If you’re a fan of ring modulation, you’re in the right place. Stick around as we unravel the mysteries of these fascinating units discussing pedals from leading brands like Meris, Electro-Harmonix, Alexander Pedals, Fairfield Circuitry, Moog, and Digitech.
For those who prefer more conventional pedals to express themselves musically, these modulation pedals may be a tough pill to swallow. This is perhaps because ring modulators handle most of the responsibilities of creating sounds making the guitar player put in minimal effort.
This is why purist musicians avoid the unpredictability surrounding these pedals. However, this air of uncertainty is part of the ring modulator’s charm, as it keeps you wondering what kind of glitchy artifacts will be created in reaction to your guitar signal.
Let’s get into the topic and get better introduced to some innovatively executed pedals. But first, a good place to start would be to answer some crucial questions.
In a nutshell, here is our selection of the best ring modulator pedals:
2. Electro-Harmonix Ring Thing
4. Fairfield Circuitry – Randy’s Revenge
7. Electro-Harmonix Frequency Analyzer XO Ring Modulator
What does a ring modulator pedal do?
In general, ring modulation is all about the multiplication of various frequencies. Typically, you’ll see that modulator pedals combine basic waveforms like square or sine waves with a modulated signal. This gives way to aggressive metallic sounds, octaves, pitch shifts, and even effects reminiscent of chorus and tremolo.
Where do you put a ring modulator in a signal chain?
Usually, an effects chain is arranged so that the first thing your guitar signal goes through is distortion and overdriven effects. This is followed by the modulation section, which may include chorus, tremolo, flanger, and the like. Your ambient time-based effects come next. These include reverbs, echoes, and delays.
Placement is vital when deciding to add ring modulation to the effects chain, but a few options can work. The best results have been experienced with the ring modulation pedal at the end of the effects loop. However, music is all about experimentation, so other placements may also work. It’s all a matter of preference.
Top 7 Ring Modulator Pedals For Bass & Guitar 2023
1. Meris Enzo Multi-Voice
This beautiful bright golden pedal is a Godsend, combining a truckload of fascinating effects to create mesmerizing soundscapes.
When you first look at it, you might think you’re gazing upon a new-age Fender pedal thanks to its dimensions and appearance. However, you’ll notice nothing conventional about this extraordinary unit that can turn your electric guitar into an unrecognizable ambient unit.
If you’re looking for expansive tones and immersive sonic experiences, the Enzo offers delay effects, filters, synth-based oscillations, chorus/flangers, and, most importantly, ring modulation. With all this and so much more, the Multi-Voice will rock your world through and through. Brace yourself and get ready for the joy ride.
The pedal measures 2 inches by 4.25 inches by 4.5 inches. The upper section has four knobs that control different aspects and modes. Apart from what’s labeled under each knob, you can activate their alternate functions by pressing and holding the “ALT” backlit button above the left footswitch.
Starting from the top right corner, the large “Mix” knob controls the merge between your dry sound and the processed signal. You can keep the Mix level down for subtle modulation that supports the main melody or completely drown your original signal in all-out modulation. The same knob can also dial in the Delay level.
- Sustain & Ring Modulation
A great feature on the pedal is the “Sustain” control. With it, you can choose to have a short, abruptly ending sustain or a lengthy ringing effect that lingers into the wee hours of the night. You can quite literally dial in infinite sustain here, like the ending to the solo of “Nothing Else Matters” by Metallica. Alternatively, this knob can also make frequency changes to create impressive ring modulation effects.
The “Pitch” knob is marked “-2 Oct” and “+2 Oct” on both extremes. As you would’ve guessed, this is where you get to change the octaves of the dry or wet signal depending on the ratio set by the Mix control. The octaves are incremented in half steps when the knob is rotated in either direction. When the alternate function is activated, you get a “Portamento” effect where the synth circuitry moves from one note to another in a silky-smooth transition.
The “Modulation” knob also has multiple responsibilities. Depending on the chosen Synth voice, the Modulation control will affect the tonality of the oscillation by detuning it. This gives way to a subtle, out-of-tune effect that sounds unique yet musical. The second parameter you can control through this control is the feedback on the delay. When the knob is turned up, you’ll increase the number of delay repetitions. The repeats can be switched off by turning the knob down fully.
Pressing the backlit button on the right side can tap into four Synch modes. When in “Dry” mode, the synth engine is disabled, allowing the application of pitch changes, filtering, and delay to the signal fed through your guitar. The “Arp” mode, short for arpeggiator, creates sequences based on chords being played. You can also adjust the tempo of the arpeggiator circuit through the tap tempo footswitch. The other two settings include “Poly” and “Mono” modes. Here you can make use of multi-voice synth sounds or monophonic oscillated synths.
- Filter Controls
The filter section comprises two knobs in the middle of the pedal. Use the upper knob labeled “Filter” to adjust the filter’s cutoff frequency. Secondly, pressing the ALT button and rotating this knob will give you access to 6 filter types, including Ladder Lowpass, Ladder Shelving Bandpass, Ladder Highpass, State Variable Lowpass, State Variable Bandpass, and State Variable Highpass. Finally, the “Filter ENV” or filter envelop knob sets the attack and decay sensitivity. You can also adjust the width of the filter using the alternate function of this knob. The filtering will be abrupt and profound, with the bandwidth set to a narrow setting. Conversely, a wider bandwidth gives a more gentle filtering response.
The “Tap” footswitch is all about setting the tempo of the delay and arpeggiator section. Alternatively, you can use this switch to toggle between Triggered Envelop and Envelop Follower. Finally, a quick function the tap button has is the ability to crank the delay feedback up to the extreme value. The “Bypass” switch activates or deactivates the unit. You can also use the Alt button with the switch to toggle between the Square and Sawtooth waveforms.
All four ports on the top panel are seen configured on quarter-inch jacks. Starting from the right, you’ll find a 9V power input. Next is an “Exp/Midi” input for taking commands from a Midi device or switching between two different overall settings using an expression pedal. Lastly, the Enzo offers stereo outputs and an input jack for plugging in your guitar.
The Meris Enzo is a powerful pedal that beautifies the sound of your guitar beyond recognition. The mechanics inside this golden unit are capable of wonderous things, like offering 6 filtering options and 4 synth modes. The knobs and footswitches are creatively engineered and have alternate features that perform several vital functions in an instant.
With all the fantastic capabilities of this impressive unit, there are a few shortcomings worth mentioning. For instance, it’s easy to get lost in the controls, and dialing in the tones that you have in your head is not the easiest. Secondly, pressing the Alt button and rotating knobs to gain the hidden features is a pain when bending down on a live stage to make quick adjustments.
2. Electro-Harmonix Ring Thing
Here’s a unit that can create exciting effects like chorus, flanger, tremolo, harmonies, and pitch shifts.
As far as ring modulators go, the options are few and far between. But wouldn’t it be great if you could find a pedal with a robust modulation circuit that could dish out multiple modulation modes and hand enough controls to offer further manipulation and tone shaping?
Well, this is where the Ring Thing comes in. Electro-Harmonix has never been shy of thinking outside the box and delivering something unique for musicians the world over. This innovative pedal is designed primarily to add a new flavor to your guitar sounds.
The top right corner has a white “Mode” knob to help dial four modulation types. “Ring Modulation” (RM), “Upper-Sideband Modulation” (UB), “Lower-Band Modulation” (LB), and “Pitch Shift” (PS). The Mode selection is made by pressing the white knob and rotating it till the desired mode is selected. Most of the knobs will change in functionality according to the four settings.
- Ring Modulation
In Ring Modulation mode, you can adjust various variables, like setting the pedal’s carrier frequency and effect tonality through low pass filtering. Let’s see how each control behaves when Ring Modulation is activated. The “Blend” knob works as a standard mix control in each mode. Rotating the Blend knob sets the ratio between the dry and processed signal. Using the “Wave” knob, you can select the waveform to any of the five options, including Triangle, Ramp Up, Ramp Down, Square, and Sine. The “Filters/Rate” sets the frequency of filtering in the lower echelon. In addition, the “Fine/Depth” control adjusts the modulation frequency, while the “Coarse” knob sets this frequency over a much wider range. Lastly, pressing the Preset/Tune footswitch on the left and playing an instrument will set the carrier’s tuning accordingly.
- Upper-Sideband Modulation & Lower-Sideband Modulation
The “Upper-Sideband” modulation works uniquely. Here two sidebands are created at varying distances from the carrier frequency. The upper band is set to the left output, while the lower band is outputted through the right output. The “Lower-Sideband” modulation works the same way. The only difference is that instead, the lower band is sent to the left output, and the upper band is outputted to the right output. The Blend knob controls the wet vs. dry signal ratio, and the Wave control shapes the waveform by throwing exciting deductive harmonics into the mix. You can also set the modulation frequencies of both effects here. Finally, the Filter/Rate control sets the low pass filter’s cutoff frequency. Here too, the tuning of the carrier can be set by long pressing the left footswitch and playing a guiding instrument.
Depending on the settings, this mode takes your guitar signal and pitches everything up or down, All the notes will stay true to each other, and their harmonic relationships will be maintained. Some of the controls react in the same way as in other modes. For instance, you can choose the waveform to set the modulation and blend the wet/dry signal. Furthermore, thanks to the available controls, you can change the depth and rate of the modulation and tweak the pitch shift amounts. The Course knob is essential as it helps set the amount of pitch shifting that will occur. When centered, there’ll be no pitch shifting. Moving in either direction will increase or decrease the pitch by a maximum value of 2 octaves.
- I/O & Expression Pedal
The top of the unit has a 9V power input. Towards the right is the input section with connections for an expression pedal, an instrument, and a “MOD” input jack to accommodate the signal from an external oscillator. Finally, the left panel has stereo outputs. The expression pedal controls the modulation’s frequency in the Ring Modulation, Upper-Sideband, and Lower-Sideband modes and manipulates the pitch shift in the Pitch Shift mode.
The Ring Thing will work wonders for all you guitar players who like to deviate from conventionality and are open to experimentation. With four comprehensive modes that drastically change the behavior of the modulator and tons of waveforms and pitch-shifting options, you can surely enjoy this unit for hours.
Measuring 7 inches by 1.95 inches by 3.5 inches, this pedal isn’t exactly a space saver and will stick out on your pedalboard like a sore thumb. Also, it’s hard to find it in the open market, and it doesn’t come cheap either. However, considering the modulated goodness it’ll bring into your life, you might be inclined to overlook all this.
3. Alexander Syntax Error
Here’s a pedal that will take you back to the golden years of your childhood.
Do you remember the crazy screeching dial-up sounds you’d hear just before connecting to the internet superhighway? Or better yet, maybe the theme songs from those addictive games you played on your 16-bit console still echo in your distant memory.
The Syntax Error will undoubtedly remind you of familiar tones when you experiment with a guitar plugged into it. This pedal from the NEO series employs 32-bit microcontroller technology and will drown you in a whirlpool of crazy sounds.
- Layout & ALT features
This colorful little pedal has a four-knob layout. However, looking closely, you’ll see how some knob controls are marked with multiple features. These alternate functions can be accessed by the big round red “Select” button in the center of the interface. The button itself has dual features. Pressing it down and rotating the knobs will change their hidden functions.
As the name shows, the “Sample” knob controls the sample rate. With this knob turned to the left, the sample rate is at its maximum, so you’ve heard any glitches or degradation in the sound. However, if you move to the right, the sample rate will decrease as the sound starts to break up, delivering some interesting artifacts. Alternatively, the Sample knob also controls the “Bonus” parameter, which varies according to the chosen mode.
This multipurpose control is beneficial as it serves two purposes. Firstly, you can decide which part of your overall sound to emphasize through the “Mix” control. You can turn the knob fully up to remove the unprocessed signal or decrease the Mix value to enhance the original signal. When the ratio is set, you can press the ALT button and use the Mix knob to control the volume.
- Code/Tweak & Modes
The section towards the right has the “Code” and “Tweak” knobs. Both of these control different aspects of the selected modes. Speaking of the modes, there are four settings that you can activate by tapping the red Select button. These include “Cube,” “Ring,” “Freq,” and “Stretch.”
To enter the exciting world of ring modulation, activate the “Ring” setting. There’s a lot of intricate tonal magic going on here. This setting is a perfect blend between sample and hold low-frequency oscillations and ring modulation. The modulation depth can be adjusted using the “Tweak” control, while the sample and hold circuit’s speed can be modified through the Code knob. If you want access to an equalizer to brighten or darken the tone, you can experiment with the Bonus knob. Moreover, if you want flat-out, no-nonsense standard ring modulation, simply turn down the Code parameter.
The “Stretch” setting is all about sampling and buffering. The dry signal is sampled and then sent into a buffer. Lots of fun adjustments can be made in this mode. You can control the buffer’s length with the Tweak knob or set the playback speed of the sample clock between a range of +1 or -1 using the Code knob. Finally, if you want to drown the effect with countless layers of echo, you can dial in more feedback using the Bonus control.
“Freq” is short for frequency. You may have guessed what this mode does. Deviating from the conventionalities surrounding pitch shifting, the Freq setting changes the pitch of the signal fed through but, unlike standard pitch shift pedals, doesn’t maintain the relationship between the notes. The Bonus control can create unique flanger effects and comb filtering. Furthermore, you can also vary the amount of signal that goes through the pitch shift processor. The intensity of pitch shifting can be controlled through the Code knob.
If none of the previously discussed modes tickle your fancy and you want to stay within the confines of normalcy, perhaps the Cube mode can be your go-to setting. This mode uses a distortion algorithm combined with low-pass filtering. You can easily adjust the gain by moving the Code knob while the Bonus knob manages the filter’s resonance.
The Syntax error not only looks great but does a great job of executing some of the modes. The controls are nicely engineered and do their job well, and alternating between the knob features is a cinch. The ring setting creates elaborate ring modulations, and the other three modes are also quite usable.
The pedal is excellent in its own right, but it is tough to come by now that the newer unit is out. The Syntax Error 2, although a little pricier, has a lot more to offer, including additional modes like “Air” and “Wave.” Indeed, if you can spare a few extra bucks, the newer model would be the better option.
4. Fairfield Circuitry – Randy’s Revenge
This crude-looking metallic box from Fairfield Circuitry is capable of wonderful things.
With the circuitry inside, you can dial in all sorts of different effects, including a combination of tremolo and vibrato, and of course, the primary purpose the peal was built for…rind modulation. The mysterious ring modulator engine combines clean tones with voltage-controlled oscillations for fascinating results.
The layout is simple but effective. Each of the available knobs carries out an essential function and is crucial in delivering profoundly eerie modulation effects. The switches, too, will give you access to additional features that modify the overall operation of the pedal.
- Volume & Mix
The knob on the top left controls the overall “Volume” of the pedal, acting like a master control. Below this is the “Mix” control that allows you to throw varying degrees of the wet and dry signal depending on the requirement. Turn the knob right to experience more of the processed signal.
On the bottom left is the “LPF” or low pass filtering knob. This control focuses all its attention on the processed modulated signal. The purpose is to choose the cutoff frequency and filter out the higher range. You can turn the knob clockwise to experience a brighter, more open sound.
Support the Frequency modification control are two toggle switches. Firstly, the waveform switch will help choose between sine and square waves for the voltage-controlled oscillator to respond to. Below this is the “HI/LO” switch designed to control the operating range of the VCO. In the lower setting, you’ll experience a frequency range of 0.5hz – 45Hz, creating pronounced tremolo/vibrato effects. When set to Hi, the pedal delivers hardcore ring modulation within a range of 18Hz & 2.4kHz.
The large knob situated in the center of the pedal labeled “Freq” is the key. You can manipulate this knob to control the summing of different frequencies. In essence, the rate of the voltage-controlled oscillator can be set using this control. You can dial in varying octaves by manipulating the VCO. When the onboard switch is set to Lo, you can control the speed of the trem/vibe using the Frequency knob.
- Connections and more
The Randy’s Revenge pedal measures 3.9 inches by 4.6 inches by 2 inches and boasts an internal circuit board that offers true bypass operation. Powered by a 9V power supply, this Canadian-made ring modulator has top-mounted connection jacks, which include an instrument input, an amp output, and a jack for a control voltage interface.
You can dial in a wide array of effects from just this unit. Part of the charm of the pedal is not knowing what you’ll end up conjuring. Anything from wavering tremolos, oscillating vibratos, crazy ring modulations, and even phase-like effects, the possibilities at your disposal are endless.
It’ll take some time and in-depth knowledge of the controls to understand their relationships relative to each other and the function each of them is programmed to perform. However, once you get everything down, sit back, relax, and let the good times roll.
5. Moog MF-102 Ring Modulator
A unique-looking pedal, the MF-102 furthers the legacy of the original modular synthesizers by Moog.
This exciting newer unit, built under the close supervision of Bob Moog himself, is a force to be reckoned with and brings forth a combination of three exciting processing circuits. In the MF-102, you get a voltage-controlled dual waveform LFO and a voltage-controlled carrier oscillator.
The third thing the pedal delivers is the classic ring modulation that made its predecessor famous. All of this packed in a rugged package that performs equally well in a studio setting or on a live stage, the MF-102 will undoubtedly turn some heads and tickle the fancy of your audiences.
The pedal is organized into two sections. The “LFO” or low-frequency oscillation section will be discussed first. The control column has an “Amount” knob, a waveform switch, and a “Rate” knob. The Amount knob sets the intensity of the frequency modulation caused by the low-frequency oscillator. As this knob is turned to the right, the modulation affects the carrier oscillator over a range of three octaves. The Rate parameter is time bound and helps set the oscillation speed within a range of 0.1 Hz and 25 Hz. Finally, the horizontal switch between the two knobs toggles between square and sin waveforms.
The modulator section is laid out in a similar fashion. Here you’ll see a “Mix” knob and a “Frequency’ knob. The Mix knob will control the ratio between the dry and ring-modulated signals. When the knob is turned to the extreme right, all you hear is the ring modulation. Conversely, only the original signal can be heard when the knob is turned to the other extreme. You’ll need to experiment to find the required blend. Below the Mix, control is a switch that toggles between the “Hi” and “Lo” settings and a “Frequency” knob. Both these controls combine to set the frequency of the carrier oscillator. The Hi setting provides a range of 0.6 Hz to 80 Hz, while you’ll get a range of 30 Hz to 4 kHz when the Lo setting is toggled.
- Central Column
Between the two sections is another knob and a corresponding LED that indicate different aspects of the strength of the signal. The “Drive” knob will help add gain to the input signal coming from any instrument. The “Level” led will change color to show the amount of distortion applied. The color variations include yellow for light signal presence, green for when the signal approaches audible distortion, and red for strong signal presence.
- Expression Pedal Inputs & More
The MF-102 has outstanding expression pedal capabilities. The top panel has four connection jacks labeled Rate, Amount, Mix, and Frequency. As you may have figured out by now, each jack corresponds to a knob on the user interface. What’s great about the pedal is that it allows you to plug in the expression pedals simultaneously to control any of the four parameters. Below these ports is a series of connections labeled Audio Out, LFO Out, Carrier In, and Carrier Out. The instrument input can be found on the far left, while the 9V power input is on the top right of the unit.
This wonderful unit has a lot going on inside, offering separate processors for low-frequency oscillation and ring modulation. Furthermore, the multiple controls on the interface can be mapped to individual expression pedals so you can control them with ease to accentuate different passages of play.
As far as its functionality goes, this Moog unit is technically gifted. However, this elusive unit is hard to find, and even if you manage to get your hands on it, you’ll see that it comes with a hefty price tag. Finally, this isn’t the smallest pedal you’ll see, so ensure you have room for it on your board.
6. Digitech DOD-GONKULATOR
The Gonkulator dates back to 1969, when the original pedal by DOD was released.
Back in the day, the pedal had a 4-knob layout that controlled parameters like “Suck,” “Smear,” “Gunk,” and “Heave.” This was an attempt to combine DOD’s Grunge pedal in parallel with their Ring Modulation circuitry to bring out a unit that had the best of both worlds.
The newer edition of the classic Gonkulator is much more versatile. It has an additional “Frequency” knob capable of fascinating sonic applications, contrary to the previous iteration that had this control hidden inside as a trim pot. The pedal also offers true bypass.
- Gain, Distortion & Output
All three of these controls are very closely related but bear with us as we unravel each one. The “Gain” control adds gain to the input signal. As the Gain knob is turned clockwise, the signal is significantly boosted, almost to the point of distortion but not quite there yet. This is where the “Dist” or distortion knob comes in. You can quickly increase the distortion by turning the knob up clockwise. Finally, the “Output” knob increases the volume of the effect.
- Freq & Ring
Both the “Freq” and “Ring” controls work hand in hand. You can start by setting the carrier frequency, which will be dictated to the ring modulation circuitry to create its magic. Players can adjust the carrier frequency according to the key they’re playing in. Once the frequency is set, you can intensify the output of the ring modulation processor by turning up the “Ring” knob.
With all the controls the new Gonkulator brings, you’ll find several scenarios where the pedal can positively contribute to your sound. Turning up the frequency knob will help create harsh textures for heavy riffs or subtle harmonies when playing delicate guitar fillers or triads. Moreover, the Gonkulator accepts other effect pedals with open arms, so you can experiment with Fuzz or Overdrive pedals for several memorable performances. If you’re going through a day where ring modulation doesn’t sit well with you, simply turn the Ring knob down and use the Gonkulator as a simple distortion pedal.
- Other Fun Stuff
Sitting in the lower half of the interface is a single-foot switch tasked with turning the pedal on or bypassing the unit altogether. The nearby LED lights up when the pedal is activated. To the right, you’ll find a single quarter-inch input for your guitar. The left side has a quarter-inch output for amp connectivity. The top panel hosts a 9V power input. You can also pop in a 9V battery to run the Gonkulator.
The pedal can be a great addition to your pedal board as it kills two birds with one stone. You can use the Gonkulator purely as a distortion pedal or apply mesmerizing ring modulation to your clean tones instead. Furthermore, you can easily pair it with other effects pedals to unleash your creativity.
Although the ring modulation section sounds quite solid and provides unpredictable textures that are not only unique but very usable, the distortion circuity seems a bit bland and unimpressive. Surely, there are other pedals in the market that may provide a better solution in that aspect. Also, the blue LED is a bit too bright and can be a bit of a distraction in low-light conditions.
7. Electro-Harmonix Frequency Analyzer XO Ring Modulator
This offering from Electro-Harmonix looks simple enough but will surely surprise you when you get your hands on it.
Packaged in a textured silver metallic exterior, the analyzer is bulky and measures 7.25 inches by 6.2 inches by 3.2 inches. However, it’s still a much more compact version of the original EH-5000, the much bigger variant of the Frequency Analyzer pedal.
The ring modulator is more suited towards single notes playing as it layers octaves above and below the original note. Although there’s no limit to the experimentation that can be done with the pedal, things tend to get messy and unarticulated when you use it with chord work.
The “Blend” control is slightly different on the Frequency Analyzer. While it does the same task of merging the dry signal with the wet one, moving in a clockwise direction reduces the volume of the original note and enhances the processed signal and vice versa. However, here the wet signal adds two octave-based notes, one at the top and the other at the bottom of the original note fed through. You can increase or decrease the ratio between the two signals, but the overall volume doesn’t get compromised.
- Shift, Fine & Filter
The “Shift” and “Fine” controls work hand in hand. You can create immersive octave-based layers through the Shift control, producing as many as five octaves according to the played knob when the knob is turned fully clockwise. Once you’ve dialed in the number of octaves, you can further finetune the results by adjusting the “Fine” control. In the center of the interface, below the row of knobs, is the “Filter” toggle switch that can be switched on or off. When turned on, you can enhance the bass frequencies to add warmth to your tone.
If you haven’t had much experience with ring modulation pedals like this one, you’re in for a treat. Let’s let at this from the perspective of setting the key according to what you’re about to play. You can start by turning all the knobs down and playing the root note. Once you’ve got that original note ringing, you can rotate the Shift knob to match the pitch of the dry note, thus bringing the Frequency Analyzer in tune with it. Next, the Finetune knob comes into play for getting the pitch right within a single octave range. You can deviate slightly from the dry note’s pitch to create layered chorus-like vibrato sounds. Finally, the Blend control can be adjusted to create abrasive, glitchy ring modulations. Everything sounds in tune as long as you remain close to the selected key. However, as you vary the notes, the modulation will catch up.
- Other Stuff
Towards the right is a single quarter-inch jack for plugging in your instrument. On the left panel is where things get interesting. Here you’ll find two output jacks labeled “Effects Out” and “Dry Out.” As you would’ve guessed, the pedal separates your dry and processed signal so that you can send it out to two different amps should the need arise. One strange thing you’ll notice on the pedal is that it has a power input jack at the top, which takes 40V. But that’s nothing to worry about, as the good people of Electro-Harmonix were thoughtful enough to include a power supply specifically designed for the Frequency Analyzer.
The Frequency Analyzer isn’t anyone’s cup of tea. But as you get acquainted with the usage, you’ll hardly ever look towards another ring modulator pedal. The technically gifted modulator can create wonderful octaves and glitched artifacts that keep you guessing what you’ll hear next. The Blend knob offers a wide range of modulation to play around with.
The pedal is quite sophisticated and has a lot going on inside it. But beware that you’re not going to instantly know how to use it and apply it to a live gig the same night as coming to grips with setting the key and making music out of it that makes sense will take plenty of time and practice. Also, the 40V power requirement is very odd, and you’ll be in trouble if you lose or wreck the included power supply.
As far as ring modulators go, there aren’t many options since these pedals are few and far between. Ring modulators are much more illusive than more common effects like distortion, delay/reverb, chorus, flanger, etc.
However, we’ve put together a good lineup today, so you can grab any of the pedals for employing decent ring modulation effects in your playing efficiently.
The Meris Enzo is a powerful dual footswitch machine that offers pitch control, sustain, and all the ring modulation you need. The Ring Thing by Electro-Haronix is another great option, as it offers multiple modes, including upper-sideband, lower-sideband, and ring modulation.
The Moog MF-102 and Fairfield Circuitry Randy’s Reverb can offer deliver waveforms to change the behavior of the modulation that occurs as a result of what you play. Finally, the Alexander Pedals Syntax Error, Gonkulator Ringmod, and the Frequency Analyzer from Electro-Harmonix are all exceptional pedals with alternate controls and tons of tone-shaping options to get the amount of ring modulation just right.
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Sultan Zafar is a guitar player from Islamabad, Pakistan. He has been playing music with various mainstream musicians for over 20 years. He is a song writer and music producer. These days he spends his time exploring different music genres and collaborating with fellow musicians on various projects. Read more..