![]() The pedal is built in a solid aluminum box and other than the face label (which is available in different colours for different occasions) is pretty much unadorned. I use CIOKS power supplies specifically for their isolation and ability to select by port how much power is delivered. It runs on 9V DC, but can handle up to 18V DC and if your power supply can do that, I recommend it as it increases the overall headroom, and gives you a bit more openness. At $250 CAD you are getting a higher end overdrive that has a very wide range of tones with nice cleanup, good sweep on the tone control and a lot of flexibility when using the drive control. If I had to say that it was kind of like something else, I would suggest a Marshall Bluesbreaker. Regular readers know that I am not a fan of Tube Screamers, and the Lightspeed is definitely not one of those. ![]() It is referred to as a light to medium overdrive and delivers the kinds of tones that I favour. The Lightspeed may be the best known of the various Greer pedals. ![]() However, you do get a decent sense of what the pedal does, although in hindsight, I would probably back off the gain more on the Lightspeed. I did NO audio processing on the samples and you can sure tell. Due to timing and location, I did not use my Apollo interface, I ran the XLR out from the D20 into a RODECASTER Pro and as that device does not have a “line” option on the input, chose the EV RE20 mic type as it was the most neutral. For the first two pedals, I used the Axcess in single coil mode and for the Supa Cobra, I used the Axcess in Humbucker mode. For the Lightspeed it’s a Silverface Fender Twin, for the Royal Velvet it’s an AC30 and for the Supa Cobra, it’s a Marshall 1960A. I worked with Carl to get for a short time three Greer pedals to try out.įor the audio samples, which are never going to win fans, the guitar is a Les Paul Axcess running into a REVV D20 using the built in Torpedo with appropriate amp and cab sims. We got to talking and he shared that for what he played, he found that the Greer pedals did what he wanted in a clean interface with excellent reliability and low noise. Now that we can actually go into stores again, I was in the shop and met a fellow who had driven in from the town of Whitby (about 45 minutes away) because he had seen that the shop was carrying Greer. I’m not compensated to write this and while I am as always extraordinarily grateful to Carl the owner of the store for making kit available to me to test, he’s also smart enough to know that if I ask to test something, his odds are pretty darn good that the only thing about it that he will see again is a transaction. I was very pleased to learn that The Arts Music Store was going to be carrying gear. I choose guitars and amps based on clean tones, that’s my thing and if there needs to be some dirt, either get it out of the amp (which usually requires volume levels that many would find a bit excessive) or with a pedal. I want to try the pedal out, with a guitar that I know and an amp that I know. Goodness knows that there are plenty of pedals that one could buy that way. I don’t pick gear because some star uses it, or because I saw an interesting video, or because I thought it sounded good in a video. So what was driving this fellow to a small pedal company out of Austin Texas?Įnquiring minds and all that, but I couldn’t find out because Greer did not have a local reseller. One would be correct that Lee Anderton could pick any pedals that he wanted, Anderton’s is after all one of the largest online music stores in the world and well respected for regular videos extolling the joys of gear to help one make music. I first heard of Greer, watching Anderton’s Music videos where owner Lee “The Captain” Anderton kept coming back on his pedal board to the Greer Lightspeed. ![]() How many dirt pedals are enough? A question for the ages perhaps, but in the eyes of Nick Greer of Greer Amplification, the answer is the ones that give you the tones that you want.
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