Walrus Audio’s Mako Sequence MKII – Classic Guitar® journal GuitarContact

www.walrusaudio.com
Walrus Audio’s Mako Sequence MKII bolster the sounds of their first-gen predecessors, utilizing altered algorithms, new controls, and higher tonal high quality. Essentially the most-obvious modifications are new fine-tune settings and a menu display.
The M1 Excessive-Constancy Modulation Machine gives Refrain, Phaser, Tremolo, Vibrato, Rotary, and Filters. Operating between a Deluxe Reverb a Les Paul Conventional or Strat, it generated ’70s phasers, ’80s refrain, tremolo, and an opulent rotary sim with a readability that didn’t diminish the amplifier’s important tone. Transferring from one sound to the subsequent was simple, and punching up the depth was a breeze.
Sounds from the D1 Excessive-Constancy Delay have been additionally clear and crisp – every part from rockabilly slapback to the unusual and the gorgeous. After selecting from Digital, Mod, Classic, Twin, Reverse, and Grain modes, its person can rapidly modify the variety of repeats and time, then use Faucet Tempo to lock in with a track. Its doubling impact can be utilized with pitch modulation for rhythmic staccato results or dreamy soundscape trails; it and the Reverse choice are a pleasant contact.
The R1 Excessive-Constancy Stereo Reverb homes six verb sorts, EQ management, 128 presets, and a brand new ducking/swelling characteristic. Spring, Corridor, Plate, BFR, and Refract can simulate any room setting – from church-like sounds harking back to large stone interiors to hotter, smaller rooms with refined reverberation, area rock sounds in addition to fashionable slapback. It really works nice for ethereal quantity swells.
The ACS1 Amp+Cab Simulator approximates traditional British, classic American, and high-gain tones and cab combos with the flexibility to combine, swap, and EQ them (and/or add reverb and gate. Cool presets assist get the ball rolling, and all very musical. – Oscar Jordan
This text initially appeared in VG’s April 2025 subject. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited