If you’re a guitarist who loves the rich textures of vintage and analog modulation effects, you’ve likely encountered a frustrating issue: a noticeable dip in volume when these pedals are engaged. This volume drop is a common quirk of many classic effects, and it’s a primary reason why some players, including myself, often lean towards modern alternatives, alongside other vintage pedal eccentricities like their power demands and bulky sizes.
In past reviews, I’ve been called out for not explicitly mentioning volume drops in certain pedals, such as the Electro-Harmonix Electric Mistress. However, I often assume that this is a given with older modulation effects, particularly those of the oscillating/waveform variety. This inherent volume reduction is a key factor driving the preference for contemporary pedals, which are generally designed to maintain a more consistent output level.
Beyond volume, another challenge with vintage pedals is their temperament and consistency. Many older units utilize circuits and components that can be somewhat unstable. This can lead to serendipitous and interesting sonic results, but it also introduces randomness, making it difficult to achieve consistent tones and reliably replicate specific settings. Simply marking dial positions often isn’t enough, as even slight temperature variations can alter the tone, requiring further adjustments to regain the desired sound. This is where the appeal of digitally controlled analog effects shines. These pedals offer the warmth and character of analog circuitry with the precision and recall of digital interfaces, allowing settings to be viewed in a more empirical and repeatable format.
The physics of oscillation-based effects also contributes to perceived volume drops. Effects that chop or modulate the frequency inherently have a reduced sound density. Even if the peak signal level is maintained, the perceived loudness often diminishes because the overall sonic texture becomes less dense. Recently, I acquired a Boss TR-2 Tremolo from Alchemy Audio, specifically modified with an added volume knob. This modification is crucial for maintaining usable output levels. When shopping for modulation pedals, I prioritize models equipped with an output level or volume control. However, even these controls sometimes fall short, lacking sufficient boost to reach unity gain – the point where the pedal’s output volume matches the bypassed signal level.
You might find yourself in situations where even with a dedicated volume/level knob, the pedal doesn’t offer enough headroom – the available volume boost above unity gain – to be truly practical within your setup. This can necessitate a complete recalibration of volume levels across your entire pedal chain. Often, the hassle outweighs the benefit, leading to the decision to swap the problematic pedal for a more user-friendly alternative. Personally, I become wary when I have to crank a pedal’s volume knob fully clockwise just to achieve the desired level. Pedal manufacturers should prioritize designing devices with ample volume range to avoid such issues.
Some manufacturers are more adept at providing sufficient headroom than others, while some employ clever design workarounds. Below is a brief overview of pedals where I’ve personally encountered volume-related issues. This isn’t an exhaustive list, but rather a representative sample illustrating common challenges. For many of these, solutions or workarounds exist, but unfortunately, with some pedals, you might be out of luck.
Chorus, tremolo, and flanger pedals are particularly prone to volume issues, as are certain overdrive circuits. Distortion pedals, on the other hand, generally offer more inherent headroom and are less likely to exhibit these problems, though exceptions always exist. Trial and error often remains a necessary part of building a balanced and effective pedalboard.
Case Studies in Volume Challenges and Solutions
Let’s delve into specific examples of pedals where volume issues can arise and how they can be addressed:
Chase Bliss Audio Brothers Dual Channel Drive/Fuzz (Internal Trim-pots)
Alt text: Close-up of the Chase Bliss Audio Brothers Dual Channel Drive/Fuzz pedal, highlighting its knobs and footswitches.
With this versatile dual-channel analog gain pedal, I initially experienced a significant volume disparity between the left and right channels. The left channel consistently had a noticeably louder output than the right. Fortunately, Chase Bliss Audio has excellent customer support. They provided instructions on adjusting internal trim-pots to better balance the volume between the two channels. While this resolved the issue, it’s worth noting that a similar pedal, the Strymon Sunset Dual Drive, offers individual volume knobs for each channel directly on the pedal’s surface. This external control is generally preferable for on-the-fly adjustments. However, in the case of the Brothers, the internal trim-pot adjustment was a straightforward and effective solution.
Chase Bliss Audio Gravity Tremolo (Power Supply)
Alt text: The Chase Bliss Audio Gravity Tremolo pedal, showcasing its unique design and control layout.
The volume challenge with the Gravity Tremolo was different: insufficient output headroom. Even with the volume knob maxed out while powered at 9V, the pedal simply wasn’t loud enough to reach unity gain in my rig. The solution was surprisingly simple: increasing the power supply voltage to 18V. This immediately unlocked the necessary headroom and volume range. Interestingly, the Chase Bliss Spectre Flanger V2 lacks a dedicated volume knob altogether, yet its output level is perfectly balanced for my needs. It utilizes a Mix knob for level adjustment, and I suspect internal trim-pots are likely present for further output tweaking if required.
The Chase Bliss Wombtone Phaser V2 and Warped Vinyl Chorus/Vibrato V2 both feature sufficient output volume controls, demonstrating a thoughtful approach to level management in their modulation pedals. I was slightly hesitant about the newer Warped Vinyl V3, as it replaced the volume knob with a Sag control. As previously emphasized, a volume knob is, in my opinion, essential on modulation effects, and I frequently use it on my Warped Vinyl V2.
Eventide H9 Max Stompbox (Algorithm Output Volume)
Alt text: The Eventide H9 Max Stompbox multi-effects pedal, emphasizing its compact size and single footswitch design.
The Eventide H9 Max, a recent addition to my setup, would greatly benefit from a dedicated, easily accessible output level control, especially for its drive algorithms. This isn’t an isolated observation; many users have noted that the CrushStation algorithms, in particular, are set at a significantly lower output level compared to the other algorithms. While the other effects are generally well-balanced at their default settings, the drive algorithms often require a substantial volume boost, sometimes 12 decibels or more, to reach unity gain. This is an area where Strymon pedals often excel. Strymon seems to prioritize seamless transitions between algorithms, presets, and bypass, maintaining unity gain consistently across their devices. In contrast, with the Boss Workstation pedals and the H9, I’ve found myself needing to adjust core output settings, and even then, these adjustments aren’t always readily accessible on the pedal’s surface. This lack of immediate volume control is a minor frustration with the H9. However, the good news is that the output level for each algorithm is adjustable within the H9’s settings, making it a solvable issue, albeit one that could be more user-friendly. I believe there are numerous electronic solutions that manufacturers could implement to better maintain unity volume and prevent unwanted compression, clipping, or sonic artifacts. Hopefully, these advancements will become more prevalent in future pedal designs.
Stone Deaf Tremotron (Internal Trim-pot)
Alt text: The Stone Deaf Tremotron tremolo pedal, highlighting its robust construction and array of control knobs.
I owned an earlier version of the Stone Deaf Tremotron that also suffered from a low output volume. Stone Deaf’s customer support was excellent, guiding me to an internal trim-pot that allowed me to boost the output to the desired level. While the adjustment process was slightly fiddly, it effectively resolved the problem. I wish pedal manufacturers would more often make these types of adjustments more easily accessible externally. However, this type of internal adjustability does create opportunities for pedal modders, and as long as a solution exists, ultimately, it’s a positive outcome.
Each of the pedals mentioned above has been a primary component in my pedal chain, and three of them remain essential to my setup. I should also mention that I found the volume output of the DigiTech Ventura Vibe to be somewhat lacking, and to a lesser extent, the same applies to the TC Electronic Dreamscape, as well as the Catalinbread Galileo Drive pedal. A notable replacement for the Galileo was the Bearfoot FX Emerald Green Scream Machine. The Emerald Green offers significantly greater range in every aspect – volume, gain, and tone/voicing – making it a decidedly more versatile and preferable choice for my needs.
Final Thoughts: Prioritizing Pedal Volume and Range
Pedal volume is an often-overlooked but crucial aspect of pedal performance, alongside overall “range.” “Range” encompasses a pedal’s headroom in various parameters, including its core tonality and the available gain/distortion levels. My preferred pedals are typically those that offer a wide degree of range and versatility, making them more practical and adaptable in diverse musical contexts.
While some older vintage pedals undoubtedly possess magnificent and unique sonic characteristics that make them valuable studio tools, their integration into a dynamic pedalboard setup or pedal chain can be challenging. Vintage fuzz pedals with rare germanium transistors are notoriously finicky about their placement in the signal chain, and their tonality can fluctuate significantly with temperature changes. Purists may argue that these quirks are worth enduring for the unique sounds, but for many players, especially in live performance situations, these inconsistencies can become increasingly frustrating when the goal is simply to plug in and play.
Therefore, if reliability and consistency are priorities, modern pedal designs are generally a better choice. They are typically less sensitive to placement within the signal chain – performing well before or after boosts, buffers, wah pedals, and modulation effects. However, even within the realm of modern pedals, not all manufacturers adhere to the same design philosophies. For example, I consistently find Skreddy Pedals to have ample volume on tap. Similarly, I prefer the newer REVV G3 Distortion pedal over my Friedman BE-OD because the REVV G3 offers greater overall versatility and range, while still delivering a tonality within the same ballpark as the Friedman.
Generally, my criteria for selecting pedals extend beyond just sonic quality, which is almost a given. It’s equally important that a pedal possesses sufficient range built-in. This is particularly relevant for complex multi-effects pedals like the larger Strymon “Stryfecta” workstations, which I still own and utilize in a supporting role. With each use, I continue to discover the advantages of these pedals and the sophistication of their programming and tuning. Strymon, in particular, excels at achieving the “sweet spot” in their default settings and maintaining unity volume and sonic clarity across a wide range of effects and settings. Other pedals often require more meticulous “tuning-in” and are less forgiving when transitioning between subtle gain and high-distortion tones.
While I understand the allure of vintage pedals, I’ve personally concluded that they are not the ideal fit for my needs. The current market offers an unprecedented selection of pedals, including innovative analog and digital hybrids, as well as expertly modified pedals with intelligent control interfaces and preset switching capabilities. While some pedals are celebrated for capturing a very specific and iconic tone, I tend to prioritize pedals that offer a broader range of sonic possibilities and greater versatility – a little more “smarts.” This naturally leads me towards contemporary pedal manufacturers and the consistently high quality found within their product lines.
