The MXR Phase 90 is a classic. From Funk to Punk, Country to Psychedelic, Floyd to Zeppelin, this pedal has earned it’s merit on quite a few classic recordings. But with a standard version already offered by Dunlop for a quite a bit less coin, does the CSP0026 earn it’s merit in the marketplace? Continue reading “MXR CSP026 ’74 Reissue Vs. Vintage MXR Phase 90 Comparison”
The original Diamond Compressor is already considered a modern classic. Both Hi-Fi and full of Character, it can add a bit of that studio sound to your live rig. It offers this amazing balance in a sturdy build and the bass version follows this tradition. It is this balance that seems to add a sort of ol’ school vibe when used with Guitar. Warm and clear, like David Gilmour’s use of a modified BASS Preamp into a HiWatt…
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Less is more is a tried and true adage that certainly holds merit with just about anything Peter Cornish builds. Simple designs that rely on neither flashy graphics or slick advertising, these pedals are textbook examples of austere product. They are, however, well known, not only to the basement jammers and boutique connoisseurs alike, but to some BIG names: his products (and services) can been found in the rigs of none other than David Gilmour, Brian May, Tony Iommi and myself. Because of this association Cornish pedals are considered extravagant and pricey, but you get what you pay for: they are quiet, sturdy, and well built designs that all have exceptional tone. Continue reading “Peter Cornish OC-1 Review”
A favourite of Billy Gibbons, the Real Tube “901” seems to be the lesser known (and less sought after) brother to the classic Tube Driver used by both David Gilmour and Eric Johnson. With the addition of the Mid control and unique enclosure you would think it would be the preferred version, but that doesn’t seem to be the case, and that makes this pedal a hidden gem in the world of tone unknown.
Continue reading “REAL Tube Overdrive 901 by B.K. Butler Review”