Earthquaker Devices Afterneath V3 Enhanced Otherworldly Reverberation Machine

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Earthquaker Devices Afterneath V3 Enhanced Otherworldly Reverberation Machine

Name: Earthquaker Devices Afterneath V3 Enhanced Otherworldly Reverberation Machine
Brand: Earthquaker Devices
SKU: EQDAFTRV3USA
Price: 199.0 USD
Availability: InStock

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SKU: EQDAFTRV3USA

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The Afterneath sounds a lot like it looks – a wizard bursting forth from ethereal cave and ready for the ambient battle. You are the wizard – or sorceress, if you prefer – and the cave is your instrument’s signal, vast, expansive, and magical. Do you go inside? Roll a D20 to proceed!

Once inside, a reflection of light from an unknown source catches your eye, and you notice a bizarre sheen on the walls of the cave. You timidly inch closer to the walls of the cave. Placing your hand gently on the cavern wall, you feel the rock move. The cave is alive! Alarmed, you emit a loud gasp, which reverberates throughout the subterranean landscape. Upon further listening, it appears as though the reverberations of your voice are in fact a swarm of short digital delays which may be used to create wild and cavernous reverbs, or scattered, short, rhythmic delays with bizarre characteristics.

Controls

Take a moment to consider your Intelligence and Wisdom scores, as well as your spell inventory before proceeding further. You have seven spells at your disposal…

Will you cast “Length,” which controls the decay length of the reverb?

What about “Diffuse,” which adjusts the spread of the reverb? With your wand (or just the knob) turned counterclockwise, the reverb is sharper with more attack, resulting in a stuttering sputter of individual early reflections. Clockwise casts a washy, more ambient-sounding hex.

Overwhelmed by fear, you hastily cast “Dampen!” As you shout the incantation, you notice that a counterclockwise variation of this spell results in brighter tones, while as you rotate your wand clockwise; you hear darker tones with a mellower top-end. It’s almost as if your magic changes the hardness of the cavern walls, and thus the tonal characteristics of the reverb!

Elsewhere in your book of magic is “Drag,” which separates the individual digital delay lines, literally dragging them through the very fabric of time and space towards an unknown event horizon from which they may never return. Clockwise “Drag” positions will gather the delay lines close together for a more reverb-like effect. Turn the “Drag” counterclockwise, and the delay lines will begin to pull apart for a scattered ping-pong delay effect.

The Drag can be put under voltage or expression control using the “EXP” jack located on the side and operates in 9 different modes which are selected by the small “Mode” control. These modes are: Unquantized, Unquantized with slew, Unquantized volt/octave, Chromatic scale, Major scale, Minor scale, Pentatonic scale, Octaves & fifths and Octaves. These modes drastically change the way the Drag control functions, especially while using an expression control or CV.

The “Reflect” alters the depth of the cave, and with it the regeneration of the reverb. This acts as a feedback control and will self-oscillate if cast by a high-level user. Turn clockwise for more wash and echoes, counterclockwise for less.

Finally, the “Mix” alters the alchemical balance between the input signal and the effect. The Afterneath does not go fully wet but does lower the level of the input signal as you raise this control to create the appearance of a fully wet reverb.

Modes

The Modes control changes the way the Drag control functions. The LED will change colors indicating which mode you are in.

1. Unquantized: Smooth, unquantized response over the operating range

2. Unquantized with Slew: Smooth, unquantized response over the entire operating range, but with a musical slew that is reminiscent of turning the varispeed knob on a vintage British tape delay. The “Drag” will lag behind the knob or cv changes, but then quickly catch up.

3. Unquantized Volt/Octave: Smooth and unquantized, yet scaled to align with the 1v/octave curve to allow melodic modulation of audio in the buffer, or control the frequency of self-oscillation like a voltage controlled oscillator. 

4. Chromatic Scale: Quantized 1v/octave to the chromatic scale 

5. Minor Scale: Quantized 1v/octave to the minor scale 

6. Major Scale (Lydian): Quantized 1v/octave to the major scale (Lydian) 

7. Pentatonic Scale: Quantized 1v/octave to the pentatonic scale 

8. Octaves & Fifths: Quantized 1v/octave to omit all but octaves and fifths 

9. Octaves: Quantized 1v/octave to omit all but octaves

Tech Specs

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs

Current Draw: 100 mA

Input Impedance: 1 MΩ

Output Impedance: 500 Ω

Expression Jack: This is an expression pedal control jack for the Drag. The Afterneath requires an expression pedal with a value of 50k, we recommend the Moog EP-3 or similar. While it will work with a standard 10k expression pedal, a 50k expression pedal will allow you to access the full range of each mode.

Tip is the wiper, Ring is 5v and Sleeve is ground.
You can also use CV with this jack. CV operates 0-5v.

Flexi-Switch® Technology: This device features Flexi-Switch Technology! This electronic switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.
For momentary operation, hold the footswitch down for as long as you’d like to use the effect. Once you release the switch, the effect will be bypassed.

The Afterneath uses electronic buffered bypass, it requires power to pass signal and the buffer is always active. You may experience a pop the first time the Afterneath is switched on after power up.

Tails / No Tails Switching: The Afterneath is factory set in “tails mode.” This means that the wet signal will naturally decay and slowly fade to silence after the effect is switched off.

To deactivate this feature:

Unplug the power cable from the power jack.
Hold down the footswitch and insert the power cable.
The LED will flash 3 times. You can now release the footswitch.

Follow the same steps to reactive tails mode.

Power: This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

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One of the fastest and most comfortable necks to play

My Jackson Virtuoso has practically an identical neck shape as my old Charvel, which has the best (= fastest and most comfortable to play) guitar neck I’ve ever played! This is the main reason why I gave it 5 stars. Perhaps with the exception of the necks of my EBMM JP16 and Custom Shop Jackson (CSJ), none of the guitar necks I’ve ever played were very similar to the favorite and a couple of times refretted neck of my old Charvel. [Of course, the neck shape’s preference is a very subjective entity and some players may hate this neck shape. :)]

For succinctly describing various Virtuoso’s good, bad and ugly features (from my standpoint), I will compare 3 very similar guitars, i.e., my CSJ, Virtuoso and Charvel (see the first picture). BTW, all 3 guitars have the same SD JB TB-4 (bridge) and ’59 SH-1N (neck) pickups.

The good:
1) The Virtuoso neck’s shape is very exceptional as if being designed to be a copy of my Charvel’s neck, and it plays with an extremely low action without buzzing (perhaps being factory-PLEK’d?).
2) Its Gotoh locking tuners are one of the best tuners around (my CSJ and Charvel do not have locking tuners).
3) Its Luminlay side markers provide good guidance even on the darkest stages – see the first picture. My CSJ and Charvel do not have Luminlay inlays.
4) The classic tried and true combo of JB & ’59 pickups and a 5-way pickup selector generate both great humbucking and believable single-coil sounds. My CSJ and Charvel have 3-way toggle switches and can produce only humbucking sounds.

The bad:
In contrast to the original Floyd Rose with fat brass tremolo sustain blocks present in my CSJ and Charvel, the Virtuoso has a cheaper and inferior Floyd Rose 1500, with a relatively thin metal tremolo block (see the left side in the second picture), and a push-in tremolo arm (in the middle of the right side in the second picture, showing also the CSJ and Charvel tremolo arms), “controlled” with a plastic inner ring and a tension screw (not very easy to set it up so that it would be neither too loose nor too tight).

The ugly:
While my CSJ and Charvel have strong and well-protective factory hardshell cases, the Virtuoso sells with a flimsy, nasty, inadequate, soft and ridiculous case (see the third picture), with a strange insert (polystyrene wrapped in a plastic foil – see the right side in the third picture) obviously meant to prevent the guitar hopelessly free-floating in the case (and getting damaged) during any transport. Without this ghastly, feeble insert, the provided Jackson case is completely useless.

One of the best guitars money can buy

Succinctly, this black Ibanez PIA3761XB is one of only about 5 guitars (from well over 100 guitars I’ve owned over the years), where I did not have to change ABSOLUTELY ANYTHING, while still being 100% happy with their performance! Its flawless workmanship, effortless playability (with an extremely low action without buzzing) and superb sonic qualities (including lots of sustain) are second to none. Another guitar, which I like almost as much as the Pia is my Schecter C-1 FR SLS Elite. However, unlike my Pia, the Schecter C-1 required one minor modification – painting the bright white dots on the fretboard to facilitate quick and accurate moves to different fret positions, since the Schecter’s little abalone dots are pretty, but practically invisible on darker stages. In contrast, the Pia’s Luminlay side dots emit plenty of light, providing good guidance even on the darkest stages – see the picture. The Pia comes with an Ibanez Multi Tool (which is extremely useful), 2 tremolo bars and a great, strong and well-protective hardshell case. What a pleasant contrast to various “gig bags” that come with Suhr, US-made PRS and many other very expensive guitars! These thin, soft and cheap-looking “gig bags” provide only a very minimal and absolutely inadequate protection for these expensive instruments and are truly ridiculous!

In summary, my guess is that probably nobody looking for a great playing and sounding guitar with stainless steel frets, which are slick (vibrato and bends are much easier) and last practically forever, will be disappointed when playing a PIA3761XB.

Red Frankie relic!

Arrived at my door in perfect shape! After a little tweaking, the thing is a monster!! Love it. Thanks Safehaven!

New Strap

This a very nice love it. And the price is great.

Quality music store

Received in just a few days ,packaged well received in excellent condition will definitely use this store again in future

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Earthquaker Devices Afterneath V3 Enhanced Otherworldly Reverberation Machine

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