凭借着它们超过70年版的超靓的颜色――豌豆绿色，金黄色，浅蓝色 ，梅紫色，和金属绿色，Maxon’s Vintage 系列的Effects（这个Effects这里不知道怎么翻比较好）看起来就像new old stock, lost-in-the-basement-of-a-music-store units (????) (-_-|||)

但是我们也看过很多外型很酷而效果却并不尽如人意的踏板。因为我们唯一关心的是曲调的好坏，所以显而易见，我们真正要做的是测试它们听起来是否像vintage踏板。从外表上看，除了颜色不同以外，它们都是同一型号的，拥有着同一类型的金属盒（6"x4"），同样的黑色复古把手，LED开关，以及经典的用于演奏爵士舞曲的大功率开关。

为了找出结果，我们将一个’68 Gibson SG和一个 ’83 Strings-N-Things Telecaster的复制品插到一个 2x12的Carvin和Belair的组合体以及我们的co-feature review amp，即the Reverend Hellhound 40/60上。

AD900 Analog Delay (模拟延时器)

它的整体设计较令人满意，有能制造延时，重复，延时等级效果的旋钮。虽然延时旋钮无法显示出实际的延迟时间，但是我们发现较短的slap-back delay 听起来效果最好，很像卡带回声。持久延时器如果减弱的话，可以被很好的利用起来。我们发现相对于其它的analog delay 踏板，这一款比较朴素，但却能更好的改善tape echo。

CS550 Stereo Chorus (立体合声)

我们将它接到两个扩音器上，并利用depth和 delay controls 来达到立体声分离，从而获得了非常有质感的声音。通过单声道的一个扩音器，我们得到了一个有很大深度的flanger-like tone，这主要是因为它很有限的深度控制器（depth control），而这一点很难改变。同样的这一款也很朴素，没有音调的赋色。

PH350 Rotary Phaser

拥有speed, depth, feedback and mode controls，这款踏板看齐不同的经典阶段样式。我们也测试了它的立体声响，并且发现了中心插掣反馈控制同时提供了正面和负面反馈。和其它phase shifters 相比，PH350s 的减弱效果不会让您操作过度。但是Waylon and Willie 可能不会喜欢这款踏板。

DS830 Distortion Master

    因为有大量音乐支撑，我们能得到一切想要的，包括厚实， 嘎吱咬嚼的overdrive，甚至是重的失真。No-frills control layout (gain, bass, treble, level) 能满足大部分需求，除了重金属的“scooped mids” sound.

OD820 Overdrive Pro

    这个听起来很像最初的TS808 或是 Overdrive II，是一款十分有用，音调很悦耳的踏板。

　　所有的Maxon Vintage 系列的踏板都借鉴了’70s vibe，并能提供真切的vintage 音调，更重要的是制造质量的保证。与我们平日里所用的那些不同的是，这些踏板都是制作精良。而且它们中每个都配有独立的AC电源和滑行垫包装。如果一定要说Maxons和’70在哪一方面相同的话，那就是价格！而这一点可能会让很多人对此可望而不可及。

原文



Maxon VS Effects

Five Boxes of Fun

By Phil Feser and Bob Tekippe

With their straight-out-of-
the-’70s groovy colors –
pea soup green, bright
orange, powder blue, plum purple, and Mopar metallic green – Maxon’s Vintage Series Effects look like new old stock, lost-in-the-basement-of-a-music-store units.
But we’ve seen loads of cool-looking pedals that just didn’t float our boat. Because we’re all about tone, obviously, the real test is whether they sound like vintage pedals. Phycially, they’re all a match (except for their colors), sharing the same cast metal case (6"x4"), black retro knobs, on/off LED, and classic heavy duty stompswitch.
To find out, we tested them with a ’68 Gibson SG and an ’83 Strings-N-Things Telecaster copy plugged into a Carvin 2x12 Belair combo and a our co-feature review amp, the Reverend Hellhound 40/60.

AD900 Analog Delay
The control layout was what you would expect, with knobs for delay time, repeats, and delay level. The delay time knob offers no indication of the actual delay time, but we found the shorter slap-back delay sounded best – a lot like a tape echo, in part because the repeats had a mirky analog tone to them. Longer delays (500 to 600 ms) could be used effectively, if subdued.
We noticed that this was a very quiet pedal compared to other analog (and even some digital) delay pedals, and a more reliable alterative to a tape echo.

CS550 Stereo Chorus
We hooked this in stereo through two amps and were able to achieve great stereo separation by manipulating the depth and delay controls, giving us a very liquid, Univibe-like sound. In mono into just one amp, we got flanger-like tone with lots of depth due to the rear-mount depth control, which was a bit difficult to change on the fly.
Again, the pedal is very quiet and there is no loss or coloration of tone.

PH350 Rotary Phaser
With controls for speed, depth, feedback and mode, this pedal emulates different classic phase patterns. We also tested it in stereo and found the center-detent feedback control offered both positive and negative feedback.
Compared to other phase shifters, the PH350s subdued effect won’t let you overdo it. Waylon and Willie probably won’t like this pedal.

DS830 Distortion Master
We were able to obtain everything for a thick, crunchy overdrive to heavy distortion with a lot of musical sustain. The no-frills control layout (gain, bass, treble, level) covered most needs, except maybe the heavy metal “scooped mids” sound.

OD820 Overdrive Pro
This unit sounds a lot like an original TS808 or Overdrive II, with slightly more midrange and less low-end. A very usable, ultra-smooth-sounding pedal, whether used for all the distortion, or to drive the preamp in the Hellhound.
While all the Maxon Vintage Series pedals borrow a ’70s vibe cosmetically, and offer true vintage effect tones, they draw the line in a key area: quality of construction. Unlike our often-chinzy friends from back in the day, these pedals are well-built, high-quality, and quiet. And each is packaged with its own AC power supply and skid pad. If there was one other ’70 aspect the Maxons could share, it’d be price, which may keep these units out of range for many