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TC Electronic Corona Chorus: Pedal Review

A Versatile, Stereo-Ready Modulation Tool with a Classic Soul First introduced as part of TC Electronic’s TonePrint series, the Corona Chorus takes the company’s legendary SCF (Stereo Chorus Flanger) algorithm — made famous in the ‘80s by the likes of Eric Johnson and John Petrucci — and wraps it in a modern, pedalboard-friendly enclosure. But this isn’t just a one-trick shimmer box. The Corona is a multi-voice digital chorus that’s designed to cover everything from subtle swirl to full-on 3D warble. This is not an analog chorus — it’s all digital — but that’s not a downside. The pedal has exceptionally low noise, stereo ins and outs, and the kind of depth and clarity that you rarely get from BBD-based analog units. It’s built to play well with both guitar and bass, especially in studio or live stereo rigs. Core Controls and Features The standard controls look familiar, but they’re deceptively deep: Let’s break these modes down: Standard ChorusA relatively subtle, clean chorus voice based on TC’s SCF legacy. It offers rich, transparent modulation that doesn’t overly color the signal. Works particularly well on bass when dialed in with a low Depth and FX Level. Excellent for adding movement without sacrificing low-end clarity. Tri-ChorusThis is where things get interesting. Tri-Chorus runs three chorus voices simultaneously, each modulating slightly out of sync. The result is a massive stereo spread and a sense of dimensionality — think early-‘90s rack-mount shimmer. With subtle settings, it feels like the bass is breathing. Crank it, and it goes into lush synth pad territory. TonePrint ModeThis is where TC’s modern edge really shines. You can use the TonePrint app or editor to download or create chorus presets made by artists (e.g., Duff McKagan, Nathan East, John Petrucci) or tweak your own settings in the deep editor. With TonePrint, you can: This level of control makes the Corona far more versatile than almost any other compact chorus on the market. Why Chorus on Bass? Chorus might not be the first modulation effect bassists reach for, but when used tastefully, it adds depth, atmosphere, and movement. It’s especially effective in: On bass, a chorus needs to be either very subtle or very smart — and the Corona’s blend and TonePrint capabilities make it ideal. The high-pass filtering you can program in TonePrint means you can let the effect live in the mids and highs, preserving all your low-end definition. Build and Connectivity No nonsense, no bulk — just a clean, well-built pedal that’s made to tour or record with. Pros and Cons Pros: Cons: Conclusion: A Workhorse Chorus with Modern Tools and Classic Depth The TC Electronic Corona Chorus might not have the analog mystique of a Boss CE-2 or the vintage warble of an EHX Small Clone, but what it offers instead is practical, versatile, beautiful chorus that actually fits a working musician’s life — especially for bassists. Its wide tonal range, subtle FX Level control, and the ability to customize your modulation via TonePrint make it an incredibly powerful tool, whether you’re just looking to thicken your clean tone or build massive ambient soundscapes. It can be clinical or musical, vintage or hi-fi — it’s up to you. If you’re a bass player who wants modulation that respects the lows and adds spaciousness to your playing, the Corona Chorus is a top-tier choice that holds up in every context — and with a bit of tweaking, it can even outclass some of the more famous analog units in terms of real-world usability.

June 29, 2025 No Comments
Reviews

Hotone Ampero FS-1 Footswitch: Pedal Review

Solid Utility in a Small Affordable Package I just picked up the Ampero FS-1 recently to expand my HX Stomp’s functionality, and I’ve been pleasantly surprised. As a working bass player, I’m always on the lookout for gear that’s reliable, compact, and affordable—this checks all the boxes. The build quality feels solid and roadworthy. The switch has a nice tactile click without being too stiff or noisy, which is ideal for live use. Setup with the HX Stomp was plug-and-play—no hassle, no extra configuration needed. Specifications:The Ampero FS-1 is a compact, double-button momentary footswitch housed in a durable metal enclosure. It uses a standard 1/4″ TRS connection, making it compatible with a wide range of gear that supports external footswitch inputs. The pedal is passive—no power required. Its minimal footprint makes it easy to integrate into tight setups without sacrificing functionality or build quality. While I’m using it with my HX Stomp, the FS-1 works with any device that supports standard momentary footswitches, like amps, modelers, loopers, or even pedals that accept external footswitch control. It’s a simple way to expand control options without adding complexity or cost. For the price, this thing punches way above its weight. It’s a small addition that makes a big difference in a gigging rig.

June 29, 2025 No Comments
Reviews

The Clawthorn Drive Reviewed: Effect Review

Line 6’s Take on the Battering Ram For bassists seeking aggressive tones that balance control with chaos, the Wounded Paw Battering Ram has carved a niche as a uniquely flexible drive/fuzz hybrid. With its parallel routing of overdrive and fuzz circuits, and the ability to dial in everything from subtle breakup to unhinged fuzz madness, it became a cult favorite among experimental and heavy-music bass players alike. In the HX Stomp/Helix world, Line 6 brings their take on this Canadian beast with the Clawthorn Drive—a highly tweakable distortion block designed to capture that same dual-engine mayhem. But does it hold up in tone, flexibility, and real-world use? The Battering Ram Legacy and Line 6’s Interpretation The Wounded Paw Battering Ram (especially in its later versions like the V2.6 and Q2) is known for offering two distinct but blendable voices: a tight, controlled overdrive and a wooly, sometimes chaotic fuzz, each with its own set of controls. Add to that optional octave fuzz and a four-band EQ in some models, and you get a serious tone-shaping machine. Line 6’s Clawthorn Drive mirrors this structure well in the Helix ecosystem. It provides individual gain, tone, and level controls for both Overdrive and Fuzz sections, plus a Low Boost switch and a Fuzz Octave toggle to kick the fuzz into nastier territory. Here’s a breakdown of the block’s parameters: This layout makes it easy to dial in anything from subtle warmth and growl to buzzy, synth-like textures or a thick wall of filth—and do it all in parallel. How It Sounds: Dual Engine, Dual Personality The real strength of Clawthorn Drive is in its blendability. The overdrive section can provide just a touch of breakup or be pushed into a more aggressive growl, perfect for rock, punk, or adding definition to sludgy riffs. The tone control lets you shape the character from dark and rounded to bright and biting. The fuzz side is where things get interesting. With the Fuzz Oct engaged, it leans into synth territory—great for drone, doom, or modern experimental tones. Without it, the fuzz is thick and chewy, but with surprising articulation when dialed in carefully. The Fuzz Gain and Tone knobs offer a wide spectrum, from velcro-rip textures to smoother, more musical fuzz. Engaging both sections together—especially with the Low Boost on—yields massive, layered tones. The overdrive can add punch and clarity, while the fuzz delivers girth and grit. This is particularly effective for bassists who want to retain note definition in the low end while still sounding enormous in a band mix. Tweaker’s Paradise, Performer’s Tool Thanks to the Helix architecture, Clawthorn Drive isn’t just a flexible tone machine—it’s a programmable one. You can: For bassists who frequently shift between styles—say, post-rock cleans, doom metal fuzz, and alt-rock drive—all in one set, Clawthorn provides enough range to replace multiple pedals. Final Verdict: Should Bass Players Use It? The Clawthorn Drive is one of the more underappreciated gems in the Helix lineup, particularly for bass. It doesn’t chase the modern, polished aggression of a Darkglass-style drive—instead, it offers unusual texture, tonal variety, and chaos control, making it ideal for: It might not be the right fit for players seeking surgical, mix-ready distortion straight out of the box—but for those who want to sculpt their sound, Clawthorn is a powerful, flexible option. Whether you use it subtly to thicken your tone or go full noise-wall, Clawthorn Drive delivers. For HX users looking to move beyond the usual suspects, this is absolutely worth a deep dive.

June 20, 2025 No Comments
Darkglass Alpha Omega Ultra
Reviews

Darkglass Alpha·Omega Ultra: Pedal Review

The Dual-Voiced Powerhouse of Modern Bass Distortion Before the Alpha·Omega Ultra, Darkglass had already cemented its reputation as the go-to brand for forward-thinking bass distortion. The Microtubes B3K and B7K brought clarity and aggression to the bass world, redefining what overdrive could mean for low frequencies. But by 2017, founder Douglas Castro and his team set their sights on expanding beyond that “tight and glassy” Microtubes character. They envisioned a new kind of drive — fatter, rawer, and darker, but still articulate. Enter Jon Stockman of Karnivool, whose input helped shape the original Alpha·Omega pedal. Designed with two blendable distortion paths — Alpha (aggressive and punchy) and Omega (raw and brutal) — the pedal introduced a more saturated, muscular take on Darkglass’s aesthetic. It wasn’t just about clarity anymore — it was about force, depth, and sonic authority. The Alpha·Omega Ultra builds on this, incorporating a six-band graphic EQ, impulse response (IR) cabinet simulation, headphone out and USB connectivity, expanded routing options, and a refined, rack-quality preamp section. It’s not just a distortion pedal — it’s a full-featured tone hub. The Core Sound: Two Distortion Engines, One Vision At the heart of the Alpha·Omega Ultra is its dual-path distortion engine: Alpha engine: Tight, mid-forward, slightly compressed. Great for articulation, pick-style playing, and cutting through dense mixes.Omega engine: Fatter, darker, and gnarlier — perfect for huge, wooly tones and down-tuned basses. You blend between these two characters using the Mod knob, which is not just a gimmick — it lets you fine-tune the nature of the drive to match your instrument and musical style. It’s a spectrum, not a switch, which means you can live in-between: Alpha for the edge, Omega for the weight. Add to that: These features alone make it extremely powerful, but what elevates the Ultra model is what lies beneath. The “Ultra” Difference: Studio-Grade Control and Connectivity Six-Band Graphic EQ The onboard graphic EQ lets you precisely sculpt your tone with center frequencies at 80 Hz, 250 Hz, 500 Hz, 1.5 kHz, 3 kHz, and 5 kHz. This is not a simple tone knob or a basic 3-band layout — it’s surgical. You can scoop, push, or flatten your mids and highs to fit whatever room, mix, or rig you’re playing through. This EQ is post-drive, meaning it shapes the final sound you’re sending to your cab, DI, or front-of-house — and that makes it incredibly practical on stage or in a studio setting. Cab Sim and IR Loader One of the defining features of the Ultra series is IR-based cabinet simulation. The Alpha·Omega Ultra allows you to: This makes it a perfect standalone DI box — no amp required, no compromise. Whether you’re recording direct at home, running into an in-ear monitor setup, or flying to a gig where you need to go straight to FOH, it’s plug-and-play. USB and Software Integration Through USB, you can: It’s not a deep editor like some modelers, but it’s a user-friendly interface for quick personalization. On Bass: Brutality with Definition Plug a 5-string into the Alpha·Omega Ultra, and you immediately understand the appeal. This is modern distortion for modern bass — aggressive but not messy, huge but controllable. Key tonal identities include: Crucially, the pedal always respects your playing technique. It doesn’t flatten or obscure your dynamics, which is a big reason why it appeals to such a wide range of players — even those who don’t consider themselves distortion-heavy artists. It also plays well with compressors, modulation, and fuzz, especially when placed early in the chain. Pros and Cons Pros: Cons: Conclusion: The Alpha·Omega Ultra is a Full Bass Rig in a Box For players who want a distortion preamp with real-world versatility, the Darkglass Alpha·Omega Ultra delivers in every respect. It can be your amp substitute, studio channel, pedalboard anchor, or just your favorite distortion — and in all cases, it will do the job with authority and definition. What separates this from many other options isn’t just tone — it’s control and flexibility. With cab sim, EQ, DI, headphone monitoring, and drive shaping, this is a pedal that can live at the center of your rig and adapt to whatever situation you throw at it. It represents the next step in Darkglass’s evolution of modern bass tone — a pedal built not just for one sound, but for the complex and varied needs of contemporary bassists. Whether you’re on stage, in the studio, or practicing at home, the Alpha·Omega Ultra is an intelligent, aggressive, and refined companion.

June 11, 2025 No Comments
Boss CE-2W
Reviews

Boss CE-2W Waza Craft: Pedal Review

Revisiting a Classic with Depth and Authority The Origin: CE-2 and the Birth of Chorus Pedals To understand the CE-2W, we need to go back to 1979, when Boss released the CE-2 Chorus — itself a refined, pedalboard version of the CE-1, the world’s first chorus pedal and an effect originally built into the legendary Roland JC-120 amp. The CE-2 was more compact, stripped-down to two knobs (Rate and Depth), and voiced with warmth and lush analog texture that became the benchmark for chorus pedals for decades. It wasn’t designed with bassists in mind — and yet, it quickly became a cult favorite across all instruments for its lush, analog modulation that enhanced tone without washing it out. Bass players who did use it discovered that, at subtle settings, it brought out depth, width, and low-end bloom, making lines feel more alive and dimensional. Enter Waza Craft: Reimagining the Legend Boss’s Waza Craft line represents their high-end reissue and re-engineering approach — not just recreating vintage pedals but enhancing them with modern features and improved fidelity while staying true to the original analog designs. The CE-2W, released in 2016, takes the heart of the CE-2 and adds: For bass players, this is a huge deal: it means one pedal can serve as a classic chorus, a vibrato-style modulator, and a widening stereo tool, all in one rugged enclosure — and all fully analog. Why Chorus Works So Well on Bass Chorus is often associated with shimmering guitar sounds, 80s power ballads, and crystalline clean tones. But on bass, it has a different magic — and the CE-2W is one of the best examples of how to do it right. Here’s why it works: Importantly, the CE-2W preserves low frequencies well, especially when used subtly. It’s not a clean blend pedal, but thanks to its analog BBD design, it doesn’t rob your tone of weight — something older chorus pedals often failed at. Controls and Modes: Simple, Yet Deceptively Powerful The CE-2W is elegantly simple, but it hides a surprising amount of flexibility: The stereo output (available in CE-1 modes) is a huge bonus. Running to two amps, or amp + DI, or stereo in a DAW unlocks spaciousness that’s addictive, especially for ambient, post-rock, or synth-influenced bass work. Tone on Bass: Rich, Supportive, Never Overbearing On a passive bass with flatwounds, the CE-2W can evoke classic 80s fretless tones — think Pino Palladino or Mick Karn. On a modern active 5-string, it brings depth and motion to otherwise clinical sounds. It can be subtle enough for studio R&B or bold enough for synthwave or doom-inspired textures. What’s especially impressive is how well it handles drive and fuzz before it. Many modulation pedals get messy or thin out with gain, but the CE-2W handles it gracefully. It works equally well: Pros and Cons Pros: Cons: Conclusion: A Modern Analog Chorus for Serious Players The Boss CE-2W Waza Craft is a beautiful evolution of a legendary pedal, retaining the analog charm of the original while offering modern utility for bass players who demand more from their modulation. For those seeking a chorus that works without thinning your sound, that adds dimension, width, and movement without sacrificing clarity, and that bridges vintage and modern in a seamless package — the CE-2W is a standout. Whether you’re after subtle depth for ballads, full-spectrum chorus for ambient textures, or even slightly warped vibrato tones for experimental playing, this pedal delivers. And unlike some boutique alternatives, it does so reliably, accessibly, and with timeless tone. If you’ve written off chorus on bass, this pedal might just change your mind — or at least, make you want to sit down with it and listen to your tone evolve in real time.

June 8, 2025 No Comments

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