Xvive® TremoloPedal True Stereo - Undulator V16

Managed to snag this for ~$70 new here on Amazon, which is an absolute steal. This is a real analog delay with real bucket brigade delay (BBD) chips inside. It is marketed as being very similar circuit-wise to the EHX Deluxe Memory Man, and to my ears it's definitely in the ballpark. The repeat filtering sounds a bit different to me, as does the modulation, but it's got a very nice warm tone.

I learned about the Xvive Golden Brownie from the "Guitar Nerds Podcast". Initially, I was dismissive of the pedal as "just another Chinese clone" - I saw the familiar four knobs for Drive, Volume, Tone, and Presence, and figured I was looking at yet another MI Audio Crunch Box rip-off (and I have already tried a few of those). But, as it turns out, the Golden Brownie is surprisingly well-made, and surprisingly unlike the many other Marshall-in-a-box pedals I have tried.If you just set all of the knobs at 12:00 and hit a few chords, it would be easy to dismiss there being anything special about the Golden Brownie. At those settings, it sounded fine, but not unlike the laundry list of other high-gain Marshall pedals I've tried. But what really makes the Golden Brownie cool is how dramatically the Tone and Presence controls allow you to craft a variety of "big sounding" Marshall tones, and how those two knobs interact with one another.Some of my favorite Marshall pedals are inspired by the more vintage JTM/"Plexi" style (Ramble FX Marvel Drive and ZVex Box of Rock are two of my favorites). The high-gain, JCM800 version of "Marshall tone" has less in common with my playing style and (I think) is harder to emulate with a pedal into a combo amp (Wampler Pinnacle and Mad Professor "1" are my two recent favorites in that department).The Golden Brownie is actually capable of doing both sounds, though I'd say it's an excellent JCM800 pedal and a "passable" Plexi-in-a-box. The Drive knob is usable through basically its whole sweep - I loved how crunchy and tight it was on the lower settings. But the Golden Brownie really wants to be turned up and rocked. The tone controls on this pedal are really well done. First, the Golden Brownie has ample low end, which is a common flaw of so many high-gain Marshall pedals that drop out the low end. That's the different between making a pedal that will sound Marshall-like into a cranked 4x12 cabinet, versus a pedal that will actually make your smaller amp (or several of your amps) sound like a Marshall stack. The Presence barely seems to do anything on many pedals, but has a dramatic effect on emphasizing or subduing upper-end harmonic content and the higher treble frequencies. The Golden Brownie should dial in well to a wide variety of small and large amps.It's difficult to express in a written review how much higher quality this pedal feels compared to the army of similar-sized Mooer and other pedals in a Hammond 1590A enclosure. I'm not a touring musician, so Mooer levels of quality are perfectly fine for me. But for $60, Xvive delivers something here that feels considerably more expensive than that. The knobs are larger and much easier to use than your standard micro pedal. The jacks and switch feel great, also. Really like what Xvive is doing with the manufacturing on this line of pedals, especially since they previously made a bunch of other micro pedal stuff that looked identical to other budget brands like Donner and Eno. I can't guarantee you'll love the Golden Brownie, but I can be pretty sure that if you don't like it, the build quality won't be the reason.I liked the Golden Brownie so much that it led me to purchase another Xvive pedal (the Sweet Leo, which is more like a vintage tube amp light overdrive). It did was not the type of pedal I was looking for another of, nor did it come with the sexy pedigree of a Western boutique builder. But at around $60, it's an outstanding value, and it might just bump a few of my more expensive "Marshall" pedals out of the rotation.

So quiet, I thought at first it was broken. Excellent rebirth of a classic. Nice fabrication, quality knobs, quality footswitch.

This is a rewrite/retraction - after several frustrating hours trying to wring a sound out of this, I submitted a negative review. Of course, very shortly after, I found the right placement in the signal chain and got a grasp on the quirks of the controls. I'm glad it didn't get published because I take it all back. Was placing it at the front of the effects chain, as I would a regular way pedal, and was getting disappointing results. I've not worked much with auto wahs so I don't know if that is the usual placement, but I discovered that putting almost any pedal right before this one made it come to full dynamic life. What it does just for my Boss SY-1 - an amazing box on it's own - is more than worth the price. It could be sold as an expansion pack for that unit. Every pedal I put in front brought it to life in a unique way, fuzz, modulation, whatever I threw at it. Placed between a chorus and a flanger? Fantastic. The other important thing is that the sensitivity control is inverted, at least to my ear. The lower the setting, the more sensitive it seems to picking dynamics. Also the sustain control seems to be more of a gain boost thing. Once I wrapped my head around that, I had a different pedal on my hands, and it deserved my apologies. So yes, on its own or first in the chain - meh. But work it in somewhere deeper in the sound, and you'll really have something. Plus, it taught me a little something about patience. How many envelope filters do that?

First of all, I am not a professional bass player. I just like to noodle around and cover some songs I like. I do have over 15 years of live sound engineering experience. This was my first pedal for bass. I'm cheap and I wasn't about to spend close to the same amount of money on a pedal that I spent on my bass. So I liked the price and since it has an overdrive built in that's like 2 pedals for the price of one. Well I'll go ahead and spoil it for you the overdrive is not great. Maybe you'll like it, but the tone is not to my taste. Not to mention the switch for overdrive is small and hard to get to, so you really can't switch on overdrive on the fly. Overall the pedal is quiet even with my cheap wall wart power supply. The compression effect is noticeable. However, the issue I have with it is that since there is no threshold control, once you start to really up the compression it starts to amplify string noise and kind of muddy the sound. In my experience, you are good until about 11 o'clock but past that and it really starts to get muddy.So if you just want a little bit of compression I think this pedal will work out great for you. It's inexpensive, quiet, plays nice with cheap power supplies, its simple to use, and seems sturdy. I'm not about to spend a bunch of money on a bass compressor with more controls on it so I think for me the next step will be a cheap bass limiter so I can really clamp down on the louder transients without also bringing up too much ambient noise.

Got this for playing at home, at low volume it does not shine. Probably best for gigging. The overdrive makes a nice grunt.update...pedal packed up less than 2 years, only sound now is a high pitched noise.

Pleased with purchase but didn't understand the confirming message to say it was being despatched as written in French. Didn't realise had to pay additional £14 shipping until ordered, and didn't realise would have to buy additional 9V adapter to get it to work

can confirm this is a jcm 800 in a box. i had a jcm for a while. it fixed my dsl. use it on the clean channel.

This was a present for a guitarist who, apparently, really needed it. It arrived on time and as far as I am aware, the product is good, as it was chosen by him.

Seems to do exactly what I purchased it for. No unwanted noise and now keeps my volume within a range that I'm happy with as I play bass with my fingers and I was sometimes catching the strings just wrong and making really loud noises, this sorts that out brilliantly. Not sure why you would need to pay loads more to do the same job.