BounceChord’s Phaser Pedal Journey: From Smooth to Funky

BounceChord starts his phaser odyssey with a confessional tone, declaring his passion for these tone-twisting devices. He’s got a lineup of five unique phasers that each offer a different flavor to the sound palette. But before diving into specifics, he sets the stage with a casual disclaimer—this isn’t a run-of-the-mill explainer but a journey through personal favorites. This isn’t about tech specs; it’s about the vibe, man. With his Jazzmaster poised and ready, BounceChord is about to unleash the phaser madness on us all.

First up in the phaser family is the Phase 45 clone kit, a subtle two-stage wonder that holds onto your clean tone like it’s cradling a newborn. BounceChord built and painted this pedal himself, albeit with a wink towards his not-so-great painting skills. Then comes the MXR Phase 90, a classic four-stage phaser that’s as well-loved as a cheeseburger on a cold night. This pedal is all about set depth and feedback—and when things get vintage, BounceChord prefers the script version over the block logo, even if the difference is more about feel than sound.

Enter the Keeley Vintage Phaser, a six-stage pedal that BounceChord describes as a jack-of-all-trades, or perhaps more fittingly, a Swiss Army knife in the phaser world. This one also channels a little gain boost, allowing for extra dirt and grit. Meanwhile, the BOSS PH-2 comes in with whopping ten and twelve-stage settings, offering chewy tones and a resonance knob that tempts those who want complete control over their feedback. To round off the analog array, there’s the BOSS PH-3, a digital phaser that throws its own funky twist on things with its 12-stage setting and a clean signal blend that’s as sweet as a summer daze.

Let’s delve deep. BounceChord doesn’t shy away from expressing his bias for the BOSS PH-2. For him, this pedal is the bar by which all others are judged, and not without reason—it’s delightfully versatile with both 10 and 12 stage options, allowing for complex soundscapes that flirt with psychedelic realms. The resonance control here isn’t just an afterthought; it’s the secret sauce that elevates every riff into a new dimension.

But BounceChord doesn’t just stop with the PH-2. The PH-3, with its digital roots, grabs attention by bending conventions, with modes that go beyond mere stage settings, introducing ‘rise’ and ‘fall’ elements that can mimic sweeping sounds akin to a wah pedal. As he noodled on his beloved Jazzmaster, BounceChord finds a joy in each tweak and change, picking out the quirks that make each pedal a staple or a curiosity. You can feel the passion, the affinity each pedal’s unique quirkiness brings to the table, like that favorite spice in your ramen broth.

In this section, you truly begin to appreciate why BounceChord adores these phasers so much. They aren’t just boxes with buttons and knobs—they’re instruments in their own right, each adding a unique shade to the canvas of sound he creates. Clearly, for a tone explorer like BounceChord, these phasers are more about the journey than the destination, a sentiment echoed by every soft hum and vibrant sweep.

Wrapping up this phaser fiesta, BounceChord leaves us with some thoughtful musings. He acknowledges the individual strengths and quirks of each pedal, emphasizing the diversity of vibes they bring to the table. There’s a playful call to action for BOSS to release a Waza Craft version of the PH-2, a tongue-in-cheek nod to his apparent favorite.

He invites fans to weigh in, essentially opening the floor to the gear community, asking for recommendations, and sparking discussions on lesser-known gems. There’s a harmonious collaboration here—a dialogue through gear, tone, and shared passion that reminds us why we love this stuff in the first place. Whether it’s a classic Phase 90 or something more digitally daring, BounceChord highlights the joy found in every modulated sweep and ethereal wobble.