7 modes effect and 3 way toggle switch select between different modes.; Digital circuit design, true bypass provide transparent tone; Whole Aluminium-alloy classic, stable and strong; LED indicator shows the working state.; DC 9V Adapter power supply.(not included)
This little Donner Digital Octave Guitar Effect Pedal does everything I hoped it would and does it better than I could have expected.I am not doing any preforming or even recording, just working off stress with an acoustic/electric Ovation, Fender Acoustic Amp, TC Ditto Looper and this octave/detuner/harmonizer pedal.The pedal can change the pitch of a note by 2, 3, 4, 5, 7, 12 or 24 half-steps up or down. It can also detune by increments of partial steps. Separate pots allow blending of the processed (wet) and unprocessed (dry) signals.There are combinations of switches, dials and volumes that make weird noises but here are, for me, the most useful settings when coupled with a standard 6-string guitar:Bass Guitar: Selecting “Flat” on the switch, "1 Oct" on the dial, and turn the Dry volume down to zero.8-String Bass: Same as bass guitar but add some Dry volume.12-String Guitar (mostly): Sharp, "1 Oct", and Balanced Wet and Dry volumes. This isn’t quite a 12-string because a real 12-string duplicates the B and high E strings where this box increases these strings by an octave too. The EADG strings are like a 12-string.Lead Guitar: Detune on the switch, “±5” on the dial and a blend of wet and dry volumes. This makes a nice thick note.Lyricon: Sharp, "2 Oct", Dry volume to zero. Wyndham Hill’s Chuck Greenberg used to play a very high-pitched woodwind instrument called a Lyricon. The Donner does a good job of copying this sound with these settings. When played from an acoustic the live sound may drown out the output of the Donner but when looped or recorded it sounds great to me.
I've been performing with this one for half a year, now, and it has become a fundamental part of my equipment, more so than I expected. I wouldn't even think of going anywhere without it, now. Originally, I got it to fill in bass when the bass guitarist didn't show up. Now, I use it mainly for chorus, which it does quite well. Here's a breakdown of the functions, and how I see them:The +/-2,3,4,5 functions are gimmicks. Unless you're playing an avant garde piece over a chromatic scale, this will never work. Having a harmony tone exactly one set number of steps from the played note can't follow any particular scale, so it's a recipe for failure. This is not a product defect. It's just a fact of music theory.The sharp function may be another matter. My thought was that moving the pitch in whole octaves should be fail-safe. If the note you play is correct, then one octave removed should also be correct. Setting it to -1 octave (flat) works nicely. Setting it to -2 octave (flat) works well enough, but it's too low to be practical, unless I'm riffing on the high E, which I never do for an entire song, so I don't use it. Incidentally, flatting the note means having to play differently, also. -1 flat octave works great with power chords, making them more menacing, especially with all-neck pickups and high distortion, and it also works well for imitating a bass guitar or doing a solo resembling a twelve-string guitar. However, it means needing to play more simply, because it doubles the likelihood of muddiness. However, while the flat octave functions work as expected, the sharp octaves bite the dust. Single notes sound like comic effects, like a drunk duck that inhales helium. They're also delayed a fraction of a second. If an entire chord is strummed with a +1 sharp octave setting it sounds somewhat like a pipe organ, and actually can do a pretty good imitation of phantom of the opera. This, probably, could be listed as an item of bad design, but I didn't get it for this function, so I don't care too much.Lastly, but not least, the detune function gives three different intensities of chorus, described as +10 cents through +30 cents detune in the clockwise direction, and their negative counterparts in the counter-clockwise direction. For the record, detune means the same thing as chorus. Also, the negative versions sound exactly like the positive versions to the human ear. Of these settings, only the most subtle sounds good. In fact, it sounds great. I love it. The other two get a little weird. A power chord on the mild detune sounds richer and fuller. Dirty signal gets the edge smoothed off of it a little, making it more palatable to the average (non-heavy metal) ear. It shimmers well.So, the short of it is that most of the functions are junk, but it has two great features that redeem it. It's not like I want to be crouching down and changing the settings during a performance, so all I really need is one great setting that I can leave it on, and punch it on or off at will. I'm quite happy with it. I only dock one star because I feel that the octave sharp function really could have worked better.
I bought this to be an occasionally used pedal that I didn't think I'd be adding a permanent spot on the board. After using it for a few weeks now, it now has a permanent spot. I've found that it works the best when it lives after a buffered switch style pedal in the signal chain (i.e. like a Boss pedal). When I had it as the first pedal in the chain, I noticed more noise and a dominant "pop" when engaged. Put it behind the buffered pedal and that issue goes away. I also found that the versatility is great. I use every concept (octaves, 3 and 5th harmony, and chorus/mojo pitch shift ) and the mix blend blend pots allow me to dial in exactly what I'm looking for. I've tried other octave and pitch shift petals and Donner's tracking and tone is as good as those 3x the price. Also love the small form factor and have mine tucked right under my wah. I'd recommend this for your board.
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