WAY HUGE
GREEN RHINO
OVERDRIVE
MKII
In its original incarnation, the Way Huge
Green Rhino was one of those effects that,
in the eyes and ears of some players, grew
to be more adored than its inspiration. Way
Huge’s take on the TS-808 was never built
in large numbers but it was treasured for
taking the Tube Screamer tone template and
widening its sonic spectrum.
We gave this reissue a Premier Gear
Award because it so beautifully manages to
pull the same trick twice. As we noted in
our original review, the Green Rhino jumps
off from the bluesy, thick tone made popular by the Tube Screamer and adds a little
more clarity, low end, and bite.
Reviewer Jordan Wagner praised it for
“delivering gritty, vintage blues tones with a
little extra width and clarity.” He also noted
that the “ 100 Hz boost/cut control is capable of transforming the Green Rhino from
a blues lead powerhouse into a gutsy, stand-alone overdrive that preserves pick dynamics
for everything from 16th-note riffage to
Stonesy rhythm work.” It’s enough to make
us scream, “Welcome back Rhino!”
jimdunlop.com
DUMKUDO
OVERDRIVE
When we first heard about the Dumkudo
Overdrive, it was in hushed whispers of
a “Dumble in a box.” As it turns out, the
Dunkudo Overdrive is much more than
that. Gear Editor Charles Saufley declared
that it’s “one of those seemingly living,
breathing pieces of musical gear that will
talk back to you, point you down a dif-
ferent path, and holler encouragement.
Or give you just what you need when you
want to play it safe and speak up within
your comfort zone.”
PG found that the three switchable
voices give the Dumkudo a flexibility that’s
“bound to appeal to everyone from blues
and roots-rock players that like a little more
horsepower under the hood to jazzers will-
ing to dabble with more impolite tones.”
The Dunkudo can move from mellow to
menacing at the drop of a hat—and it looks
pretty freaking cool doing it, too.
tanabe.tv
GOODSELL
VALPREAUX 21
We were onboard the minute we heard
that Richard Goodsell was building an
amp powered by 6973 tubes—the tube of
choice behind many low-to-mid-powered
1960s Valco, Supro, and Gretsch amp circuits. We also knew that in the hands of
Goodsell it would become something very
special all on its own.
Editor in Chief Shawn Hammond dug
the wide range of tones, from the fat and
slightly scooped Wes Montgomery sounds
to the bright, biting, and twangy textures.
But he was bowled over by the tremolo,
remarking “I’ve never encountered a warble
that sounded so fat and three-dimen-
sional… at about 10 o’clock and Depth
cranked—it was like Hendrix playing
“Machine Gun” through a Leslie!”
We’re used to Richard Goodsell build-
ing great stuff. It was especially nice to see
him venture out from the tried and true
templates this time around—and with such
spectacular results.
