Any of you guys tried one? they have stacks of good reviews on HC, a bit pricey though.
http://janglebox.com/
janglebox
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Curious, I don't think I've ever written on the thing! I've got v.1, and to preface with the conclusion, I reckon it's fair to believe a good amount of the hype. It's definitely one of the least-used pedals in my collection, but it's a pony with one badass trick I've found quite invaluable for the music I do.
In Normal position it makes for a reasonable Ross-style comp, although it felt a little stuffy for me and my Moollon comp does that trick like a champ. The Dark position fairly useless. The Bright position is where it literally shines. I set gain(input signal into the comp stage, seems to lower the threshold) and attack(compression amount/attackspeed) to 11:00 and it does the rest. Bright and chimey, it evens things out yet keeps a consistently vibrant ring to the tail decay that works wonders when wanting to get a jangley arrpegio not buried in the mix.
And I think that's the point. If do solo 12-string tracking, gentle comp from my SPL Channel1 tube preamp is more than enough and sounds lovely, giving a balanced boost while keeping the dynamics of my picking intact. Listen to the recent shortscale comp tune Cindi and I did (Death: Embracing the Beauty) for a tasty use of "normal" outboard comp on all of the 12-string parts: No Janglebox used.
On the other hand, the Janglebox rather is excellent for blending nice single coil guitar work into a mix when you don't want a strident ice pick yet want that obviously jangley, gently bright tone that could use some good ol' studio squashing to stay alive when fighting levels in a mix, or even when just playing second fiddle in a band a la Tom Petty stuff. All in all, I'd like to stress that it's certainly not the same as doing an extreme bright EQ curve with a plug-in after a comp stage in one's sequencer, as the the perceived "magic" seems to lie in the harmonics that ring within the soft-ceiling chime itself when using the Janglebox. Probably gibberish, but you might get what I'm having trouble expressing.
I like it, but I'd say it's more useful when you can do some on-the-fly tweaking to work with a band's overall mix (i.e. not in a live situation). That's just me and my Johnny Marr wannabe musings after failing while trying a billion and one takes on an easy riff, I'm sure janglebox users all over the place gig with it just the same.
In Normal position it makes for a reasonable Ross-style comp, although it felt a little stuffy for me and my Moollon comp does that trick like a champ. The Dark position fairly useless. The Bright position is where it literally shines. I set gain(input signal into the comp stage, seems to lower the threshold) and attack(compression amount/attackspeed) to 11:00 and it does the rest. Bright and chimey, it evens things out yet keeps a consistently vibrant ring to the tail decay that works wonders when wanting to get a jangley arrpegio not buried in the mix.
And I think that's the point. If do solo 12-string tracking, gentle comp from my SPL Channel1 tube preamp is more than enough and sounds lovely, giving a balanced boost while keeping the dynamics of my picking intact. Listen to the recent shortscale comp tune Cindi and I did (Death: Embracing the Beauty) for a tasty use of "normal" outboard comp on all of the 12-string parts: No Janglebox used.
On the other hand, the Janglebox rather is excellent for blending nice single coil guitar work into a mix when you don't want a strident ice pick yet want that obviously jangley, gently bright tone that could use some good ol' studio squashing to stay alive when fighting levels in a mix, or even when just playing second fiddle in a band a la Tom Petty stuff. All in all, I'd like to stress that it's certainly not the same as doing an extreme bright EQ curve with a plug-in after a comp stage in one's sequencer, as the the perceived "magic" seems to lie in the harmonics that ring within the soft-ceiling chime itself when using the Janglebox. Probably gibberish, but you might get what I'm having trouble expressing.
I like it, but I'd say it's more useful when you can do some on-the-fly tweaking to work with a band's overall mix (i.e. not in a live situation). That's just me and my Johnny Marr wannabe musings after failing while trying a billion and one takes on an easy riff, I'm sure janglebox users all over the place gig with it just the same.
I found THIS from fellow B16 Telecaster dude on the TDPRI rather provocative. If the most significant difference between a Dyna Comp and a proper Janglebox BRIGHT position is a single capacitor, I reckon more people will try it at home. I'm half-scared of soldering irons, but this admittedly made me rather curious:Johno wrote:cheers for the review, sounds kinda like what i'm after although i will prolly pursue a cheaper route.
RomanS wrote:The Janglebox has a "Bright/Normal/Dark" switch - in the normal setting it is like a Dynacomp; basically, the Dynacomp boosts the treble a bit before the compression stage of the circuit, and cuts it again after that stage (probably to get less noise) - what that switch on the Janglebox does in the "Bright" setting is getting rid of that treble-cut cap after the compression stage (so the treble remains boosted), and in the "dark" setting cut out the treble boost before the compression stage.
The Jangleboxs are great but they are a little expensive. The Soul Preacher is a pretty decent compressor for not a lot.ultratwin wrote:I found THIS from fellow B16 Telecaster dude on the TDPRI rather provocative. If the most significant difference between a Dyna Comp and a proper Janglebox BRIGHT position is a single capacitor, I reckon more people will try it at home. I'm half-scared of soldering irons, but this admittedly made me rather curious:Johno wrote:cheers for the review, sounds kinda like what i'm after although i will prolly pursue a cheaper route.
RomanS wrote:The Janglebox has a "Bright/Normal/Dark" switch - in the normal setting it is like a Dynacomp; basically, the Dynacomp boosts the treble a bit before the compression stage of the circuit, and cuts it again after that stage (probably to get less noise) - what that switch on the Janglebox does in the "Bright" setting is getting rid of that treble-cut cap after the compression stage (so the treble remains boosted), and in the "dark" setting cut out the treble boost before the compression stage.
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timhulio
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A Rickenbacker, surely?JangleBox® began as an idea to try to capture a sound: the bright ringing chime that was popularized by the Beatles, enhanced by the Byrds, and has since worked its way into the sonic palettes of scores of artists and rock bands including Tom Petty, R.E.M., the Pretenders, the Church, Teenage Fanclub, the Smiths, and many others. It’s a timeless sound that has transcended its origins. That sound is what our name is about.
