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Electro-Harmonix Lumberjack Logarithmic Overdrive Pedal Reviews

4.5 stars based on 3 customer reviews
Questions about the Electro-Harmonix Lumberjack Logarithmic Overdrive Pedal?

Questions about the Electro-Harmonix Lumberjack Logarithmic Overdrive Pedal?

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  • from USA April 22, 2016Music Background:


    I love this pedal. Fantastic overtones that can be dialed in as needed.

  • from Indiana January 22, 2014Music Background:

    A Cool Overdrive for Creative Players

    I put my shiny new Lumberjack through its paces last night, and I'm happy to report this rather whimsical purchase has led to exactly zero buyer's remorse. Quite the contrary - I highly doubt that this little stompbox will be leaving my rig any time soon. Guitar, bass, or baritone; humbuckers or single-coil pickups, this pedal really performs. Regardless of what I played through it, or how I incorporated it into my rig, one of the things that impressed me the most about the Lumberjack was the nice spread of textures you can get just by fiddling with the Boost and Log Factor knobs. That alone takes the Lumberjack right out of the one-trick pony category.

    However, the Lumberjack is anything but your average overdrive. One of the side effects of its logarithmic character is that the Lumberjack distorts lower frequencies far less than high frequencies. As a result, it's a pretty unforgiving overdrive that won't cover sloppy playing at all. Unless you're looking for a gritty sound for roots rock or you're running your bass or baritone through it (more on that below), you'll probably want to combine it with other pedals. But that's also kind of the beauty of a pedal like this: you can stack modulation, delay, reverb, and compression on either side of it, and it won't overwhelm your other pedals. So, on guitar, it's more of a special sauce you can use to spice up your sound than a standalone overdrive.

    If you play bass or baritone, then you're going to love this thing. What initially attracted me to the Lumberjack was the last part of ehx's original demo video, when the dude sort of fumbles through this fat and fuzzy bass groove. I was delighted when I could easily replicate this same bass tone with my P/J-setup Yamaha bass, and the same tone sounded awesome on my PRS Mushok baritone. In many ways, running bass or baritone through the Lumberjack is like running them through a blend of distorted and clean tone, because almost all of the original impact or your low end and your transients punch trough cleanly. But I got even better results when I ran the Lumberjack in parallel with bit of compression on the clean signal.

    I can tell that I've only scratched the surface in my brief time experimenting with the Lumberjack, but I'm already looking forward to the next chance I have to mess around with it.

  • from N. CA February 3, 2014Music Background:
    Once a pro now a part-timer

    A Great Pedal for the Front of Your Chain

    I got this pedal with the intent of capturing some British Invasion and old blues tones where they either used weird and unstable little tube amps or actually slit the speakers with razors. I think the Kinks used a record player amp for some of their great tones in the 60's.

    Anyway, when I plugged this pedal in and fired it up it was not what I expected. The biggest surprise was how the pedal changed the tone of the guitar with both the Log Factor and Boost turned off. It increased the clarity of the guitar... not trebley, but more crisp. The good news was that I liked the change. I don't usually modify heavily with my on-board tone controls, but this pedal loves both tone and volume changes on the guitar. It also responds very musically to your playing dynamics.

    The volume control can act as a second boost, increasing the gain of the guitar well above the unswitched sound. When you add the boost control you have a great deal of gain at your command. And, it is a very quiet pedal, which is a definite plus.

    The Log Factor is possibly the most unusual feature of the pedal. At low settings to somewhere around 12 O'Clock, it does indeed sound to my ears like an older amp or speaker combination frizzing out or distorting due to amp characteristics. As the control increased beyond the midpoint though, because it distorts only the high end of the signal, the sound became too shrill for my tastes. It reminded me of old Creedance Clearwater Revival songs like "Come On Around The Bend", which John Fogarty performed live on Rickenbacker guitars driving Kustom solid-state amps back in the day. Very intense and bright! Still, I have to hand it to EHX because again if you back off your playing style, tone, or volume, you get a different sound from the pedal. I also think that your signal chain, guitar, and amp will radically alter the sound and feel of the pedal.

    In conclusion, I LIKE this pedal. I doubt I will ever use the Log control above midway, but I think it is a great first pedal in a signal chain. It gives you clean, quiet boost along with a bit of roughness if you want it up to total rowdiness. The clarity boost is great at the front end of your chain to keep the signal fresh going into other pedals. I'm glad I bought it and I recommend it.

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