Not cloning, but I would love Roland to make the same thing again.”Īnd is this a more noticeable phenomenon now that pedalboard culture has become so popular, and like the vintage guitar market, the market for pedals – both vintage and limited-run – is becoming difficult to access for many players. “I always see tape echo emulators, but they don’t fully recreate that unstable wobble that analog tapes have or an unpredictable accidental sound. I take that out on tour and use it, but it breaks down every time I take it out and I’ve been getting it fixed many times. I love that wobbly sound and how intuitive to use. “It’s not a pedal, but the Roland tape echo is crucial to make my sound. For the Hizumitas, I often use it with a distortion to create a more chaotic feel.”ĭo you have any other pedals that you would like to clone, that are too important to be left off your pedalboard but you don’ t want to use outside the studio?
“I use them together and separately, depending on the song. Is the Hizumitas/Sustainar the sort of fuzz that you might stack? I know you also sometimes have your MASF Watafuzz Foxx-style fuzz on the same pedalboard as the Sustainar, and they are quite different sounds. I’ve already played a few shows with it and it was really good, so from now on, I will take the Hizumitas on tour.”
The Hizumitas is not inferior to my ELK when I A/B them. “I always thought that it would be great to be able to get the same sound with something I can always get. I was wanting a replacement as I had a fear of not being able to recreate my sound if I keep using it and it would eventually break and stop working. But it has been broken many times and it’s getting beat up a lot. “Up until now I always took my Elk that had been my main dirt out on tour. I often use the Hizumitas with a distortion to create more chaotic feel Have you had a chance to A/B the Hizumitas with the Sustainar? And if so, is it close enough that you can leave your Sustainar behind when touring? You must be a little nervous when touring with one in case something happened to it. Actually, Takeshi and I played the Elk fuzz pedals on the song Feedbacker.”Īn original Sustainar is so expensive these days. Takeshi also had an Elk fuzz with a different name on it, “Super Fuzz Sustainar”, but it was very different than the one I have. “I bought and tried a few real Big Muffs but I instantly fell in love with this the first time I played it. I was interested in fuzz pedals at the time because of the artists I was into and people that were involved in Boris, so I was trying many fuzz pedals. “This particular one I have has ‘Elk Big Muff Sustainar’ written on it, and I think I found it in an auction on the internet. When did you first find the pedal and what makes it sound special? Congratulations! As I understand it, the Hizumitas is an exact replica of your Elk fuzz. There are many lessons we can take from studying Wata’s playing from Boris’s discography, but maybe the biggest one is in how the attention to detail to the music we are making – to our tone, to the harmonic overtones, the very texture of the sound – can make even the simplest of compositions transcendent, and indeed, how it could become similarly crucial to the songwriting process as finding the right melody.
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Recorded during the ensuing panic of 2020, NO lurches into life with the savage beauty of Genesis, its low-end doom frequencies an instrumental spectacle that makes it feel like the atoms in the room have been realigned, before blast-off into a salvo of tracks that disperse the white light of hardcore punk into a full spectrum of color. And on their latest studio album, NO, their 26th of a prolific and protean recording career, Boris are at their most elemental. As she describes it, there’s something elemental about playing high-volume electric guitar, about pushing frequencies through the air.
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