Review: Electro-Harmonix B9 Organ Machine Guitar Pedal

Review Electro-Harmonix B9 Organ Machine Guitar Pedal

Definitely, a guitar and an organ sound pretty good in any concert. With a simple layout, the Electro-Harmonix B9 Organ Machine is to the point with no exaggeration. The click knob has five control variations that allow access to manipulate and control the ratio of the organ signal and the dry signal. A knob is also provided for the click and mod control. Moving through nine variations on the organ type this larger knob is provided on the left crosswise of the pedal and there are some independent outputs on every signal which is an added advantage.

EHX advocacy…

Recommendations for the best tracking were provided by the EHX. To not get a fake sound or distortion, the EHX suggests you place the B9 at the beginning of the signal chain. When I tested this after a full-tone Drive-2 MOSFET I did feel an edge when the B9 was placed earlier at the chain. One oddity though was that I fixed the B9 at the “Full Drive 2” to assist the signal and the MIM Fender Strat was used. The lower output gave the B9 the right signal.

In the knob function first major setting I investigated was jazz. Radiant than I had expected, it did contribute to hints of McDuff’s or the overtones of the Hammond B3. The mob knob in the preset ensured control of the speed with effects like a rotatory speaker. When I continued to play on organ notes, I had to make the adjustment of EQ a little more than usual on my “Deluxe Reverb”.

B9 electro Harmonix

Among all the preset tones in the B9 Harmonix, the one that sounds the most majestic is the cathedral setting. I started up the ‘verb on the Deluxe’ reverb pedal kit on the slow and soft chords. This has a soft bite, the mid-range on the upper level of the B9 brings to mind the enlightened sound created by Deep Purple and Yes when a compressor was combined. There is a knob feature that can be rotated and clicked for the octave settings to add higher harmonics.

While we saw the regal of the tones, the most retro of the settings are the two at the end, bell organ and continental, sounding the most skittish and frisky. The reproducing tone of Ray Manzarek tone, the continental setting creates tones similar to “Light My Fire” and “A-Gadda-Da-Vida”. Reasonably inadequate for the keyboard player, since the tones are not compelling as much, it sure suggests the 60’s pop culture and amazingly composed atmosphere. The setting of the bell organ is typically the organ style: Hammond style. The knob provided allows for a dial setting of the adequate volume of a chime.

With all the extravagant and remarkable features of the B9, it has its share of limitations as well. When on the organ setting there is a faint tone of the guitar tone that is undoubtedly heard. In spite of the fairly wide options that the preset options provide, the most restraining factor would be the missing EQ controller. This is indeed by far a limitation on its features.

Conclusion

The B9 electro Harmonix adds a multidimensional, sensation of touch, texture, and tone. This is evident if you are aware of the B3 and would distinguish it from the Melosonic. The ability of the B9 to deliver workable sounds is by far the most advantageous.

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