Deli #54 - Bodega, Brooklyn Stompbox Exhibit and Synth Expo 2018

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Brooklyn Pedal and Synth Expo

the deli

nyc emerging bands and gear

Issue #54 Vol. #3 Spring 2018 thedelimag.com

June 9-10, 2018


The Deli Magazine is a trademark of The Deli Magazine, LLC, Brooklyn & Mother West, NYC. All contents ©2018 The Deli Magazine. All rights reserved.

the deli

nyc emerging bands and gear

Issue #54 Vol. #3 Spring 2018 thedelimag.com


Paolo De GreGorio


Charles NewmaN


Kaz Yabe ( WWW.kAzYABE.CoM)


quaNG D. traN


boDeGa, beN Davis &

CoreY eiseNberG

hIP-hoP EDITor

JasoN Grimste (aKa broKemC)


biNoD lamsal


ChristoPher sCaPelliti


ethaN ames

beN aPatoff

CameroN Carr

Dave Cromwell

GeeNa KloePPel

lillY milmaN

amaNDa oGea

william sissKiND

heNrY solotaroff-webber


ChristoPher sCaPelliti

braNDoN stoNer


the Deli maGaziNe, llC

mother west, NYC

Advertising Inquiries:


Press Inquiries:


Table of C onTenTs

p8. Fresh buzz

p.10 Records of the Month

p.12 boDeGa

p.14 bands + Gear

p.24 Feature: The synthesizer

That ate the Guitar Pedal

p.30 Delicious audio’s shopping Guide

p.33 bKlYn stompbox exhibit 2018

p.43 bKlYn synth expo 2018

The Deli is a labor of love for the most exciting

music scene in the world, and since

2011 our events for musicians have helped

keep the print edition alive. This year we

decided to consolidate our pedal and synth

events into a bigger expo, and while we

were at it, we even threw a new Vintage

Guitar Exchange into the mix!

All our events for musicians are free, just like

the magazine. If you are into synths, pedals

or guitars, show your face on June 9-10.

There will be discounts, vouchers, manufacturer

reps, and a lot of toys to play with!

Paolo De Gregorio

Editor in Chief


his year, the Brooklyn

stompbox Exhibit will

have for the first time a

vintage Guitar exchange

component to it. used and

vintage guitars will be bought,

sold and exchanged by ten

NYC area stores that specialize

in vintage guitars—so if you are

looking to sell or buy something

special, this is the stop for you!

The stores involved in the

exchange are:

30th street Guitar

Chelsea Guitars

Guitar Center

my Generation Guitar

Pentatonic Guitar

rivington Guitars

rudy’s music

southside Guitars

vintage Guitar Gallery

Fresh Buzz | New NYC Artists

Billy Woods



8 the deli Spring 2018

Hip Hop

Sur Back



Psych Rock

Sultry and confident, in their latest video for

single “DDt”, New York’s alt-rock trio Uni

makes good use of a mix of vaguely S&M

imagery, glam-rock sartorial choices and the

fetishization of all the iconography it portrays.

the song itself is lumbering and heavy, with

swelling organs, crunchy guitar riffs and powerful

lead vocals by Nico Fuzz. Glam rock

had roots in NYC with the New York Dolls and

David Bowie’s formative years; times seems

ripe for a revival in the city. (EthAN AMES)

Billy Woods still won’t show his face.

Even as one of the forerunners of Brooklyn’s

Indieground, he remains cloaked in mystery

and blunt smoke. In the video for “Keloid”

from his most recent LP Known Unknowns,

Woods is a stark silhouette against an antiseptic

backdrop. In a world that gets scarier

with greater exposure to the evils at play behind

the curtains, we all wish we had a “clean

room” to escape the radioactivity and radio

activity. For a stream-of-consciousness MC

whose consciousness is more finely attuned

than most could hope for, I imagine Woods’

brain is his clean room. Let’s hope he keeps

scribbling away. (BroKEMC)

In her new EP Kitsch II, New York avantpop

artist Sur Back—real name Caroline

Sans—deeply mines the esoteric, incorporating

obscure facets of many different

genres into the record’s four tracks. It’s part

baroque-pop, part new wave, and extremely

avant-garde. An artist able to synthesize

complexity, structure and melody into music

that’s relevant and current, Sur Back can at

times also be sweet and melancholic, with

unconventional string orchestration and an

abundance of compelling, unexpected melodic

twists. (EthAN AMES)

Building on a reputation for reckless and

disorderly behavior, NYC rockers Beechwood

deliver a sound that draws equally

from the psych, punk and glam rock realms,

with stylistic elements of both Marc Bolan

and Daniel Ash (in particular his soft vocal

style) audible in many of their tracks. thickly

layered background voices often juxtapose

against garagey drums and guitars, leading to

frequent psych-out jams. Single “C F” makes

full use of all these aspects while adding slide

guitar and keyboards into the mix, while more

aggressive party numbers like “I Don’t Wanna

Be the one You Love” walk the line between

Sonic Youth and rockabilly. (DAvE CroMWELL)

Records of the Month

fortH WandererS


Forth Wanderers’ new self-titled album,

their Sub Pop debut, is symphonic and

rollicking. the band’s songwriting duo—

Ben Guterl on guitar and Ava trilling penning

lyrics—are perpetually in sync, despite

often writing at a physical distance.

the album is a triumph, bursting with

angst and dissonance while maintaining

an innate pop appeal. the five-piece

band’s members are rarely in the same

place at once (they’re all college students

in Massachusetts, New York, New Jersey

and ohio, respectively). Despite this, their

chemistry and synchronization as a band

is abundantly evident on this release.

this album has something for just about

everyone who has an ear for pop music—

it’s bright and jangly at times, distorted

and gnashing at others, and it always has

something to say. (EthAN AMES)

Half Waif


Nandi rose Plunkett’s singing is deliberate.

her voice moves slowly, with seeming

ease, as if each line is a response

in real time, never rushed but carefully

thought out and confident. the music

Plunkett makes under the half Waif

moniker is equally precise, particularly

on the group’s latest album, Lavender.

though often meditative in its ambience

and melodic complexities, half Waif flexes

a knowledge of pop that brings the

music to sweeping highs. throughout,

Plunkett contemplates womanhood and

the distance accompanied by travel,

perhaps best summarized in the opening

track’s description of a visit with her

grandmother. Both musically and lyrically,

Lavender makes for a thoroughly

engaging and ambitious addition to the

half Waif catalog. (CAMEroN CArr)

Katie Von ScHleicHer

Shitty Hits

Late in 2017, NYC based singer-songwriter

(and vocalist for Wilder Maker)

Katie von Schleicher came out with a

poignant and plaintive album with the

not-so-poetic title Shitty Hits. From

the very beginning, opener the Image

treats the listener to von Schleicher’s

unusual, yet elegant melodies, supported

by an unexpectedly noisy production

based on an original and intriguing approach

to loud/quiet/loud. the results

are spectacular. the perfectly controlled,

vaguely industrial clangor keeps

coming in the following tracks, together

with Katie’s incredibly beautiful vocal

lines, forging a record that’s as unique

as it is enjoyable and moving. Perhaps

it’s true, these songs aren’t hits, but, on

the other hand, they are definitely art.

(PAoLo DE GrEGorIo)

10 the deli Spring 2018

Feature | Cover Artist


Rockers in the bubble

Wri tten by Graham D Johnson

ThE LIGhtS ArE DIM and the band

members’ silhouettes soft against

Brooklyn Bazaar’s trademark

stained glass as Bodega starts their

set. Frontwoman Nikki Belfiglio plays

a converted computer keyboard as

percussion before bite-smooching

frontman Ben hozie’s cheek.


12 the deli Spring 2018

hozie’s reading from the biography of French film critic Éric

rohmer: “A classicism among the ruins… the cinema is definitely

invested with a redemptive mission… [empowered by]

the impartiality of the movie camera and the limits it imposes on

human intervention.” Consider this the band’s ethos, alongside

a motto inscribed in the lyric book of their forthcoming debut

Endless Scroll: “the best critique is self-critique.”

But there’s an irony to the rohmer quote: no one could seriously

claim the camera and the screen as “objective” or limiting

“human intervention” in 2018, year of the DeepFake (which

followed 2017, year of Fake News). hozie knows better than to

sell cinema’s impartiality with a straight face, which is why on

Scroll’s closing track, “truth Is Not Punishment,” hozie shouts

out the tv as the fulfillment of writing’s “porcupine dream… /

where a man and his dream, let loose on caffeine, see it only

one way.” Like everyone else, Bodega’s stuck inside a perspective

and ideology. the question Endless Scroll can’t stop

posing is: What happens when you’re aware of this stuckness?

What are the limits and liberations of self-knowledge?

Bodega used to be Bodega Bay, back before they broke up,

played a final show to a desperate sweaty crowd, then pulled

an LCD and were born again. the new record is being released

on What’s Yr rapture, the same label that puts out Bodega’s

post-punk peers Parquet Courts. It’s more traditional than former

Bodega Bay’s eccentric thirty-three-track Our Brand Could

Be Your Life. But the never-say-die mode of “can’t go on, I’ll go

on,” of trying to slip serious engagement into knowing snark,

is standard practice for hozie and Belfiglio, the two holdovers

from Bodega’s previous incarnation. their projects have always

focused on the hypocrisy and self-oriented pragmatism that

characterize political and moral life — hozie makes full-length

films in his free time, most recently The Lion’s Den, which took

time out, Peter Singer-style, to examine the nuanced ethical

trade-offs involved when consumption is framed as a zero-sum

game: spend it on yourself, or spend it on others.

the band’s biggest influence is, as it has been from the start,

New York (“an island of blue / a nipple in water”). Wilson Ave

venue Alphaville is a home base for the group, and hozie and

Belfiglio are regulars in Bushwick’s weeknight scene. the constant

set-up and erosion of class oppositions, and the selfaware

disparagement of yuppies is vintage Whit Stillman updated

for the iPhone bourgeoise.

that’s always been the conflict, right? Yuppies vs. Yuckies

(aka Young Creatives). they used to fight over Downtown real

estate but the suits won so the bands packed up for Brooklyn.

Now the Yupsters have landed on the waterfront, set up

a beachhead at the vice Media offices. It’s no coincidence

that vice is the conflict’s ultimate go-between, an intermediary

agent with a history of swapping sides as is convenient.

In his essay “Joe Chip, What’s on Your iPod?” tom Ewing

compares the death of rock, and the New York DIY scene by

extension, to the “shrinking reality bubble” of half-life in Philip

K. Dick’s Ubik:

Within the bubble we listen to what we always did, we

talk to people who listen to that stuff too, we enjoy the

unspoken shared experience. But outside the bubble,

that experience is irrelevant or forgotten... radio stations

change format... mailing lists sputter out; fellow

fans move away and are not replaced.

Ben hozie is the rocker in the bubble who’s also read the think

pieces written about the bubble. the political analogy is quick

at hand, Bodega’s point of departure: for the man in a bubble

aware of the bubble, what options are left? If you’re implicated,

and you know you’re implicated, are you redeemed?

Ultimately, self-knowledge is not just limited, it’s limiting. Accepting

your slivered access to the truth, digging into your own

moral impurities and hypocrisies, can be as paralyzing as it is

necessary. Where to go after self-revelation’s incapacitation?

Paraphrasing rohmer, you return to the past to find a classicism

among the ruins, look to the history books as navigation.

Cue Montana Simone, drums, standing up behind a cymbal,

tom, and snare à la Moe tucker. Bodega is cratedigging

through the archives, reincorporating discoveries and walking

backwards as a way to move forward. In the end, well, there is

no end — but perhaps it’ll work. d

Bodega’s Stompboxes

[Top] Madison’s Pedalboard: TC Electronic Echobrain

/ MXR Analog Chorus / Fulltone OCD / MXR

Dyna Comp / BOSS NS-2

[Bottom] Ben’s Pedalboard: BOSS BF-3 / Cusack Music

More Louder / Wampler Velvet Fuzz / BOSS TU-2

the deli Spring 2018 13

ands + Gear

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Vlad Holiday

Indie Rock

New York’s indie-pop sensation vlad holiday is a force to be

reckoned with. Just take one of his latest single, the ambient

and melancholic “Children”—channeling the likes of M. Ward

and the National; holiday waxes nostalgic for simpler days

and laments a certain loss of innocence that comes with the

territory of growing up. Moreover, he seems to long for the

kind of blind optimism that drives so many of us to plunge

headlong into life and love, for better or worse. (EthAN AMES)

Your family moved to the US from Bucharest when you were

10 for political reasons, how did the passion for rock’n’roll

manifest itself?

I fell in love with music right around the time I moved to the US. I

was a bit of an outcast coming from a country no one had heard

of (as 10-year-olds) and barely speaking English, so I found an

escape through music and learning the guitar. I was in my own

world and no one was judging. that ended up defining who I’d

become in every way.

Photo: Lisa verberght

Klon Clone / ZVEX Instant Lo-Fi Junkie / Strymon Flint / BOSS DD-3 /

Malekko Omicron Fuzz / Fulltone OCD / KORG Pitchblack Tuner

Your singles, “Quit Playing Cool” and “Children” both seem

tinged with irony. What purpose does irony serve in your lyrics?

It’s the realist in me fighting the dreamer. For example, the line in

Children, “Lie and say this world is fine, that we will be alright,” (to

me) acknowledges the reality of life but also that you can’t focus

on the negativity 24/7 and lead a sane life.

Your tracks have a lot of interesting and varied guitar sounds.

Tell us about the pedals that were the most utilized during the


ZvEX Instant Lo-Fi junkie was a key ingredient, as well as the

Chase Bliss Warped vinyl. Strymon Flint for all reverb/tremolo,

that might be my favorite, it does those two staple effects just

so well. EarthQuaker Devices Bit Commander for the crazy fuzz

parts and EarthQuaker Devices Bellows with the drive on 1 to add

a bit more body to certain parts. I have a Klon clone for leads and

a Malekko fuzz I got as a gift from a fan. All running through my

Analog outfitters Sarge class A tube amp.

What else do you have on your board these days?

the BoSS DD-3 is cool for certain things, including crazy digital

stutter effects, but my little EhX Memory toy does slap-back a

lot better. ZvEX is for all the tape warble lead parts which are

sprinkled throughout basically every song. Fulltone oCD is on

there now with the drive set to 0 (it still ads just a tiny bit of dirt),

for when I need a bit more breakup. Also recently got this tweed

Blues Junior equipped with a Jensen from Fender, sounds great,

cool spring verb and that classic fender tube crunch.

14 the deli Spring 2018


All you really need to know is that you want to see Promiseland’s

tear-yourself-apart, no-limits live performances.

the project’s industrial-techno tracks sound like they

could come from a secret warehouse rave on the edge of

the city, but Australian-born Johann rashid’s vocals are

straight from the realm of punk. Collectively, it makes for an

intense, nightmarish experience, which coupled with the

performance aspect, becomes simply jarring - in a good

way (if you can take it). those in need of a cathartic ritual

that’s at once cerebral and wild are warned. (CAMEroN CArr)

Industrial rock is a tough genre to pull off, how did it all start?

Johann: Promiseland has many moving parts. one is the live

show. It’s loud, aggressive and really has its own energy. Behind

the scenes there is a lot going on in terms of production

and collaboration. It began when I approached Melbourne

producer harmon with a few demos. he was able to take my

sounds and song ideas and ultimately structure a sound I feel

is ever changing. though the two singles that are out lean more

into the industrial world the other songs move through many

different vibes, slower tempo dub vibes, some experimental female

vox and a general exploration of collaboration.

[Top] Yamaha PortaSound Voice Bank PSS-270

[Bottom] Yamaha DX21

Industrial Electro-Rock

What personality traits do you think are necessary to make

this kind of music?

I think one needs the ability to feel tense and physical. one

needs to trust in subverting images and sounds into any environment.

Like throwing your body around, clenching your teeth

and really destroying something uncontrollably. Acting out destruction

through schizophrenic thoughts and actions. Letting

the mind travel anywhere and become anything and also having

some sort of enjoyment doing that.

What are the pieces of gear central to your sound?

Johann: the energy of where I am and whom I get to jam with is

at the centre of the sound. When I left for New York I didn’t bring

anything with me. I borrowed a Yamaha DX21 and a Yamaha Portasound

PSS-270, which I still use to record a lot of home demos.

Harmon: We like to change things up from song to song and do

a lot of gear borrowing. My go to outboard instruments are my

Gibson bass and guitar and Yamaha sk20, as well as the kaos

pads. I like playing around with reverbs and delays a lot. I will

spend most of my time getting these sounds right. Some of the

new tracks feature things like the Pro 2, korg mono/poly, ms10,

Juno 6, tr 707 drum machine. We really just love getting into the

studio firing up what we can and record as much as we can.

the deli Spring 2018 15

ands + Gear

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ellen o

Chillwave Avant-Pop

Ellen o synthesizes her training as a classical pianist with an

affinity for hip hop and trap to forge a fresh sounding chillwave

blend. the artist’s experimental fusion creates a soundscape

of eerie synthesizers driven by a future bass aesthetic,

all of which forms the perfect background for her smoky

vocals. Ellen o’s second and most recent album You/Sonata

features artists Smoke DZA, ShrAF, and Khallee, as well as

a more mature vision of her unique aesthetic. (AMANDA oGEA)

How and when did you start producing your own music?

I started producing music in 2012 after I moved to NYC and finished

grad school at Brooklyn College. I bought a synthesizer and drum

machine and realized that it was more inspiring and interesting for me

to produce and write songs than composing for acoustic instruments.

What do you find most rewarding and challenging about being

your own producer?

It’s most rewarding to be independent and being able to directly

articulate the exact sound and feel I’m looking for. Being independent

can simultaneously be isolating at times, but I have found

that it’s very important for me to continue to collaborate with other

artists via features on my music or by doing features with vocals/

instrumentals on other producers’ tracks.

Your music is at once atmospheric, intimate and playful, do

you have a method to your songwriting process?

I start by finding and sculpting a patch on synthesizer, then I make

sketches of chords and progressions that will make up different

sections of the song. Next I use my MPC for sampling and sequencing

the beat. Words and melodies usually come to me last

by improvising and humming over the chords and beat. the last

step is figuring out the form of the song.

[Top] Roland Juno-106 [Bottom] Waldorf Blofeld

What are your other essential songwriting tools and sound


I use the Akai MPC 1000 for sampling and sequencing. I usually

use a foundation of roland tr-808 and tr-606 drum machine

samples for the drum sounds. I make beats using the live performance

sequencer on the MPC. I love the 16 levels function which

allows you to map out a sample with a parameter like pitch, velocity

etc. over the 16 pads. I love the roland Juno 106’s full, lush and

pillowy beds of sound, in particular the string patches with chorus.

I tend to use this synthesizer as a more static pad like texture. I was

drawn to the Waldorf Blofeld for its more digital sounds that are

contrasting to the analog sound of the Juno 106. this synthesizer

is a great tool for making glassy FM like patches, and it also has an

arpeggiator which add a more rhythmic melodic element.

16 the deli Spring 2018




ands + Gear

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cool company

Cool Company’s 2016 album, Slice of Paradise, is a salient

and smooth piece of R&B/neo soul and hip-hop fusion.

Each song is rife with enticing percussion, hypnotic melodies

and deceptively intricate, jazz-like chord progressions.

The album is appealing and original, a testament to

Cool Company’s potential for greatness. It did so well that,

in 2017, they released a Remixed version of it. (ETHAn AmES)

Your breakout 2016 single “Beneath the Lights” features a

distinct sound, with a very lo-fi Ukulele creating the foundation

of the track’s otherwise electronic arrangement.

How did that part happen?

Fat Matt: We were just chilling in the backyard of my parent’s

house in new Jersey when it came together. It was a beautiful

day and I had my laptop outside with us. I came up with the

ukulele riff, and instead of going into the basement to record it

on my mic like I’d usually do, I just used the laptop microphone

outside, which picked up the crickets, birds and car sounds

that gave it that summery, Lo-Fi feel. We added a few more layers

on the laptop mic like finger snaps and our buddy michael

rubbing his hands together to make the shaker sound. After

that, we brought it inside and recorded the bass and vocals in

our regular fashion.

Photo: Ben Benson

[Top] Ableton Live 10

[Bottom] Ableton Analog

Soul-Pop Electro-Soul

What’s the set up as far as synth and recording gear/software?

Fat Matt: We use Ableton for every song. The synth I use most

is Ableton’s “Analog”. It’s got 2 oscillators and lots of options

for filtering, pitch shifting, and lfo. I usually end up running it

through several effects afterward, and often bounce it to audio

and warp/ sample it. I record guitar and bass direct in and do a

lot of percussion by striking or tapping random objects. I also

try to use Yan’s voice as an instrument as much as possible.

For each song, I try to develop a new technique or a new way of

approaching the process, to keep my production from feeling

stale. I’m most inspired when I feel like I’m discovering something

new as I write.

How is your songwriting process? Do you compose your

songs before recording, or do songs ever evolve in the

DAW during the recording process?

Fat Matt: For us, recording and composing are always intertwined.

We rarely write more than a few parts before recording,

to keep our ideas organized, and because we work simultaneously.

Ideally, I’m usually still working on the production while

Yan’s writing, and since the ideas are developing simultaneously,

the vocals and production are more connected than songs

I’ve done where the beat or song was completed first.

18 the deli Spring 2018

ands + Gear

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deal casino

Indie Rock Avant-Pop

Already proven adept at hook-heavy alt-pop/

rock, in their new EP Isadora Duncan, Deal Casino

progresses their sound into more nuanced

sonic territories. The tempos drop considerably,

opening up space for a more atmospheric production

where synthesizers challenge the edgy

guitar parts, while vocals double up in intensity,

for a more mature and powerful listening experience.


What feelings, events, people and/or records

worked as a source of inspiration for your first

two records?

You try things. Sometimes they work out and sometimes

they don’t. We tried to make an honest record,

committing to a lot of (somewhat silly) minimalist

principles like single tracking all guitars, getting every

take live, not overdubbing anything, recording certain

songs with no click etc, but we thought that record fell

a bit short of our own expectations. After that, we realized

we wanted a more original vibe, with derivative

tones for guitars and keys. By expanding our palette

of sounds with synthesizers, vocal effects, and drum

machines, we had a much easier time developing initial

concepts for pieces that we found interesting.

What are the crucial pedals on your boards?

Vibrato was a key effect on the new material for essentially

every instrument, so Joe P has gone through

a bunch of vibrato pedals: he tried a Behringer UV300,

ZVEX Lo-Fi Junky, and a BOSS VB-2. Joe P now has

a vocal pedal board, in addition to his guitar one. He

uses an Eventide mixing Link to send his mic line

through guitar pedals and then back out to the frontof-house.

It helps bring the effects we got in the studio

to the live setting. The JHS Colour Box adds some dirt,

the BOSS Space Echo pedal adds delay, the mooer

ShimVerb Pro adds nice reverb, and that other pedal

controls his Space Echo for guitar. On his guitar board

he has two memory Boy Deluxe pedals for different

delay types, a TC Electronic Hall of Fame mini, the Xotic

EP booster, and an EQD Tentacle for really crushing

the guitar tone. Joe C has a Strymon Sunset drive,

malekko spring reverb, and the Strymon El Capistan,

which he uses for a really cool dirty chorus effect.

[Top Left] Joe C’s Modular Synth

[Top Right] Joe P’s Vocal Pedalboard:

Eventide Mixing Link /

Voodoo Lab Pedal Power 2 Plus

/ Mooer ShimVerb Pro / JHS

Colour Box / BOSS RE-20

[Bottom] Joe P’s Guitar Pedalboard:

TC Electronic PolyTune

2 Noir / Roland Volume Pedal /

(2x) EHX Memory Boy Deluxe /

TC Electronic Hall of Fame Mini /

Xotic EP Booster / EQD Tentacle

/ BOSS VB-2w

20 the deli Spring 2018

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maybird is a band that finds itself in the middle of the intersection

of vintage psychedelia and modern alt pop. While

by no means following in the direct veins of those rock

forebearers, the manipulated guitars and electronics found

throughout the band’s music keep an eye on psychedelics

as inspiration far more than most alt-pop peers. Live, maybird

captures its sound by frequently bringing along pedal

steel guitar, saxophone, and even incorporating an unusual

overhanded guitar playing technique. (CAmEROn CARR)

How did your creative process change since your 2013

debut LP?

Sam: Working with a producer definitely was eye opening, as I

imagine it generally is for bands and artists that are for the most

part self produced.

The record has a lot of interesting and varied guitar sounds,

tell us about the pedals that were the most utilized during

the recordings.

Josh: We tracked most of this EP with Patrick Carney in his

nashville studio. He has every EarthQuaker Devices pedal

[Top] Josh’s Pedalboard: BOSS BF-3 / TC Electronic

Flashback / BOSS DM-3 / Voodoo Lab Pedal Power

2 Plus / Mooer Pitch Box / Whirlwind Orange Box

Phaser / BOSS TU-2 / Way Huge Green Rhino MkII

[Bottom] Sam’s Pedalboard: BOSS PH-2 / EHX Stereo

Electric Mistress / BOSS RE-20 / Xotic AC Booster /

Ibanez ES2 / JHS Crayon / BOSS CE-3 / BOSS PS-5 /

BOSS CS-3 / Voodoo Lab Pedal Power 2 Plus / MXR

Mini Phase 95

Psych Pop Indie Rock

known to human-kind. We ran plenty of things through those.

Sam: I REALLY enjoyed using the Jext Telez fuzz that Pat had

(It may have been a Dizzy Tone?). At the time I was still trying to

sort out my own board, and I’m just an avid collector of pedals,

so it was a dream for me.

What do you have on your board these days?

Sam: I use the Ibanez Delay on just about everything, and I’m

constantly bending down adjusting stuff on it. One of the big

ones on the record is the EQD Sea machine, which belonged to

Pat. I also used the JHS Crayon a bunch, Pat and I must have

auditioned 20 different fuzz pedals for different things.

Josh: The BOSS BF-3 Flanger is the first pedal I ever bought. I

use it for sentimentality and ultra-flange. The BOSS DD-3 delay

was given to me by my history teacher from middle school and

high school. mr. Jones. We used to jam. Love that guy. It’s my

favorite delay pedal. green Rhino is just a good fuzz for rhythm

guitar. It’s also got a bass boost that adds to its crushingness.

The Pitch Box is Sam’s, I use it as a chorus pedal but it also

changes pitch, and sometimes that aspect of it surprises me

during live performances.

22 the deli Spring 2018

Feature | Gear Trends



ThaT aTe


GuiTar Pedal

Are Stompboxes

Turning Into

Little Synths?

written By Christopher Scapelliti

Synth Illustration by Amy Walters

(poster prints at amywalters.com)

24 the deli Spring 2018

It's a good time to be a sonically adventurous guitarist.

The market is flooded with effect pedals from

manufacturers big and small, and the range of tones

and processing power on offer is nothing short of jaw

dropping. Stomp boxes are no longer limited to one or two

decent-sounding effects and a few knobs and switches. Digital

signal processing (DSP) has made it possible to pack

high-fidelity sounds and features once reserved for studio-quality

rack gear into even the most compact of pedals.

The further we go down this road, the more guitar effect pedals

are becoming, both literally and figuratively, like synthesizers.

Literally, because many tone-bending features once

reserved for synthesists, like arpeggiation, bit crushing and

mIDI functionality, are now available to guitarists in stomp

boxes. Figuratively, because an increasing number of pedal

makers are creating products with deep feature sets and

highly tweakable functions that put them on par with patchable

modular synthesizers.

Consider Chase Bliss Audio, makers of distortion, delay,

phaser, chorus, tremolo and EQ pedals: not only are the

company’s stompboxes studded with control knobs and

switches that can route the circuits in dozens of ways, they’re

even outfitted with external DIP switches that allow the user

to customize a host of parameters.

Perhaps the only question is “What took so long?” This day

has been coming ever since the transistor revolutionized

electronics in the 1960s. That innovation gave birth almost

simultaneously to small and affordable effect pedals and the

electronic synthesizer. The timing of these developments

may have been coincidental, but there’s no denying that the

two industries have fed from the same trough and enjoyed a

mutually beneficial association.

guitar effect pedals and synthesizers have more in common

than you may think. The groundbreaking synths that Bob

moog introduced in the 1960s had many features that eventually

worked their way over to the effect pedal community. The

novelty of moog’s devices is that he used voltage control to

tell the synth what note to play, to trigger the envelopes that

determined how the filter’s cutoff frequency and amplitude

changed over time, and to create effects like vibrato, wah

and tremolo. Together, the components of his voltage-controlled

system formed the basis for subtractive synthesis,

in which a harmonically rich waveform is passed through a

resonant filter and treated with envelopes and low-frequency

oscillators, or LFOs, which produce wavelengths below the

audible range. It’s called “subtractive” because the filter is

applied in a way that removes some of the waveform’s character

in order to alter its timbre.

many early guitar effects used elements of subtractive synthesis

as well as voltage control. Consider the wah pedal, a highly

resonant filter whose cutoff frequency is swept manually by the

user, or the auto wah, a voltage-controlled filter whose cutoff

frequency is controlled by an envelope that’s triggered by an

audio signal. As for tremolo pedals and vibrato boxes—they’re

nothing more than tiny circuits that apply a sine or triangle

LFO waveform to an input signal. Under the circumstances,

it shouldn’t be surprising to learn that synth maker Oberheim

briefly produced the Voltage Controlled Filter auto-wah for

guitarists in the 1970s, or that effect maker Electro-Harmonix

created the 1980 mini-Synthesizer keyboard. Though product

crossovers like these were uncommon, the shared technologies

of the effect and synth industries made them possible.

Of course, guitarists have been using distortion, overdrive

and fuzz for longer than synthesizers have been around. As it

happens, all of these are forms of distortion synthesis, which

creates complex timbres from relatively simple waveforms.

For that matter, when you run a fuzz pedal into a wah, you’re

combining distortion synthesis with subtractive synthesis.

And let’s not forget additive synthesis, the technique of combining

the fundamental tone with its harmonic partials. This is

how pipe organs and electronic organs synthesize complex

sounds. An octave pedal is a simple form of additive synthesis

that uses frequency dividers or doublers to create a synthesized

version of the original note. Dividing that signal produces

a tone one or two octaves below the fundamental, while

the deli Spring 2018 25

doubling it creates a new tone one or two octaves

higher. In recent years, Electro-Harmonix has made

more complex forms of additive synthesis available to

guitarists with its HOg Harmonic Octave generator

pedal and POg Polyphonic Octave generator.

For all their similarities, synthesizers and guitar pedals

differ in many ways, not the least of which is their audio

source. Traditional synthesizers use raw sine, triangle,

sawtooth, ramp and square waveforms. As tones

go, they’re about as generic as you can get. guitars,

on the other hand, use strings and always sound like

guitars. To give guitarists synthesizing power equal to that of a keyboard,

you have to get the instrument’s “guitarness” out of the way.

In 1977, Roland did just that with its gR500 guitar synthesizer.

The gR500 featured a hexaphonic pickup with six outputs, one

for each of the instrument’s strings. This connected to a converter

that extracted the pitch of each string to drive the unit’s internal

voltage-controlled oscillator (VCO). It also turned note on/off data

into gates that could control envelopes, trigger LFOs and perform

other functions associated with voltage-controlled synthesis. In

essence, the guitar became a controller to play the internal synthesizer’s

waveforms, triggers its envelopes and so on. mind you,

this was well before the advent of mIDI in the early 1980s.

PedalS WiTh

SynTh feaTureS

Wah Wah

Pedal (1966)

An example of “subtractive

synthesis,” the wah is a highly

resonant filter whose cutoff

frequency is swept manually

with a pedal.




The short-lived Oberheim

Voltage Controlled Filter

pedal is early proof of the

cross-pollination potential

between synths and


Roland has continued to develop its guitar synth line. The gR-

55, its latest mIDI-based device, even has samples as digital audio

sources for the guitarist to trigger. But the company has also

pursued traditional subtractive synthesis for the guitar through its

subsidiary BOSS, which makes the SY-300 guitar synthesizer. The

SY-300 requires no special pickup—just plug in your instrument

and start playing. The unit uses DSP to extract from your audio

signal the information it needs to drive the SY-300’s polyphonic

synth engine. In effect, the SY-300, like the gR-55, gets your guitar

tone out of the picture, allowing you to create synth tones just

as a musician does using a traditional keyboard synthesizer.

The SY-300 is a deep machine, but many guitar effect pedals are

now packing similar features into the standard stomp-box format.

DigiTech’s Dirty Robot stereo mini-synth pedal has a synth voice

and a vocal formant voice for talk box and vocoder-like emulations,

as well as filter modulation and even chorus and vibrato effects.

The Pigtronix mothership 2 is a three-voice synth with a sub-




The first device to give

guitarists access to true

synthesis. A special

pickup/converter transformed

the guitar’s output

into pitch and note

on-off information that

was then used to drive

a synthesizer.


hoG (2006)

An example of additive

synthesis, the EHX Harmonic

Octave generator

produces sounds one or

two octaves above and

below the guitarist’s original


Eventide is a registered trademark of Eventide Inc. © 2017 Eventide Inc.

oscillator for subharmonic tones, a sync mode that slaves the VCO

to the input signal for complex overtones, and even portamento to

create those wild Keith Emerson “Lucky man” pitch swoops.

And traditional waveforms aren’t the only options available when

it comes to a synthesizer’s voices. A number of pedals today,

like the Red Panda Particle and Electro-Harmonix Super Ego,

make use of granular synthesis, which chops the input signal into

tiny snippets, or grains. Heard in isolation, one grain wouldn’t be

recognizable as a guitar tone, but when time-stretched or combined

with other grains, it becomes a malleable material for creating

new sounds based on your guitar’s own tone.

Even guitarists who prefer the sound of their own instrument to that

of a synth might enjoy adding some “Baba O’Riley”-style arpeggiation

and sequencing to their fretwork. For that there’s the Alexander

Colour Theory, a versatile eight-step sequencer and effect

processor that creates rhythmic combinations and tones previously

heard only from synths. Other contenders include the meris Ottobit

Jr., which combines sequencing, stutter effects and bit-crushing to

create tones reminiscent of arcade games, and EarthQuaker Devices’

Arpanoid, a polyphonic pitch arpeggiator that transforms whatever

you play into an adjustable ascending or descending scale.

It was probably inevitable that greater degrees of synthesizer

functionality would come to guitar pedals once technology made

it feasible. But what’s surprising is how a sort of synthesist mentality

is taking root in the industry, even with pedals that aren’t

synth effects. The Chase Bliss pedals are perhaps the most obvious

manifestation of a growing movement to give players deep

control over sound creation within the realm of traditional effects.

Taking matters to an extreme, Empress Effects’ upcoming Zoia

(featured on page 31) pedal employs a modular approach to creating

everything from effects and utilities to instruments. Its 8x5 grid

of pushbuttons can be programmed in seemingly limitless ways.

All of which begs the question, Will this hyper-functionality serve

us, or will the trend toward complexity pass and we’ll once again

gravitate toward the simplicity of single-function pedals and the

familiar tones of the electric guitar? Time will tell, but both approaches

have their own fans. What’s undeniable is that guitarists

will continue to have a new and ever-expanding world of tone to

explore, while synth players will find in guitar pedals new effects

regular synths don’t provide. d

red Panda

ParTiCle (2013)

Using “granular synthesis,” the

Particle chops an input signal into

tiny snippets, or grains, that can

be time-stretched and/or combined

with other grains to forge

new sounds.

ChaSe bliSS


Thermae (2018)

Like little synths, Chase Bliss

Audio’s stompboxes are studded

with control knobs and

switches that can route the circuits

in dozens of ways—they’re

even outfitted with external DIP

switches that allow the user to

customize a host of parameters.


rinGTone (2008)

The successor to the ZVEX Seek

Wah, which was the first guitar

pedal to feature a very simple step

sequencer. The Ringtone lets guitarists

produce textural rhythmic

patterns, ranging from the intriguing

to the atonal.


dirTy roboT (2017)

A stereo mini-synth pedal with a synth

voice and a vocal formant voice for talk

box and vocoder-like emulations, as well

as filter modulation and even chorus and

vibrato effects.

28 the deli Spring 2018

the deli Spring 2018 29


Pedal Shopping Guides

What’s Up



Have you had a chance to check out our pedal blog and

aggregator Delicious Audio yet? It’s all about stompboxes,

featuring news, videos, advice, and also uber-thorough

shopping guides organized by specific effect!

Here are a few of the ones we posted recently.


Once upon a shoe-gazing time, guitarists had few choices when it came to stompboxes that

could create washes of ambiance. Many players used multiple delay and reverb pedals at the

end of their signal chains to generate deep, blooming and lingering soundscapes. These days,

thanks to advances in digital signal processing chips, pedal makers can create stompboxes

dedicated to this particular brand of reverb, and as it happens, these kind of effects are all the

rage right now. We’ve spent some time with the current crop of offerings and have collected

18 that we consider the best. All of the pedals listed in this article will allow you to create cavernous

reverbs with lingering tails, shimmer effects, delay, modulation and much more. Which

is not to say they’re all one-trick ponies. Many of these entrants can cover a range of reverb

densities and tail lengths, making them rather useful for other musical styles as well.

Google “Best Ambient/Shoegazer Pedals” to find the article by Christopher Scapelliti.


The music genre known as “glitch” has been around since the late ’90s. It embraces all sorts

of electronic noises that are typically produced through error, such as the skipping of portable

CD players and the stuttering of damaged digital audio formats, as well as lo-fi sounds like

bit-rate reduction, sampling artifacts, and extreme time stretching and compression.

Traditionally, musical artists have created glitch effects in computer audio workstations by

manipulating samples. In recent years, however, advances in digital signal processing have

made it possible to replicate the sounds of the genre just by hooking up to a stompbox. And

in the spirit of stutter-guitar pioneers like Radiohead’s Jonny Greenwood, players have begun

to embrace these extraordinary sounds, as well as tape-speed effects, audio blurring and

stretching, and many other tones associated with glitch.

If you’re looking for a pedal that’s built for the sole purpose of generating great glitch sounds,

there are numerous units out there worth checking out, and in this article, we’ve collected 16

of the best glitch stompboxes currently on the market.

Google “Best Glitch Pedals” to find the article by Christopher Scapelliti.

30 the deli Spring 2018

Tech 21 Fly Rigs are pro units armed with sweet analog

tones. In the footprint of a pixie, each embodies an

entire, multi-application “rig,” so you can rule the road,

rehearsal or recording gig. Choose from the

Richie Kotzen RK5 Signature Fly Rig for guitar,

the Bass Fly Rig, and the Acoustic Fly Rig.

NEW: dUg Pinnick Signature DP-3X

Tech 21 delivers

consistent quality


studio to studio,

club to club,

arena to arena.

Choose yours today.


The Pedals of the

bklyn stompbox exhibit 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)



Angry Driver

• A dual-mode drive engineered in

collaboration with JHS Pedals.

• It pairs the tones of the BOSS

BD-2 Blues Driver with JHS

Pedals’ popular Angry Charlie.

• Dual-concentric knobs provide

independent drive, tone, and level

control for each overdrive type.

• A six-position mode selector,

lets you use each overdrive independently,

or combine them

together in series and parallel.

6 Degrees FX

Amplitude Eleven

• Super flexible 2 Channel Class A overdrive.

• Blue Channel has 2 gain stages acting

as gains 1 - 2 on some vintage amps,

producing crunchy tone with a natural

tube-like clipping.

• RED channel is a 4-gain stage high

gain channel that gives you saturated

drive for both rhythm and lead.

• G.A.S. mode delivers Germanium

fuzzy clipping texture.

EarthQuaker Devices


• Overdrive pedal with a powerful

EQ section (20dB of cut and/or

boost at 80Hz and 2kHz).

• Designed to work with low wattage

amps, pushing them into

anything from cutting, edge-ofbreakup

rhythm tones, all the

way to articulate, singing lead

tones stacked high with pleasing

even-order harmonics and

sweet sustain.

JHS Pedals


• Utilizes a rotary knob to switch

through nine replications of classic,

vintage, rare, or hard to find

variations of the Tube Screamer.

• Two mods included in the replication:

Keeley’s 2002 “Mod Plus”

and JHS’s own “Strong Mod”.

• The three other knobs also replicate

the response of the original



Mod Kits DIY

Persuader Tube Drive

One Control

Baby Blue OD

Outlaw Effects

Cactus Juice

Deep Space Devices


• You’ve got to build this one yourself!

• Darlington preamp pushes cascaded

triode vacuum tubes into distortion.

• Four dual triode vacuum tubes are

included with each kit (JJ5751,

12AX7B China, JJ12AU7 and a

NOS USA made 12AT7).

• A boost switch provides an

additional layer of flexibility.

• A straight forward three knob

pedal based on a discrete circuit

that combines dynamic

overdrive and fuzz.

Delivers quality tone both at

reduced volumes as well as at

cranked-up lead output.

• A take on the Tube Screamer

clone with two separate overdrive


• “Normal” mode offers warm and

creamy breakup, great for rhythm

parts, blues guitars.

• “Juiced” mode increases the gain

dosage to extra strength, and lets

you tear through denser mixes.

• A seriously deep analog distortion

pedal with tons of tonal options.

• The “Tremble” toggle switch reconfigures

the placement of the

silicon and germanium diodes.

• “Form” and “Shift” knobs affect

the tone’s EQ, while “Rage” and

“Power” govern volume and gain.

the deli Spring 2018 33

The Pedals of the

bklyn stompbox exhibit 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)



Binary Eko



• A multi-tap delay/chorus with two

modes: Exponential and Random.

• In the former, the Spread knob exponentially

widens the delay times.

• In the latter, both the short delay

and the long delay are randomly

selected within a time “range”, at a

fixed rate, and they keep changing

randomly within the long or short

length set by the Spread knob.

Stacks FX

Thsee Anomaly

• An optically controlled delay with a

fully featured LFO section with 8 different

waveforms to choose from.

• Tap tempo, six multipliers and Swell

function controlled both through a

footswitch and a knob.

• The LFO section can produce anything

from lush chorus and vibrato

to wild rising swells and “falling

star”–like tones.

Floating Forest


• A delay with an embedded photocell-controlled


• The bottom right switch gets the

tremolo controlled by the photocell

(rather than the regular LFO).

• It comes with a USB light that can

be plugged into the USB plug on

the side of the pedal, which features

a rate control.

• When the mix knob is around 75%

you can engage the momentary

switch (center footswitch).

• An affordable but extremely

powerful digital delay based

on a dual-DSP platform and a

modeling system.

• Features 17 high-quality delay

effects types including analog,

digital, tape, dual, ping pong,

filtered, modulated, slap back.

• Stereo I/O and expression pedal



Walrus Audio


• A compact and feature-rich

multi-function delay with tap tempo

and optional trails mode.

• Four algorhythms: digital, analog, lofi,

and slap-back.

• The X knob changes functions depending

on which Algorithm you are using.

• Bypass footswitch double as a momentary

swell when held.

34 the deli Spring 2018

Wilson Effects


• Dual, digital PT2399 based delay

with 700ms delay per channel and

uniquely flexible routing features.

• The two separate delay circuits are

internally cascaded into one another,

but can be separated using the routing

jacks on the top of the pedal.

• Oscillation, triggered by the middle

footswitch, can be applied to either

channel through a toggle switch.


Super Day Dreamer

• A delay/reverb with simple and interactive

controls and self-oscillation

mode (holding footswitch).

• Bright sounding medium length

reverb (spring/hall) with slight


• “Regen” and “Time” control the

delay’s feedback and delay time.

• Features tap tempo, subdivision,

and modulation options.


TranZformer GT

• A 3 band EQ/Compressor

from the legendary console


• Input Gain control with

+30dB of gain.

• Separate footswitch for

compressor and EQ.

Pedal/Synth cross-pollination will take place in all its glory at the upcoming 8th Brooklyn

Stompbox Exhibit! Yes, because this year this event will happen in the same space as the

Synth Expo, on the same weekend! As always, BRING YOUR GUITAR!



Earthquaker Devices


Old Blood Noise

Flat Light

• Generates original sounding

effects from flanging.

• Three modes: Detune

(shimmering pitch shift),

Resonate (highly resonant

multiflange), and Echo (reverb-like


• Tilt footswitch momentarily

maximizes Rate or Shift


Rabbit Hole FX


• An 8-stage analog Phaser with a

rich sound that’s uncharacteristically


• Can deliver anything from soft

character to chaotic phasing


Mastro Valvola

LFO Tremolo

• Vintage sounding optical tremolo

with a range of feature you won’t

find in vintage units of the ’60s.

• 16 different waveforms with Symmetry

control to alter their shape.

• Tap Tempo with 3 selectable


• A Stereo Flanging Device with five

presets, eight modes, tap tempo,

tap subdivision and variable Mix


• Modify control affects different

settings depending on the selected


• Right footswitch works as tap tempo

and re-trigger of the LFO cycle.



Empress Effects


• Described as “a compact grid of musical


• Modules are used to build instruments,

and each block in the grid can become

a varying piece of your patch like an

effect or a function or an oscillator.

• Patches can then be saved in presets.



• A filter + distortion pedal with

an envelope-detection circuit

that interacts with the player’s


• Features a series of obscurely

named switches and knobs that

open a sea of sonic possibilities.

• Mode switch selects between

two different overall EQ settings.

The King of Gear

Mini Glitch

• Inspired by Jonny Greenwood’s

random Max/MSP “stutter” effect.

• It does more than that, through three

“glitch triggering mechanisms”:

Random, Switched and Threshold.

• The glitching sample can be set

to a fixed length or randomized,

while the Dry-Path switch can remove

altogether the original dry

signal when glitching is active.

Red Panda


• Gives you live reverse and tape stop

effects, pitch shifting, time stretching

and hold functions you can

combine in creative ways.

• Slow down, speed up and rewind in

real time.

• Stretch or compress time with no pitch

change. Loop, overdub, and randomly

slice phrases up to 4.8 seconds.

the deli Spring 2018 35

The Pedals of the

bklyn stompbox exhibit 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)


Animals Pedal


BAE Audio

Hot Fuzz

Death By Audio

Absolute Destruction

Farm Pedals

Sweet Leaf

• A modern and versatile take on

the Tone Bender fuzz.

• The “Wool” control allows to

get the compressed vintage

sound or a more tight and articulate


• Adjustable distortion, level & EQ.

• A single stage high frequency

boost + triple stage English

70s-style fuzz box by an established

builder of Pro Audio gear.

• The two effects can be used in

series or independently.

• Individual gain pots for each

section. Fuzz section also has

control pots for Juice, Bass,

and Treble.

• A glarly fuzz with a twist.

• The two horizontal sliders

(“Overload” and “Gain”) interact

with each other to push and

/or starve the pedal’s circuit

with unpredictable results.

• A knobless fuzz, what else can

we say?

• Internal trim pot allows to dial

the volume back or turn it up

a little.


Grey Stache + Octave Jawn

Main Ace FX


Pelican NoiseWorks

Half Horse


76 Octave Fuzz

• Good for both guitar and bass, it’s

based upon the GGG-tuned and

Civil War versions of a muff fuzz.

• Separate Tone and Mids controls

make it extremely versatile in the

mid-range (scoop/flat/boost).

• Dialing back the sustain delivers a

sound more similar to an overdrive.

36 the deli Spring 2018

• Boost + Fuzz producing classic

fuzz tones until you hit the

Double switch - then it can “rip

apart your soul with devastating

fuzzy agony.”

• Dialing down Bias and Fuzz

controls starves it into a buzzing


• “Tone” and “Spice” toggle

switches add extra tonal flavor.

• A dynamic JFET based fuzz

originating from half of the

company’s signature pedal

The Pelitaur.

• “Grain” knob controls the

gain, while “Sound” is basically

a tone knob.

• A multi-voiced germanium octave

fuzz that can deliver many

fuzz flavors.

• The three-way “Color” switch

combined with the “Texture”

control provide infinite midrange


• Two internal DIP switches deliver

extra tonal options.

The Pedals of the

bklyn stompbox exhibit 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)


Jonny Rock Gear

Moby Depth



Source Audio

Ventris Dual Reverb

Wampler Pedals


• A digital spring reverb with a

series of tweakable settings.

• The “Regen” knob regulates

the amount of effected signal

sent back in the Reverb (Feedback


• Useful FX Loop (Send-Return).

• A stereo digital reverb inspired

by the reverbs used in the

soundtrack of Blade Runner.

• Extensive modulation capability,

high & low frequency damping

and auto swell envelope.

• Selectable higher headroom

signal path for Synthesizers.

• Features two completely independent

reverb processors, one

entirely dedicated to the spring

effect (True Spring Engine).

• Seamless and unlimited “spillover”

from one preset to the next.

• 12 onboard reverb engines + expanding

extras via the Neuro app.

• Two reverbs (spring and

plate) in one pedal.

• Features the often overlooked

pre-delay function,

that leaves more room for the

note’s attack.

• Internal switches let you adjust

the effect’s tails and dry

signal to your liking.


multi- effects




• 30 different speaker cab models

with customizable EQ.

• Capable of loading custom IRS.

• Optional microphone (11 mic

models) and power amp simulation.

• Headphone and line outputs.

38 the deli Spring 2018



• Runs all of Eventide’s stompbox


• Fully controllable through

one knob user interface.

• iOS/Android app allows

managing presets, live control

and algorithm purchases.




Tech 21


• An advanced “Performance

Loop Laboratory” with six

mono tracks and one stereo

mix-down track per loop.

• Tap, Quantize, Overdub, Reverse

functionalities among

many others.

• Two ins/outs + monitor and

headphones outs.

• Optimized for boot floor and

tabletop use.

• A dUg Pinnick signature pedal

(with built-in tuner) that’s an adaptation

of his Tech 21 Ultra Bass

1000 Signature head.

• Also recreates the sound dUg developed

in the ’80s merging highend

distortion from a guitar amp

with low-end bass from a bass amp.

• It also provides more traditional

bass tones through the drive,

compressor and EQ sections optimized

for bass.

The Deli’s Expos’


DR Strings

Founded by Mark Dronge, son of Guild

Guitars founder Alfred Dronge, in 1989, New

Jersey’s DR Strings re-introduced handmade

round core string making to the general

market. Although the process requires a lot of

skill and time, the company felt it was worth

it because the difference can be heard. The

idea paid off, and today DR is a market leader

in the string manufacturing field with dozen of

string models that fit every player’s needs.

Hosa Cables

A leading supplier in analog

and digital connectivity

solutions, Hosa Technology

is a favorite among those

working within the musical

instrument and professional

audio industries. Always

redefining and advancing

what modern analog/digital

connectivity should look like,

Hosa Technology recently

announced the introduction of

their Hopscotch Patch cables,

a unique, pigtail patch point

ideal for modular synths.

Strymon Zuma

MONO Pedalboards

Already an industry leader in the instrument case

realm, MONO’s first line of pedalboards have

been an immediate hit. Available in five different

formats, the MONO boards are cut from a single

piece of 3mm anodized aluminum, and feature

cut-outs optimized to facilitate any kind of custom

wiring. MONO offers these boards in either a flat

or ten degree incline, and each one is shipped

with 3M dual lock for attaching the pedals to it.

The boards come with a sturdy padded soft case

and are available in black or silver.

Strymon has long been synonymous for studio quality stompboxes,

but the company has recently entered the PSU market and it’s pushing

the envelope with the release of the Zuma, the highest horsepower

and most technologically advanced pedal power supply of its kind.

The PSUl is designed with the modern player in mind, offering 500mA

of current per output, and advanced, multistage filtering power that

allows your pedals to have the best possible dynamic range.

D’Angelico Guitars

A guitar company whose name is

synonymous with New York City, D’Angelico

was founded in 1932 by Lower East Sideborn

John D’Angelico. A talented luthier,

he opened shop in the city’s Little Italy

neighborhood, where he built his custom,

hand-made archtop six-strings. D’Angelico’s

guitars became soon extremely sought after,

but John’s early death in 1964 put an end

to the company’s first chapter. In 2011, the

brand was relaunched through a new owner,

who created a line of authentic reissues and

introduced a solid-body collection, delivering

D’Angelico quality at an affordable price.

Big Thanks also to


Since its 2013 launch, this online marketplace

focusing on musical gear has quickly become one of

the most popular sites for musicians. Reverb allows

both dealers and individuals to create free listings for

instruments and other equipment, charging a sale

fee that’s a fraction compared to other generic online

marketplaces. The platform also offers a useful price

guide and a very popular news section featuring,

among other things, video reviews, tutorials and

interviews with artists and manufacturers.

40 the deli Spring 2018

The synths of the

bklyn synth expo 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)



• An incredibly powerful analog monophonic synthesizer.

• Features the flexibility of modular systems but offers presets

thanks to the Matrix concept.

• Offers three Brute oscillators, a Steiner-Parker filter and

a ladder filter, and five analog effects.


MiniBrute 2S

• A portable, semi-modular evolution of the super-successful

MiniBrute, the 2S is designed with the sequencing

player in mind, with pads instead of keys.

• Unexpected features include a second VCO; a second

LFO; new VCO and Filter frequency modulation possibilities;

modifier-related modulation destinations; a brand

new, loopable AD envelope.

• Its CV/Gate patch bay lets you reinvent and restructure it.

Critter & Guitari

ETC Video Synthesizer

• Reacts to sound/music/MIDI to create endlessly mesmerizing


• Create and recall presets for performances, music

videos, etc.

• Programming is open source and accessible through the

optional USB WiFi adapter.

Dave Smith Instruments

Prophet X

• The first Prophet to fuse samples and synthesys.

• It powers two16-bit, 48kHz sample-based instruments

plus two high-resolution digital oscillators.

• 150 GB of internal samples from sound developers 8Dio,

including a collection of acoustic and electronic instruments

as well as edgy ambient and cinematic effects.

• Features new, 24 dB-per-octave resonant low-pass filters

based on a vintage design, poly step sequencing

and two effects per layer.

the deli Spring 2018 43

The synths of the

bklyn synth expo 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)



• A compact drum machine/sampler with a highly flexible

sound engine, 8 internal audio tracks and 1GB of storage.

• Features a live-friendly sequencer, 8 dedicated tracks for

controlling external MIDI gear, and Overbridge support.

• 1 filter, overdrive and LFO per track + delay and reverb

Send FX.



• Elektron’s first foray into FM synthesis combines FM sound

generation with a classic subtractive synthesis signal flow.

• Multiple FM algorithms, 8 voice polyphony, 1 arpeggiator

per track + 4 synth and 4 MIDI tracks.

• 1 filter, overdrive and base-width filter per voice + 2 assignable

LFOs per voice.

• 3 Send FX (chorus, delay, and reverb) and a master overdrive


Expressive E


• Touch controller with pressure and direction both adjusting

the outputted control signals.

• The controller is highly sensitive and has adjustable


• The controller can be used to control external gear or

paired with its Lie’ software counterpart.

• Four CV outputs allow for connection with modular Eurorack


IK Multimedia


• IK Multimedia’s entry in the hardware synthesizer world

is a collaboration with Italian boutique synth-maker


• Portable, monophonic, true analog synth with 2 VCOs,

noise generator, resonant multimode VCF and VCA.

• 2-pole OTA-based analog resonant sweepable multimode

filter with LPF, HPF and BPF.

• Custom-designed, dual-stage overdrive and flexible LFO


44 the deli Spring 2018

SYNTH GIVEAWAYS (worth thousands!) – Did you know that most companies participating in our Synth Expo

also agree to do an online synth giveaway? You can find the full list here: bit.ly/BKGiveaways.



• Powerful polyphonic analog synthesizer with 8 or 16

multitimbral voices and 49 or 61 keys options.

• Puts the analog circuits of the minilog through newly developed

digital multi engine and powerful DSP-based effects.

• Open Interface for user-created oscillators and effects,

Bi-timbre support and flexible arpeggiator.



• Four-voice analog synth that delivers polyphony and full

programmability at a very affordable price.

• 16-step polyphonic note and motion sequencer.

• Intuitive layout and inspiring effects section including a

tape-style echo and ring modulator.



• A tabletop monosynth with an analog signal path, an

advanced 64-step digital sequencer, and onboard delay.

• The Source Mixer allows for total control over the

Square, Triangle, Saw, Tri Shape, Noise and Sub levels

and waveforms also include individual outputs.

• Each step of the sequencer can be automated across

all main features and all automation saved within a total

of 64 presets.

• An intuitive menu offers additional control and setup of

the more complex features.



• New, semi-modular analog synth inspired by classic

Moog designs of the ’60s and ’70s.

• Features built-in arpeggiator, sequencer, and spring

reverb tank.

• 41 patch points, including input to process external sounds.

• Beginner-proof intuitive when used without patches.

the deli Spring 2018 45

The synths of the

bklyn synth expo 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)

Native Instruments

Maschine MK3

• A groove production control surface now sporting a

24-bit/96kHz USB 2.0 audio interface with included

sounds and samples.

• User-friendly layout and seamless DAW integration.

• MK3 has a more intuitive interface, larger pads, and it’s

more expressive and fun with the Smart Strip function.



• A tough and compact 37 key mini synth with 18 note


• 8 Animate buttons to trigger performance functions.

• VocalTune Vocoder for robotic and iconic vocals.

• 5 effects slot per voice with 20 digital waveforms and

36 wavetables.


Circuit Mono Station

• A powerful sequencer and synthesizer with a fully analog

sound engine.

• Three sequencer tracks and 32 velocity sensitive RGB pads.

• Monophonic and paraphonic modes.

• Adaptable modulation system with a 4x8 modulation

matrix for complex alteration and routing.



• 8-voice polyphonic synthesizer with three numerically

controlled Oxford Oscillators.

• Each oscillator has traditional wave shapes plus up to 17

digital wavetables.

• 16 slot modulation matrix plus 16 direct assignments

controlled from the front panel.

• Features a multi-mode filter, built in effects, arpeggiator,

and CV input.

46 the deli Spring 2018

The Organelle combines playful and

intuitive controls with a powerful sound

engine: perfect for experimenting with

new ways of making music!

The ETC reacts to music and MIDI

to create mesmerizing visuals.

It’s great for live visuals, music videos,

and programming your own graphics!


The synths of the

bklyn synth expo 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)

Pioneer DJ

Toraiz SP-16 Sampler

• A sampler and step sequencer created with DJs and producers

in mind.

• It features analogue filters by the Dave Smith (the same

found in the Prophet 6).

• Powerful tool both in the studio and on a stage, thanks to

its 16, multi-colored, velocity sensitive touch pads.

Pioneer DJ

Toraiz AS-1

• A monophonic analog synthesizer with touchpad-style

keyboard and slider.

• Driven by a fully programmable, true analogue synthesis

engine based on the circuitry in Dave Smith Instruments’

Prophet 6.

• Features 7 on-board effects from the Prophet-6 synthand

a brand new digital distortion.



• A vintage sounding synth designed in collaboration with

US manufacturer Studio Electronics.

• 3 voltage controlled oscillator analog monosynth module

with discrete analog circuitry.

• Voltage-controlled 24dB lowpass filter, and a dual-gainstage


• Lots of high-grade knobs and switches, plus a fully featured

16-step sequencer.



• Combines the best of Roland’s heritage with modern

production techniques and professional sound design.

• Features Roland’s iconic drum sounds but also allows to

import custom samples.

• Designed for live performance, features two new automatable

fill sections per pattern and the ability to lock parameter

values to individual steps.

• Ample choice of percussion-tuned effects and dynamics

editing tools.

48 the deli Spring 2018

The synths of the

bklyn synth expo 2018


June 9:12pm – 7pm / June 10:10am – 5pm

Absurd Conclave (360 Jefferson St. Lower Level)

Teenage Engineering

PO-20 Arcade

• One of the most and musical fun Pocket Operators.

• Arcade-style samples meet Omnichord-style chord

changes and techno-style gateable drone.

• 16 punch-in effects such as bit crush, stutter, and delay.



• A flexible digital synth featuring 3 Oscillators offering four

synthesis algorithms each.

• Generates a wide variety of sounds from classic analog

to experimental sequenced clusters.

• Color-lit knobs guide the user through complex settings.

• Features the classic Waldorf Wavetables, Granular Sampler

with multi sampling, and the Resonator for virtual

sound sculpting.


Montage 7

• A hybrid synthesizer built on the legacy of the DX and

Motif series that combines subtractive synthesis and frequency


• Motion Control uses Super Knob, Motion Sequence and

Envelope Follower to facilitate evolving sound creation.

• Seamless sound switching lets you change performances

in realtime without any cut-off of envelopes or effects.


Reface CS

• A portable 8-note polyphonic synth inspired by the legendary


• Features five types of synthesis, tons of tweakability and

onboard effects.

• Includes phrase looper to capture songs ideas, battery

functionality, built in stero speakers.

50 the deli Spring 2018




Deli - Prophet X - FINAL.indd 1

5/17/18 11:22 AM

The synths of the

bklyn synth expo 2018


Eurorack Expo selection curated by Three Wave Music



Conjured Circuits

Cloak & Dagger

• Analog filter and distortion module

based on the ARP 2600 “post-lawsuit”

4-pole lowpass filter.

• Two additional “attenuverting” CV inputs

for controlling the cutoff frequency.

• Two independent drive circuits can

drive the input (“pre-filter”), output

(“post-filter”), ot both.

• 4 Voice physical

modeling synth

that uses the


algorithm to create

plucked string


• Dampening control

sets the size

of the string and

allows for dramatic



• Decay control

changes note

length from percussive


to infinite

harp sounds.


Euro DDL Delay

• 10 seconds of pristine delay

at a sample rate up to

192 kHz.

• Soft saturation clipping, low

pass filter, feedback, insert

loop, relay bypass, and +20

dB boost are all analog.

• Can do looping, and has

reverse and tap tempo


Expert Sleepers


• MIDI/USB Midi to CV conversion

including polyphonic and MPE


• MINI/Analog Clock generation

and synchronisation, including internal

clock (BPM or Tap Tempo).

• LFO generation (including tempo-synced

LFOs), arpeggiator

and Step sequencer.

Mutable Instruments


• A “Modulation Construction

Set” that allows you to build

from scratch the behavior of

your modulation.

• ASR envelope, complex 6-stage

envelope, LFO, 4-step sequence

or switched LFO: Stages can be

any kind of modulation.

• Reconfigures itself according

to which of its gate inputs are



Nebulae V2 Granular Sampler

• A granular sampler with 5 minute

recording buffer and stereo

ins and outs.

• File playback from USB flash

drive of wav, aif, ogg, and flac


• Supports Pure Data, Csound,

and SuperCollider alternate

firmware files.

Rossum Electro-Music


• Powerful, flexible sampling engine

with 8 separate channels

of sampling at variable sound


• 24-bit A/D and D/A conversion

with mono or stereo sampling

and stereo mix out.

• Unique timbral capabilities with

the ability to phase modulate

samples by external analog

signals or by other samples.



• A stereo multi-head tape delay

that can do a lot of other things.

• Can function as a looper, phrase

sampler, vintage spring reverb

unit, phase-aligned clock multiplier,

chaotic oscillator, zero latency

sub-oscillator and more.

• Adds vintage character to the

signal through Tape Age, Crinkle

and Wow & Flutter Knobs.

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