the highest compression
settings, the Horizon never
unfavorably distorted or
otherwise “soured” the
signal. In fact, the Horizon
sounded just as good at the
higher settings as it did at
the lower settings.
Probably the most
outstanding aspect of the
Horizon’s tone is the effect’s
tendency to preserve the
higher, more trebly end of
the sonic spectrum. It might
come as no surprise that
true analog compressors
can occasionally create a
“blown out” or distorted
sound when the strings
are hit hard. In that case,
the compressor struggles
to even out the whole
signal, which encompasses
the higher and lower
tones. It’s too often the
case with cheap or poorly
designed compressors that
high compression simply
“flattens” or even mangles
the tone, making it almost
unrecognizable. Not so with
the Horizon, however. The
Horizon will clamp down on,
say, those loud, bassy notes
while the upper strings
can vibrate free and clear
(imagine Tony Iommi’s low
E-string thrumming along
while he slides a triad on the
top three strings down from
the 12th fret, as heard in
“War Pigs”). Funk, country,
and even rock players will
love the Horizon’s ability
to keep it together even
under the most extreme
compression settings.
WHAT WE LIKE
Clear, virtually nondistorting compression and
great high-end.
CONCERNS
None.
The Horizon did produce an
endearing and slight warble
when the compression
was pushed to its max.
Otherwise, the pedal
brought out fantastic, airy
highs and really increased
the impression of sustain
even at middle levels.
Overall, the effect has an
ear-pleasing quality.
So, for the uninitiated
or the merely-curious, it
would be worth the time
to investigate and play
around with Solidgoldfx’s
new pedal. Compression is
a ubiquitous effect, for both
good and bad reasons. In
the Horizon’s case, its tone
ought to win over listeners,
and perhaps even expand
their musical horizons.
ToneReport.com
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