DOD Boneshaker


Do you guys mind text reviews? I originally had a full demo but the audio data was lost. :/ Either way, I did record a little track to give it some musical context. I used an AC30 and a 72 Reissue Tele.

Anyways, here are my thoughts (and some information you might not know about the pedal).
The DOD Boneshaker is a new dirt box from Digitech/Black Art Toneworks. It boasts a tight range for extended range guitars and basses. It has 9 parameters: Gain, Depth, Volume, Bass Freq, Bass Freq Gain, Mid Freq, Mid Freq Gain, Treble Freq, Treble Frequency Gain. Yes, it has a 3-band parametric EQ. It is also a very gainy pedal, that track had the gain at the minimal setting.

As far as tonality goes, I would say it is a blend between fuzz and overdrive. It is not something in between the two, but a blend. The raspy, fart-y fuzz characteristics are really present when boosting certain frequencies or cranking the gain. The uncompressed, openness overdrive are also apparent at lower settings. But throughout the whole range of the gain, the Boneshaker blends the two into something aggressive and unique.

The Para EQ works wonders. That feature alone makes it a very versatile dirt box. It can help any guitarist match their rig, whether they might want to cut highs with an AC30 or boost mids with a HRD.

When I first got my pedal, I thought it was broken. I noticed that the gain knob and the frequency selectors didn't seem to do anything before 12 o' clock. I posted in the DOD Boneshaker thread and Tom Cram replied. Those long throws are actually to help give "different shades of grit" and to "overdrive the eq". When I was demoing the pedal (which I lost :c) I didn't notice such a thing very much, although you can somewhat tame the pedal as well by cutting the EQ some on the long throw of the frequency selectors. So rather than reducing just one frequency, you kind of have 3 tone knobs for a whole EQ band. I imagine it would be more apparent with extended range guitars/basses. As well as you can adjust the individual frequencies as well. The depth knob as well is noticeable for me at higher gain settings, but of course would work wonders for low instruments.

As far as build quality, I'd say I'm most worried about the switch. It is surely not a soft touch switch, and I don't imagine you would ever use this rowdy pedal in a case where a loud clink would be distracting or even heard. That rough clink is the same kind of clink the EHX Soul Food has, and the switch mine has is on its way out. But I'm going to get some 3PDT switches soon anyway.

To be honest, when I first actually worked with the pedal, I was a little disappointed. Not because I was expecting to sound like all the demo artists who I listened to, but because I couldn't get out of it what I thought I could. But the longer I worked with it, the more I could coax that aggressive, dark-mid, sparkly grime I wanted out of it. Works great for solo lines as well. Into the EHX Soul Food, the mid boost and added gain gives the tone a full character.

My settings (clock positions): Gain: 12, Depth: Max, Volume: 12+, Bass F: 1, Mid F: -Max, Treble F: 2, Bass G: 1, Mid G: 1, Treble G: 2

8/17/2015: With a bit more experience, I've learned that this pedal really likes bridge humbuckers. Especially with the treble cut just a bit, the bridge setting helps to fulfill some gnarly tones. With the neck humbucker setting, the lower bass frequencies send the sound into a thumpier, rounder tone. I now use settings like what LRGD uses in his intro clip, a bit less highs cut though and a higher midrange emphasis.
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