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Digitech Synth Wah Envelope Filter

 

Review of the Digitech Synth Wah by The Man in the Jar

Features of the Digitech Synth Wah 

Construction - Extraordinarily solid metal construction with the entire lower end comprising of a very chunky and positive footswitch.

Ins and Outs - One in on the right side of the body with two outs, Norma and Effect. If using just one amp or mixer channel use the normal out. If using two mixer or amp channels you can use the normal out for the dry signal and the second out for the effects signal.

Power - 9 volt battery supplied or optional adaptor.

Controls - At the extreme right is the Type Knob which selects one of seven envelopes, synth or filter types. Next to this are three control knobs labelled Sensitivity, Control and Range. These may sound like the controls a woman would wish for on a man, but on the Digitech Synth Wah these parameters vary with the Type of effect selected. 

Sound of the Digitech Synth Wah 

Strolling around the Types we find:

1) Envelope Up - Labelled as a classic Envelope Filter it certainly has shades of "Shaft" about it. A hugely enjoyable effect for "whacka, whacka" rhythm playing (especially in Liverpool).
Sensitivity controls the Trigger Sensitivity;
Control manages the Wet and Dry Signal mix;
Range controls the Range.

2) Envelope Down - This is the same filter with a reversed sweep. This doesn't sound as natural when played on a lone guitar, but would add a slice of individuality to a rhythm sound in a full band situation.
Sensitivity controls the Trigger Sensitivity;
Control manages the Wet and Dry Signal mix;
Range controls the Range.

3) Synth 1 - "Monophonic synth tone generator with opening filter envelope". Whatever that is, it adds a really interesting sonic bulge to the attack of the note that would be really useful in anthemic heavy metal low register runs where it adds real portent. The effect breaks up if you try to use chords.
Sensitivity controls the Trigger Sensitivity;
Control manages the Synth Attack;
Range controls the Cut-off Frequency.  

4) Synth 2 - As above but with a closing filter envelope. Again this doesn't feel as natural as its predecessor but adds another useful heavy metal type of sound.
Sensitivity controls the Trigger Sensitivity;
Control manages the Synth Attack;
Range controls the Cut-off Frequency.

5) Filter 1 - Synth Talk Effect. This is a hugely satisfying effect to use on solos but be careful to feed only single notes as double stops or more tend to break up, although the unit can handle string bends quite well. I can see this sound being used by both jazz and rock musicians and if used with the dual output and mixed with the dry sound it will be a really versatile guitar sound.
Sensitivity controls the Trigger Sensitivity;
Control manages the Filter Attack;
Range controls the Frequency Envelope.

6) Filter 2 - As above but with an inverse filter envelope. Again, this produces a less "obvious" variation on the sound.
Sensitivity controls the Trigger Sensitivity;
Control manages the Filter Attack;
Range controls the Frequency Envelope.

7) Auto-Wah - Back to Shaft!  This is a lovely little auto-wah that adds a whole extra dimension to damped funk or disco-style rhythm playing. The scope of the controls is huge, which practically guarantees you can find the best sound for the song
Sensitivity controls the Speed;
Control manages the Sweep Shape;
Range controls the Wah Range.     

Overall Impressions of the Digitech Synth Wah Envelope Filter

With multi-effect boxes you can't really expect to like and use all the features. This box, for me personally, would be worth its weight in the gig-bag for Envelope 1, Filter 1 and the AutoWah. These are effects that have an extraordinary authority and a timeless appeal.       

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