​The Wampler Ego 76 Compressor is an amazing effects pedal designed to emulate the sound and functionality of the iconic 1176 studio compressor, but with some unique tweaks and improvements. It’s powered by an FET-based circuit and offers a huge range of controls, allowing for a high degree of customization and control over its delectable compression effect.

This attractive little box o' tone plays host to an all analogue circuit design, complete with 3PDT True Bypass switching. Only consuming a maximum of 20mA DC, it can be powered by nine volt battery or a standard 9v (center negative) AC adapter.

It seems as though Urei/Universal Audio 1176 peak limiter emulations have become highly desirable of late – especially within the guitar slingers’ community (and bass slingers’, and keyboard road agents’). I think most *compressianados would agree that 1176 copycats have become some of the trendiest, most highly sought type of compressor pedals over the past two or three years. For good reason! The famed studio compression giant snappily treats rascally dynamics with such aptness, that it has become not only an engineer’s reached for tool-of-choice, but has literally become an identifiable, hallmark ‘sound’. Brian Wampler’s most recent compressor pedal offering, the EGO 76, is his solution to achieving the revered, tone-livening greatness that 1176 rackmount compressors are known for, condensed into a BOSS-sized pedal, tailored specifically for guitarists’ needs.

** A compressianado is one who has a deep interest and above-average knowledge of audio compressors and their operation.

Where some modern compressor pedals have been designed to approach dynamics-control as cleanly and transparently as possible, the EGO 76 gads about confidently on the soulful, characterful side of squeeze town.

After only a few short months since its jaw-dropping reveal, Brothers AM (also referred to as BrAM hereafter) has become one of the most talked about and desired overdrive pedals to have ever been released. Brothers AM is a two channel drive pedal that promises a real-deal “King of Tone-like” experience, and then some. Upping the ante in true Chase Bliss fashion, BrAM not only delivers double sided Blues Breaker/King of Tone vibes with aplomb, but it also dishes up a delicious treble booster too! Unlike an original King of Tone unit, there is no need to open BrAM up in order to tweak any of its customizable options – everything is conveniently at hand on the pedal’s exterior.

Just in case you’ve been squirreled away in an underground bunker, and unable to get the skinny on new gear of late, this is probably one of the most exciting effects pedal releases since Roland came out with its CE-1 Chorus/Vibrato ensemble in 1975. Although the R&D stages took a total of five years to become finalized, this collaborative undertaking between Chase Bliss and revered pedal guru, Mike Piera (“Analog Mike” of Analog.man Pedals), took the guitar world by complete surprise! And little wonder – Analog.man’s famous King of Tone (KoT) has reached the mythos of such greats as Marshall’s Blues Breaker (circa 1991) and Bill Finnegan’s Klon Centaur (circa 1994).

Chase Bliss (also referred to as CB hereafter) has created one of the most unique and sonically impressive compact compressor pedals to have ever occupied a pedal board slot. While most compressor pedals could never be accused of being overtly inspiring, Chase Bliss’s Clean is a swift departure from the norm. Not only does this pretty FX box effortlessly chassé its way to the top of the queue, strictly on the merit of its compression mettle, but its out-of-the-box attributes take it into unexpected sonorant territories that do indeed illicit all kinds of inspiration.

​Chase Bliss touts Clean as having a digital brain and an analogue heart. I concur - it’s a technological hybrid, if you will. Much of Clean’s uniqueness is owing to its ability to modulate the following: EQ, Swell, and Stereo Spread. In complete contrast to what one would typically expect from a compressor pedal, Clean even offers an interesting, somewhat distinct overdrive/distortion function - Dusty. Heck, it even has a set of ‘physics’ features that you can toggle to engage all manner of tonal flitter-flutters and kooky glitchings. Although Clean is pretty to look at, don’t let its stylish fascia beguile you! This fancy contraption is ruggedly constructed and outfitted with sturdy metal knobs, jacks, switches, and mini-toggles – no rinky dink plastic bits here, thank you.

LunchBox comes roaring out of your DAW with a growl and bite much larger than its compact silhouette might indicate that it is capable of. This fairly recent entrant into the world of in-the-box amp sims comes to us from Canadian producer/mixer/engineer/developer, Eddie Lucciola, and his impressive new company, “Kiive Audio”. Unlike large, everything-but-the-kitchen-sink suites, such as Overloud’s TH-U and IK Multimedia’s Amplitube, this amp sim somewhat follows Igor Nembrini’s solo amp examples in that it is a single, specialized amp accompanied by only a trio of essential onboard FX.

​Kiive Audio doesn’t actually disclose what type of amp has been modelled here, other than it’s based on a British valve design from the 1960s. Judging by its handsome GUI though, I would assay it to be fashioned after a 10 watt VOX Domino, or something in that vein. Although the LunchBox is a small pony, it can do more than one trick – and it does them quite well. From clean jangle to raucous snarls, LunchBox delivers a very solid punch way above its weight class.

The Audient iD24 is one of Audient’s most recent additions to its illustrious “ID” line of USB audio interfaces, boasting well above average sound quality, functionality, and reliability. This attractive, stylish studio-grade accessory provides a very well appointed surface layout and a convenient, easy-to-use software mixer control panel. Although this exciting piece of kit doesn’t have the “MkII” moniker appended to its name – such as the flagship iD44 MkII has - it may certainly be considered a second generation unit by cause of it benefitting from all the same technological advancements that its MkII iD brethren do. In essence, the iD24 replaces its highly regarded predecessor, the iD22.

​Right out of the gate, I’d like to make it clear that one may consider the iD24 to be of the higher tiered, prosumer calibre, far out classing any average consumer-grade USB audio interface. Examples of the latter would be devices such as Focusrite’s Scarletts, Presonus’ Audiobox line, Steinberg’s entry and mid range UR series, and similar. Mind you, thousands upon thousands of home producers get along just fine with Scarletts and Audioboxes; and too, let’s not forget that their cost of entry is considerably less than that of the iD24. Notwithstanding, the build quality, functionality, feature set, and over-the-top, pristine audio quality inherent in Audient’s 2nd gen iD series of USB audio interfaces far exceeds that of typical consumer-grade gear.

​“Atomic Big Band! The Horns” is an exciting big band horn section available exclusively in the perennial Kontakt sample library format. This inspiring ensemble is comprised of 13 instruments: 4 trumpets, 4 trombones, and 5 saxophones. Of special interest is the sizzling lead trumpet and lead trombone. Exhilarating and complex horn arrangements can now be part of any DAW project much easier than one might suspect. Screamin' ensemble tuttis and ripping solos that come across with indefectible realism are finally possible too!

The most exciting and innovative feature of this powerful, bombastic sample library is Straight Ahead Samples’ new “Smart Delay” – an advanced AI scripting mechanism that ‘looks ahead’ and automatically makes intelligent articulation changes to recorded midi data; facilitating incredibly realistic-sounding performances. Multiple microphone setups and tonnes of stylistically-correct articulations are all caboodled into the fray as well.

​Wave Arts Panorama 7 is a virtual 3D spacial panning plugin; one that promises to deliver realistic 3D audio positioning that goes way beyond typical binaural panning. Wave Arts purports that their new virtual acoustics processor can produce highly realistic auditory scenes via 3D audio and acoustic environment modeling technologies; thereby simulating the acoustics of sound propagation in real spaces.

The biggest news being heralded by Wave Arts regarding Pan 7, is the exciting, new “position sequencer”. This can be used for trajectory automation and beat-synced musical effects (automated uber 3D panning, as it were). The sequencer works by panning the sound along a set of trajectory way points. Another interesting feature that has been reinforced in Panorama 7 is its implementation of boundary reflections. Theoretically, the listener will more strongly perceive changes in the simulated environment’s early room reflections as the sound moves throughout its virtual space. Although this was introduced as far back as version 4, the feature is now high-lighted and more easily accessed.

I must never be so impudent as to think that I can speak for the masses, but it is certainly my own frustrated findings that getting ahold of a good quality, sturdy expression pedal is no easy undertaking. How about it, dear Reader, are you more than a little disenchanted with the seemingly endless parade of over-priced, cheaply-made, plastik-y, fly-weight expression pedals that lay in wait on Amazon's web pages or on your local retailer's shelves?

You know the kind I'm talking about, right?; with their short, wired-in (read: non-field-replaceable) cables and flimsy plastic construction. Oh sure, most of them will indeed provide you with the means to execute volume swooshes, wah sweeps, and sundry other expression assignments - that is until the plastic bits snap off, or they slip from underfoot, or the no-name potentiometer crackles and dies, or the thin cable breaks.

It just so happens that our friends at Mission Engineering offer quite a few guaranteed, hand-crafted remedies for the aforementioned expression pedal quandary - one in particular is the EP-1 Expression Pedal.

Without a doubt, one of the finest multi-purposed digital effects processors to have ever adorned a musician’s pedal board is Eventide’s “H9 Harmonizer”. If you haven’t already checked out my previous installment on the H9, I invite you to do so (Eventide H9 Max Review Link). It is my considered opinion that there are only a couple of ways to improve a pedal board that has been armed with an H9:

A) Add a second H9.
B) Pair it with a compatible expression pedal.

Fortunately, the latter suggestion is what we’re taking a look at in this review; thanks to Mission Engineering’s decidedly apropos SP-H9 Expression Pedal.

At first glance it’s obvious that Mission SP-H9’s stylish fascia perfectly matches that of Eventide’s digital wonder box; however, its likeness isn’t the only adjunct that has been meticulously designed to seamlessly integrate with an H9. You’ll be pleased to know that this expression controller also provides a TS (On/Off) toe button to facilitate on-the-fly bypass functionality and other handy momentary control. What’s more, a solitary ¼ “ TRS (Tip-Ring-Sleeve) cable is all that’s required to make the necessary connection.
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Mission Engineering’s MSRP lists the SP-H9 at $149 (USD) / $202 (CAD). While it’s true that there are some lower priced expression pedals on the market, none of them - and I do mean NONE – are so perfectly compatible with an Eventide H9. It’s also worth noting that Mission’s Made in USA build quality is top-notch, to boot!