Let’s face it, we’ve all used them before and I imagine that like me you’ve got them confused or not really understand what makes each different. As I started playing properly in the 80’s each of these pedals carry HUGE memories for me and I’ll always have a love/hate relationship with each.

Before we go any further, let’s put on the (my level of) nerd goggles and dig into what separates them. They all come into the family of “modulation”, because… well, they all modulate the signal! Yeah, that doesn’t help much does it… Usually, this means that the signal is in some way split, the something happens to one of the signals and then it is laid back on top of the original one. This creates movement, modulation, and if you go too far, chronic seasickness.

Phaser.
As your signal goes into the pedal, it is instantly split into two. One of those has its phase shifted and then they are laid on top of each other before exiting the pedal. Because you have two opposite phases of the same note sitting within each other, a notch is created where they cancel each other out and then these notches are swept along a range of the frequency band. This where you get that wonderful sweeping ripple.

Name: Phaser Splitter… “Phaser”

Here is my favourite example of a phaser (totally obvious!)




Flanger.
A Flanger is not too dissimilar to a Phaser, but can be much wetter sounding. A flanger happens when the signal is split into 2, one is delayed and then put back on top of the other. The most audibably pleasing Flangers are running at somewhere under 15ms delay, but the rate control changes that. The effect of the flanger going swoooosh is where the delayed signal then has the delay time varied in a constant cycle, up and down.

Name: Legend has it that a producer was running two identical copies of audio and pressed against the flange of the reel to slow one down slightly to make it run ever so slightly out of time… “Flanger”. This is hotly disputed though as George Martin has said that the phrase comes from Lennon during the recording of the Revolver album, Lennon was enquiring about “artificial double tracking” and Martin answered with a nonsense “Now listen, it's very simple. We take the original image and we split it through a double vibrocated sploshing flange with double negative feedback”. Lennon thought he was joking and Martin responded with “Well, let’s flange it again and see”… Lennon went on to call it “Ken’s Flanger” after Abbey Road engineer Ken Townsend performed the process of copying the vocal line and slightly delaying it. The concept was later expanded into stereo and was first credited to Eddie Kramer during the recording of Axis Bold As Love by Hendrix in 1967.

My favourite flanger example

Chorus.
The one that was TOTALLY overused in the 80’s, hence my love/hate relationship with it. Like the flanger, the signal is split, slightly detuned and then delayed, and put back on top The main difference is that the delay used to create the chorus is somewhat longer, usually between 20-50ms . Chorus was first given to us, the guitar community, in the mid 70’s within the legendary Roland JC120 amp. The Chorus element of this amp was then released as a stand alone unit as the BOSS CE-1. To this day, this is, to many people the ultimate chorus pedal. Personally, I love it, but the best one I’ve ever heard was in a Roland RE-501. Although, it does have to be said, I’ve not physically heard one for well over 20 years, I just remember it being the fattest and most lush chorus I’ve ever heard!

Name: Imagine two large vocal choirs singing as close they can get, you could call it a chorus of vocals… put them wide apart, stand in the middle and because it’s almost impossible to singer perfectly on key and at the same time, when they are separated it provides the chorus effect.

One of the best uses of chorus I hear is when the rate is set really low and it’s in stereo. You don’t get the movement but you get the width. Brian May live was the best I’d heard this used, it was so massive I can’t describe it.

Here is my favourite example of regular Chorus

A dimension chorus differs in that it creates two clones of the original signal, both are delayed and then one is flipped 180-degress and then laid back on top. This gives a much bigger effect.. the most interesting thing for me is that the Dimension C pedal gives you four options, which just changed the regular controls… was this the first boss with presets?

My favourite example of Dimension Chorus (once again, totally obvious!)

It’s well worth noting the difference between vibrato and tremolo. Because, well, I don’t know why, in the early days Fender appeared to get these two names the wrong way round, a lot of effect pedals are still incorrectly named. Vibrato changes the pitch of the signal, tremolo dips the volume up and down! One modulates the pitch, one modulates the volume… So, your trem bar, it’s actually a vibrato bar. Or to give it the correct name, the whammy bar!

This has been one of the most exciting NAMM’s I can remember - purely because we revealed the Terraform and it’s the kind of pedal we’ve been fantasising for literally years about making. Once we worked out we could do it, we approached it the only way we know how, and that’s with a ‘gloves off’ mentality. After looooong discussions about functionality, we came to the conclusion that we wanted controls to be right there up the front with no endless sub-menus or scrolling through tiny screens. This, obviously, means that the feature set won’t be as comprehensive as some of the other pedals that occupy this corner of the market, but you know, in my experience (as an owner of two of the biggest sellers out there), the best sounds I ever got from those was by not doing all the tweaking - we needed to make sure it is easy to use with best sounds, right there.

11 custom designed effects which are: Slow Gear style, U-Vibe, Phaser, Through Zero Flanger, Subtractive Flanger, Additive Flanger, Chorus, 3 Voice Chorus, Dimension Style Chorus, Tremolo and Harmonic Tremolo.  We are constantly tweaking (we get sent them as plug ins to tweak in Logic) these as we want to make sure they are perfect, so right now - at the time of writing - this is how it is looking - we are currently working on a few things that may replace one or two of the effects, only time will tell. We wanted to make sure that the effects are ‘just there’ and sounding great from the outset and so far, all that I have heard are bang on.

Up front you have 5 basic controls: Rate, Depth, Blend, Volume and Wave-Shape. 4 of those will be easy to comprehend but all the magic is going to happen in the wave-shape. This is where the interesting and fun stuff will be held, and you guessed it, I’m not about to go into it all here, let’s just say because of this one control this pedal goes deeper than you would first think.

We definitely wanted there to be presets, as we can’t see how you can have a pedal like this without them. It had to be stereo… we also decided pretty early on that certain effects will want to be pre or post gain, whether that be dirt pedals or the effects loop of the amp. A 4 cable method (4CM) was of utmost importance, this means that when using 4CM the effects will be of course, mono. We had to think of a way to program which effect went pre and post – as the pedal comes out the box the obvious ones will be set accordingly when used in 4CM. You can change these yourself, quickly and easily by putting the pedal into ‘routing program mode’. Plus, it looks really cool when you do it as well!

Here’s some examples of how we see it being wired up. 

Stereo method.
Set the Terraform to Stereo, run it in a big ol’ line:

 

Pre/Post, straight in the front.
Set the Terraform to Pre/Post, place the dirt between the two 'sides' of the Terraform:

 

Pre/Post, FX loop method
Set the Terraform to Pre/Post, put one half of the Terraform in front, put the other half in the loop:

 

Looper method
Set the Terraform to Pre/Post, put Pre in a loop before your dirt, put Post after!

 

We have included 8 presets that stores everything and you can recall the presets either from the switch on the front or from your midi controllable looper. We wanted to put an expression pedal control in there as well, and give you the ability to control any one of the 5 dials up front, with the additional control of being able to set the high and low point of the pedal sweep – so, it’s not just a 0-100% and try to find it on the fly, you can set the exp to start at your preferred toe down and heel down position. So, instead of that exp being 0-100%, it might be heel down at 45% and toe down at 80% - you can set it exactly as you like.

Of course, we wanted it to be built the same way we always do and the way our customers expect, like a tank and in the USA. One of the most important things we could think of, make it as small as possible. So, although this is not in our regular double sized box (think Dual Fusion, Paisley Drive Deluxe, Fuzztration) but custom boxes designed specifically for this pedal that are almost an identical size. As you can imagine, this makes it considerably smaller than the others out there as we know that you are as concerned with pedal board real estate as we are! While I’m here, I just saw that Brian published the expected price on Facebook, how does $299.97 sound? I know, bargain! Right?

What we want to do with this is ensure we have the right effects in there. The ones shown at NAMM are all cool, but we know that there are things you think will make it better, so – Wampler hive mind. Based on what you’ve seen and what you now know, this is your chance to get in at the first floor – tell us what you think we should have in there! Now, I’m not making any promises, but we want to make sure it’s perfect for as many people as possible when considering their next mod pedal!

You can listen to the Terraform here...

 

Terrarform features in Andy's video from 3:59!