Space and Beyond
Plugging in my Gibson SG, I first adjusted the pedal’s Input Sens knob,
a control that allows you to optimize your instrument level for the
Mini-Ark’s pitch tracking brain. This is quick and easy to determine
by ear, though the manual also recommends backing off the guitar’s
tone knob to allow the pedal to track without being confused by your
instrument’s natural overtones.
As long as you play notes articulately and accurately, the Mini-Ark will
perfectly track even speedy lead lines and subtle bends. As the pedal
tracks your pitch, it also sends your playing strength to the CV output,
allowing you to control any device with a CV input (including the Snazzy
FX “Tracer City” analog filter box) with your dynamics.
Even in the other, more radical modes, the Mini-Ark interacts dynamically with pick attack and other playing nuances, and you can mix the synth
sounds with your dry guitar signal. And though you may not always be
able to predict exactly what will happen, such weirdness mixed with a
sensitive touch can make the strangest sounds quite musical.
The Mini-Ark isn’t a plug-and-go pedal, particularly if you don’t have
analog synth experience. But it isn’t a complete bear to decipher, and
it can be very intuitive once you’ve spent some time learning how the
various controls affect your tone and one another. And as radical as
many of the sounds and applications can seem, there is a real expressive potential in this pedal that can enhance fairly traditional playing
when used as a texture. In a feature role, the Mini-Ark can inspire whole
directions for a song. However you use it, The Mini-Ark is your ticket
out of the been-there-done-that sonic doldrums.
With its large psychedelic silk-screened control surface, six knobs, three
rotary switches (one is named “Magical Selector”), two footswitches,
and two toggle switches, this pedal is likely to excite synth-gurus and,
at least at first, scare the pants off of everyone else. But even those
unfamiliar with analog modular synthesis can begin to unlock this pedal’s secrets with a modicum of effort.
The 6-position Octave selector allows you to set the VCO at different
octave positions (- 2, - 1, 0, + 1, + 2, + 3). The 8-position Interval knob lets
you select different harmony intervals. And the Hold knob is the volume
for yet another synth harmony set at a fixed octave below the input signal. Because each of these three harmony generators has a dedicated
Level knob, you can mix them independently.
you’re excited by a musical, all-analog
guitar pitch-tracker that expands your
you’re looking to perfect Clapton’s
Disraeli Gears woman tone.
The Mini-Ark also has a knob for setting the balance between synth
and instrument at the pedal’s Out jack. You can also divide guitar and
synth signals using the Square-wave output jack. This is particularly useful when you want to send your guitar to one amp and pipe the analog
synth signal in its pristine glory to a second amp or channel.
You can select various modes via the 8-position “Magical Selector”
switch. The first mode is straightforward pitch tracking that can be
modified with the octave, interval, and other controls. The other modes
contain algorithms that launch the VCO into noise, vibrato, swells,
multi-octave bends, and random pitch patterns.
198 PREMIER GUITAR NOVEMBER 2010