The Sil­ver­top seems to occupy a unique place among its DVK sib­lings. The other three ped­als in DVK’s range (the Mrs, the Hair Ball and the Gold­top) come across as spe­cialised for indi­vid­ual songs, solos and effect, not as ‘set and forget/use all night’ kinds of ped­als. If any­thing, their sheer vari­ety of sound will prompt you to set them dif­fer­ently for each song and exper­i­ment with var­i­ous per­mu­ta­tions of their two effects. The Sil­ver­top seems like it’s try­ing to become num­ber 1 on your pedal board, and isn’t shy to admit it.


The Sil­ver­top fea­tures vibe and over­drive effects which are selec­table indi­vid­u­ally or together. You can also switch around their rout­ing so either one can feed into the other. Con­trols include rate, depth and a classic/vibrato switch on the vibe side, and drive, level and tone con­trols on the over­drive side. The vibe sec­tion also includes a tiny LED which flashes in time with the rate con­trol, a handy visual reminder if you need to change it before the next song. You can also plug an expres­sion pedal in to vary the vibrato rate.

Like all DVK ped­als, the Sil­ver­top oper­ates on a 9v DC power sup­ply only — no bat­ter­ies. As DVK says in the very help­ful man­ual, ‘We don’t want the land­fills to be any fuller of lit­tle lead deposits than they already are.”


The chorus/vibrato mode sounds great for faux organ sounds and swirly psy­che­delic stuff. Set it to vibrato mode, crank up the depth and keep the rate at around 9 o’clock for a cool Pink Floyd Breathe type tone, or switch to cho­rus mode, crank both con­trols all the way up, flip to your neck pickup and go into Ste­vie Ray Vaughan Cold Shot ter­ri­tory. Like the Gold­top, the cho­rus is more a vin­tage, earthy vari­ety than the overly shiny, synthetic-type of cho­rus pop­u­lar in the 80s, and it reacts spec­tac­u­larly with the over­drive section.

The over­drive is a unique lit­tle beast. It’s based on the pop­u­lar TS-type cir­cuit but has been tweaked to offer a wider tonal pal­let, rang­ing from almost clean boost to a chunky crunch that stops short of full-on dis­tor­tion. Still, it pushes out more than enough sus­tain for any­one whose tonal require­ments don’t include terms like ‘brv­tal’ and ‘necro.’ At low gain set­tings it gives every­thing a nice Stones-y sparkle, while higher lev­els sound full and thick with great dynamic range. You can really hear each lit­tle vari­a­tion in pick­ing inten­sity and legato trick­ery. If you’re run­ning a valve amp, push the level con­trol up for some killer higher gain grind. I found that the tone con­trol remained musi­cal even at the high­est reaches of its travel; no mean feat con­sid­er­ing how harsh some over­drive and dis­tor­tion ped­als become at this type of setting.

Step on both over­drive and vibe at the same time and the tone tough­ens up con­sid­er­ably, regard­less of whether the chorus/vibe is set to an exag­ger­ated or sub­tle sound. It’s quite sur­pris­ing how aggres­sive the pedal becomes when you crank up the gain and stomp on the cho­rus mode. Switch­ing the order of the two effects intro­duces a sub­tle dif­fer­ence which you’ll hear more dis­tinctly at higher gain lev­els. Cho­rus before over­drive is a lit­tle looser and grit­tier, whereas cho­rus after over­drive sounds tougher and more defined. Ditto for the vibrato.


The Sil­ver­top, in con­trast to its DVK sta­ble­mates, is the kind of pedal that you could hap­pily throw into a gig bag and base your whole live sound on. That’s a big call, and it doesn’t apply if you’re in a coun­try or metal band, but for blues, rock and punk play­ers, the Sil­ver­top makes itself quite valuable.

Price: RRP $299

Dis­trib­u­tor: Sound-Music

Phone: (03) 9555 8081

Web­site: www.sound-music.com

By Peter Hodgson

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