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Posts Tagged ‘guitar gear reviews’

Over the past couple of weeks, I’ve had the privilege and honor to spend some time with one of the great guitar talents in the world, Doug Doppler. I originally was just going to just do a behind-the-scenes look of his new, upcoming DVD series, “Get Killer Tone,” and it kind of took on a life of its own, much to my surprise and pleasure. One of the highlights of our first meeting was having Doug demonstrate the Dumble amp he has on loan for the DVD. After we did the first taping, Doug contacted me and said he wasn’t satisfied with what we did for the first Dumble demonstration, so he invited me back to do a more organized and focused session. How incredible is that?!!

As it turns out, I’ve got enough footage to do a mini-series just on our single Dumble session, so that’s what I’m going to be providing over the next few weeks. This first video is just a quick overview of the Dumble Overdrive Special’s features, plus Doug demonstrating how incredible it sounds clean with a classic archtop guitar. Enjoy!

Sorry if you could hear my breathing in the video. Had the camera a bit too close to me… 🙂

Finally, what is a very positive fallout of this series is that it provides a much more in-depth look at the performance characteristics of a Dumble amp as opposed to just doing a “demo.” I think Doug wanted to share why the Dumble is so special, and not just by doing clips, but by providing demonstration as well as discussion. That’s not something anyone has done – at least not that I’ve seen – and I’m completely overwhelmed by the opportunity to provide this!

Many, many thanks to Doug Doppler!

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Click to enlarge

You know me… I LOVE overdrive pedals! I have several, and amazingly use them all, depending upon the voicing that I want, as I don’t think I’ve ever come across any two that sound exactly alike. But since I’ve been playing through really nice tube amps, I’ve come to really appreciate a great booster pedal as well. So it was very pleasant surprise to discover Doodad Guitars’ Check-A-Board RED overdrive-booster pedal that combines both OD and boost in a single pedal.

You might be thinking, “So what?” I certainly did, until I found out that you could operate either one separately or both in tandem to not only add some clipping before your amp, but to also slam the front end with more gain. That really piqued my interest!

I discovered this pedal through Mal Stich over at The Alternative Guitar and Amplifier Company (“Alternative” for this discussion) as I was searching for more information about Marble Amps, a Dutch company that makes vintage Fender clones. “Alternative” is their US dealer. I called up Mal to get info about the amps, and we had a great conversation. He shared that the amps were fantastic, but it was tough to sell them here in the states because shipping and duties are so high for such heavy gear that it makes it hard for Marble to compete in the boutique amp marketplace in the States. Then he mentioned that he was working with another Dutch company that had just released a brand-new overdrive-booster combo pedal. That got my ears up! So he graciously offered to send one to me for review.

So as a first impression, what do I think? This is a killer pedal, folks! I love both sides of the RED pedal. While the overdrive is supposedly based upon the classic TS-808 circuit, it doesn’t sound at all like a Tube Screamer (remember, I have one), but that’s a good thing, as it has it’s own voice. It can go from slightly gritty to super saturated and sustaining. But the coolest thing I dig about it is that it doesn’t compress your signal much with the drive set high. But like the Tube Screamer, at high drive settings, it sustains for days!

With respect to the booster, I dig it. It doesn’t give me as much boost as my Creation Audio Labs Mk.4.23, but very importantly, it doesn’t add any artifacts either; in other words, it boosts as expected, and does it transparently. And it comes in handy when I need a slight volume jump for a lead. I guess you might compare it to the VOX Satchurator’s “More” toggle, but with this booster, the gain is adjustable. Nice! While I really love the overdrive side of the pedal, I’ve found myself using the booster a lot more because my amps just loved to be slammed with gain on the front-end! 🙂 The booster really brings out the best in these low-wattage amps!

For controls, the RED pedal has four knobs: Three (Drive, Tone, and Volume) control the overdrive section, while the four controls the amount of boost the pedal produces when the boost is engaged. The Tone control is more of a high-cut filter than a true EQ, but that’s okay. I prefer that with overdrive pedals as I usually want all my tone, so I normally have it all the way up, or if I’m playing a naturally bright amp, like my 18-Watt Plexi clone, I just dial out a tiny bit of the highs. One thing that I noticed immediately with the overdrive besides its sustain, is the incredible note separation, even at higher drive settings. That makes it a no-brainer to use when I want singing lead tones! As I mentioned, the signal doesn’t compress that much, so having that note separation is killer!

In my short time using the pedal, I’ve actually preferred to use the overdrive and booster separately. My little low-wattage amps provide enough dirt that slamming them with overdrive AND boost is just overkill. If I had higher-wattage, high-gain amps, it probably would make more sense to use both. In any case, I have some clips of the pedal. I’m using my Squier CV Tele plugged straight into the RED pedal then into my Aracom PLX18BB Plexi-clone.

PLX18BB By Itself

Overdrive Engaged

Booster Engaged

I have some more playing to do with it before I do my full review, but I will be giving this pedal a pretty high rating!

For more information, go to The Alternative Guitar and Amplifier Company site!

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I’ve never hid from the fact that I own Aracom gear, and as I’ve said in My Rig page, I’m a faithful customer who just digs the stuff that Jeff Aragaki, Aracom’s founder, comes up with. I’ve extolled the wonders of his attenuator, the PRX150-Pro, and I’ve mentioned my Aracom amps, the VRX18, VRX22, and PLX18BB several times.

One thing I’ve learned over the years with respect to gear is that you go with what works for you, and my Aracom gear simply works for me! In fact, my Aracom equipment has had a lot to do with me using less pedals, and relying on the raw sound of my guitar and amps; especially when I’m playing straight rock and roll.

I have yet to play a bad-sounding Aracom amp. When they’re cranked to the hilt, they have such an incredible mojo that’s just too hard to describe. Of course, I couldn’t crank them without the PRX150-Pro attenuator. No matter, there’s magic in Jeff’s creations! To demonstrate this magic, I’m going to share an excerpt from a song that I’m working on. I just finished laying down the instrument parts. Give it a listen:

The rhythm part is played with my Squier CV Tele in the middle switch position, and running straight into Channel 2 of the PLX18BB, which was cranked up all the way. Talk about cranked Marshall-esque tones! It sounds even better live! The lead was recorded with my Gibson Nighthawk 2009 into my VRX22. Master was at 3pm and Volume was at 2pm. This setting gives me a sweet, singing lead voicing that sustains for days due to the awesome solid-state sag circuit! Again, the guitar was plugged straight into the amp – no frills whatsoever. I did add some reverb to both parts, but other than that, that the raw sound of the guitars/amps with no EQ. Pretty killer tones!!!

To top it off, both parts were recorded at bedroom level as both amps ran into the PRX150-Pro! We’re talking conversation level, so if you heard some transient clicks in the clip, it’s stuff that was making noise in my garage/studio!

You gotta check this stuff out. Jeff is a true wizard with amps! Both the VRX amps start at $895, while the PLX18BB combo starts at $1750 ($1350 for the head only). If you’re after vintage Marshall tone at a non-vintage price, you owe it to yourself to check out these amps!

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Wow! I didn’t realize how fun doing videos would be! Expect to see more video reviews in the future! In any case, here are some key points:

Tone Bone Rating 5.0
Notes I LOVE this stand! I’m going to get a couple more! Very well built and lightweight, it’s a perfect stand not just for the stage, but also in the studio where its small footprint won’t take up much space!
Price $34.95
Pros Very easy to fold up and lug around
Cons May not work for bass – it works for mine, but fat basses may not fit (this is not really a negative, just a warning)

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Some people may scoff at the diminutive Fender Champ 600. After all, it’s only 5 Watts and has a tiny 6″ speaker. But those naysayers may be missing the point about the Champ or any super-low wattage speaker for that matter. It’s not meant to be a performance amp; though you can certainly hook it up to an extension cabinet, and it’ll do just fine in a small venue – hey! I do that A LOT. But the secret behind the beauty of this little $149 wonder isn’t on the stage, it’s in the studio.

I’ve heard feedback from various people that they get frustrated with this amp because it’s missing certain features. Let’s face it folks, with a single volume knob, no tone control, and not much gain on tap, it would be easy to dismiss this amp as nothing more than a toy. But it’s no mistake that its venerable sibling, the Champ, has been a mainstay in professional studios for decades. It’s all in how you make use of what it has to offer.

First off, let’s establish what I think is the most important thing when recording this amp: The Champ is really good at creating your base tone, and that’s all that it should be used for. It’s up to you to shape it. Keep that in mind, and you’ll get more than a lot of mileage out of it. So let’s look at some key factors when recording with the Champ:

  • The Champ is naturally bright because of its small speaker. So microphone placement is absolutely critical. If you want to get a bright, twangy sound with lots of treble content, place your mic head on in the center of the cone, or just off center to avoid getting those treble “pops.” If you want less treble response, move the mic off-center, nearer to the edge of the speaker cone. I’ve found that the richest sound comes from angling the mic at about the same angle as the speaker cone, placed right at the outer ring about an inch off the grille cloth. The EQ response is a lot flatter there, and makes it easy to dial in your EQ in your DAW.
  • Even cranked in the high input, and even with humbuckers, the most breakup you’ll get is about “dirty blues” overdrive. But that’s why we have overdrive and distortion pedals, right? I’ve found that Tube Screamer and TS-type overdrive pedals work great with the Champ, though my Holy Fire distortion can make the Champ serve up some whoop-ass if dialed in just right.
  • Looking for Fender cleans? The Champ does raw Fender cleans – and quite well. Again, it’s all about mic placement when recording cleans with the Champ. My favorite is angled as I described above.
  • Do yourself a favor and replace the stock tubes with NOS tubes. I’ve never been a big fan of Groove Tubes (though I know some people like them). But with a great NOS pre-amp tube (I’ve got a ’59 GE long plate), and a solid NOS 6V6 (mine is a ’53 GE 6V6), you’ll immediately tame the harshness of the amp. In fact, I’ve never seen a need to replace the power transformer or the speaker because of this $50 investment.

So with those points in mind, go and record. What you’ll get after you’ve played around a bit is a great, raw guitar tone. But your work isn’t done yet – or it could be if you’re satisfied with the raw tone. Personally, I like to add filters and effects in production to make the recording sound like it’s coming from a much bigger amp. Yes, boys and girls, you can make it sound MUCH bigger!

A Word on Amp Modeling

One thing that I have also done with the Champ is to record a purely clean rhythm tone, then run it through IK Multimedia’s Amplitube plug-in to essentially “re-amp” my guitar. You can get some amazing guitar tones with the Champ when it’s re-amped through this software.

My Champ 600 Recording Process

A couple of people have asked me how to record the amp, so I thought I’d share the process I employ:

  1. First, it starts with the guitar. Am I looking for a single-coil or humbucker tone. The cool thing about the Champ 600 is that what you hear when you play through it is your raw guitar tone. There’s no EQ so you have to establish that on your guitar. Simple enough.
  2. Then I’ll determine whether or not I want to track with effects. Usually, I’ll only track with overdrive or distortion. I leave all the modulation effects to production.
  3. Next, I place my mic head, dead-center on the speaker, then record a chord progression and perhaps some quick lead licks.
  4. Then I’ll move the mic off-center and repeat the same thing I played with the mic centered.
  5. Finally, I’ll angle the mic as described above and repeat the same progression. More likely than not, I’ll use this position because I like it the best, but different guitars actually sound better with the mic positioned dead-center.
  6. Once I decide what mic position I’ll use, then I’ll record the track.
  7. Once I’m finished, it’s time to apply EQ, filters and modulation effects. I like to use a hi-pass filter on most recordings with Champ to “tame” its natural edginess.

Here are some clips that I put together based upon the process above (I skipped recording head-on, off center):

Clean (Squier Classic Vibe Tele 50’s)

1. Mic head-on, dead-center

2. Mic angled along speaker cone, 1″ off the grille cloth.

Recording #2 with Graphic EQ, Chorus, Parametric EQ, Delay, Reverb, and Hi-pass filter applied

Overdriven with Tube Screamer for Extra Drive (Gibson Nighthawk 2009)

1. Mic head-on, dead-center

2. Mic angled along speaker cone, 1″ off the grille cloth.

Recording #2 with Graphic EQ, Flange, Delay, Reverb, and Hi-pass filter applied

It’s amazing what EQ, filters and effects can do to the recording! And it really didn’t take that much work to dial in the final version of what I wanted to ultimately print!

Finally, here’s a song I wrote and record awhile back (sorry for the over-abundance of bass). If I remember correctly, I used four guitars in six parts in that song (Epiphone Explorer, Gibson ES-335, MIM Strat, PRS SE Soapbar II), all recorded with the Champ – and with the stock speaker no less!

Rock on!!!

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This is a hotly debated topic, and there are great arguments for or against using one. I’m of the former group and have used attenuators to great success over the years. To demonstrate how useful an attenuator can be, I put together a quick video. Here you go:

I wanted to be as non-technical about the usage of an attenuator because there are so many attenuator designs on the market. So I kept this video at a fairly high level. I’ll get into more detail in the next video when I discuss the Aracom PRX150-Pro.

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Yup, you guessed it… yet another overdrive pedal. I came across this pedal while perusing the forums over at Mark Wein Guitar Lessons. Mark occasionally posts “Pedal of the Day” entries, and this was his latest. I know, lots of people complain about “yet another OD pedal.” But if you stop to think about it, there’s probably a great reason why there are so many OD’s on the market. What comes to mind for me is that no one overdrive can cover everything. Let’s face it, a Tube Screamer or TS-like OD can only take you so far tonally.

Don’t get me wrong: Not all OD’s are created equally. Admittedly, there’s lots of crap out there, which is a fallout of the boutique gear movement. I’ve suspected several boutique gear “manufacturers” of simply building gear based on kits, putting a nice paint job on them, then selling the pedal for hundreds of dollars; which is why I’ve always stressed to folks – try before you buy!

The LovePedal Kalamazoo is no exception to this rule. While it has some very cool features (I’ll list them below), you really never know how a pedal will work with your rig until you put it in your chain. But despite that, I’m really intrigued by LovePedal’s twist on the overdrive with the Kalamazoo.

So what’s to like? As you can see, there are two little knobs called Tone and Glass under the common Level and Drive knobs. I believe this is where the magic of the pedal lies. Tone is a treble content roll-off, while glass is a treble booster that doesn’t affect the lows. These are wired in series, so they interact with each other. From what I could gather from the demo from ProGuitarShops I’ve seen, these two knobs offer up a world of tonal possibilities.

Another thing that appeals to me is that I prefer a more “open” kind of overdrive to let my power tubes do the compression. To me, it sounds more natural that way. The Kalamazoo was designed to create an “open” type overdrive tone. With it, you can slam the front-end of your amp, and make that gain push the power tubes into compression.

And from what I could gather, the Kalamazoo is VERY responsive to input gain, which is demonstrated in the ProGuitarShops video.

Here are the pedal’s features (from the Love Pedal site):

9VDC Input
True Bypass LED Status
Compact Die cast Aluminum Case 4.37″ X 2.37″ X 1.07″

Controls:
DRIVE – Sets the amount of overdrive
LEVEL – Master volume control
TONE – Softens the treble content
GLASS – Increases treble without cutting bass response
STOMPSWITCH – Turns effect ON or OFF

Cost: $199

To top it off, the pedal has a mirror finish! I really dig that! My Creation Audio Labs Mk.4.23 booster has a mirror finish as well. Sweet! And at $199, this is a pedal that will not break the bank!

Here’s LovePedal’s Intro Video:

And here’s ProGuitarShop’s Demo:

For more information, visit the LovePedal site!

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In my First Impressions article on the VOX Big Bad Wah, a reader commented that “I think this looks like the one Vox Satch pedal that they got right.” After playing with it for the last couple of days, I heartily agree. With both the voice, UK/US inductor and wah mode switches, the Big Bad Wah opens up a ton of possibilities with respect wah tone. So far, I’ve been happy as a clam with the Wah I mode and the US-style inductor (Voice and Drive don’t become active until you activate Wah II). I’ve been playing with Wah II a bit, and it really kicks butt. I dig the Drive knob that adds up to a 10dB clean boost, so you can get a nice gain boost for solos. I still have more experimentation to do, but so far so GREAT!

Having a really great wah pedal makes all the difference in the world to me. I used my Original Cry Baby only sparingly because it was so quirky, and because it was a bit noisy – even when disengaged – I sort of refused to use it on recordings. Well, with the Big Bad Wah, that’s going to change. The sweep on this pedal is perfect. It’s nice and even, which makes it incredibly controllable. It is really a joy to play.

In any case, here’s a clip that I made this morning. It’s a little minor jazz-blues tune. With this clip I wanted to feature Wah II with the darker, more “vowelly” voicing. No boost in this because I didn’t want the amp to break more. Signal chain is: Squier CV Tele –> Big Bad Wah –> Boss CE-2 Chorus –> VOX Time Machine Delay (for a little slap-back). BTW, the Big Bad Wah really plays nice with other pedals. I’ll have some other clips when I do my full review of it. But for now, here’s the current clip:

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VOX Big Bad WahThe one thing about pedals is that eventually, they wear out; especially pedals that have moving parts like a wah. It may take years, but they do wear out. It’s a fact of life.

My Dunlop Cry Baby has been on the fritz on and off for the past few months. Not wanting to take the time to replace it, and considering that it is easy to clean and adjust, I’ve occasioned to just do a DIY job on it and get it working again. No problem. But I finally just got tired of doing that, and decided to look at a new one.

About a year and a half ago, I evaluated several wah pedals but finally just went with a used Original Cry Baby, figuring it would tide me over for my wah needs. It certainly served me well, and I got a lot of mileage out of it. At the time of my original search though, the VOX Big Bad Wah hadn’t come out, so I really couldn’t consider it. But time went on, and I completely forgot about it until I saw the announcement for the new VOX Ice 9 overdrive pedal. Then suddenly, a light went off in my head, and I just nodded to myself, “That’s right. Joe helped design a wah pedal.”

So I did a bit more research, and saw an excellent video on YouTube with Joe discussing the idea behind the Big Bad Wah, and I knew I had to try it. So I immediately hopped into the car and went down to my local Guitar Center to try it out. I spent about an hour in the GC isolation room playing around with the different settings, and I have to say that Satch and VOX really did well putting their heads together on this wah pedal.

One thing that struck me before I played it was a comment that Joe had made in the video and how he described how Jimi Hendrix used a wah-wah pedal as an “extension of the music,” and the notes that were being played, and not something that was merely a rhythmic effect within an ensemble. That really spoke to me because even though I couldn’t hope to have their chops, I’ve always looked at the wah pedal in that light. So it was with great hope that when I did play it, I could use it in that way.

To make a long story short, the Big Bad Wah (“BBW”) lived up to my expectations and even more! I was thoroughly impressed! The sweep is perfect on this pedal, and unlike other wah pedals I’ve tested, doesn’t have a “breaking point” where the wah effect comes on suddenly. It’s nice and gradual. The total physical sweep of the pedal was also well-though out. It’s wide enough so you can add subtle portions of the effect in, but not so wide that you have to travel a lot to create a dramatic wah effect.

The one thing that used to irk me with my Cry Baby was how it would sound REALLY thin when I got to its full extent. Not so with the BBW. It gets trebly at the top, yes, but not so much that it’ll shatter glass, which means that in the middle of a lead, you can peg the pedal and get some great trebly voicing! On the other end of the spectrum, the lowest setting didn’t put a complete muzzle on my tone. It’s more of a compression effect, with a bleeding off of the highs. That means that your notes still stay fairly clear. Very cool!

Another thing that got me diggin’ the pedal was the different voicings. It has two: Vintage and Modern. The Vintage is a classic VOX wah tone, while the Modern includes the Vintage voice and adds a 10 db boost which is controllable via a Drive knob. Not only that, the Big Bad Wah also has an inductor switch that allows you to choose between a classic UK type of inductor, or a more modern USA type of inductor. The tone shaping possibilities with the BBW are immense!

Needless to say, I walked out of the store with the pedal. 🙂 Once I got a chance, I got a backing track going from one of my songs called, “In the Vibe,” and recorded a quick clip. I realize that I could probably have been a bit more dramatic with the wah effect in certain places, but I’m still getting used to the sweep. I’ll have better clips once I do a full review. In any case, give it a listen.

Also here’s the video I was talking about earlier:

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Click on the picture to see an enlarged view.

Wicked Woody “Original” Pedal Board

Summary: Handmade with carpentry-grade wood, this is one gorgeous pedal board. Nothing like making something so utilitarian a virtual work of art!

Pros: Completely handmade with high-grade wood that doesn’t only look great, it’s lightweight as well! Platform is reversible so you can configure the board to have your volume or wah pedal on either right or left sides. Lots of space under the platform to fit a power brick and stow your plug, and the routing on the top makes it easy to run your cables.

Cons: Could use some rubber or silicon feet to protect the bottom from scratching and elevate it above possible spills (think bar gig).

Features:

  • Elevated pedal platform. With an elevated platform, it is both easier to see, and easier to reach all of your pedals.
  • Handmade, of the highest quality certified hardwood plywood. Durable finish that will protect your woody for life.
  • Easy cable management, with the cable chanels routed into the platform it is a cinch to place your pedals in any configuration you desire, and wire them however you would like.
  • Alternative storage, under the platform for your power supply or other storage needs.
  • Measurement: 24″ X 15″

Price: $80 direct

Tone Bone Score: 4.75 ~ I’ve never seen a pedal board that looked so nice. Despite its looks though, I really would’ve liked to see some “feet” on the bottom for some extra protection. Something that looks this good should be really protected. That said, it’s easy to get some hardware that’ll do the job with minimal effort. But if it had that right off the bat, I’d give this puppy a 5.0!

For Goodness’ Sake! It’s Just a Pedal Board!

I would venture to guess that most players don’t really put to much thought into the “look” of their pedal board other than if the cables are nicely arranged and out of the way. But lots of players obsess over the look of everything in their rig; even down to their pedals’ paint jobs. So why not put them on a platform that really shows them off, as well as being useful? Aesthetics are a good thing. Myself, I tend to be far more practical to even consider something like this, but hey! Cool is cool in my book, and although I may not normally consider having a board like this, that doesn’t take away from the fact that this is one gorgeous piece of functional hardware!

From my point of view the Wicked Woody pedal board is like a nicely shined pair of shoes. Most people wouldn’t normally notice them, but they do notice that there’s something “nicer” when you wear them. Such is the case with the Wicked Woody. It’s not a showy and sparkly, but it just looks well, nice. Besides, there’s nothing sweeter-looking to me than nicely grained wood, and all Wicked Woody pedal boards are made of high-grade woods, with a nice, smooth finish. In other words, the provide a sweet presentation platform for your pedals!

Setting Up the Board

When I received my evaluation board today, I was amazed by how lightweight it was, but it was absolutely solid. The plywood used would not bend or give at all! But in addition, it looked fantastic! I know, it’s kind of hard to be excited by something so utilitarian, but this board looks so good – it kicks ass!

Luckily, my evaluation board also included some velcro strips, so it was a simple matter of attaching them to the board. I got a fairly long length, so I just cut it in two and laid the strips straight across the board. If I were to actually keep the board, I’d be a lot more meticulous and place strips so the they don’t show at all. But for my evaluation, I just wanted to be able to easily arrange my pedals.

I have to say that I’ve never seen my pedals look so good. 🙂 Here’s a picture:

A very cool thing that I liked immediately was that the platform fits my back line of pedal risers perfectly! Four pedal risers fit exactly flush to the edges of the platform. The folks at Wicked Woody say you might not need pedal risers, and based upon the space between the front and back lines and the nice angle of the platform, I’d tend to agree with that. But with my clumsy, double-E feet, I need every advantage I can get, so it’s very convenient that the platform fits the pedal risers so perfectly.

You can clearly see the route in the center. There are actually two routes, but the upper one is obscured by my pedal risers. But both are very conveniently placed. The platform has a round hole on each side to run cables through as well. That is very convenient as I was able to run the power and connector cables underneath the wah. Then to connect the wah to my next pedal, I ran the connector through one side hole, then out the other side hole to connect to my CE-2. When all was said and done, I was impressed by the arrangement. Plus, the big base board really creates a nice spacious effect.

Now I know there’s a lot of debate with the placement of a wah pedal. Should it be before or after the drive pedals? I happen to prefer mine to be placed after my drive pedals, so the default arrangement, with the wah pedal on the left was perfect for me. However, for those who prefer it to be on the other side, the platform is reversible. You just have to unscrew the platform from the bottom of the board, turn it around, and you can place your wah (or volume or expression pedal) on the right side.

I didn’t take a picture of the back of the platform, but there’s plenty of room underneath. I placed a fuzzy strip underneath the platform, and put my Dunlop DC Brick there then ran the power connectors to the pedals through the routes. Having those routes is a real nice feature because it keeps your power cable runs nice and neat – and hidden from view. There’s also plenty of room underneath to place a spare pedal or two (as long as they have a low profile), and of course, you can stow your plug underneath during transport.

The eval board didn’t come with a case, so I’m not sure if there is one available. Hopefully there is one available because I’d definitely want one to transport the board to and from gigs if I owned one of these beauties.

So… overall impression? I dig this board. It looks fantastic, but it has some very nice features that make setting up your pedals a breeze. It literally took me less than 10 minutes to get everything hooked up. Granted, if I owned one of these, I’d take a bit more time to make everything perfect, but one could do a lot worse.

Update: April 1, 2010

Just got a message from the folks at Wicked Woody. They don’t have a case for their boards yet, but should have one as an option within the next couple of weeks. This is great news!

For more information, go to the Wicked Woody site!

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