Strymon iridium metal4/20/2024 The tones are less stylised and produced-sounding than those offered by most modelling units, but that’s a good thing. Kicking off in Chime mode, we’re struck by how dynamic, responsive and amp-like the Iridium feels under the fingers. With a high-performance 32-bit floating-point SHARC ADSP-21375 processor working together with an ARM co-processor to deliver 24-bit 96kHz 500ms impulse responses, there’s certainly enormous sophistication under the hood – and five years of R&D has paid dividends. Experienced submariners can go even deeper with an external expression pedal for controlling parameters in real time, while MIDI unlocks control automation and 300 presets.Īlthough there’s extraordinary versatility on offer here, Strymon has managed to repeat its now-familiar party trick of extracting a great deal from a modest array of controls. The ability to bypass either the virtual cabinet or amplifier-modelling tech adds additional strings to the Iridium’s bow and, if you really want to venture into uncharted territory, it’s possible to load any 24-bit 96kHz WAV impulse response into the unit – this could include acoustic instrument body resonance or even samples of other music. Like some other Strymon pedals, alongside the footswitch that toggles the unit on and off, there’s also a favourite switch for instant recall of your go-to setting, regardless of how the knobs and switches are currently set. The knob’s secondary functionality (accessed by pressing and holding the main footswitch) allows you to flip between a small, medium and large room. Strymon describes this as a hybrid reverb, combining 256-millisecond stereo impulse-response captures of real rooms with the company’s reverb-tank algorithm. In addition to the master level knob, there’s a healthy splash of ambience available via the room control. ‘Punch’ is based on a 100-watt Plexi with additional gain on tap after two o’clock on the drive control. The ‘Round’ voicing is based on the Normal channel of a Deluxe Reverb (another amp that traditionally doesn’t have a middle control) and it delivers the original fixed-resistor value with the mids centred, with more scoop when you back it off and Tweed-style midrange entering the fray as you head clockwise. ‘Chime’ is modelled after the Brilliant channel of a Vox AC30TB and sees the middle control operate as a tone cut, providing high-end roll-off. Tone-sculpting is carried out via drive, bass, middle and treble controls and, like the real thing, the tonestack in each amp model is nuanced and interdependent. Each of its three onboard amp models comes with its own trio of impulse-response speaker-cabinet simulations, but if you have pre-existing favourites, you can hook the Iridium up to a computer via its USB port and load in third-party IRs via Strymon’s Impulse Manager software. Whether you are using the Iridium in stereo or mono into a PA system or audio interface, or as a headphone amp via the mini-jack socket at the front, the concept is the same. The verbs pretty much defined the Ambient period that has been so popular with the modern guitar player.While it might look like an everyday stompbox, it’s helpful to think of the Iridium as an amp itself, sitting at the end of your signal chain the way one of the three vintage amplifiers it simulates might – albeit with a considerably less strenuous load-in. Whether that be the El Capistan Tape Delay (it’s an emulation – not an actual Tape delay) or their Timeline which has everything from Slapback to ambient dual delays. Their delays and verbs are really where Strymon have made their mark. These pedals are slightly more affordable but offer the same great tones in a more traditional format. They have got smaller, dual footswitch pedals for specific applications too like the Riverside cascading overdrive and the Deco guitar doubler. These pedals are quite large but considering the fact that you can get all of those tones, their size doesn’t really matter. On the higher end of the spectrum you’ve got their powerful digital pedals that can easily control a number of parameters and dial in pretty much any sound you can think of. Their bread and butter is the delay, verb and modulation range. The Strymon pedal range is vast and even includes overdrive and distortion pedals. These pedals quickly gained a name for themselves and they’ve since won loads of awards and are coveted by guitar players all around the world.Įxpect these pedals to be in the history books along with the Roland Space Echo, The Strat and the Les Paul. In 2009 production moved under the Strymon name where they developed their digital pedals and the rest is history. Strymon Pedals started out as Damage Control in 2004 with a line of tube-driven pedals. These American-made pedals are not only built like tanks, but they offer incredible tones too.
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