Menatone Top Boost In A Can

This is a follow -up on my earlier review - I've owned it long enough and gigged with it enough to REALLY fall in love with it.

Please ignore my review if you are a humbucker fan or into recording - I don't know anything about this. I DO know about the combination of tele + tweed bassman with a cover band in bars. This is an amazing product

so far so good

not too worried

I have owned at least 100 pedals and this really is the most wonderful of them all. The combination of my tele mid pickup position ( texas specials ) with the tweed and this box with the gain fairly low growls, spits, snarls and cuts. I use this setting in 25 of 60 tunes now. IT SOUNDS LIKE AN AMPLIFIER AND NOT A PEDAL. Does it color my tone? you bet it does! I don't know how Mr Mena does it. How do you make a little box on the floor sound like a big old heavy breathing 40 year old Vox? Good for him for adding the mid control to this version of the TBIAC - I rely on it pretty much dimed. Then when you step on the little button that wonderful old standby fender sound is there when you want it. it's ok on the bridge and neck also - but the mid position is where it shines. So much for modeling technology. I hear that Carl Martin has an AC30 thing but I'll never hear it - why bother? Certainly not a tube screamer sound. It's grainy and it sizzles - it's really refreshing after hearing that same old smooth breakup from the TS808s, Klons, anaologman for all those years. at low volume you don't get it, of course. But at gig volume.....!

This is the 8 knob version, (#53) so not simple. However, how easy is it to get a good sound? Super easy. It sounds good period, your sound will take a little bit of time.

This thing is so tweakable, I bet you can get anything short of metal or thrash out of this (of course if that was your bag, you wouldn't lay out the cash for this anyway). Here's the chain: Framus Panthera Custom, EB Volume, Garmopat Mod Vox Wah, Menatone TBIAC, Zvex Box of Rock (amazing distortion), Line 6 MM4, Boss DD5, Boss Giga Delay, Boss RV5. Amp is a Red Bear Cub 30 watt amp (think classic vintage Marshall sound). From first cords this pedal made me laugh out loud (when you have spent lots of money on ebay trying out overdrives, when you find the Holy Grail, you will sing dang it). I've done all the Keeley mods, full drive, Diamond J Drive MK3, Homebrew power screamer...all are good and have there uses, but they don't hold a candle to this pedal. If I could, I would give this pedal at least an 11.

It's heavy. I bet you lob this brick at someone's dome and do some serious damage and I think it would be OK. It's a beautifull pedal, and has a 5 year warranty.

I hear good things

Alot of people look down on "honeymoon reviews", but here's the deal: if marry a super model do you run out side the first chance you get after your wedding night and shout for joy because you are the luckiest dog on earth, or do you keep your mouth shut and act like it's no big deal. You get my point...

This is #073. Shipped out 4-30-07 by Mr Menna. I spent 2 hrs with it finding my sound and used it last night at a bar gig. So.... #1: this is a honeymoon review - new love - I admit it. #2: I only care about live sound in a cover band setting - no interest in recording issues. ( there ought to be a separate harmony central review section for live vs. recorded uses.

Mr M. is right on. He includes a note that says "there are no right or wrong settings'
There is no 5 page book with instructions - and not needed.

This thing has eight knobs. Important addition is the 'sag' control and ESPECIALLY the 'mid' control.

It is not "easy" in this way: If you find cool increased gain tones in your living room and use those settings in a club in a mix of other instruments your sound gets buried. Any body who is a stompbox freak and has 20-30 boxes rolling around in kitchen drawers knows what I mean.

bigsby tele ( texas special PUs ) >>> Carl Martin limiter ( always on - subtle amount ) >>>> dunlop Q zone >>> Carl Martin drive/boost ( my favorite TS9 clone) >>> Keeley blues driver phat mod - BD2 >>>> black cat freddy fuzz >>>> TBIAC >>>> Marshall vibratrem >>>>> Redux delay >>> bassman 59 re-issue.

I worship the texas special PU tele ( bigsby gives more 'ringing' sounds) into bassman clean tone. For bridge PU rock sounds I add the BD - then the TS9 for solos. that tweed 6L6 class A/B sound is popular for a reason.

This new toy gives the growl, loose low end, spitting pushed Vox noise that has been elusive. I made the mistake of trying to find this by throwing $$$ at treble boosters over the past 10 years - germania, java boost, crispy creamer ( all are sold ). I know the original AC 30 thing because I am old and played in bands in 1965 while weaaring beatle boots, Nehru jackets....

Because I play in a cover - dance band and go song to song ( maybe 50 -60 tunes per night ) I need one leave it alone setting - here it is - this is where the 'mid' knob is so important - I have it almost maxed - this is the key to cutting in a band mix ( I'm convinced that if I owned an earliet TIABC version it would be rattling around in a drawer with my big muffs, distortion pros and DS 1s. ALSO I keep the gain very low - 9:00. the bass is low and treble actully up a bit - no cut. the sag is great - but only a touch - like
9:00. Noise is not a problem. I heard the growl last night - how awesome.

seriously doubt this is an issue - you can tell by the switches - I paid 250 and it is worth 400 - Mr M undercharges.

from what I hear this is a non-problem.

Have played 45 years - now in cover band - all the goofy dance stuff people like. The early Townsend sound makes me smile. I know this is new love - but it is intense. It's a thrill to hear that Vox grind again. Heres the thing though - I'm not willing to give up my 6L6 tele bassman sound to get it. If I was doing windmills with a P90 SG into a top
boost I couldn't have all the other sounds during a 4 hr gig. This TBIAC toy gives me all of it. thanks Mr M. Like I said - ignore my review if recording is your thing - don't know about this.

Do you want a happy moment? - stick a single coil into this thing - then into a 6L6 and bang out a little "I'm a Boy" or "Pictures 0f Lilly"

I have the original single channel version.This definitely takes some tweaking time to get the most out of it. It has been well covered here that the tone controls are not independant and need to work together (just like on a vox). Also I found that it is very reactive to your amp and your guitar's volume control. Spend some time with it and you will be rewarded.

I've used it mostly with tele's and an ES 335 (with Duncan JB pickups) into a Mesa Lonestar Special and a Vox AD30. Two amps that nail the class A sound in my opinion. This adds the icing to the cake. Brightens and soups up the tone. Your volume know becomes more responsive and actually changes the tone. Can add some noise but nothing that makes much difference to me. Doesn't really sound like any specific guitarist - but it will allow the nuance of your guitar to come through the overdrive. If you use a pick then switch to your fingers everything changes. It reacts to the attack of your playing. I've got plenty of overdrives (keeley modded TS808 and blues driver, etc and this is the overdrive I always gravitate towards. This is all about the in-between tones... shades of overdrive not distortion - as such it tends to work a bit better with a slightly overdriven tube amp.

Bought it used and have used it for six months - so far no problem at all. Using it on a pedal board with AC power.

Haven't had a need to deal with Menatone.

This pedal is an excellent addition to my rig- wouldn't gig without it. I play original rock but have used it in cover situations. I've been playing for about 25 years have used all sorts of gear - I would definitely replace this box if it wandered off. It has become a major part of my tone. Absolutely love the sound of this overdrive with the Mesa Special...if you thrive on dynamics this is a great pedal to check out.

This is the latest 6 knob version too.

This does take a little understanding of tone contols being INTERACTIVE.

That means in the BRILLIANT side:

If you INCREASE the BASS you DARKEN the overall tone of the pedal.

If you INCREASE the TREBLE you will LOSE some LOW END.

If you ROLL OFF the BASS you will BRIGHTEN the tone and it gets LESS GAIN.

If you ROLL OFF the Treble you will THICKEN/DARKEN the tone and you get MORE GAIN.

Dig?

The Top Cut knob works as a kind of presence knob. It will make the pedal seem...hmm more open and slightly more brighter. Very subtle.

The Normal side has no tone control other than the Top Cut. Total Beatles "Taxman" guitar solo here when dimed.

Guitars: Jazzmaster, Jaguar, Les Paul Custom, Rickenbacker 330.
Amps: 64's Super Reverb, Kalamazoo Model 1, Soldano SLO100.

I play a stock 64'Super Reverb pretty clean with more of a Television/Verlaine sound(no SRV here). When I turn the pedal on it's like all of the sudden I have a totally different amp that sounds rich and makes the guitar(s) and amp respond with a more sensitive FEEL.

Super Reverbs's have so much punch. When I turn the TBIAC all of the sudden I can get that magic 60's shimmer. Tough to pretty in a stomp of a switch.

The wiring looks like military spec like Hiwatts and Soldano amps. Very impressive!

I would not be worried about this just not working one day on a tour like some other pedals.

Still hard to say without the experience. I' ve only had it 3 weeks.

Like I said this is a very special instrument. It's caused me to think in a different way about instrument set ups.

You know some people like to turn on a chours pedal when they want to play a "clean" section in a song? Nirvana--the dreded Police---etc...

I've always thought that sounded kinda cheesy. This is the pedal for people who what that sort of change in a song but without chorus.

It's dynamic and rich enough in sound quality for a contrast of sections in a song.

I've been playing over 10 years now with a bunch of different bands. House parties to headlining metal festivals like Fury Fest. How did that happen??? I wonder myself sometimes all I know is I've stuck with it and always tried to get deeper into music.

I feel like this little red box is going to take me to a new place of song writing.

5-knob version, volume, bass, treble, gain and cut. Not as easy to use as some other OD's, the controls are interactive (like on a Class A amp). Spend a little time tweaking and you'll find some great sounds.

I am using this with a Guild Blues 90 w/P-90's into a reissue Bassman with excellent results, it really does add Class-A style "grind" to a Fender. The guy I bought it from was using it in front of a Matchless DC-30 and didn't like it, perhaps it's "too much of a good thing" in front of an actual Class-A amp? It's definitely not the pedal for you if you're looking for a "liquid" super-sustaining sound OR if you want a Tube Screamer sound...thank God for alternatives! With the Bassman set on "4" (bright channel), the TBIAC set on volume 9 o'clock, Bass at noon, treble at 9-10 o'clock, gain around 11 o'clock, and the cut set around 3 o'clock, it sounds absolutely fabulous...great for Mike Campbell-type leads and grinding power chords. I don't like the higher gain settings as much, it starts to sound "pedal-y" after about 1 o'clock, and gets pretty noisy, too. But the low to medium gain sounds on this thing are great, and it has plenty of output on tap to use as a boost. Honestly, I think a big determining factor as to whether or not you will like this pedal is your expectations-if you are expecting anyone (Brian May) or anything (AC30, Matchless) "in-a-box", you are setting yourself up for disappointment...but if you are lokking to add some Class-A flavor to a Class A/B amp, I think you will dig it the most.

Brian Menna builds quality stuff-I don't anticipate any problems

Never dealt with...

I have been trying many OD pedals lately (Zinky True Grit, PE Germ, Toadworks Death Rattle, Blue Tube, Aramat Green Machine) and I have to say that this one is my current favorite. It's different, not another @%*&$ Tube Screamer clone. The only thing that would make me get rid of it would be a change to an actual Class-A amp, and then only if it wasn't a good match. I play Americana/Roots/Blues/Country, been playing for 28 years...the TBIAC works great for what I do.

This is a fairly easy pedal to use. The knobs don't have any cute names you have to translate, nor are they wired unconventionally. The cut knob and the treble knob take some time to determine any significant differences, but it is pretty much plug in and play.

I have been playing this pedal with a Rickenbacker 381/V69 6-string and an Ampeg Superjet SJ-12T. That's it. The pedal gets increasingly noisy as the gain and volume are cranked, but nothing to get too excited about. In fact, I find the gain unusable past a certain point, so it shouldn't really bother anyone (unless you are doing quiet, introspective work with a nasty, 60's style OD. Strange.)

This pedal is just gorgeous. It really does get close to that pushed Vox sound. I have direct experience with a vintage Vox AC30 Top Boost. A good friend of mine would play together weekly for a year or so and that was his amp. I plugged into it as often as I could. I think for an effect pedal, it gets as close as you can reasonably expect. If all you ever play are monophonic lead lines and you own the Nuggets and Nuggets II boxed sets, please do yourself a favor and go get one of these. Absolutely brilliant.

BUT. If you plan on playing three or more strings at once, especially at the 8th fret or higher, demo this pedal first. A prior review mentioned something about some 'high-end clank.' I'd have to agree. I get the gain at around 12 o'clock and my lead lines have me sobbing because I never thought I would sound so good. Really uninspiring sort of run through the scale sort of stuff is sounding god-like. I mean, I have this fat grin on my face and I'm just so god damned happy and silly. Then I hit a chord way up on the neck for a tough growl and . . . something happens. There is this very weird metallic clank. I hit it again, there it is again. I bring out a crap Yamaha, my-first-guitar piece of sh*t and all the same things really. I tweak the pedal over and over but it is just a part of the circuit I guess.

I just can't live with this sound. If I stay low on the neck, I can just barely hear it and I believe I can live with That. I just happen to do a lot of stuff very high on the neck and the clank is unbearable. As the gain is increased, the clank is increased.

This is THE most frustrating pedal because it is SOOOOOOO close to the sound I want. I mean, even if I could afford to get a vintage (not the reissue pretenders) AC30, I would rarely be able to push it hard enough to get the sound I love. This pedal is just right there and instead of not quite nailing it (which I would be thrilled with), it has a characteristic that is, well, crap.

Also, as I said, there is a ton of gain left before it starts to sound just too loose for a good sound (even without the clank).

The disclaimer is that this could very well be a product of my amp. I mean, it is just a prettied up Crate after all. But I don't get that sound using any other pedal I've ever tried. But it is possible.

Looks as reliable as an electronic device can be. I can't afford a back-up anything except maybe a couple of cords and tubes, so yeah, I guess I'd gig without a back-up then. It is made with very high-quality materials.

No opinion. But if Mr. Mena (sp?) reads this, please email me below and tell me if my unit is defective or if I am.

I like a tough, 60's British sound in an overdrive. I love the Kinks, the Zombies, the Move, the Beatles, the Who, the Jam, most 70's punk. Not so into some classics like Cream or later Zeppelin for my sound. I love the recorded music though. Definitely not into the metal sound. This pedal could be the greatest pedal in the universe, but in my situation it fell short. OD pedals are just so subjective that it really is impossible to choose one without playing in your rig. That said, this pedal isn't a sonic mismatch for me. Instead it has a serious bug to be worked out. This pedal deserves to be demoed in YOUR rig though if you like the Vox AC30 sound. Mybe it will work for you.

I have the 5 knob version. This pedal isn't the easiest to dial in. There is not much difference between the "cut" knob and the "treble" knob. Since I play a Telecaster, I can't really have either of these two knobs up very much. Thankfully they both have a lot of range so I can get a nice warm sound. Generally it's pretty self explanatory.

I use this pedal with a Marshall and a Telecaster. It sounds really good by itself but even better when being pushed by a compressor that's maxed out (Maxon CP101) both level and sustain. This makes the TBIAC growl and spit. I mean that in a very good way. The tone ballpark of Malcolm Young comes to mind. This pedal does not sound like a tube screamer at all. It has no mid hump and is much more appropriate for rhythm guitar playing in my opinion. Open chords just sound awesome with this one. Chords with this one bark.

I haven't had it for years (yet) but it's very solidly made.

I'll find Brian if I need him!

Given the generally rock style I play in, this pedal fits in quite nicely. It doesn't sound cheap like some pedals do. You can really tell the designer and builder took the time to fine tune this one. I used this pedal at a recording session the other day and another guitarist asked me if he could use it (actually, the Maxon-Menatone combination). It turns heads this sound. It's a tough sound and I like it!

I have the 5 knob version. The bass and treble controls are not totally linear, it seems to hit some points and jump slightly. But it's still easy enough to dial in. The "cut" helps keep things from getting painfully bright.

This thing is great for getting that Vox sound like the early Beatles stuff. It is best as a clean boost up to mid gain. It has a TON of gain available but it gets very loose in the extreme settings.

It doesn't get a good Brian May sound on it's own IMO. But it makes a great treble booster, so if you use it with something else you can get closer. I run it into the Vox/May setting on my SansAmp PSA-1 and that works well for that kind of thing.

The only bad thing about this pedal is the Hiss. With the Volume above 11 o'clock the noise is louder than I can stand.

It's built really well. It's very pretty inside.

I've read that Brian is easy enough to get in touch with through Chapin music.

It does the Vox thing surprisingly well, I just wish it wasn't so hissy. If Mena could reduce the gain and make it quite then I think it would be perfect.

It's still a cool pedal though. I've had it for 2 years now and even though I don't use it all the time, I don't plan on selling it.

This pedal was not exactly what I expected when I first got it. It does sound great though. It took some time for me to find sounds I really liked. Mine is the 5-knob. The controls are very interactive. It is different than other overdrives in that it does a lot more than most. It takes about 2 seconds to figure out a Sparkle Drive and find your sounds. I've spent hours with the TBIAC, and I'm still discovering different tonal nuances.

Sound quality is excellent. It sounds like an amp, not a pedal. There is some high end clank, stiffness. It really doesn't sag like an actual ac30, but its really close, especially for a pedal. I play it through an old Mesa DC-5 combo(w/a THD reactive rectifier). I use a Soul Bender after it, for leads. My main guitar is a reissue flower tele. Some will disagree, but I don't think the TBIAC is "instant Brian May". You may be disappointed if that's what you want. I think it's an outstanding pedal for unrefined, loose low-end, overdrive flavors. It's great for garage rock, and it would be a great choice for roots players that wanted an alternative to the "Mellencamp sound" or the Fender Bassman sound.

I've had no problems. I gig it w/o back up.

I hope that customer service is never an issue. Mena has no website, and Musictoyz.com, where I bought it, seem to be pretty uninterested in answering email. It seems like it would take a little work to find him.

I play 60's rock, and my original music is close to that, and other stuff I like (Byrds,Yardbirds,Troggs,Kinks,Who,Sonics,GBV,Nirvana,Big Star,Flamin'Groovies,Easybeats...) The TBIAC is great for that kind of feel. With the Drive set high, it sounds really tough, but not metal. Lower gain settings have nice high end detail and chime. It cleans up well with guitar volume adjustments and always sounds full bodied. Other overdrives I've had, sounded thin and crappy when I tried to roll down the volume to clean them up (Sparkle Drive, Vox Valve Tone-even after the Toneman mod). I really like the TBIAC, and would recommend it to anyone who wanted to add a vintage sound alternative to their american (6L6) amp. I wouldn't advise getting it if you like really smooth, glassy overdrive(Boss,TS-series,etc.). It doesn't do that. I don't think it gets saturated, or smooth enough to really do Brian May either. But it is a wonderful, rich, and complex overdrive pedal. I've played for 20 years. In the early 90's I was briefly in orange county's Smile,and Downer. I've done live, and session dates with the Syndicate of Sound, and live shows(2) with Michael Knott.