Click here to head online to
premierguitar.com/nov2010 or scan this QR
code with a mobile device to access sound
clips for all of the pedals in this roundup.
FEATURE
The first knob lets you select one of six standard waveforms including
square, sine, sawtooth, and echo, and provides another five positions
for user-customized waveforms. Four discrete LFO Time Division knobs
help you create complex tremolo patterns. You can also set the Time
Division switches to skip a step, multiply a step by various values from 1
to 16, or generate random steps.
Along with Audio In and Out jacks, the back panel has an LFO Out jack for
driving other devices, a Sync In jack to control the LFO rate with an external click track, and an Expression In jack, which lets you use an expression
pedal, along with the depth/wave knob, to control the LFO rate.
Complex Controls, Big Rewards
Guitarists who know their way around analog synths or know the basics
of LFOs will definitely have a leg up programming this pedal. It’s much
more complex and capable than an amp tremolo channel or even a
typical tremolo pedal, so you can anticipate a great deal of trial and
error on the road to mastering the GK3. But it’s capable of some amazing and unique sounds that range from the positively bizarre to otherworldly, yet totally musical and rhythmic guitar sounds.
Getting a handle on tremolo rates isn’t all guesswork. Each Time
Division knob has its own LED that indicates the speed or rate of the
division in the sequence. Getting a straightforward tremolo setting is
fairly easy: You select a sine wave and set each Time Division knob to
1. The result is a traditional tremolo sound similar to a blackface Fender
tremolo, but with more punch. Selecting a square wave and maxing the
depth knob creates an attack-heavy, chopping tremolo sound, while
the reverse sawtooth summons psychedelically flavored reverse-guitar
effects. And these are just a few of the nuggets that can be discovered
hiding in the circuits of this box.
The Verdict
As a standard tremolo, the Goatkeeper is exceptional. But to use it
exclusively for that purpose is like buying an iMac for its calculator.
And while it took some experiments that really annoyed the neighbors
and my cat, I started to grasp the Goatkeeper’s mojo pretty quickly.
My experience with synths shortened the learning curve somewhat.
The Goatkeeper can generate potent noise-rock effects suitable for
experimental- and post-rock sounds. It’s also very capable of broken
and scary industrial guitar rhythms, so an avant-garde player could
probably build an entire set around it. Indeed, the Goatkeeper may be
overkill for the tremolo traditionalist, but for the adventurous player, a
unique world of oscillation awaits.
RATING:
Space on many stages is at a premium. The large rigs of decades past are not practical for most gigging musicians. The 50-watt Pearl is perfect for those tight stages measuring only 20” W x 9” T x 8” D. It pairs perfectly with the Port City 2x12 and 1x12 OS Wave cabinets. Finally, there is the perfect option for a simple, clean, mid-wattage guitar amp all in a cabinet that doesn’t require a roadie. Discover the full line of Wave cabinets and Port City amplifiers at portcityamps.com.
336.577.1810
portcityamps.com
© 2010 Port City Amps
www.premierguitar.com
PREMIER GUITAR NOVEMBER 2010 185
