Like on most clips, the Colour Box really
brings forth that high-end detail. The
attack is really sweetened, and there is
some wonderful body added to the tone.
While it still sounds good on its own (well
done Focusrite!), the Colour Box adds that
perfect amount of oomph and hi-fi clarity
to make it stand forward in a mix.
There is a nice bit of distortion added
to the modulated repeats, and it seems
envelopes around one’s head. Again, the
lower-mids and lows are fattened and
warmed up, giving this synth just enough
power to be the rhythmic backbone for
any track.
Situation 4:
Analog Synthesizer
I know, I know, this is a guitar magazine.
Why am I letting my deviant love of
noise machines bleed into an article
about guitars? Before you get out your
pitchforks, allow me to explain. The
Colour Box is a studio tool above all else.
I love my synthesizers, and back in the old
days almost all synths were tracked either
directly to tape or direct in to the mixing
desk. I know many players may like to use
synthesizers either in VST or hardware
format, and I wanted to show how this box
can impart a bit of meat and character to
an analog synth track. For this clip, I used
my trusty Arturia Minibrute, running a very
basic patch, with the LFO set to sample
and hold (a bit like The Who’s 905).
With the Colour Box engaged, one can
really hear the meat added to the track.
24
TONE TALK //
There you have it, ladies and gentleman.
JHS has really hit it out of the park with
the Colour Box, and impressed me
thoroughly. My main philosophy when it
comes to gear is versatility—no one-trick
ponies here. Dare I say: The Colour Box is
by far one of the most versatile pieces of
kit I have ever owned, and I would heartily
recommend it to guitar players and studio
owners. For just a guitar pedal, it’s a little
steep, but for a really nice 1073 preamp
disguising as a guitar pedal, this is quite
possibly one of the best kept secrets in
the recording industry.
Outside the Box: Four Outstanding Uses for the JHS Colour Box