Eventide’s H9 became one of those instant modern pedal classics like the Line 6 DL4 and the EHX POG. As it basically allowed only one effect at a time, it was not uncommon to see the boards of professionals and more well off amateurs sporting two. This week Eventide revealed the H90, the equivalent of two fully loaded H9s in one box for a bit less money. But the H90 is not only twin H9s; it has some tricks of its own, with new algorithms (notably polyphonic pitch shifting) and routing options. It apparently was an epic undertaking to put together such a complex product during Covid, but that just adds to the Eventide legend.
The original Boss Slicer, the SL-20, was one of those pedals that was ahead of its time. Not enough guitarists were into the sequencer style sounds that it was capable of producing. Or, not into it enough to sacrifice the pedalboard space it required. With the release of the SL-2 compact version of the effect, Boss is betting that the increase of forward thinking guitarists, combined with the new compact size, will entice more people to slice.
I worked for Electro-Harmonix three times. Once in the mid 70s, once in the later 70s, and finally when I moved back to New York from San Francisco in the early 2000s. By the last time, DAWS and plugins were a thing and hardware effect companies were cashing in by licensing plugin versions of their products. I suggested to Mike Matthews that he consider turning some of his classic pedals into plugins. He wasn’t into it at the time but apparently has now decided to put a toe in the water. Starting with his flagship effect, the Big Muff, he has launched a hybrid pedal/plugin concept.
One of the new generation of modern guitar masters interviews an OG. Fender presents Nick Reinhart interviewing and jamming with Thurston Moore of Sonic Youth fame, as well as a performance by Moore’s group. As a bonus, I include the EarthQuaker Devices series Show us Your Junk, featuring Reinhart wittily describing his massive collection of sound generating gear. PS: If you haven’t watched the HBO Max series, Irma Vep, it is worth it just for Moore’s creative score.