Cravat

Like a favourite chair at your most favourite private members' club

The Gentleperson would do well to think of players like John McLaughlin, Al Di Meola, Jeff Beck, The Kinks, Bill Connors, Daryl Stuermer, and Jamie Glaser style tones. Those looking for Zakk Wylde, James Hetfield, or others will be disappointed.

Cravat is a vehicle to create new tones. Either served on its own or as a garment to adorn other tones, Cravat has 2 compressors at the front, one in the middle and a limiter at the end. It has 4 uniquely voiced gain stages in the pre-stage, with a pre-cut to reduce any portliness, before the sound hits the Drive section.

The Drive section has 2 stages, which can be run in series or parallel; the second stage offers the option to add a little stubble to the tone via odd harmonics. Inter Q and the following Compressor are very important to the Cravat make-up. Use these to toughen up the tone. A following tile control has been added, just because we could - use sparingly, if at all.

The amp section follows new interpretations of classic topologies. Ambiguity is key here. There are no references to the amp, cab and mic topologies. These aren’t models; they are tones inspired by the way other amps work. You may recognise similarities, but none are the same. This is not a place to find your favourite Brown Face. The Sonic Flâneur is encouraged to create something new, without prejudice.

A token noise gate has been added, but please try not to use it. All noise gates detract, one way or another. The addition of a Sag control is as joyous as a freshly oiled armchair.

Another exquisite addition to Cravat is Sweet. A Sweetner that adds a parallel Q to the sound. Use it sparingly to give your sound a lift, like a desirable PAF, or in a fever to create something new. Sweet is a high point on Cravat. Spend time with it; learn to love it, and watch your palate grow.