NS Pulse 4 played through a Markbass Little Mark 58R into either a Markbass 58R 102 P cabinet or a Markbass 58R 102 Pure cabinet.
All EQ controls on the Little Mark head were set to neutral. The Old School feature was turned to 11 o’clock.
The demo is based on the Wings classic ”Silly Love Songs”.

Spector NS Pulse 4 Charcoal Grey
• Made in South Korea
• Swamp ash body
• Three-stripe roasted maple neck, bolt on
• Macassar ebony fretboard
• Active EMG PJ set
• Spector Tone Pump Jr preamp

Markbass Little Mark 58R
• Ultralight (2.2 kg) 500 W bass amplifier

Markbass 58R 102 P
• Ultralight bass cabinet
• 2 x ceramic speakers plus piezo tweeter

Markbass 58R 102 Pure
• Ultralight bass cabinet
• 2 x neodymium speakers plus Hi-Fi tweeter

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• Microphone used: Shure SM7B (mid-boost on)
• Preamp used: Cranborne Audio Camden EC2
• Audio interface used: Universal Audio Volt 2

Spector NS Pulse 4 & Markbass MB58R Series – Slap Demo

Here’s a short demo of the slap bass sound of a Spector NS Pulse 4 played through a Markbass Little Mark 58R into either a Markbass 58R 102 P cabinet or a Markbass 58R 102 Pure cabinet.
All EQ controls on the Little Mark head were set to neutral and the Old School feature was off.
The demo is based on the Level 42 classic ”Running in the Family”.

Spector NS Pulse 4 Charcoal Grey
• Made in South Korea
• Swamp ash body
• Three-stripe roasted maple neck, bolt on
• Macassar ebony fretboard
• Active EMG PJ set
• Spector Tone Pump Jr preamp

Markbass Little Mark 58R
• Ultralight (2.2 kg) 500 W bass amplifier

Markbass 58R 102 P
• Ultralight bass cabinet
• 2 x ceramic speakers plus piezo tweeter

Markbass 58R 102 Pure
• Ultralight bass cabinet
• 2 x neodymium speakers plus Hi-Fi tweeter

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• Microphone used: Shure SM7B (mid-boost on)
• Preamp used: Cranborne Audio Camden EC2
• Audio interface used: Universal Audio Volt 2

Tulossa Rockway-blogiin: Voiko saksalaisfirmojen omissa brändeissä edes puhua laadusta?

• Demobiisi äänitetty tehdaskielillä ja tehdassäädöillä.
• Efektejä: Joyo Analog Chorus, Mad Professor Simble OD, EHX Nano Big Muff Pi, Jim Dunlop CryBaby Mini
• Vahvistin: Bluetone Black Prince Reverb
• Äänityskalusto: Shure SM57 ja Universal Audio Volt 2

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• Demobiisi äänitetty tehdaskielillä ja tehdassäädöillä.
• Vahvistimet: Bluetone Shadows Jr & Juketone True Blood
• Efektipedaaleja ei käytetty
• Äänityskalusto: Shure SM57 ja Universal Audio Volt 2

Testipenkissä: Tech 21 Character Plus -sarja

Tech 21 NYC tunnetaan erinomaisista analogisista SansAmp-vahvistin- ja kaiutinsimulaatioistaan, jotka ovat tehneet kitaran (tai basson) soittamisen ilman fyysistä vahvistinta mahdolliseksi kauan ennen digitaalisten mallintajien tai impulssivastetekniikan tuloa. Tech 21:n huippukompaktien Fly Rig -multiefektien valikoima perustuu yhtiön SansAmp-teknologiaan, ja ne tarjoaa keikkailevalle muusikolle koko signaaliketjun, joka mahtuu kätevästi gigbägin sivutaskuun.

Tech 21:n uusi Character Plus -sarja lähestyy hyvin samanlaista teemaa hieman eri näkökulmasta. Jokainen neljästä Character Plus -pedaalista (369 €, kpl) tarjoaa kitaristille ajattoman, klassisen vahvistimen ja lattiaefektin yhdistelmän. Character-nuppi, josta nämä pedaalit ovat saaneet nimensä, antaa sinun mennä portaattomasti valitun vahvistimen useiden eri versioiden läpi, ja uutuuspedaalien kaksikanavainen olemus helpottaa esimerkiksi komppi- ja soolosoundin säätämistä etukäteen.

EQ-osio on jaettu kunkin pedaalin molempien kanavien kesken, mikä saattaa näyttää paperilla hieman rajoittavalta, mutta osoittautui melko ongelmattomaksi tosielämässä.

Character Plus -sarjassa on perinteiset jakit signaalin tuloa ja lähtöä varten, jos haluat käyttää efektin fyysisen vahvistimen edessä. Balansoidulla XLR-ulostulolla taas voi lähettää SansAmp-signaalin eteenpäin audiointerfacelle tai mikserille.

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Tech 21 Screaming Blonde on sarjan Fender-vaikutteinen tapaus. Kummankin kanavan Character-säädin pyyhkäisee läpi erilaisia Fender-tyylisiä soundeja – Tweedistä Blackfaceen – ja säätimellä on myös vaikutusta kanavan gain-rakenteeseen.

Scream-kytkin aktivoi Tube Screamer -tyylisen overdrive-särön, joka on optimoitu toimimaan saumattomasti Screaming Blonden vahvistinkanavien kanssa, minkä ansiosta tämä poljin on loistava valinta kaikkeen tanssibändistä Texas- tai Chicago-bluesiin.

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Tech 21 Mop Top Liverpool viittaa nimessään Beatlesiin, ja sekä nimi että timanttikangaskuvioinen grafiikka taas viittaavat Vox-tyyliseen SansAmp-piiriin. Toisin kuin muissa Character Plus -pedaaleissa, Mop Top Liverpoolista löytyy kaksi hieman erisoundista kanavaa. Tämä tarkoittaa, että pedaali mahdollistaa minkä tahansa tyypillisen AC30-äänen – Shadowsista aina Rory Gallagheriin tai Queeniin – varsinkin kun ylimääräinen Boost-osio on itse asiassa myös kaksi boosteria yhdessä pakkauksessa.

Vastapäivään kello 12 alkaen Boost-säädin lisää soundin runsaasti keskialuetta, kun taas myötäpäivään se lisää diskanttia signaaliin. Pari taajuudenvaihtopainiketta tekee Liverpool Mop Topista vielä entistäkin monipuolisemman.

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Tech 21 Fuzzy Brit vie asiat selvästi klassiseen Hendrix-soundin suuntaan, koska se sisältää kaksi Marshall-tyylistä kanavaa ja niiden lisäksi Fuzzface-tyylisen särön.

Character-säädin tarjoaa myös tässä joukon erilaisia, mutta yhtä klassisia versioita Marshall-murinasta ”Beanosta” aina ”Ladylandiin” ja 1970-luvun Metaliin.

Fuzz-piiri perustuu silikoni-Fuzzfaceen, mutta lisämausteena toimii tässä Tone-säätö, jonka avulla voit kesyttää liian terävää diskanttia.

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Tech 21 English Muffy vie asiat tiukasti 1970-luvun rock-alueelle, sillä pedaali tarjoaa klassinen Hiwatt-stäkin ja Big Muff Pi -särön yhdistelmä. Vaikka tämä pedaali on selkeästi suunnattu David Gilmour -faneille, se sopii erittäin hyvin mm. Who-tyylisen menoon.

Character-control vie sinut puhtaista soundeista (kello 7–10) rapeisiin rock-sävyihin (kello 11:stä ylöspäin). Korkeimmissa Character-asetuksissa mukaan kuvaan astuu vielä keskialueen boosteri.

Eri Big Muff -vuosikerrat voivat erota soundissa melkoisesti toisistaan, mutta Tech 21:n versio kuulostaa ainakin hyvin muhkealta ja kermaiselta.

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Demokappaleena Tech 21 English Muffylle soitin lyhyen instrumentaaliversion Whon klassikkokappaleesta ”Won’t Get Fooled Again”:

• Komppikitara (vasen kanava): Arvo Original, Channel A, ilman Fuzzia
• Komppikitara (oikealla): Kasuga (ES-335-kopio), Channel B, ilman Fuzzia
• Likki-kitara (vasen): Kasuga, Channel B with Fuzzilla
• Likki-kitara (oikea): Fender Telecaster, Channel B, ilman Fuzzia
• Soolokitara: Hamer USA Studio Custom, Channel A Fuzzilla
• Basso: Rickenbacker 4003, Tech 21 Bass Driver DI
• Kaiut ja delayt lisätty miksausvaiheessa

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Tässä on minun versioni Paul McCartneyn raga-vaikutteisesta kitarasoolosta Beatlesin kappaleessa ”Taxman”:

• Vasen komppikitara (Fender Stratocaster): Channel B ja Boost
• Oikea komppikitara (Gibson Melody Maker SG): Channel A ja Boost
• Soolokitara (Epiphone Casino): Channel B ja Boost
• Basso (Rickenbacker 4003): Tech 21 Bass Driver DI
• Kaiut lisätty miksausvaiheessa
• Lauluraidat äänitetty Shure SM57 -mikrofonilla

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Valitsin shuffle-bluesin Screaming Blonden soundin demokappaleeseen:

• Komppikitara (vasen): Arvo Original, Channel B, ilman säröä
• Komppikitara (oikea): Kasuga ES-335-kopio, Channel A, ilman säröä
• Soolokitara: Fender Stratocaster, Channel A säröllä
• Basso: Rickenbacker 4003, Tech 21 Bass Driver DI
• Kaiut ja delayt lisätty miksausvaiheessa

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Tässä on lyhyt instrumentaaliversio kappaleesta ”All Along The Watchtower” Jimi Hendrixin tyyliin:

• Komppikitara: Fender Telecaster, Channel A, ilman Fuzzia
• Puhdas soolokitara: Fender Stratocaster, Channel B, ilman Fuzzia
• Slidekitara: Strat, Channel B Fuzzilla
• Wah-kitara: Strat, Morley M2 Wah, Channel B Fuzzilla
• Basso: Rickenbacker 4003, Tech 21 SansAmp Bass Driver DI
• Kaiut, delayt ja tremolot lisätty miksausvaiheessa

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Vietettyään jonkin aikaa tämän Tech 21:n SansAmp Character Plus -sarjan kvartetin kanssa, minusta tuntuu, että näiden polkimien pääjuttu on, kuinka hämmästyttävän hyvin ne toimivat. Saat erittäin käyttökelpoiset soundit käytännössä suoraan kädenkäänteessä. Character Plus -pedaalit eivät aseta käytännössä mitään esteitä soundin kuulemisen pään sisällä ja tämän soundin ”nauhalle” vangitsemisen välillä. Muutama pieni nuppien säätö ja olet valmis äänittämään.

Toki, jos haluat kokeilla erilaisia mikrofonityyppejä ja niiden sijoittelua, voit tehdä sen fyysisen vahvistimen tai digitaalisen mallinnusplugarin avulla, mutta aina on olemassa vaara, että saatat menettää ”luovan kipinän” ennen kuin kaikki on laitettu valmiiksi.

Tech 21 SansAmp Character Plus -sarjassa on kyse sujuvuudesta ja helppoudesta, erinomaisesta soundista tinkimättä.

Press Release: Ruokangas unveils Valvebucker® Mk2 – the second generation of the audiophile pickup for electric guitar and bass

The 1st generation Valvebucker was launched in 2019. It gained a lot of publicity at the time, being the
first and only vacuum tube powered active pickup system ever for electric guitars. The key Mk2
upgrades are:


• Available now for 4- and 5-stringed Ruokangas basses
• Available now for 7-stringed Ruokangas guitars
• Completely new visual design
• The redesigned floor unit features now a balanced output (works as a DI box) as well
• The floor unit is now always matched in colour with the instrument


And a quick recap of the Valvebucker key features:


• A sensitive magnetic pickup capsule, capturing the instrument sound in high fidelity
• Tube powered proprietary preamp circuit
• One pickup – but a wide variety of sounds
• Military grade triode and pentode NOS tubes with lifetime warranty
• A floor unit included, to connect the Valvebucker® -equipped included to the rest of your signal chain
• A 12VAC power supply included
• A 10-foot XLR cable included


The design architecture of the Valvebucker® circuit is noteworthy, making use of sweet spots found from
outside the typical operational points of vacuum tubes, by using relatively low voltages. The power
consumption of the Valvebucker® remains within the given values also during startup – an important
feature when using commercially available pedal power units. Every Valvebucker® unit is handmade and
finetuned individually in Finland. The Valvebucker® design team is: Lassi Ukkonen (the designer of the Simble Overdrive, etc), Jorma Kostamo, Jyrki Kostamo, Junnu Vuorela and Juha Ruokangas.


The Valvebucker® Mk2 is available as a custom option for Ruokangas guitars and basses, adding 2000€/US$2.200.00 to the basic cost of an ordered instrument. The Valvebucker is not available as an
aftermarket/retrofit product.


This is what Sonny Landreth says about his Valvebucker guitar:


”I love the Valvebucker Mojo! This pickup/system is unique and doesn’t sound like anything else. If I
had to sum it up with one word, it would be smooth as the Valvebucker is the smoothest sounding
pickup I’ve ever experienced. It kind of reminds me of the difference between vintage Neve and SSL
consoles of the day. I especially like it for dialing in a big, clean tone with the selector switch in the
middle position for my solo songs. The range from top to bottom for moving parts of bass lines
against chord melodies etc is balanced and nothing ”pokes out” too much – much easier to let
multiple parts speak. Also, I love how complex, distorted chords with open tunings for slide sound.

Review: Tech 21 Character Plus Series

Tech 21 NYC is known for its excellent analogue SansAmp amplifier- and speaker-simulations that have made playing guitar (or bass, for that matter) live without a physical amp possible, long before the advent of digital modellers or impulse response technology. Tech 21’s range of ultra-compact Fly Rig multi-effects builds on the company’s SansAmp technology to provide the gigging musician with a whole signal chain that fits in a gig bag’s side pocket.

Tech 21’s new Character Plus range approaches a very similar theme from a slightly different angle. Each of the four Character Plus pedals (current price in Finland 369 € each) offers the guitarist a timeless, classic amp and stomp box combination. The Character-knob, which is what gives the four pedals their name, lets you swipe through a wide variety of different permutations of the chosen amp, and the twin-channel layout makes it easy to dial in, say, a rhythm and a lead sound to switch between.

The EQ section is shared between both channels of each pedal, which may look a little limiting on paper, but proved to be pretty unproblematic in real-life use.

The Character Plus Series pedals each sport 1/4″ phone jacks for input and output, if you want to run the pedal as an effect in front of your physical amp, with a balanced XLR-output provided to connect the pedal to a mixing console or an audio interface.

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The Tech 21 Screaming Blonde is the series’ Fender-flavoured offering. The Character-control in each channel sweeps through different Fender-style sounds – from ”Tweed” to ”Blackface” – and also has a bearing on the channel’s gain structure.

The Scream switch activates a Tube Screamer-style overdrive that has been optimised to work seamlessly with the Screaming Blonde’s amp channels, making this pedal a great choice for anything from function bands to Texas or Chicago Blues.

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The Tech 21 Mop Top Liverpool references the Beatles in its name, and both the name as well as the diamond cloth pattern graphics hint at a Vox-style SansAmp-circuit. In contrast to the other three Character Plus pedals, the Mop Top Liverpool features two slightly differently voiced channels. This means that the pedal makes any typical AC30-sound available – from the Shadows all the way to Rory Gallagher or Queen – especially as the additional Boost-section is actually also two boosters in one.

Counterclockwise from 12 o’clock the booster adds a mid-range boost, while clockwise will add a treble booster to your circuit. A pair of frequency shift buttons makes the Liverpool Mop Top even more versatile.

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The Tech 21 Fuzzy Brit takes proceedings well and truly into classic Hendrix territory by bringing two channels of Marshall-style goodness and a switchable Fuzzface-type fuzz effect to the table.

Again, the Character control gives you a whole range of different, but equally classic, versions of Marshall-thunder from ”Beano” all the way to ”Ladyland”, and beyond.

The Fuzz-circuit is based on a silicon Fuzzface, but with the added advantage of a Tone-control, which lets you tame any excessive top end response.

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The Tech 21 English Muffy takes things firmly into 1970s Rock territory by featuring the classic combination of a Hiwatt-stack and a Big Muff Pi. Even though this combination is clearly aimed at David Gilmour fans, this hard rocking SansAmp also works a treat for Who-style power playing.

The Character-control takes you from clean tones (7-10 o’clock) to crunchy Rock tones (upwards of 11 o’clock) with the highest Character settings adding an upper-mid boost.

Different Big Muff iterations can vary quite considerably in sound, but the Tech 21 version sounds fat and creamy.

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As a demo song for the Tech 21 English Muffy I played a short instrumental version of the Who’s classic track ”Won’t Get Fooled Again”:

• Rhythm guitar (left): Arvo Original (Finnish guitar brand), Channel A, no Fuzz
• Rhythm guitar (right): Kasuga (ES-335 copy), Channel B, no Fuzz
• Lick guitar (left): Kasuga, Channel B with Fuzz
• Lick guitar (right): Fender Telecaster, Channel B, no Fuzz
• Lead guitar: Hamer USA Studio Custom, Channel A with Fuzz
• Bass: Rickenbacker 4003, Tech 21 Bass Driver DI
• Reverbs and delays added during mix down

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Here’s my version of Paul McCartney’s raga-influenced guitar solo on the Beatles track ”Taxman”:

• Rhythm guitar left (Fender Stratocaster): Channel B with Boost
• Rhythm guitar right (Gibson Melody Maker SG): Channel A with Boost
• Lead guitar (Epiphone Casino): Channel B with Boost
• Bass guitar (Rickenbacker 4003): Tech 21 Bass Driver DI
• Reverb added during mix down
• Vocals recorded with a Shure SM57

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I opted for a Shuffle Blues to feature the Screaming Blonde’s sound:

• Rhythm guitar (left): Arvo Original (handmade Finnish guitar), Channel B, no OD
• Rhythm guitar (right): Kasuga ES-335-copy, Channel A, no OD
• Lead guitar: Fender Stratocaster, Channel A with overdrive
• Bass: Rickenbacker 4003, Tech 21 Bass Driver DI
• Delays and reverbs were added during mix down

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Here’s a short instrumental version of ”All Along The Watchtower” in the style of Jimi Hendrix:

• Rhythm guitar: Fender Telecaster, Channel A, no Fuzz
• Cleanish lead: Fender Stratocaster, Channel B, no Fuzz
• Slide lead: Strat, Channel B with Fuzz
• Wah lead: Strat, Morley M2 Wah, Channel B with Fuzz
• Bass: Rickenbacker 4003, Tech 21 SansAmp Bass Driver DI
• Reverbs, delays and tremolos added during mix down

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After spending some time with this quartet comprising Tech 21’s SansAmp Character Plus Series, I feel that the main point behind these pedals is how amazingly well they work. You get maximum useable sound with practically no fuss whatsoever. The Character Plus pedals put virtually no obstacles between hearing the sound in your head and committing this sound ”to tape”. A few little knob tweaks and you’re ready to roll.

Sure, if you want to experiment with different microphone types and placements, a physical amp or digital modelling software will let you do that, but there’s always the danger you might lose the ”creative spark” before everything is set up.

The Tech 21 SansAmp Character Plus Series is all about getting things done, smoothly and easily, without sacrificing your tone.

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