flexibility in this domain will likely please picky ears .
II started off with the EQ knobs in their neutral , 12 o ’ clock positions . Spinning the knobs to the left removes frequencies , whereas turning them to the right adds frequencies . Curiously , the EQ knobs control very distinct , fairly low-Q band filters . For example , I turned up the treb knob and heard the familiar sound of a low-Q filter ’ s amplitude rising . At the highest treb setting , for example , I obtained a telephone-like sound : a little tinny and thin , but useful nonetheless . The tight Q applies to the bass and mid knobs as well . Respectively , they boost or cut frequencies around 100Hz , 300Hz , and — in the case of the treb — 1250Hz . At noon , the controls deliver a fairly flat frequency response , which is ohso-necessary for the discerning tone hound .
The Red ’ s texture toggle provides two options , both of which bear on the type of diode the pedal uses to clip the inputted signal . ( Remember , distortion sometimes achieves its ends by clipping the original signal ; more distortion means more clipping .) When the texture toggle is flipped down , the Red clips and compresses the incoming signal in the most aggressive way possible . The up position is less aggressive .
The Red is a high-gain distortion pedal , better for people who prefer full-on distortion to light , textural distortion . And the Red ’ s tone will remind readers of so many bands . It ’ s the sound of a hundred different bands from the early ‘ 90s . It ’ s the sound of compressed , highly saturated power chords . Whether it ’ s Alice in Chains , My Bloody Valentine , or something a little harder , the pedal will do the trick .
Powerful active EQ controls ; an abundance of distortion even at low gain levels ; a special “ clipping ” mode for even more distortion .
The Red might not be for people who prefer only moderate levels of distortion .
flexibility in this domain will likely please picky ears .
II started off with the EQ knobs in their neutral , 12 o ’ clock positions . Spinning the knobs to the left removes frequencies , whereas turning them to the right adds frequencies . Curiously , the EQ knobs control very distinct , fairly low-Q band filters . For example , I turned up the treb knob and heard the familiar sound of a low-Q filter ’ s amplitude rising . At the highest treb setting , for example , I obtained a telephone-like sound : a little tinny and thin , but useful nonetheless . The tight Q applies to the bass and mid knobs as well . Respectively , they boost or cut frequencies around 100Hz , 300Hz , and — in the case of the treb — 1250Hz . At noon , the controls deliver a fairly flat frequency response , which is ohso-necessary for the discerning tone hound .
The Red ’ s texture toggle provides two options , both of which bear on the type of diode the pedal uses to clip the inputted signal . ( Remember , distortion sometimes achieves its ends by clipping the original signal ; more distortion means more clipping .) When the texture toggle is flipped down , the Red clips and compresses the incoming signal in the most aggressive way possible . The up position is less aggressive .
The Red is a high-gain distortion pedal , better for people who prefer full-on distortion to light , textural distortion . And the Red ’ s tone will remind readers of so many bands . It ’ s the sound of a hundred different bands from the early ‘ 90s . It ’ s the sound of compressed , highly saturated power chords . Whether it ’ s Alice in Chains , My Bloody Valentine , or something a little harder , the pedal will do the trick .
WHAT WE LIKE
Powerful active EQ controls ; an abundance of distortion even at low gain levels ; a special “ clipping ” mode for even more distortion .
CONCERNS
The Red might not be for people who prefer only moderate levels of distortion .