The Mono Synth and Bass Mono Synth pedals are the newest additions to Electro-Harmonix's growing palette of synth emulations for guitar and bass.

Electro-Harmonix has a deep history of producing pedals that can take a regular guitar or bass betoken and spit out an otherworldly synth sound, be information technology gritty, jagged, or smooth.

Pedals like the MicroSynth and Bass MicroSynth accept long been favorites both in the studio and on stage for their characterful analog filter and slider-filled UI, making it easy to dial injust the right settings, even using a toe. However, both retail for more than $250, and both lack the ability to save presets.

A few years ago, Electro-Harmonix unveiled the Synth9 Synthesizer Machine, a polyphonic pedal that gave you the selection of using one of nine classic synth-emulating voices, and allowed for the storage of nine preset sounds. The Synth9 was a huge hit, as were the other entries in the series: the Mel9 and B9, which emulated the Mellotron and Hammond B9 organ, respectively.

Now, there are two more pedals that take a bit from the previous designs simply likewise add together something new. Unveiled at NAMM 2019 forth with the recently re-visited Attack Disuse pedal, Electro-Harmonix'sMono Synth andBass Mono Synth are two new takes on processing your guitar or bass signal and turning it into a very disarming synth audio. With eleven different synthesizers on each to choose from, let's see if these pedals proceed in EHX's long-standing tradition of producing cut edge products.

Features

Five knobs beautify the front end of both the Mono Synth and Bass Mono Synth: a knob for choosing the synth emulation, a dry volume knob, a volume knob for the synth sound, a sensitivity control (which as well has some dual functionality—more on that later), and a unmarried "Control" knob that modulates a key parameter or two.

The 2 pedals share the same layout and design, though the Bass Mono Synth has been optimized for bass bespeak. Both are purely monophonic, unsurprising given what'due south on the tin. Playing polyphonically makes either pedal produce a digital splatter that isn't very pleasant. Both pedals work all-time starting time in the chain and are especially sensitive to your note length. Overhanging notes will confuse the pitch detection, and then playing with a slight palm mute helps proceed things separated.

Each model features an input and a pair of dual outputs—i for the dry signal and one for the synth sound being generated (the dry book knob only controls the dry level for the Synth output). This is handy and makes using the Mono Synth pedals in a larger rig easier, as it's possible to maintain a dry out signal for other processing. And as mentioned, each features the ability to store xi preset sounds; essentially one knob position for each synth module sound.

Both pedals feature an expression pedal input, which allows control of a 2nd parameter other than the one being controlled by the Control knob. Frustratingly, at that place'due south no manner to bandy which parameters the knob or expression pedal controls. What y'all become is pretty much what you are stuck with, which is a shame because often the parameter that makes more than sense to tweak is assigned to the pedal. Having an expression pedal is primal to getting the most out of either the Mono Synth or Bass Mono Synth.

Saving presets is simple. Press and concord the left footswitch for two seconds to save a setting, which includes settings for all of the knobs and the expression pedal. The two pedals utilize dissimilar names for each of their synth models, and these are a bit abstract, especially compared to the more recognizable names on the Synth9 pedal that recalled the models they were emulating. On the Mono Synth, the acid emulation is called "XOX" whereas on the Bass Synth a similar sound is called "Acrid." Perhaps the legal team had to step in at that place.

In Employ

Taking a expect at the available sounds on the Mono Synth shows there are 80s synth popular and new wave tones aplenty. "Nu Wave" works well as a cord emulation, whereas XOX works as a surprisingly suitable acid emulation. In a few of the models, the Sensitivity knob besides controls the range of filter sweeps. This can atomic number 82 to a bit more sonic variation simply can too make setting an advisable sensitivity level a flake more challenging. "Blister" featured a nice adjustable detune, producing a warm, warbly tone, while "Ghost" uses a soft vibrato with a slow filter envelope to great effect.

The Bass Mono Synth pedal has enough to choose from as well, including funky Moog sounds, depression sub octaves that will truly shake the ground, and a percussive sound called "Growl" that works wonders for replicating a punchy analog synth bass. The bass version of the pedal also paired peculiarly well with overdrives placed later in the bespeak.

To Be Disquisitional

Nosotros had a few minor complaints with the Mono Synth and Bass Mono Synth. As mentioned, information technology would accept been preferable if the expression pedal had the option to control either parameter for each synth sound. For example, in the "Wub" voice setting, the Command knob sets the speed of the modulation, while the expression pedal is set to command the filter'southward center frequency. Reversing those roles would have been more than useful.

And once more, there can be high-pitched digital noises when the pedals don't runway well, so your playing definitely needs to be adjusted to take this into account.

Summing it Upward

Electro-Harmonix took a elementary idea and executed information technology well with the Mono Synth and Bass Mono Synth pedals. Both are easy to use inside minutes of unboxing. The suggestion of xi useful synth sounds in a single pedal is indeed inviting for both guitarists and bassists, and the expression pedal and ability to relieve settings make these useful additions to your pedalboard.

So who will these pedals appeal to given the other options from Electro-Harmonix? The Synth9 is polyphonic and has 2 control knobs instead of 1, and information technology uses a preset naming convention that is a bit easier to follow. Nonetheless information technology's likewise more than than a $100 crash-land in toll, as are the MicroSynth and Bass MicroSynth, which take even more user control given their full array of sliders.

Merely for those who are looking for a quick, surefire way to add a new palette of timbres to their iv- or six-string instruments (and don't need a whole lot of tweakability) Electro-Harmonix'due south Mono Synth and Bass Mono Synth pedals will certainly fit the bill. At $125 each, they are a worthy and fairly risk-complimentary investment.

Leo Maymind is a producer, DJ, and writer living in Los Angeles, CA. He is obsessed with sound, and you can reach him at lmaymind@gmail.com.

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