depth, peak, in- and out-ofphase selectors, and gain
options. On the filter side we
have four different selectable
filters, again with peak,
depth, and gain options, as
well as a switch that syncs
it up to the phaser. On the
bottom there is a master
LFO and envelope, which can
modulate either the phaser,
filter, both, or anything in
between. There are also gate
controls that are reactive to
pick attack, but more on that
later. The Rendez-Vous runs
on AC power, so make sure
you have a courtesy outlet
on your power supply if you
want to take this on the road.
As you can see, the RendezVous is an absolute monster
of tone, and it can get a
little complicated. I will try
to break down as best I can
how it works, as well as its
strengths and weaknesses.
There is something here for
everyone, so you really have
to take the time to explore
what it has to offer.
Naturally, the first thing I
gravitated to was the phaser.
It was warm, clear, and
very malleable. A simple
two-stage phaser sounded
liquid without sounding too
throbby. Rolling in the peak
added a bit of a vocal quality
to it, while skirting sounding
nasal. Playing with the LFO,
I set it to a sawtooth (which
is closer to a sine wave)
wave and played with the
knob above, which changes
the shape and response.
Turning it clockwise added a
rhythmic attack to the sound,
emphasizing different parts
of the wave. This was really
cool with a bit of dirt added
before, as it created a very
jarring pulsation that sounded
very Muse-like. Increasing
the speed and bringing the
phaser out of phase with
the dry signal via the “drop”
switches, gave me a really
unique faux-Leslie tone that
whirled and wheeled with
clear definition.
On the filter side of things,
I began by turning “off”
the modulation matrix, and
setting the filter to lowpass. The Speed knob on
the envelope is notched as
opposed to sweepable, but
it still gives you plenty of
options for selecting attack
time. The auto-filter here is
one of the stars of the show;
the sound has tons of warmth
and feeling. The envelope is
very touch sensitive, and it
really feels as if your guitar is
speaking words it has never
been able to speak before.
Mixing in the phaser and
setting the LFO to modulate
between the phaser and filter,
I was greeted with warm and
buttery modulation tones
that I have never heard in all
my years, and will probably
never hear again. The way
the signal ebbs and flows
between liquid pulsations
and languid thrum is unlike
anything I have ever heard,
and is well worth your time
if you like your modulations
with soul.
WHAT WE LIKE
Warm and soulful sound.
High headroom and very
reactive to pick attack. An
absolute smorgasbord of
modulation options, and
incredibly versatile.
CONCERNS
AC power may turn off some
people. Has a bit of a learning
curve, and clearer labeling
could have helped that.
ToneReport.com
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