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Photos too small? Click on photos, screenshots and diagrams in articles to open a Larger View gallery. January 2010
Other recent issues: | Danelectro Cool CatEffects pedalsPublished in PM May 2009  Printer-friendly versionReviews : Effects Pedal Danelectro’s latest effects range features typically distinctive styling and aims to provide pro-quality performance for low prices, but are these pedals the cat’s whiskers or just a bunch of fur balls?  The Danelectro brand name was revived in the late ‘90s and since then the reincarnated company have been particularly prolific in the effects market. There have been several series of stomp boxes, each varying in price, size and styling: from the cheap, but very cheerful little FAB foot pedals, up to the most expensive and appropriately weighty Wasabi range. Launched last year, the latest line is called Cool Cat and, as before, it’s manufactured in China, while designs originate from the US. Prices are similar to those that were asked for the earlier food-flavoured Mini models. In keeping with their feline fixation, the new stompers span nine live effects and this selection is completed by the addition of an appropriate pedal case. Danelectro used to devise suitably fun titles for many of their models, but more recent examples have kept things comparatively straightforward. The Cool Cats are no exception, being equally unimaginative and similarly explicit in terms of job description. The range also plays it pretty safe sound-wise, and dishing the dirt is presumably considered of prime importance, as no fewer than six varying methods are provided in pedal form. These are labelled Drive, Transparent Overdrive, Fuzz, Metal II, Metal and Distortion, while the remaining three Cats concentrate more on modulation via Tremolo, Vibe and Chorus. None of the quirkier contributions characteristic of this company are included and more obvious aural alternatives such as echo or flange are equally absent. The latter omission is somewhat surprising, as even the less expensive FAB pedal selection includes these two effects. Cool Cat design  Construction is the same for all examples and, matching the range’s higher price point, is a significant step up from the FAB pedals’ plastic packaging. The Cool Cat’s cast casing is made of lightweight metal and the curvy measurements are broad, but quite compact. Size and styling enlarge upon the FAB design theme, with cosmetics maintaining the company’s characteristic fondness for US ‘50s ‘auto chic’, matched by colourful satin metallic finishes. Regardless of the actual effect involved, each model is equipped with three controls, although some are dual-concentric pots and some are rotary switches. All are front-mounted, which certainly keeps them out of harm’s way, and a slightly protruding lip affords extra protection. However, this location does make the user’s life more difficult, as controls aren’t so handy and settings are consequently almost impossible to see — a situation not helped by the dull-grey position reference lines on the small, black, plastic knobs employed throughout. Separated by the necessary 9V DC power socket, the single input and output connections are similarly sited just underneath, along with their relevant function titles, necessitating further squinting to ascertain exactly which is which. This forward-facing position obviously saves valuable space on any pedalboard, but all features are squeezed into a pretty small area. Operating quarters are even more cramped with the relevant jack plugs inserted, so knob turning becomes a more fiddly and tricky task, particularly where the stacked pots are concerned. Providing true bypass, the on/off switch sits under a suitably decorative section on top and requires quite firm foot pressure to ensure positive operation, but an attendant bright-blue LED offers easily seen visual confirmation. Down below, a grippy rubber base keeps movement to a minimum and incorporates an easy-open, clip-on plastic cover for the battery compartment. Drive pedal  This Cat costs the least, and as the model name suggests, this is an overdrive pedal. It’s appropriately basic in concept, while the control trio is also accordingly conventional, comprising Volume, Tone and Drive, with the function of each feature being self-explanatory and equally self-evident in operation. Volume supplies more than sufficient output, even under low overdrive conditions, so balancing the level of boost is easy. A similar abundance of gain-induced distortion is delivered via the Drive control, but less anticipated is an ability to go from a subtle crunchy break-up to flat-out filth and varying degrees in between. Tone darkens things down if required, but seems better equipped to add an attacking edge. Overall end results are pleasingly more dynamic and player-responsive than might be expected from a pedal at this price point. Transparent Overdrive pedal  This pedal falls into the same category as its Drive stablemate, but costs £10 more. The extra buys a dual-concentric tone control, which is labelled Treble/Bass, and this individually cuts or boosts the appropriate frequencies from a central flat setting, although there are no detents to help identify the relevant position by feel. Partner pots are designated Volume and Gain, but actual functions are much the same as those on this moggy’s Drive mate. They again ensure plenty of level, while the ability to separately supervise lows and highs obviously increases tonal fine-tuning versatility. The clarity suggested by this pedal’s title is conveyed by a more subtle overdrive range that allows it to be used even as a clean boost if required. The dirt factor seems slightly less flexible, but is certainly smoother at higher settings and doesn’t mask the guitar’s natural sound as much as some such pedals. Fuzz pedal  For this Cat, the control configuration still contains Volume and Tone, while the third pot is logically labelled Fuzz. The model name may suggest ‘60s associations, but this pedal doesn’t aim to aurally recreate the past. Instead it kicks out a pretty raucous and raspy racket via a more modern interpretation of this long-established effect, although the end results are actually a little too refined to be authentically vintage. Lack of output isn’t a problem and equally abundant gain ensures there’s no shortage of dense, textured fuzz. The latter can be tailored to taste by the Tone control, which enables it to go from smooth and sweet to brash and edgy break-up. Metal II pedal  Naturally enough, this Cat is clad in black and the name indicates its market intentions in no uncertain terms. These are achieved via Volume and Distortion controls, while the centre pot spot is occupied by a rotary switch that is a major component in this pedal’s aural armoury. It’s a three-way type and one position is off, while the other two are labelled Hi and Lo. Both options affect the mid-range, offering relevant reduction of these all-important frequencies to create two significantly different scooped sounds that are made for metal merchants. Delivery naturally becomes more upfront when this facility is switched out, and these alternatives are equally well endowed with attack and sustain, while overall high-end harmonic content is guaranteed to appeal to fleet-fingered axe-manglers. Metal pedal  This feline is equally funereal in colour, indicating close kinship with its Metal II mate. Apart from an asking price that’s £5 higher, the obvious difference between these two black Cats concerns the control layout. The additional expenditure buys the most complex configuration of all the Cool Cats, partnering Gain with a pair of stacked pots. The first governs volume and bass, while its neighbour offers equally independent influence over treble and mid-range frequencies. Having three-band EQ on board makes it much easier to dial in a distortion of choice, and the control line-up enables this pedal to offer a much bigger spread of sounds than its similar-looking neighbour. Output and gain are greater too, ensuring that this Cat is quite a fire breather, although distortion can go from subtly low to overkill extremes with equal ease. Distortion pedal  This bright-red pedal completes the quota of Cool Cat dirt-diggers and is intended to ape the abilities of UK valve amps from the ‘60s. Level and Gain controls bracket a stacked pot that separately tweaks treble and bass via both cut and boost facilities, although again the lack of any appropriate centre reference detents for the flat settings can cause confusion. The distortion delivered is quite coarse and gritty, which lends itself well to rough-and-ready rhythm work. It also works well with less-refined blues styles as well as slide playing, where a bit of edge and attitude helps create a character tone. Cranking up the gain increases the upper harmonics, while the additional deep and dynamic dirt should even be sufficient to satisfy the more mild-mannered metallist. Regardless of control settings, this pedal’s performance is appealingly amp-like, which is fortunate, as, regardless of control settings, it tends to take precedence in any sonic surroundings. Tremolo pedal  This vintage effect has featured in previous Dano pedal lines and hasn’t been forgotten here. In fact, the control configuration is the same as that used on the company’s earlier Tuna Melt model, with Speed and Depth pots partnered by a rotary Hard/Soft switch supplying two appropriately differing types of tremolo. The latter is typical of the effect included on old guitar amps, while the former offers a square wave-based alternative that has a much more on/off staccato-style sound. The Speed and Depth controls perform their duties in time-honoured manner, with enough rate range and amplitude variation to go from subtle throb through to high-speed pulsing. Soft mode sounds are sufficiently amp-like to please all but pretty diehard tremolo aficionados, while Hard delivers rhythmic results that should work well with prominent-tempo modern music styles. This Cool Cat isn’t as transparent as some tremolo pedals and has a slightly thinner tonality, but this serves to make the effect more discernible and isn’t enough to worry about. Vibe pedal  This particular puss provides an effect that was popular in the early ‘70s, before fully-fledged chorus came on the scene. Back then, pitch variation was initially achieved via Leslie-type rotating speakers employed by organists, then by much more compact electronic alternatives subsequently designed specifically for the electric guitar. For aural accuracy, this modern equivalent uses appropriately retro opto-electronic technology — or, in less fancy terms, a light bulb. Now, as back then, this ingenious but pretty primitive method means the end results are far from hi-fi, with inherent slight but discernible roughness around the edges and some top-end tonal enhancement, but they do therefore sound accordingly authentic. The pedal’s back-to-the-future approach employs the services of a control trio spanning Mix, Speed and Intensity. The first blends between the straight and effected signals, while its two partners regulate rate and depth of the latter. This Cat certainly manages to come pleasingly close to the performance of those period originals, courtesy of sounds that range from phasey swirling waves, through wet-toned rotating speaker simulations, to warbling pitch modulation, and all work equally well when combined with some added distortion. Chorus pedal This moggy costs more money than its Cool companions, presumably due to the extra cost involved in conjuring up and controlling this more complex effect. The control trio accordingly manages to squeeze in four functions, with the standard Speed and Depth pots partnered by a dual-ganger governing Mix and EQ, which are both very useful extra benefits. As its title suggests, Mix allows varying amounts of chorus to be added to the dry signal, so anything from a subtle hint to maximum modulation is possible. EQ offers further refinement, as the tonal changes it provides can enhance or tame the prominence of the effect without altering relative levels. The Speed and Depth controls do their job with equal ability and sounds are appropriately well up to par, packed with plenty of typical chime, which can range from gentle shimmer to lush and dense pitch deviation. Also worth mentioning is that, unlike some of the similarly priced competition, this pedal is pleasingly free from extraneous background noise. Cool Cat Board Danelectro also offer a smart and suitably compact pedal case for £74, which can house up to five feline friends. It’s mostly made of plastic, with the exterior moulded to resemble old-style stitched vinyl and leather covering in a two-tone, chocolate and cream colour scheme. A detachable lid (cat flap?) is secured by a pair of metal press-catches and two lift-off hinges. It partners a board section featuring appropriately shaped cutouts and roller clips to keep the Cats firmly in their place. Other apertures accommodate the supplied 9V wall-wart mains supply and four short link leads equipped with right-angle jacks. Also included is a daisy-chain-style cable that conveys power to all pedals. Conclusion Apart from the obvious omissions mentioned earlier, the Cool Cat range should have something to interest most guitarists. Determining the best distortion device will be down to pleasing personal taste and requirements, while each of the modulation models offers some useful and musical sonic variety. The design attracts a few criticisms, mainly in terms of operational ergonomics. The forward-facing location of all features makes operation tricky and settings are similarly hard to see. The small knobs aren’t easy to use, especially by those blessed with big fingers, while the controls on the dual-concentric pots warrant significantly greater digital dexterity In addition, Danelectro’s preference for curves rather than corners means that the bumpy, lumpy styling may not appeal to those more used to literally straight boxes. But there can be few real complaints about the performances of any of these examples, and even the demanding pro player would find it hard to justify paying extra for more exotic alternatives. The company have the knack for consistently coming up with inexpensive, easy-to-understand, fun-looking, but serious-sounding effects. This attractive combination explains why Dano pedals prove so popular, and the Cool Cats undoubtedly deserve to repeat the same success story. The range has recently been on the receiving end of a pretty hefty price hike, but this unpleasant occurrence has affected virtually every other piece of kit, so all remains relative and these pedals therefore still offer excellent value for money. 0  Published in PM May 2009  | In this article:
Cool Cat Drive £34, Transparent Overdrive £44, Fuzz £44, Metal II £44, Metal £49, Distortion £49, Tremolo £49, Vibe £49 & Chorus £54 American-designed and Chinese-made, Danelectro’s latest series of stomp boxes combine this company’s typically characterful styling with performance qualities aimed to please even seasoned professionals, but at prices that should prove attractive to all players.
Tech Spec Cool Cat range Drive Volume, Tone and Drive controls. Transparent Overdrive Volume, Treble/Bass (dual-concentric) and Gain controls. Fuzz Volume, Tone and Fuzz controls. Metal II Volume, Hi/Lo/Off switch and Distortion controls. Metal Volume/Bass (dual-concentric), Treble/Mid (dual-concentric) and Gain controls. Distortion Level, Treble/Bass (dual-concentric) and Gain controls. Tremolo Speed, Hard/Soft switch and Depth controls. Vibe Mix, Speed and Intensity controls. Chorus Mix/EQ (dual-concentric), Speed and Depth controls. |
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