If you watch Scott Henderson’s below featured video you will get a good idea of the intense development process that went into evolving and improving the SD-9 Sonic Distortion circuit to reach Scott’s exacting standards. As a Jazz Fusion player he tends to do a lot of upper fret legato playing - where the ability to hold focus and sustain on those higher notes is of critical importance to Scott’s signature sound.
Underlining all of this is a full frequency science / theorem proposed by Mike Landau - which espouses the need to retain a full-frequency register even as you travel up the fretboard. This means retaining a significant degree of low-end weight - which is then what lets the notes ring out in such a way that they optimally cut through the mix.
It has to be noted that Scott is exclusively a Single Coil pickups guitar player - per his usual Signature Suhr Strat - and the SD-9 / SH9 has always sounded great on those brighter styles of pickup. Playing the SH9 reminds me a lot of the dynamics of the ThorpyFX Dane Overdrive - which was of course developed for mainly Telecaster player Pete Honoré. So both those drives / distortions have a certain low-end heft / density to them to balance the typical single coil brightness.
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This doesn’t translate as well to Humbucker style guitars as that low-end heft can become somewhat boomy on those guitars, and where the Tone control is a relatively conventional type, rather than the sort of Tilt-EQ you would need for full Humbucker satisfaction.
There’s a lovely rounded tone to the distortion - and that beautifully smooth and sustaining tonality, but it definitely has some low-end heft to it which is not that well suited to Humbuckers in its raw state. I get around this by utilising the EQ on my JA Bloom - where that is always used to cut low-end - as a sort of balancing EQ for particularly heavy low-end accentuated pedals.
Another way to deal with this is to use a Treble Booster / Rangemaster - which brilliantly brightens the Distortion further for Humbuckers - while attenuating low end frequencies.
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In terms of its core tone and timbre though it’s beautifully calibrated and wholly meets its desired aims in making those upper fret notes as focused and sustaining as they need to be. In Scott Henderson’s video you can hear him complaining about the SD-9 - that it doesn’t always render those notes to his satisfaction. While a lot of iterating with the SH9 finally got this version of the circuit to play consistently well within the area of the fretboard Scott likes to make most use of.
My preferred settings are with all 3 dials @ or near 3 o’c, and as mentioned with a Bass Cut EQ deployed.
In its current state this pedal is a marvel on Single Coil guitars and has been specifically optimised to generate Scott’s preferred tones and timbre. While if you mainly play Humbucker guitars you will definitely need to deploy auxiliary pedals as described - either some kind of EQ or Treble Booster ideally.
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The TWA SH9 is of course available direct from TWA and Godlyke Webstores, and at International Dealers - where it goes for $299 and equivalent.
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By continuing to browse this site you are agreeing to the use of cookies. Browsing is anonymised until you sign up. Click for more info.JHS humorously describes the Whitey Tighty as ...our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down.
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The Whitey Tighty is a transparent-sounding simple compressor pedal that goes from barely there to heavily squished with just a few knobs to fiddle with. This minimal design also helps save up precious pedalboard real estate. A blend knob helps balance out the compressed signal and your dry signal, enabling more control over your clean tone.
The main strengths of the Whitey Tightey are its simplicity and size. The pedal sounds quieter than most compressors and feels natural because of the blend knob. I also praise the attack for not being too harsh or plinky while retaining some spank on chicken picking and funk.
Unfortunately, you will be paying a premium for the respected JHS brand. There are models out there that are cheaper and comparable, but if you want white briefs on your pedalboard, you'll have to shell out a bit more.
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Also, the micro-compact design lends itself more to ground noise. This is due to components being closer together, it's just a limitation of physics and this shell design. It's a bit fragile when compared to the more tank-like pedals out there. But show some love to the Whitey Tightey Mini and it shouldn't be too much of a problem.
The JHS Whitey Tighty is a fun and welcome addition to any pedalboard. It is a good always on type of pedal. You'll almost feel naked when this pedal is bypassed; adding to the charm and befitting its underwear-inspired name.
The Wampler Mini Ego is a downsized version of the Wampler Ego Compressor pedal, used to great success by country-guitar hero Brad Paisley.
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It actually has all of the controls found on its bigger brother. But it ditches variable controls for the “Tone” and “Attack” knobs in favor of two on/off switches. And it also features the same build quality and good parameter adjustments as other Wampler pedals.
The Mini Ego has a very transparent sound, similar to its bigger sibling, but with less complex controls. I love its compact size, freeing up precious pedalboard real estate for other effects. Ease of use I also commend, while having extra switches allow for a bit more control that's not usually available in pedals of its size.
A flaw with this pedal is that the on/off tone control likely isn’t going to work well with every guitar's tone. Besides it's unreasonable to expect it to have in depth controls like expensive compressor pedals. It is an issue that’s avoided with the variable tone control you’ll find on the larger version of the pedal.
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Despite the more minimal control scheme versus its bigger sibling, the Mini Ego retains a lot of the character and response that made the original well-loved. We recommend this pedal to those looking for a great compressor pedal that won’t take up too much space on their pedalboard.
The CP-1X pedal takes a modern approach to compression. It comes equipped with a multiband processor that analyzes your guitar signal and applies the effect as needed. This means that the pedal adapts to different frequencies, volumes, and playing nuances. This way, it provides just the right level of compression for each situation.
Powering its high-tech design, Boss equipped this pedal with 18-volt internal electronics. This also allows for higher-than-usual headroom. Another noteworthy feature is its gain
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