The latest issue of Gi is now available and features Journey founder Neal Schon gracing the front cover alongside Animals As Leaders' Tosin Abasi. Issue 19 also includes interviews with Manuel Rodriguez and Misha Mansoor plus Gi's newest tutor Sam Bell brings to you an exclusive Tosin Masterclass plus the first instalment of his brand new series in 8-string guitar techniques.
Tech 21 is one of the most respected names in the upper echelons of pedal market.
We gave Rick Graham two of the company’s stomp boxes to see how they
stand-up to today’s increasingly tough competition.
The pedal market has exploded in recent
years. At one extreme there’s a flood of
really cheap, mass produced pedals from
manufacturers in the Far East, aimed at
the beginner and occasional user market,
while at the other there is an apparently
never-ending stream of hand built pedals,
often being made by ‘one man in a shed’
operations, most of whom claim to offer
products capable of reproducing sounds
from a ‘golden era’. In between, there are
companies which are neither mass producers
nor one man operations. There’s an
advantage to this sector as it means they have
some scale advantages when it comes to price
and, more importantly, you can usually find
a shop that has some in stock and get to try
before you buy, which is often not possible
with the products of very small companies.
The US maker, Tech 21 falls into that happy
space - you can track down a retailer who
will let you to try them and yet still get a
pedal that is made from individually selected
components and of the sort of quality that
satisfies pro players.
The two models I’ve been looking at are the
Boost Distortion and the Boost Overdrive.
STAR RATING FOR ALL CHECK THE SPEC
106 Guitar Interactive Magazine Issue 19
TECH 21 BOOST DISTORTION
Like all of Tech 21’s pedals, the company says
its boost distortion is constructed using high
quality individually-selected, hand-biased,
discrete components, aimed at delivering
optimised performance with studio-quiet
operation. The distinctive feature of all
the ‘Boost’ range is a very useful boost
function that delivers up to an impressive
21dB of clean boost, which can be used
independently from the actual effect itself.
It is a true post-boost, which means that it
raises the level of the original signal, without
smothering it in unwanted distortion.
The Boost Distortion features four main
rotary controls which are, from left to right:
Level, Tone, Drive and Sag, with the Boost
control being located directly underneath
these. The level control dictates the signal
output level, while the tone offers a low pass
filter to help you dial in the sounds that you
want. The Drive does exactly what it says on
the tin. The Sag control provides you with
the option to emulate the sound of a heavily
compressed tube amp. The higher the Sag
control is set, the more pronounced this