For the clearest comparison of diode color, listen to the second halves of the clips in the Gain Control playlist, where the gain knobs are at maximum. The clipping diodes are only a factor at high-gain settings. Hear for yourself: As mentioned, most of the Klon's overdrive comes from the TL072 op amp. At heavy settings, I think I hear slightly more compression and gain from the Soul Food, but I'm not always certain. Still, as Image 2 above shows, the Soul Food's tone profile matches that of the original Klon almost exactly. The latter are silicon in lieu of the Klon's germanium. The Soul Food circuit board employs mostly small, surface-mount components, with the exception of several capacitors and the clipping diodes. (Soul Food is the only pedal in this roundup that comes with an AC adapter.) You can also use standard 9V power supplies. It lives in a standard B-sized enclosure large enough for a battery compartment. Priced at a modest $86, EHX's Soul Food is the second-least-expensive pedal among the five competitors. The low output setting is too quiet to overdrive the amp, isolating the distortion color produced by the pedal, as opposed to how that sound interacts with an overdriven amp. First, you hear the passage with a low output setting, with the knob around nine o'clock, and then at maximum. The final test compares the output controls.
DANELECTRO PEDALS DISCONTINUED FULL
The third comparison displays the full range of the tone controls, first at minimum, then at maximum, and then back to the noon position. Next comes a gain test: You hear each pedal, first with the gain control at minimum (that is, in full clean-boost mode) and then at maximum. First, there's a 1:23-long passage with all pedal knobs set to noon. In the audio-only clips you'll hear four audio comparisons arranged into four playlists. For the video I used a "parts" S-style guitar with Lollar Firebird pickups and Fender-style Carr Skylark.
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For the audio-only clips ( see the page at the end of this article) I used a Fender Telecaster Deluxe with Lollar Regal wide-range humbuckers, a clean-toned Carr Telstar amp, and a Royer R-121 ribbon mic, recorded into Logic Pro via a Universal Audio Apollo interface. Aside from switching klones, nothing in the signal chain changes. That way, you hear the identical performance through each pedal. To keep things as objective as possible, I recorded the demo clips straight into my DAW with no processing, and then re-amped them through each of the klones.
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