I often find that writing these articles provides me with a sense of clarity and catharsis. It’s a valuable process for evaluating the current market and determining how well different products align with my specific needs. Many times, I begin with a preconceived notion, only to arrive at a completely different perspective by the end of my exploration.
In this instance, I initially believed I had dismissed the EQD Data Corrupter and was set on acquiring a Meris Enzo this year. However, after further consideration and revisiting the various options available – both large and small – I’ve concluded that the Subdecay Octave Theory is likely to be my next pedal purchase. The Data Corrupter has also re-entered the running as a possible second choice. As for the Enzo, my feelings have fluctuated from strong desire to uncertainty, back to desire, and currently, I’ve placed it on hold once again for a future decision.
I feel that none of the current Guitar Synth Pedals perfectly meet my needs just yet, and this includes even comprehensive units like the Boss SY-300. In my opinion, many of these pedals could benefit from more intuitive controls and user interfaces, along with onboard, footswitchable presets. Any pedal offering multiple modes and a wide array of tones truly needs presets to maximize its usability. Constantly dialing in a complex set of parameters every time you want to switch sounds or effects is simply not practical in a live or creative setting.
Therefore, presets are essential, along with a straightforward method for recalling and selecting them. I see two primary ways to achieve this effectively: either following the Strymon and Boss workstation model with three footswitch combinations and Bank Up/Down, or employing Stone Deaf FX’s approach of changing presets by simultaneously pressing two footswitches. These offer viable solutions for both two and three footswitch pedal designs.
Looking ahead, if I were to dedicate a full ‘Year of Synth’ to exploration, I would likely include the Alexander Colour Theory, the EHX Synth 9, and the Parasit Studio Into The Unknown on my list. A particularly appealing feature of the Colour Theory is its built-in preset functionality.
Having a solid background in electronic music and synthesizers in general, I’m essentially seeking an easy way to reliably access those kinds of sounds through a guitar pedal. We’ve seen some encouraging progress recently, and it’s certainly a step forward to no longer require guitars equipped with special Roland GR-55 style pickups. However, I still believe there’s room for improvement in making these tones more consistently reproducible, reliably delivered, and easier to set up and recall. My ideal guitar synth pedal would be as user-friendly and manipulable as possible, while delivering sound quality comparable to a high-end synthesizer – ideally at a more accessible price point than the typical £2,000+ commanded by those synths!
