undulating sound than the Orianthi chorus.
And having both on tap really was like having two very different chorus pedals in front
of me—one more analog flavored, the other
a more radical and pulsing sound—but
both very useful for drastically changing the
mood of a single arpeggio to accentuate a
bridge section or chorus. Those very different sounds had me wishing I could switch
between them with an additional footswitch rather than having to use the pedal’s
onboard knob. Given the compact and
standard footprint of the TonePrint pedal,
that would require a tricky bit of engineering, but it’s a touch that would make the
pedal a lot more useful onstage.
The Vortex Flanger—like any flanger—is
not an effect for everyone. Hendrix afi-
cionados looking to capture some of the
studio moods from Electric Ladyland will
always find a place for flange stylings. But
in most cases, they aren’t for the faint-of-
heart. That’s no different for the Vortex, but
its price and the flexibility afforded by the
available TonePrints makes this unit a more
versatile and attractive flanger than most.
HELP, John Lennon, Paul McCartney, ©1965, ®1993 Sony/ATV Tunes LLC