While the nine pedals we looked at are the cream of the crop, there certainly are plenty of honorable mentions worth taking a look at: Most Unique Synth Engine: A new approach to guitar synth pedals that produces fresh, new tonesīest ’80s Synth: An effective way to mirror the popular sounds from the decade when synthesizers ruled the scene Is there really anything more that needs to be said? Most Rugged Synth Pedal: It’s a Boss pedal. Top Compact Synth Pedal: The level of flexibility in this small package is nothing short of impressive Premium Pick: The SY-300 offers a range of features that take it a step above most other pedals on the marketīest Vintage Analog Synth: The solid choice for a pedal that mimics classic synthesizer tones from the pastīest Modular Synth: The unique design offers a level of flexibility not found in even some of the best guitar synth pedals
At £115, we can see many bassists getting plenty of gig mileage from this pedal - and having followed the anticipation for this unit online, we think many synth-hungry bassists’ prayers may have been answered.Best Choice: This monster of a pedal takes a completely different approach than most, so prepare to have your mind blownīest Value: A superb cost-effective model from Mooer, offering great synthesizer sounds on a budget The best bit about the Mono Synth is the price. The lower register notes offered by five-string basses are a challenge for units like this, but with some experimentation we found that there were certain synth types that this pedal tracked well with, even when grooving all the way down to the bottom of the B string. Naturally, active basses raise certain issues based upon the strength of their active circuitry and pickup output, so adjustments need to be made depending on your bass. The Sensitivity control works wonders when it comes to dealing with glitches based on your instrument’s responsiveness (or lack of it). Each synth setting is notably different from the last, so there are plenty of interesting options available to the player, all of which sound highly usable to these ears. The sound quality is quite stunning - possibly the most considered and thorough synth sounds we’ve heard using a bass guitar as a trigger. When you want to recall it, simply press the switch. The Bypass switch turns the effect on and off, while the Preset switch allows you to store a preferred sound for easy recall set the pedal as you require, press and hold the preset switch for three seconds and your control settings are stored.
ELECTRO HARMONIX MICROSYNTH MANUAL
The manual gives you an easy-to-understand breakdown for each synth setting. The CTRL control has a different interaction with each synth setting, from decay and attack times to envelope filter resonance, sweep depth, oscillator volume and modulation rate. The Sensitivity control also has an effect on the sweep ranges of several synth effects. If your playing isn’t triggering the synth, turn the control up - but if you’re hearing ‘false’ triggers and resonance, turn the control down a touch. Bear in mind that the ‘Mono’ reference means that only one note can be played at a time as a multi-oscillator monophonic device, only one note per oscillator can be played, so the unit can’t cope with chords.Īn LED indicator gives you a visual reference as to how ‘hot’ your signal is. Various modulation and filter settings contribute to distinctly different synth sounds, and the control set allows the player to extensively tailor the voicings. With 11 synth types and voicings to choose from, there is inevitably some experimentation required before you find the sounds you’re looking for. The pedalboard footprint is very modest too. EHX’s Micro Synth, with its array of sliding controls, was a benchmark for many years, and the new Mono Synth is typically rugged, with a metal chassis and well-sized controls, clearly labelled and intuitive.
Perhaps things are about to change with this new pedal. The passing of time has seen more and more players taking to keyboards to get the sounds required. Fiddling around with pedal controls on a gig, with something as temperamental as a bass synth, when the sounds you’ve spent hours mastering just aren’t working onstage, can be a major pain in the butt.
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