DVK Tech­nolo­gies is a new Aus­tralian com­pany ded­i­cated to mak­ing dual-sound ped­als that pack max­i­mum tone into min­i­mal space (and look super-cool at the same time). The graph­ics are loud and bold but they ain’t got nothin’ on the tone. Case in point: The Mrs. Part boost, part com­pres­sor, this is a pedal that is much more than the sum of its parts. And that includes the abil­ity to sum the parts: you see, each of the two effects can be selected sep­a­rately or com­bined. Cool!


The boost side of The Mrs pumps out 25dB of gain — more than enough to push a rang­ing valve pre­amp into melt­down, but also quite suf­fi­cient to get a lit­tle more sparkle and punch from a clean amp too. Con­trols con­sist of gain and level pots as well as a normal/fat tog­gle switch. Over on the com­pres­sor side you’ll find comp, level and attack con­trols as well as a normal/bright switch. The pedal’s innards are burst­ing with so much juicy tonal good­ness that there’s no space for a bat­tery, so you have to run The Mrs on a 9v power sup­ply. It’s also extremely pedal board-friendly, both in terms of the amount of real estate it takes up on your board and its abil­ity to be clearly seen on stage, even if you’re rock­ing a double-tiered, six-foot-wide, three-foot-deep pedal board of doom.


The boost side is a lit­tle more flex­i­ble than the plethora of single-control boost­ers flood­ing the mar­ket at the moment. Sure, the level con­trol pumps out up to 25dB of juice, but there’s also an actual gain con­trol as well, which means you can add some dirt to your oomph. This is great for play­ers who use the boost for extra gain but who still aren’t able to get all the fire they want out of their amp. The normal/fat switch increases the flex­i­bil­ity even fur­ther, allow­ing you to make up for wimpy pick­ups or sim­ply ham­mer your amp with a big bass-y wal­lop. I liked set­ting a mod­er­ate gain level, a high ‘level’ level and engag­ing the fat switch while play­ing low notes on a Tele­caster; the sin­gle coil grunt is pure coun­try, and not the pretty kind. The greasy, buffalo-lassoing, tumbleweed-kickin’, cattle-branding vari­ety. Oooh yeah.

The com­pres­sor side goes way beyond a compressor’s typ­i­cal brief of louden­ing quiet sig­nals and qui­eten­ing loud ones for the sake of dynamic vanilla. Nope, this com­pres­sor has loads of char­ac­ter and enough out­put to get down­right dirty. If you want a polite com­pres­sor, set the attack fast and the com­pres­sion knob at around 10 o’clock in the nor­mal mode. You’ll get a great Motown-ready rhythm tone that’s usable in a wide vari­ety of sit­u­a­tions. Kick on that bright switch and max out the com­pres­sion and attack knobs and you’ll get a snappy, lively sound that is great for com­mand­ing atten­tion instead of sit­ting nicely in the back­ground. If you want an absolutely killer lead sound, espe­cially with sin­gle coils, turn both the com­pres­sor and boost on at the same time, and use the com­pres­sor side’s level con­trol to feed the boost. Set the boost to ‘fat’, the gain to about 1/3 of the way up and the level to what­ever your amp tells you is right. You’ll get a glassy, vibrant, extremely tac­tile and reac­tive tone that responds great to pick attack, but even bet­ter to flick­ing the pick and rock­ing it finger-style like Jeff Beck. Beware though: as you pile on the gain you’ll pile on the noise, so don’t go nuts. The Mrs is only human, after all.


The Mrs is not going to eas­ily be lost among the sea of com­pres­sors out there, nor is the boost sec­tion sim­ply tacked on as a value-added bonus. Both effects are good enough to stand alone in their own right, but their pre­sen­ta­tion in such a thoughtfully-voiced and flat-out tone­ful unit makes The Mrs utterly indispensible.

Price: RRP $299

Dis­trib­u­tor: Sound-Music

Phone: (03) 9555 8081

Web­site: www.sound-music.com

By Peter Hodgson

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