Guitar Pedal Review!Gizmo Audio Sawmill Plus,RIPSAW Distortion Pedals

Everything Guitar Network

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Price: $180 each

Likes: deeper OD and distortion tones

Dislikes: no internal battery connection

Wow Factor! USA-made pedals nail the OD

More info: GizmoAudio

by Matt Rubenstein
  These made in USA guitar pedals that were sent to me for review - the Sawmill Jr. medium/light overdrive”, and the “RIPSAW” high-gain distortion, are both the brainchildren of Charles Luke, president/designer of Georgia-based GizmoAudio.

  A wise man once said that “necessity is the mother of invention.” And these pedals are, literally, inventions – as the Sawmill Jr. is a patented design. And, because Mr. Luke, an engineering graduate of Georgia Institute of Technology, could not find the sound from the current crop of OD’s that he was hearing in his head, his invention was also a “necessity.” And considering that there are hundreds of different overdrives available on the market today, being awarded a patent on an overdrive design is, by itself, an impressive feat.

Features

  Both the Ripsaw and Sawmill Jr. are priced at $180 (direct order from the GizmoAudio web site.) , and are similar looking, high-end pedals. The key to the Sawmill Jr.’s signature OD sound is its MOSFET design, containing both internal bias for the locating the MOSFET’s “Sweet Spot” and circuitry for canceling non-musical intermod that allows for breakup that does retains the the guitar tone’s upper-end harmonics without the excessive “smear” that most pedals exhibit. The medium range OD features a 15V internal power supply for high-headroom. The controls include Drive, Tone, Bass Cut, and Volume.

 The RIPSAW is similar in its design and control layout, but it dishes out much higher amounts of drive for full-on distortion. Both pedals need external (power from a pedalboard or standalone wall wart DC power supply).

The audition

  For this review I used a Carvin Bolt hardtail “Strat” loaded with Lollar Tweed low output single coil pickups. I ran it into a Rivera Pubster 25, 25 watt 1 x 10 combo. I would consider the amp a Fender Princeton/Deluxe Reverb hybrid spin based on the power section of 2 6v6 power tubes. I ran the amp clean. This clean, fundamental set-up provides an easier way to isolate and identify the sound, and gain, coming from the actual pedals - as there is only negligible gain coming from the guitar and amp. I also kept the tone controls on the amp at Noon across the board - again, in an attempt to isolate the actual sound of the pedals. 

  Initially, there were a few design elements of these pedals that I felt were a little idiosyncratic, and created a slight “learning curve” in placing them on my board, and dialing them in. First off, the Input and output jacks are reversed from the typical location on pedals with top jacks. I was still able to wire them up side by side with 8” patch cables – which would be the most demanding scenario for patch cable length.  But the pedals were a little tight next to each other. But this could be easily remedied by running slightly longer patch cables (basically anything 9”or longer would be perfect), or by running either one of them between conventionally wired pedals.

  The Sawmill Jr. overdrive is a very versatile pedal that can, on a busy pedal-board, serve as both an “end of the chain” clean boost/tone sweetener/light overdrive, as well as a post dirt “refinery.”

  The other idiosyncrasy I discovered was the way that the volume control was tapered on the Sawmill Jr. With the gain dimed on the Sawmill, the tone at Noon, and the volume on “0”, the pedal was still mildly boosting the signal. This ultimately did not matter at all to me as even at this setting, the pedal was still giving me just the right, subtle volume boost I wanted. And I found the most useful drive settings to be between 12:00 and 3:00 anyhow, and at those drive settings, unity gain is easily achievable, if it is even desired.

  And finally, neither one of these pedals take batteries. But let’s face it, unless you are powering a Germanium Fuzz-Face with a carbon battery to get that extra 5 to 10% out of it, there simply is no need, or want for that matter, to use batteries to power pedals anymore. And these pedals also have unusually high power requirements for analog drive pedals, so a battery is really a non-option here anyhow. But, above said, the sonic attributes that both these pedals bring to the table far outweigh these slight, and very easy to deal with; just niggles.

Cutting with the Sawmill Jr.

  “Touch sensitivity” is undoubtedly a term thrown around in many pedal companies’ marketing jargon, and also a term that gets endless play and discourse on guitar gear forums. But, that said, The Sawmill Jr. Medium/Light Overdrive is certainly touch sensitive. With the gain at 3:00, the tone at Noon, the volume set to unity gain, and the bass cut toggle “off”, a gentle pluck of the guitar string yields absolutely no noticeable distortion. And as you start to dig in more, you notice various shades of mild “grit” that stay quite true to your fundamental tone – along with a slight thickening, as well as a touch more sustain. I found the subtle thickening ideal for my single coil equipped guitar. But if this particular effect is not desired, or if you use humbuckers, the “bass cut” toggle switch will afford you a different voicing. 

  While obviously not the same, the Sawmill Jr. can have a similar effect on your sound as a high quality, subtle, transparent compressor.  You hear more “information” coming off your fingers and your pick, and you get a bit more sustain - just like a compressor.  In fact, I would say that the Sawmill Jr. would be a good choice for guitarists who have been through several compressors before finally coming to the conclusion that sometimes, you just don’t want your pick attack “limited”, at all, by a compressor - like yours truly. 

Inside the Gizmos

  As far as overall gain range is concerned, I would place the Sawmill Jr. between a clean boost and a light overdrive. For example, it has less gain/saturation range than a stock Tube Screamer. And while the Tube Screamer, with its midrange emphasis, excels at “pushing” other pedals and amps - the “mid-flat” Sawmill Jr., really shines when being “pushed”.  The Sawmill Jr. made any dirt box I ran into it sound either equally as good but just different, or just flat out better. When running an original whiteface Pro co Rat into the Sawmill Jr., the iconic grit of the Rat smoothed out, the touch responsiveness improved, there was more sustain, more focus, and there was more body. It also had a very similar effect being pushed by a Keeley Modded Boss DS-1 

  One of the many guitar sounds this reviewer has chased over the years is Sir David Gilmour’s soaring Big Muff fueled lead guitar sound. And part of Gilmour’s “secret tone sauce”, in addition to having Pete Cornish on retainer, is that he ran his Big Muff into an overdrive/boost pedal - most notably the B.K. Butler Tube driver, or the Colorsound Overdriver.  But the “wrong” overdrive after a Big Muff, regardless of how you dial it in, can make the Big Muff sound “choked”, unfocused, and messy.  But this was certainly not the case with the Sawmill Jr. It really shines in this application. Placed after the Big Muff, the Sawmill Jr. smoothed out the grit without choking the sound, increased its focus, thickened it and made it sound even huger, and increased the touch sensitivity. 

RIPSAW tears it open

  The RIPSAW distortion pedal has a similar tonality to the Sawmill Jr. overdrive. But they don’t sound the same. I heard a slight midrange emphasis on the RIPSAW that I didn’t hear from the Sawmill Jr. Not anywhere near the pronounced iconic “mid-bump” of a Tube Screamer, but more of a subtle “seasoning”.  And this reviewer found that subtle mid-bump to be just what the doctor ordered when pushing the Sawmill Jr. The RIPSAW also happens to have the same exceptional “touch sensitivity” as the Sawmill Jr. And in regards to gain range, the RIPSAW is capable of considerably more gain than the Sawmill Jr. But I would still not classify the RIPSAW as a “high gain” distortion.   I would consider my Big Muff, my Rat, and my modded DS-1, high gain distortions. And all of these pedals are capable of considerably more gain/saturation than the Ripsaw. But if you want sublime, singing, mid-gain distortion – look no further than the RIPSAW.  

  I would consider my Big Muff, my Rat, and my modded DS-1, high gain distortions. And all of these pedals are capable of considerably more gain/saturation than the Ripsaw. But if you want sublime, singing, mid-gain distortion – look no further than the RIPSAW. 

  One of the most desirable guitar sounds this particular reviewer has ever heard, is the sound Larry Carlton achieved on his seminal “Larry Carlton – Last Night” live album. During that phase of his career, Mr. Carlton was not using his trademark Gibson ES-335. He was using a single coil EMG loaded Valley Arts hardtail “Strat”, into his Dumble amplifier. And just as the creator of the RIPSAW refers to the sound of his pedals as “clean distortion”, that is precisely how I would describe Larry Carlton’s sound on this album. And while myself, being a mere mortal, will never be able to play like Larry Carlton, I was able to enter his amazing “sonic arena” with the RIPSAW in my set-up. And then get even “closer to the stage” running the RIPSAW into the Sawmill Jr.

The verdict

  In summation, these GizmoAudio OD's are two unique, and great sounding drive pedals. The Sawmill Jr. overdrive is a very versatile pedal that can, on a busy pedal-board, serve as both an “end of the chain” clean boost/tone sweetener/light overdrive, as well as a post dirt “refinery.” Throughout my own, personal pedal odyssey, these are two tricks that very few ponies can pull off at the same time. And the Sawmill Jr. overdrive can pull off both these tricks with aplomb. And the RIPSAW distortion truly provides what its creator claims as “clean distortion.” By itself, it occupies a very musical, and hard to find, place in the “distortion spectrum.”  And when “pushing” the Sawmill Jr., just like everything else, the RIPSAW sounds even better. Overall, both pedals get our Everything Audio Network Grade A Award.

  Matt Rubenstein is a guitar player, and resident pedal reviewer at the Everything Guitar Network. He also spent 20 years in the pro audio industry.

Acoustic Guitar Review!New Martin D18 Standard Dreadnaught:“Mahogany/Spruce Favorite Gets New Vibe”

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Price: $2,899 Retail

Like: More bass, comfy neck

Dislike: this one had tight tuners

More info: Martin New D18 Standard

by John Gatski

  From the late 1930s, the standard bearer for mahogany dreadnaught acoustic guitars was the non-scalloped, braced Martin D18. From Bluegrass, Folk, and Country to Progressive rock, the D18’s cutting, crisp tone and rhythmic could do it all.

  For 2012, the D18 finally receives key performance upgrades that improves playability and gives it enhanced bass response and loudness — right out of the case. For the first time in 70+ years, there is no longer a standard, non-scalloped braced D-18; the new D-18 Standard, retail priced at $2,899, gets the forward-shifted bracing of the old D-18V. Couple that new bracing pattern with the new Modified Low-Oval/High Performance neck dimensions from the Performing Artist Series, and you got yourself one great USA-made acoustic guitar.

Features

  The new D18 Standard’s main ingredients are the premium sitka spruce top and genuine mahogany back and sides. A mahogany (or Spanish cedar) neck and ebony fretboard and bridge complete the wood trimmings. Other changes include the Modified Low-Oval/High Performance neck, brown tortoise shell pick guard and open tuners. Dimensions are typical of C.F. Martin dreadnoughts including the versatile 25.4-inch scale neck length.

  The key difference between the new D18 and the old standard is the bracing. Whereas the old D18 used the long-running, non-scalloped X-bracing pattern that crossed about 1.5 inches from the sound hole. The new D18 gets the bracing from vintage D18V (no longer made). The vintage 18-style bracing crosses 1-inch from the sound hole and is scalloped to allow for more vibration of the top. The bracing is based on the late 1930s Martin dreadnaught X-brace pattern. The new D18 also gets a vintage-spec bridge plate, which also enhances the volume of the top.
  The body is sprayed with a slightly tinted vintage toner and finished with the classic Martin nitrocellulose over coat. The neck is finished with a satin toner. The black pick guard from the old Standard also has been changed on the new D18 Standard. It is now the tortoise-shell style, stick-on pick guard — seen on various models in various vintage models. I think the tortoise shell color pick guard looks more classic than the old black version, which is still used on the D28 Standard.

With the new version's sonic improvements, enhanced midrange projection and fuller bass, thanks to the vintage-style braces, the D18 is now even better.

  Neck-wise, the D18 Standard is now equipped with the new neck dimensions that first showed up in Martin’s Performing Artists Series guitars. Based on my sample, the new D18’s Modified Low-Oval/High Performance neck is much easier to play with a medium action saddle than the older standard neck D18s. In fact, it was a joy to play. Much less of the medium-string tensioned, finger fatigue of the old standard neck when using a higher action saddle. The new neck feels perfect for strumming or flat picking. 
  Spec-wise, the 25.4-inch scale length neck measures 1-3/4 inches wide at the nut and 2-1/8 inches wide at the 12th fret. String spacing at the bridge is 2-3/16 inches. The neck‘s outer dimensions result in a slimmer taper at the 12th fret, making the new D18 much more comfortable than the old standard neck, which is still used on many of the standard Martin rosewood models, including my beloved J40. With the new neck, however, my hand did not feel as cramped, especially in the first five frets, and it allowed for faster chord changes and fretted notes. The neck on my new D18 Standard review sample was as comfortable as any Taylor I have played with medium strings.

No more black pick guard

  As previously mentioned, the bracing is vintage, forward-shifted, scalloped sitka spruce x-style that crosses one inch from the sound hole. This bracing pattern is well known to those who have played the D18V, HD28V and many other modern vintage-spec Martin models. This ‘30s style bracing allows more of the top to vibrate, and to my ears, the new D18 Standard has more bass right out of the box, compared to the previous standard D18.

  The D28 Standard still has the old non-scalloped, non-forward shifted style, and I have spoken to some Bluegrass players that still prefer the tighter bass of the non-shifted non-scalloped braced Martins. Having played numerous Martin dreadnaughts — with and without the forward-shifted bracing — I hear more bottom end in the forward-shifted brace guitars. Thus, this bracing change really helps the new D18.

   The new ’18 still utilizes the 1930’s style ebony belly bridge as the Vintage series, but the bone saddle is the modern, drop-in version, as opposed to the glued-in version of the Vintage line.

  As with the old versions of the D18, the new standard D18 has no neck binding, but is adorned with the simple, dot neck fret markers. One notable departure from the old D18 is the tuners. The old enclosed tuners have been replaced with the vintage style open tuners, made for Martin by Gotoh. 
  The tuners look retro and they tuned to pitch, but on this early sample, several of them were very hard to turn with the standard medium strings. I have played numerous Martins with the open tuners and never have experienced such tight turning knobs. I figured that, maybe, this early sample had some offset in the peg head holes — causing the strings to pull harder.

With the new neck, however, my hand did not feel as cramped, especially in the first five frets, and it allowed for faster chord changes and fretted notes. The neck on my new D18 Standard review sample was as comfortable as any Taylor I have played with medium strings.

  The overall fit and finish and construction of the new D18 Standard sample I auditioned was first rate. No excess glue inside the body, purfing was straight and the neck set was absolutely perfect. (The only cosmetic blemish in the wood was a small “pitch pocket” in the spruce top.); Martin sure knows how to build ‘em in that Nazareth, PA factory. 
  The D18 comes in a quality, vinyl TKL-made case to protect this fine guitar. The guitar comes with its end piece removed to reduce the chance of a drop-induced body crack during shipping, a calamity that I have witnessed in the past. 

The audition 
  In a word, the new D18 Standard is the best modern D18 I have ever played! I have played numerous good-sounding 1950s and early 1960s D18s, but I have never been a big fan of the early 70s and later standard D18s. They never seemed to have quite as much bottom as the older ones. The vintage style D18V had more bass, and the new D18s uses the same bracing, giving it more power. Plus the extremely player-friendly Modified Low-Oval/High Performance neck makes the new D18 play so damn easy. 
  Rhythm bluegrass strummers and pickers will love the full-bass and loud, articulate midrange of the new D18 Standard. At full strum, it could easily hit 93 dB on my decibel meter at three feet. Versus a 2000s era D18 Standard I borrowed, the new D18‘s sound was much more mature with the scalloped, forward-shifted bracing. The old Standard version, in my opinion, often took years to get decent bass projection. that the new one has brand new. 
  It is not as loud and crisp as the red spruce topped Golden Era Martin D18, but I think the tone is better controlled. The new standard D18 is warmer, but still has great midrange and top end. Right out of the case, this guitar can perform 100 percent with a Bluegrass band or folksinger. The loud midrange can compete with the banjo and the bass offers up the rhythmic bottom end you expect from a fine acoustic.
  Those rockers who like the Martin sound will also love the easy playability of the neck. Fretting and note picking is really comfortable, and despite medium saddle height, the medium Martin SP Lifespan strings did not tire my fingers.

  In recording the D18 with various microphone at 24-bit, I heard the classic Martin mahogany/spruce sound, that is plenty loud and oozes that cutting tone when aggressively picked. The best D18 I have ever played was a 1953; The new one I tested was very close — with that ripe bass and healthy top-end projection. 

  As good as it is as a flat picker and strummer, the new D18 Standard dreadnaught still is a mighty fine finger picker, producing warm tones that are easily coaxed from the fast, low-profile neck. But those sounds are never too dark; it’s a good choice if you want a big body, finger picker. Less dark than the rosewood-bodied 28 Series Martins. 

The verdict 
  With the new D18 Standard, Martin has breathed fresh air in to the world’s best known mahogany/spruce top dreadnaught. The mighty D18 has been popular with country, bluegrass, folk and rock musicians for more than 70 years. With the new version's sonic improvements, enhanced midrange projection and fuller bass, thanks to the vintage-style braces, the D18 is now even better. You don’t have to wait for the guitar to season for five years. It is loud and full right now. Throw in the Modified Low-Oval/High Performance neck that is so easy to play and you’ve got yourself the perfect Martin dreadnaught. Highly recommended and worthy of the Everything Guitar Network Grade A Award.

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