Shipped From. Message Seller. Secure Checkout At Reverb, your safety and security is our priority. Do You Own It? List your Pigtronix Attack Sustain. Three footswitches—attack, Engage and Decay—line the bottom of the pedal and ultimately dictate how it is used. Playing with the Attack knob will provide you with a variety of reversed, swelling sounds vintage BOSS Slow Gear fans will have a blast here ; tweaking the Decay knob opens up the possibility for stuttering, tremelo-esque effects.
The manual lists 12 sample settings that should keep you busy, but this pedal has obviously been designed for experimentation. In true Pigtronix style, the Attack Sustain is loaded with goodies, from the side-chain input that can be used to externally trigger the effect to true bypass construction. Oh, and it comes with its own power supply—a definite plus. Reviews of this Shop. I might have preferred a touch more girth, but there's no arguing with the ease of playability.
The sense of being at one with the guitar is enhanced slightly by the player port. This design feature was, according to Gibson, a primary impetus behind building this line the company uncovered blueprints from proposing a J with a relocated sound port. Sound ports have been features on boutique instruments for decades. Just as on many of those guitars, the effect of the sound port is subtle on the G But if you tune the guitar to an open chord and play the guitar while covering and uncovering the port, you'll hear a real difference—primarily in the way the low end blooms and the treble tones ring.
And by the way, the G sounds especially lovely in detuned settings, exhibiting bass richness that's uncommon in a guitar this size in this price range.
The G does not come with a pickup, but as we found when testing the pickup-equipped G, the port works effectively as a supplementary monitoring solution in quiet performance situations.
How it fits into the aesthetic whole is subjective. And how it affects performance will vary from player to player, but, at least in my experience, it lent an extra sense of detail in fingerpicking situations. Gibson's list of iconic designs is lengthy to say the least. But while it may not be as famous as some of its other acoustic and electric kin, the J is one of the most beautiful and impressive Gibsons of all.
The Generation Collection version, the G, does many things that a good jumbo should. It compels a player to dig deep into chugging, choogling rhythm moves and it's loud. Man, is it ever loud. In the case of the G, though, that loud can sound just a touch one-dimensional at times. How you relate to strong midrange may determine how much you love or just like the G in a strumming context. But it can sometimes read as brash—particularly when you use the heavy rhythm approach that makes a J the acoustic of choice for power strummers like Pete Townshend.
The bass tones are quite pleasing—a quality revealed, again, by the presence of the player port. And if you use a lighter, more dynamic flatpicking approach, you can coax a much more even tone profile that lets the resonant low end and ringing highs shine.
Jangly Johnny Marr and Peter Buck arpeggios sound lovely for this reason—especially when you use a capo. In fingerstyle situations, the guitar feels a little less dynamic and balanced, largely because coaxing an even response from a body this big takes a fair bit of muscle. But when you do get a feel for how to make the G sing with a lighter touch, the walnut and spruce tonewood recipe dishes some very pretty tones, indeed. Like the G, the G is an absolutely lovely player.
While the action feels slinky and low-ish, there isn't a buzzing string to be found anywhere—and that's a beautiful thing given how much the guitar begs to be played hard and that the cutaway makes lead runs all the way up to the 20th fret a workable proposition. But while the playability is hard to top—and reflects a great deal of care for how this guitar was built and set up—there is still evidence of some economizing to keep the price in that high-mid category.
As on the G, there are clearly rough cuts on the bracing that could have been remedied with a light pass with the sanding block. What's more, the soundhole revealed a less than flattering view of the wire connecting the otherwise excellent L. Baggs Element Bronze preamp to the soundhole-mounted volume control. You don't want to use hardware to affix a length of wire to bracing or the top that are so critical to tone, but there must be some way to fix a wire so you don't see it flopping through the player port.
Gibson is taking a noble shot at threading a needle with the Generation Collection. The company's commitment to building a more affordable flattop in the U. There is a lot that is special about the G In tone terms, it compares favorably with more expensive Bozeman-built flattops in the high-mid-price grand concert category. The playability is superb, and the player port adds a subtle but unmistakable extra dose of detail in fingerstyle situations. The G is less flattered by the Generation Collection recipe—at least in its new-from-the-factory state.
The midrange could use some of the mellowing that often comes with the passing of a few seasons and sessions. And it's hard to avoid longing for a little more responsiveness to a light touch. That said, it sounds—and feels—massive in detuned situations and its copious capacity for volume makes the possibilities of the G as a rhythm guitar super tantalizing. But both guitars exhibit tons of potential for the right player. Rig Rundowns. Riff Rundowns. Why I Built This.
The Big 5. Runnin' With The Dweezil. Wong Notes. Rig Rundown Podcast. Bass Gear. Gear Awards. Gear Review Inquiry. First Looks. Review Demos. DIY Projects. Gear Galleries. Factory Tours. Forgotten Heroes. Studio Legends. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding. Pigtronix Attack Sustain. Thread starter briangibson Start date May 16, Messages Monkeyboy23 Member. Messages 1, Good to hear. I've been wanting to pick one up to play it with the Echolution.
Sounds cool. Great to hear a first review. I am still waiting on mine to come in the mail. Is there any noise unwanted associated with it? How is the straight compression? I think this thing is going to be a vital piece for me.
I am thinking of using an output from my looper to go into the trigger. So loop a rhythm and then get the Attack Sustain to trigger on the rhythm. Tweeker Silver Supporting Member. I will report in when I get mine. I should have ordered from Musictoyz. That pedal looks sick! Ok, I finally got me pedal and here are my thoughts.
I definitely like the compression and sustain, it has lead boost written all over it. The distortion is unique it kind of sounds like is beside you main tone, if that makes any sense , and that is always useful.
The attack and decay functions are going to take some time to get a handle on, and I think those functions are going to have a learning curve. I can see already there will be good uses for them. My only beef, and what I will likely have modded, is you really need to crank the senstivity this is by design, since it can be used with keyboards and stuff. I mostly play with bare fingers and not a hammering touch, so I think I would benefit from more senstivity. Overall, I am excited about it and think this will be a very fun tweeker toy.
I think added to the rest of my pedals, I think this widens the palette really nicely. Unfortunately my pedalboard is more a pedal pile right, damn being unorganized.
GovernorSilver Member. Messages 15, Pretty much. If you bury the sensitivity knob you can pick a little lighter. It is designed to take a wide range of sources. I think there are two solutions, but a clean boost in front, though that isn't what Pigtronix reccomends. Or the route I am planning on, having it mod, by them, to have range that is more guitar friendly.
I am still in the getting to know you phase here. Thanks, Russv. I'm still having some difficulty understanding what the Sensitivity knob is supposed to do - your touch is supposed to do what to the pedal?
Make the volume swell happen if you pick harder?
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