Handmade in Newcastle, Australia, the Beautiful Noise When The Sun Explodes is a reverb/distortion/tremolo pedal for space explorers.
The device, hosted in a rather large case with three footswitches for Boost, Feedback and Bypass, features two sections: the first one, under the Reverberation grouping, includes a master volume and spring-voiced reverb with controls for Colour and Decay; the second one, under “feedback,” gathers a Gain knob and a Feedback/Rate section.
The Gain knob can produce anything from a slight crunch to a fuzzed-out drone, and two toggle switches on the back panel set symmetrical, asymmetrical or no clipping options, opening up different tonal possibilities from softer to harsher-sounding.
But the truly unique circuit in this pedal is the Feedback/Rate section, which works in conjunction with the Feedback footswitch. Pressing the latter momentarily will create swells in the reverb’s feedback that can optionally also go through an LFO if the Rate circuit is engaged, creating a swirly resonant effect.
A Dry-Cut switch on the back gives you the option to remove entirely the dry signal to indulge in full-fledged ambient sonic wandering.
We added this pedal to our list of our Best Reverb Pedals with Fuzz/Distortion.
From creating long ambient swells of atmospheric reverberation, to stuttering, chaotic feedback oscillations overloading your amplifier. When The Sun Explodes is the end of all things.
The reverberation on its own emulates a classic spring tank unit popularised in 60’s amplifiers, with a variety of controls to shape the tone and length of the reverberated signal. The feedback footswitch engages a linear rising or LFO/tremolo controlled feedback loop, which forces the wet reverberated signal back into the input creating some over the top noise effects, as well as the boost footswitch which instantly doubles the amount of reverb for an instant wave of sound.
The output gain, with the additional clipping options of symmetrical, asymmetrical or no clipping selects between a range of gain shapes and amplitudes. The gain control can swing from a gritty boost at lower settings, to an overdriving blown speaker-like fuzz tone when maxed.
Expression input controls the reverb volume using a standard 10k-50k expression pedal, for hands free amplitude modulation, or use it in conjunction with the dry cut switch for ambient wet-only volume swells.
Plug any and all instruments into this box of utter sonic dystopia, for an endlessly reverberant, fuzzed out noise experience no effects pedal has yet to reach.