Review: Raato Guitars Fuzzrocity

Raato Custom Guitars is a Finnish maker of ultramodern handcrafted electric guitars and basses. Recently Raato’s main man Mika Ruotsalainen has introduced three effect pedals – a treble booster, as well as a pair of fuzz-boxes.

The Raato Fuzzrocity (268 €) is a Fuzz Face-flavoured silicon fuzz made for the modern guitarist. When I say ”Fuzz Face-flavoured” I mean the character of the fuzz sound, but the Fuzzrocity is not a clone of a vintage Fuzz Face.

Mika showed me a few Fuzzrocity pedals he was working on, when I visited his workshop, and I could see he was using high-quality parts and bespoke pcbs to assemble his pedals. The custom graphics are also etched into the pedals’ casings right there in the workshop. The pedal is powered by a Boss-standard 9V power supply.

A vintage Fuzz Face can be a thing of beauty, but it doesn’t offer much scope for adjustment, offering only Fuzz- and Volume-controls, without any option to adjust the resulting fuzz sound itself. Depending on the player’s requirements and equipment a vintage fuzz can sound too bright or too muddy, especially with modern downtuned (or seven-string) guitars.

Additionally, many original Fuzz Faces have a tendency to self-oscillate when used in conjunction with a wah-wah, due to impedance mismatching caused – in most cases – by the wah-pedal.

The Raato Fuzzrocity has been designed from the ground up to give you all of that delicious sound, while also offering plenty of scope for adjustment. There are four controls on offer:

BIAS lets you adjust the operating voltage for the silicon transistors, while HPF stands for ”high-pass filter” and lets you dial out any bottom end that might be clogging up your sound. FUR corresponds to your regular fuzz- or gain-control for the input signal, and LEVEL controls the output level.

Additionally, there’s a three-way mini-toggle that gives you two low-pass filter setting (plus bypass in the middle position) to tame the signals treble content, if necessary.

To get a modern version of a Fuzz Face sound, start off with the BIAS around 4 o’clock and the HPF turned to 7 o’clock. With this setting FUR and LEVEL correspond to a two-knob fuzz’s Fuzz- and Volume-controls, respectively. I’d recommend you set the three-way toggle to the downward position in this case.

But there’s a much wider array of tones to be gleaned from the Raato Fuzzrocity by using the controls to their fullest.

Settings of the BIAS-control have a very large bearing on the character and dynamics of this pedal. Set low BIAS will give you the sound of a ”dying” battery with plenty of gating and graininess. Turning BIAS up gradually will give you firmer fuzz sounds and more dynamic variation. For modern applications with drop-tuned and/or seven-string electrics and baritones, the HPF-knob is a crucial tool to keep any unwanted wooliness at bay. The FUR-control is – naturally – interactive with the BIAS settings, and it will take you all the way from ”broken sitar” tones and mild overdrive to doomsday fuzz. The three-way treble switch is really useful in tailoring the table content to suit your needs.

Mika Ruotsalainen has designed the Raato Fuzzrocity to work well with vintage-style wah-pedals, as you can easily hear in the video at the top of this review, where I have a Vox V845 running directly into the Fuzzrocity.

The video at the bottom of this video will show you for its part how well the Fuzzrocity responds to changes at your guitar’s own volume control.

In my view the Raato Fuzzrocity is a success on all fronts, because it manages to give you a wide variety of vintage-inspire fuzz sounds, without the drawbacks of vintage clones, and with far greater scope for adjustments.

The Fuzzrocity is handcrafted in Finland in very limited numbers and sold at a very reasonable price. This could easily become your go-to fuzz from now on.

Raato Guitars Fuzzrocity – Demo Song

Here’s a demo featuring the Raato Fuzzrocity Silicon Fuzz. The Raato Fuzzrocity is handmade in Finland.

• Rhythm guitars – Squier Sonic Mustang SS & Harley Benton DC-60 Jnr

• Harmony guitars – Hamer USA Studio Custom

• Lead guitar – Jackson JS32 Dinky Archtop

• Pedals used – Raato Fuzzrocity & Vox V845 Wah-Wah

• Amp used – Bluetone Black Prince Reverb

• Mic used – Shure SM7B

Positive Grid Spark Mini – Demo Song

Here’s a short demo song featuring the Positive Grid Spark Mini practice amp (10 W modelling amp). The track is based on the Beatles classic ”Dear Prudence”.
• All guitar tracks were recorded with the Spark Mini amp and a Shure SM7B microphone.
• Guitars used: Harley Benton DC-60 Junior & Fender (Japan) 50s Stratocaster Reissue.
• Audio interface: Universal Audio Volt 2
Find out more about the Spark Mini HERE.
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Rockway-testi tulossa.

Uraltone Tonefest 2024 Overdrive Plus

Finnish company Uraltone ran a DIY pedal workshop at this year’s Tonefest Helsinki, where you could assemble this overdrive/distortion pedal kit.
The three-way mini-switch gives you regular distortion, slightly overdriven boost, and distortion with asymmetrical clipping.
All guitar tracks recorded using the Uraltone Tonefest Overdrive Plus pedal:
• main rhythm guitar (centre): Harley Benton DC-60 Junior; Juketone Trueblood
• rhythm guitar (left): Harley Benton DC-60 Junior; Bluetone Black Prince Reverb
• rhythm guitar (right): Squier Sonic Mustang SS; Bluetone Black Prince Reverb
• lead guitar: Jackson JS32 Dinky; Vox V845 wah; Bluetone Black Prince Reverb
• microphone: Shure SM7B

Testipenkissä: Bluetone Compura Guitar Compressor

Yllättävän monelle kompressori on jotenkin mystinen laite, joka käyttää musta magiaa soundin muokkaamiseksi. Todellisuudessa kompressori (yleiskielessä: kompura) on (puoli-) automaattisesti toimiva signaalitasoon vaikkuttava piiri, jolla kavennetaan signaalin dynamiikka – siis: hiljaisten ja kovien äänien välinen ero – toivotulla tavalla.

Etenkin puhtailla kitarasoundeilla kompressorista voi olla paljon apua, silloin kun kaivataan lisää sustainea, tukevampaa soundia, tai vaikkapa rauhallisempaa äänikuvaa. Esimerkiksi monille kantrikitaristeille kompura on lähes pakollinen varuste, jolla saadaan nopeat lickit, joissa usein sekoittuvat otetut äänet ja avoimet kielet, kuulostamaan tasaisempana ja sliipattuina.

Kitaristille tarjotaan nykypäivänä monta eri kompuraa pedaalin muodossa, joista suurin osa toimii ”enemmän tai vähemmän” -periaatteella, ehkä vielä lisätyllä atakki-kytkimellä.

Suomalainen Bluetone Compura (330 €) lähestyy aihepiiriä toiselta kulmalta tarjoamalla laajasti säädettävän studiokompressorin kitarapedaalissa. Kuusi säädintä voivat aluksi näyttää hieman pelottavalta, mutta kun niiden toimintaa käy ensin rauhallisesti läpi, niin homma alkaa nopeasti selvenemään.

• GAIN on Compuran esivahvistus. Tässä ei ole kyse säröstä, vaan siitä, että eri kitaroissa (ja bassoissa) on eri mikrofonien vuoksi erilaiset lähtötasot. Gain-säätimellä pystyy siis optimoimaan valitun kitaran signaalitasoa kompressiopiiriä varten.

• THRESHOLD (kyllä, kuvan varhaisessa tuotantomallissa on pieni kirjoitusvirhe) tarkoittaa kynnystasoa. Threshold-tason alle jäävä signaali pysyy kompressoimatta, kun taas kynnyksen ylle menevät osuudet puristetaan dynamiikan osalta kasaan.

• RATIO on kompressiosuhteen säädin. Studiokompressoreissa lukee ratio-säätimen vieressä tavallisesti numeerinen suhde, jossa esimerkiksi ”1:1” tarkoittaa, ettei kompressoida lainkaan, kun taas ”8:1” tarkoittaa, että jos tulosignaalin taso nousee kahdeksan desibeliä kynnystason yli signaalia kompressoidaan niin, että lähtötaso nousee vain yhden dB:n verran. Bluetone Compurassa säädöt tehdään korvakuulolla.

• ATTACK ja RELEASE säätävät kuinka nopeasti kompressori alkaa vaikuttamaan signaalin tasoon sen jälkeen, kun kynnystaso ensin ylittyy (Attack-säädin), sekä silloin kun tulosignaalin taso taas laskee kynnystason alle (Release-säädin). Attack-säätimellä pystyy siis vaikuttamaan esimerkiksi siihen, kuinka paljon äänten atakista säilyy muuttumattomana, kun taas Release-säädin vaikuttaa siihen kuinka nopeasti kompressiopiiri ”nollauttuu” signaalipiikkien välissä.

• VOLUME-säädin on Bluetone Compura -pedaalissa lähtötason säädin, siis sama säädin jota kutsutaan monessa studiokompressorissa make-up gainiksi. Volume-nuppia säädetään korvakuulolla omien tarpeiden – esimerkiksi signaaliketjun muiden efektien – mukaan. Jotkut tykkäävät käyttää kompressorit miedoina boostereina, kun taas toiset haluavat, että kompressorin toiminta on signaalitason osalta lähes huomaamaton.

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Studiossa kompressorin mittaristo on hyvin tärkeä työväline, josta saa tietoa siitä kuinka ”kuuma” tulosignaali on, kuinka monta desibeliä signaalin dynamiikka puristetaan kasaan, ja millä tasolla efektin lähtösignaali on.

Kitarapedaalissa tällainen mittarointi on minusta usein tarpeeton; usein värikkäät mittarit lattialla jopa vievät soittajan huomiota pois kaikkein tärkeämmästä – omasta soundista.

Tärkein on minun mielestäni se että muistetaan, ettei ole olemassa ”ainoa oikea tapa” käyttää sellaista kompressoria kuin Bluetonen Compura, koska mukana on aina kokonainen kasa muuttajia, kuten soitin, oma soittotatsi, musiikkigenre, muu signaalitie, käytössä oleva vahvistin jne.

Kun ottaa itselleen ensin hieman tutustumis- ja kokeiluaikaa Bluetone Compuran kanssa, löytyy hyvin helposti ja nopeasti sellaiset parametrien asetukset, jotka toimivat sinun omassa musiikillisessa työympäristössä. Se mikä sinun mielestäsi toimii sinun omassa musiikissa, on oikea riippumatta siitä, mitä toiset ehkä sanovat.

Helsingissä käsintehty Bluetone Compura ei ole halpakompura, vaan huippulaadukas pro-tason kompressoripedaali, joka tarjoaa studiokompressoreista tuttua säädettävyyttä kompaktissa muodossa. Siihen nähden laitteen hinta on jopa edullinen.

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• Puhtaat komppiosuudet ja soolokitara – Fender ’62 Telecaster Custom Reissue
• Puhtaat ja säröiset komppiosuudet – Fender ’57 Stratocaster Reissue
• Vahvistin – Bluetone Black Prince Reverb
• Pedaalit – Bluetone Compura, Mad Professor Simble OD
• Mikrofoni – Shure SM7B
• Mikkivahvistin – Cranborne Audio Camden EC2
• Interface – Universal Audio Volt 2

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DEMO CLIP 1
Kompressorin ansiosta puhdas kitarariffi tulee kokonaiskuvassa paremmin esiin.
Aluksi neljä tahtia ilman kompressoria.
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DEMO CLIP 2
Puhtaan vahvistimeen soitettu wah-wah ei aiheuta niin paljon säröä/klippausta, jos käytetään kompressoria wahwah:n ja vahvistimen välissä.
Aluksi neljä tahtia ilman kompressoria.
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• Kitara – Fender ’57 Stratocaster Reissue
• Vahvistin – Bluetone Black Prince Reverb
• Pedaalit – Bluetone Compura, Vox V845
• Mikrofoni – Shure SM7B
• Interface – Universal Audio Volt 2

Bluetone Compura Guitar Compressor – Demo song – demobiisi

Lisää infoa/More information: Bluetone Compura

Here’s a demo of the Bluetone Compura guitar compressor, based on the INXS classic ”Need You Tonight”.
• Clean rhythm and lead guitars – Fender ’62 Telecaster Custom Reissue
• Clean and overdriven rhythm guitars – Fender ’57 Stratocaster Reissue
• Amp used – Bluetone Black Prince Reverb
• Pedals used – Bluetone Compura, Mad Professor Simble OD
• Mic used – Shure SM7B
• Preamp used – Cranborne Audio Camden EC2
• Interface used – Universal Audio Volt 2

Review: Squier Sonic Mustang SS

From the late 1970s on, Fender’s student-oriented models began to find their way into the hands of musicians from the Punk, New Wave, Grunge and Alternative Rock genres.

The reasons for this can be found both in the musicians’ budgets, as well as in the guitars’ image. The average guitarist wanted to play with ”familiar and safe” models, and in Fender’s case, these were the Telecaster and Stratocaster.

At the end of the 1970s, Fender’s so-called student instruments, that were very popular in the 1950s and 60s, could be found very inexpensively second-hand. With the Mustang, Duo-Sonic or Musicmaster, the young New Wave musician got genuine Fender quality at a very affordable price, and since these instruments were not – at least at the time – collector’s items, modifying the guitars to suit the needs of the ”new music” was no problem.

Many guitarists of the new genres – e.g. the Talking Heads’ David Byrne, Sonic Youth’s Thurston Moore and Nirvana’s Kurt Cobain – added more powerful pickups to their Duo-Sonic or Mustang to better suit their sound. This resulted in distinctive guitars that certainly weren’t ”your dad’s Country guitar”.

Last year, Fender’s subsidiary Squier Guitars changed the name of its most affordable line from Affinity to Sonic, and at the same time expanded the range of instruments in the series.

There are now two different Mustang guitars in the Sonic series, of which the Mustang HH offers two humbucker pickups, while the Mustang SS, like the original Fender, comes equipped with two single coils. Both models are offered in two different colour options as standard, which in the case of the Mustang SS model are sunburst and Torino Red. The Mustang HH comes in light blue and pink. The Sonic Bronco bass is now available in three different colors – white, red and black.

A vintage enthusiast would be the first to point out that, according to Fender’s original terminology, the Squier Sonic Mustang SS (street price approx. 180-200 €) is not a Mustang, but a Duo-Sonic, as the model has a fixed bridge and a three-position pickup selector. I would bet that Fender and Squier have decided that the name Mustang is simply cooler and better known than Duo-Sonic, which is why all their short-scale models with the same body shape are currently called Mustangs, despite the streamlined electronics and bridge.

However, the familiar basic recipe still applies:

The Squier Mustang SS is an electric guitar with a 24-inch scale. The bolt-on maple neck has a maple fingerboard and well-installed 22 vintage-style frets.

The offset body of the Mustang SS is a slab number with rounded edges, but without any chamfers.

The thick single-layer plastic pickguard is typical for Sonic series instruments. Mustang’s two single-coil pickups – with closed black plastic covers – and a three-position mic selector are installed onto the pickguard.

The Squier guitar’s volume and tone controls, as well as the output jack, are placed on a chrome-plated metal plate.

The Mustang’s modern sealed tuners work well, as does the Sonic model’s fixed bridge with six separate saddles.

Straight out of the shipping carton, the test guitar is almost ready to play – only the action and intonation had to be fine-tuned. The guitar doesn’t suffer from sharp fret ends sticking, or other ”cheap guitar” problems. The workmanship seems fine.

The new Squier Sonic Mustang SS weighs a bit more than the original edition from the 1960s, but in light of the Mustang’s very affordable price, this is to be expected and perfectly okay.

The Squier Sonic Mustang SS model has a decent 009 set of strings installed at the factory, which is probably a good choice for the guitar’s target group (children and young people). The playing feel is very effortless and light, and the Mustang chimes very nicely. I played all the guitar tracks in the demo video with Squier’s factory-installed strings.

However, the feel of the 009 string set on a guitar with a 61 cm scale is too loose for me, which is why I changed over to the same 010-052 strings that I use in all my electric guitars. With these strings, the Sonic Mustang SS immediately has a firmer playing feel, which is not very different from, for example, a Gibson SG.

Although the scale of the Sonic Mustang is much shorter than that of Telecasters or Strats, there is a definite dose of ”Fender-ism” in the sound of the guitar, thanks to the single-coil pickups. Because the Mustang’s pickups are placed in somewhat different places relative to the scale than, for example, in the Telecaster, the model always displays its own recognisable sound. The Mustang’s tone rings like a bell, but is never as biting as, for example, the output of a Stratocaster.

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