I have an admission to make. I am a bit of a compressor addict. I’ve owned 17 various pedal compressors and have been on my quest for the perfect one for years. When Origin Effects first released the SlideRig in big box format I jumped on it and loved it. However for me it was too big for my board and I ended up selling it. In came their Cali76 Compact, which again I loved but missed the dual chained compression of the original SlideRig so when I had the chance to get a SlideRig Compact I couldn’t say no.
The original modus operandi of the SlideRig was to bring the sound of a dual chained 1176 compressor (basically one of the most famous studio compressors ever) into a pedal format. This could then be used by slide guitar players to create much more sustain than is usually available, hence the name. Originally this technique was used by Lowell George of the band Little Feat to great effect and I recommend checking out their “Dixie Chicken” album for some great examples.
Straight out of the box the SlideRig is a handsome hunk of brushed aluminium. My initial impression was how have they managed to fit all of the controls of the big box version into such a small packaged. Luckily my fears were unfounded. Gone is the ratio control and the individual knobs for each compression stage. This has been replaced by In and Out controls and a blend section to mix each compression stage and your dry signal to taste. The inclusion of a dry signal is an absolute blessing. Being able to mix in various amounts of unaffected signal with the compression gives so much more life to the sound and makes it more useful when sitting within a mix.
As you would expect the SlideRig excels at slide guitar. The sustain even on the cleanest signals is huge and with hardly any noise, even when using single coils. Speaking of single coils, it manages to cope with any pickup type I throw at it, bringing out the subtle nuances of each.
However I was also pleasantly surprised at how well it copes with “normal” guitar playing. I play a lot of funky percussive guitar lines and by using stage 1 with an equal amount of dry signal gives my just the right amount of squish without being overbearing and loosing dynamics. The ratio is set to 4:1 and while it would be nice to adjust it they’ve managed to set the ratio just right so that you actually feel the need to fiddle. It really is a set and forget kind of pedal. I also like using it as a slight boost on already dirty amps to give me that lift to cut through on solo’s.
Noise can often be an issue when using a compressor. The nature of the effect means that it will amplify any noise, no matter how small, within the signal chain. I don’t know what they’ve done, whether they’ve employed miniature pixies to live in the pedal with pillows or sold their soul to the devil, but the Origin Effects have managed to make the quietest compressor I’ve used. Even when using a single stage on an already overdriven sound its quiet. Heck, using dual stage compression on a dirty amp such as a cranked AC30 should sound like white noise when not playing but even then its relatively quiet. You can run it either at the standard 9v or 18v like I do for a little extra headroom.
My only very minor quibble is that there isn’t a footswitch to switch between each stage of compressor. However that’s me being lazy, all it takes is for me to bend down and adjust the amount. You would need a larger pedal to add another footswitch which would defeat the object of having a compact design. Also I wish the screws on the underside of the pedal were flat and flush with the case and not rounded. I have a Temple pedalboard and it doesn’t quite sit flat to the board but thats more to do with their pedal clamping system than the pedal itself. Securing it with velcro on any other pedalboard would be absolutely fine.
All in all the SlideRig is a definite hit. For those of you looking at a Cali76 and thinking I may have a use for a dual chained compressor check it out. It can cover the whole spectrum of compression, from a light dusting to bring out clean passages to ultimate squish when playing slide.
This gnarly little fuzz arrived in the post last week from the crazy mind of Fuzzrocious pedals. The Blast Furnace is a glitchy gated fuzz, similar to my old Fuzz Factory without all the crazy controls. The added bonus is a lofi delay that can easily go into self oscillation when you want some unadulterated noise to fill out your track.
One thing I love about the way the gate responds in this fuzz is that it reacts in just the way I would want it to. When playing chords the gate cuts in at the just the right time to leave enough of the chord ringing before dying in an almost organic fashion. Its not over the top but it isn't subtle either.
The middle switch activates a scooped EQ that can be adjusted via a trim pot inside the pedal. This is great for when you want a hipass filtered tone akin to some ancient video game chip. With the switch in the lower position its just full un-EQ'd fuzz.
There's also added trim pots for the delay time and mix inside the pedals innards. The beauty of this approach is that the pedals outside is simplicity personified. Just a volume and delay repeat knob, two foot switches for each effect and the glorious artwork.
I was especially pleased with how well it plays with other pedals. Like many other guitarists I've had varying results when pairing fuzzes with other effect pedals. Some fuzzes didn't even like other pedals in the same chain as them, going from tone monsters to wet farts just be seeing another pedal. Not this beast, as you can see in the video even pairing it with another fuzz, my Grey Stache/Feed Me combo, it doesn't bother it and yields some great retro results.
It also works with all my guitars, no mater what pickups are being used, its likes both single coils and humbuckers.
I bought this pedal as I had an exact need for it in a track, check out the Keepers Brew song "Toad Licker" to see what I mean. However it really is one of those pedals that inspires creativity and breaths new life into old riffs and solos.
Finally I absolutely love the whole ethos of Fuzzrocious. Run by Ryan and his wife Shannon, their kids help paint some of the pedals and it feels like the best kind of family business, friendly, knowledgable and inventive. I love how you can throw an idea at Ryan and have multiple modifications of any of his pedals and he doesn't bat an eyelid. More of a "Yes, thats crazy and I want to do it" rather than "Its more hassle that its worth" kind of company. He's always willing to listen if you have that insane idea or have any problems and just seems to love what he does. Shame I didn't get to chat to him properly while I was at NAMM due to NAMMthrax taking out both of us!
Go check out Fuzzrocious Pedals for all of their offerings, I can certainly see some more of their pedals being added to the board soon!
However much we all love a good humbucker rock sound, single coil Stratocaster style guitars are where it's at if you want that definition and to cut through a mix. For years now I've been on a quest for that single coil sound coupled with functionality and reliability. Seems like a reasonable request no? But as hard as I've tried I have never found one that both sounds good, plays well and won't fall apart mid gig.
I've tried numerous guitars from the company that made the sound famous and spent thousands on boutique versions only to find that they were missing something, that elusive mojo. However all that has change for me with the Vigier Expert Classic Rock.
Build and Spec
On the face of it the Vigier looks like your standard strat guitar, all be it with a very nice anti tobacco burst finish. But when you look a little closer you'll find some of the ingenious tweaks that makes at much more than that. Starting with the headstock, it has oversized locking machine heads and what looks like string ball ends secured through the headstock as string trees. Further down the neck you find a zero fret, synonymous with Vigier's and a rosewood fingerboard. The fret's are stainless steel so no more having to worry about refrets further down the line.
Turning to the back of the neck you find another one of Vigier's innovations, a carbon strip down the back replacing the traditional truss rod. This ensures neck stability whatever the climate and is coupled with a tastefully flamed maple neck.
Moving on to the alder body, the contours are smooth and the overall weight is just right, heavy enough to feel as though you can really dig in when playing but light enough not to give you spinal damage.
There's a single ply scratch plate with Amber pickups, more on those later, a 5 way selector and volume/tone knobs. One thing I am pleased about is that there is only one tone control for all three pickups unlike more traditional designs.
The bridge is Vigier's own 2011 tremolo is extremely smooth and stable. I've been doing my best Jeff Beck/Scott Henderson impressions the past few days and the tuning hasn't budged at all.
The jack socket is locking which is one of the best ideas I've seen in ages. We've all been onstage mid guitar solo, stepped on our cable and heard the buzz of the cable hitting the floor but not anymore!
Finally it comes with a hard case that actually has a use. Some boutique companies package their guitars with large rectangular leather clad hard cases that wouldn't last the night out on the road and are an absolute pain to carry. Luckily the Vigier comes with a form fitted moulded hard case that isn't too heavy, has a comfortable handle and enough support inside so that the guitar won't get damaged in transit.
Sound and Playability
With a name like "Classic Rock" you can imagine the market this guitar is aimed at. The hotter Amber hand wound single coils really lend themselves to that bright 70's rock sound, think anything from Jeff Beck to Richie Blackmore but have that extra bite if you want to head into a more Yngwie shred direction. All three pickups are evenly balanced with a throaty warmth to the neck back, perfect for some Clapton lead tones.
However pigeon hole this guitar at your peril, its much more versatile than its name suggests. By backing off the volume you can get some wonderful funk clean tones in pickup positions 2 and 4 or that bell like 80's sound that's even better with a touch of chorus and delay.
The pickguard and pickup area has been well shielded so unlike other single coil guitars the hum is kept to an absolute minimum.
Playability wise, the neck is a wide C, not too chunky but enough heft to dig in on string bends. The finish on the back of neck is a very light varnish which I much prefer to a heavily lacquered neck, no sticky thumb getting stuck on the back of the neck here!
When playing it balances itself out well both seated and standing up without any headstock droop. Another innovation is the threaded brass casing within the body that you screw the strap button into. A great idea that solves the problem of shoving matchsticks in the strap button hole if it sheers off.
Verdict
As you can tell I like this guitar and it has cured my lifelong search for the balance between sound and function. The Vigier Expert Classic Rock solves problems I didn't know I needed fixing, such as the locking jack socket and zero fret, while still retaining the sound of its heritage. Vigier as a company take the right approach to technical innovation without compromising sound and I seriously suggest you check out their guitars.
