- Harp Attack
- Harp Break
- Harp Delay
- Harp V2 Delay
- Harp Frontman
- Harp Octave
- Harp Reverb
- Harp Shield
- Harp Tone+
- Flat Cat
The Harp Attack is designed to provide true power tube distortion in a pedal. This pedal is not your typical tube preamp that uses a triode; this pedal uses a subminiature beam power tube, which is the same type tube as a 6V6 or a 6L6 to provide the tone of an overdriven tube amp. It produces a fat punchy tone that can be set with the exact amount of overdrive desired. You can certainly tell there is a tube inside of this pedal. The pedal is designed with a high-impedance input buffer providing 10M ohms of resistance to get the best tone from your crystal, CM, or other high-impedance microphones. The pedal features a DRIVE control to set the amount of power tube saturation desired, an active tone control with a 20dB range that is tuned for harp frequencies, and an output VOLUME control to set the output level. The output of the pedal is also buffered with an FET amp.
The Harp Attack fills several needs of harp players. For instance, by providing true power tube overdrive distortion in a pedal, it allows you to plug straight into a PA and get a fat overdriven Bassman-like sound or dirty-up an amp that is otherwise too clean. The Harp Attack gives an excellent tube sound to a solid state amp, and it makes a great, easy to bring-along, back-up harp amp. The pedal does not produce massive distortion, but a smooth overdriven tone. Put it in your harp case and take it to jams or use it in-line with other pedals to develop your own signature tone. I recommend that you install this pedal last in-line with other pedals, but this is only a recommendation. This pedal is also becoming popular for taking on tour in Europe. Subminiature tubes are microphonic by nature, and there can be a microphonic tone when the pedal is hit or when the bypass switch is clicked, but the tone is low in volume and goes away quickly. It is recommended to not kick the pedal in and out of bypass during a number. This is a minor issue and does not cause a problem for our customers.
The settings are very basic. For a clean tone, turn the DRIVE counterclockwise and turn clockwise as you desire more distortion. Increasing the DRIVE also increases volume, so you will need to turn the VOLUME control down as the DRIVE control is turned up to prevent feedback. It is really simple: increase DRIVE and decrease VOLUME or decrease DRIVE and increase VOLUME. The TONE is an active control that amplifies the frequency range that you select.
The Harp Attack operates with two 9 volt batteries or one 18V DC power adapter. The DC adapter requirements are a regulated 18V DC with a minimum 200mA output and a 2.1mm x 5.5mm connector with a negative center. The battery is switched OFF when an external power supply is used, and the "IN" jack acts as the pedal ON/OFF switch. Battery life is estimated at 15 hours of playing time. Lone Wolf offers power adapters for US and EURO customers and is sold separately.
- DRIVE control
- TONE control
- VOLUME control
- Actual power tube distortion
- 18V DC input (barrel with a negative center)
- True bypass with LED indicator
- High impedance input
- Reverse polarity protection
- 5-year warranty on parts and labor
- If not satisfied, return within 60 days for a refund of the purchase price minus the shipping and 4% credit card transaction fee
Andy J Forest: showing off his new Harp Attack
Andy is playing through his Bassman and even gives his guitar a try with the Harp Attack.
Brad Capper: demoing the Harp Attack
Randy Singer: uses a CM element mic while demostrating the Harp Attack and the Harp V2 Delay effect pedals
Randy Singer: uses an Audix mic while demostrating the Harp Attack and the Harp V2 Delay effect pedals
Arne Hedberg: Harp Attack mp3
Honer Secial 20 > Astatic 127 ceramic mic > Harp Attack > Zoom H4 digital recorder
Gabriel Cedra: Harp Attack mp3 Harp Attack mp3
Mic - Sennheiser MD 431 II (dynamic), recorded directly into the computer!!
Little Terry Rogers: YouTube video
YouTube video of Little Terry Rogers and the Blues Birds at Magnolia Bar & Grill in Houston doing "She's Tuff." Terry is playing a 5Meg Astatic crystal into a Lone Wolf Harp Attack pedal into the PA, doesn't TB much.
From Charlie Musselwhite:
"Hi Randy, I sure love the new Harp Attack. I had been using the Harp Tone whenever I had time to be in Cyndi Lauper's band, but recently I joined her in Boston for a show and got to use the Harp Attack and it was a BIG HIT, to have a device that I can depend on for good tone when I can't have my own amp with me is great. As I travel a LOT it's just perfect to have because it fits right in my harp case, I can't thank you enough. The sound guys in Cyndi's crew were knocked out too, and those guys are real heavyweights in their profession. I've been waiting for something like this forever. When I am doing road tours I carry one of my Sonny Jr amps, but when I have to fly to a gig they often try to get me to use some amp that just does not cut it; but, with my Harp Attack I don't have to worry about bad amps any more and it fits right in my harp case. HOW COOL IS THAT?!"
-Kind regards and many thanks, Charlie Musselwhite
From Jon Gindick:
"I have a great amp, and great mic, great tone, but I still wanted to beef up my electric tone for playing with bands, so I ordered Randy Landry's Harp Attack. I used it last night as I rehearsed the Jon Gindick Band at Guitar Center Studios in Woodland Hills, California. Already I can tell the Harp Attack is going to make me a much stronger player. It lets me sculpt my tone and helps my tone cut through the mix without being louder. And if I want to play louder, that is easy enough too. This tube preamp is completely pro quality designed by a harp player for harp players. It is smaller than a paperback book. I can use it instead of amp (running it through the PA), and sound solid and strong AND have control with me on the bandstand, not in some soundman's hands. But it also sounds great running my bullet through my Fender Princeton Blackface. I can adjust the three knobs and sound as though I have changed mics, getting tones from mellow to bark. It can be battery operated-- what a powerful tool for jams!"
From Adam Gussow:
"I've had a 1955 Fender Bassman for a long time, but I rarely use it because the mic I use it with--a Shure PE5 vocal mic from the early 1980s--doesn't drive it hard enough, at a reasonable volume level, to give me the overdrive sound that I need. The Harp Attack has finally solved my problem. It's amazingly user-friendly. After five minutes, I'd figured out the optimal setting on the Drive knob to get just the sound I like, at a volume that won't kill my bandmates. The Volume knob lets me tweak the output level up or own, as needed. Randy Landry is an alchemist; he knows where the useable crunch, scream, and sustain are hiding out. This is a great piece of hardware." --Adam
Bill from New Zealand writes:
"It took 16 days to arrive but I guess NZ is a long way to come! The wait was well worth it too. In 30 years of harp playing and trying various amps, harps, mics, over drive pedals and even a behringer tube ultragain this is the best bit of kit Iíve bought. It gives me a sound I love, overdrive but smooth and warm, less edgy than things Iíve tried in the past and all that just through a PA. Throw in a delay pedal and suddenly I want to practice again, and again and again. I canít wait to see what the reaction is at band practice next week. I havenít seen these in NZ before but I'm sure if other Harp players see it they will want one too. Job well done, keep innovating."
Vince Meghrouni went on a European tour with the Harp Attack:
"I bought it primarily for a european tour that I recently finished and the Harp Attack provided exactly what I was looking for; in fact, it exceeded my expectations. I was to be provided with back-line amps on the tour that are not particularly well-suited for harp. Because of the Harp Attack I was able to play through a 60-Watt Laney into a Marshall 4 X 12" cabinet, as well as a Sovtek, one of the new Fender 60-Watt Deluxe's, an AC-30 and, at the last festival, a 100- Watt Marshall stack (thru 2 4 X 12" cabs!!). Where as I was just hoping to get a marginal harp sound at a perceivable volume, I was consistently blown away by what a good, and sometimes great, sound I could get from these usually guitar-centric amp setups. And the volume, good lord, man! I was able to get my volume up to a fantastic level, which was necessary to take equal place in an extremely high volume environment. It was a blast, and I owe it to you and your pedals. And thank you for your very clear and easy to follow advice on signal path vis a vis my Kinder AFB and 'gate' pedal. And I might add that I also was employing your Harp Delay pedal as well, as always."
-Thanks much, Vince Meghrouni
David Krauss of The Blues Drivers also tested a protoype and reported:
"OK, you are right; this thing does what it is advertised to do. When I was first testing this pedal for you I found the Harp Attack to be not different enough from other 'overdrive' pedals to matter much to harp players. However, after messing around with this thing for a couple of weeks I'm changing my story, I love it. Works great to dial in the right amount of grit to my bullets, my Beta 57 (very clean mic) and my Harmonica Honker. It can seriously transform both my Peavey Transtube 40 watt and my Blues Junior. I suggest that when folks get it, they set the amp/pa to their taste, set the Harp Attack controls at noon and then go from there to tweak tone, drive (break up), and volume. The Harp attack is small; it works, and does what you say it will do. Itís kind of like Champ in a pedal. Very cool.
The Harp Attack does what you want it to do; give a real convincing tube overdrive sound through a SS amp or PA. On my Cube 60 (with the stock 12' speaker) it worked better with my bullet than my Beta and in both cases tweaking the HA tone knob has the ability to suppress the irritating high end harshness and really adds convincing overdrive with round brown break-up in both JC clean and the Fender Blackface settings. Every player will have to tinker to his or her liking, but the bottom line is that the box can deliver the goods. I use a Harmonica Honker mic on about 95% of my playing and the Beta on the rest of my playing so you know that I am not a diehard Chicago player per se, but I am a tone freak and I think you have another honest product directed to the needs of a variety harp players. I continue to use your delay on every gig and am putting a jam rig together with the Peavey and the Tone +. Nicely done, Randy."
-David, The Blue Drivers Band
"My Harp Attack pedal arrived today, (kudos to USPS - 3 days from Louisiana to Nor Cal!), and it is all you promised and more. I can get as much overdrive as I want at any volume from living room to dimed out and the increase in presence is phenomenal. In combination with the Lone Wolf Delay I'm getting a HUGE sound from my 18 watt HarpGear - I'm a happy harp player! Thanks for producing such a great tool in the endless search for 'the Tone'."
-Jeff DeLong, Greg Allen Band
"I received the Harp Attack today, played it through my Fender Bronco, the first year that Leo offered solid state. I'm blown away with the sound!!! Thurs night I'm playing outside at Island Blues in St John, and can't wait to plug it into a powerful PA. Thanks so much for everything. I think you saved me $2000 by not having to buy and tote around an Amplifier."
"I recently purchased your Harp Attack Pedal. What an awesome addition to my arsenal! It has found a permanent residence in pedal board. Every amp and PA I plug it into sounds vastly better than it did before. My current favorite is a restored and modded 1947 Webster-Chicago 66-1A amplifier section for the old wire recorder from the same manufacturer. It sounded great before but with the Harp Attack, it is now my 'A' rig. I also ran straight to the PA the other night and got a HUGE sound from using just my pedal rig. My guitar player could not believe I was not using an amp. I have also run a signal splitter from my rig to the amp and direct to the PA. Just amazing sound! Fuzzy, furry, fat, powerful, as crunchy or as creamy as I choose and as an added bonus, my feedback issues have all but disappeared. My quest for Big Walter's tone has been seriously bridged by the Harp Attack. I have tried so many OD pedals that did nothing but summon the dreaded feedback beast. This pedal creates the tones I have been seeking for 20 years!
I am so impressed with this thing, I had to let you know that you now have another thoroughly satisfied customer. I'll be back soon to add your octave pedal to my rig. Thinking about sending you my Epiphone Valve Jr for your mods as well."
-Best Regards Mike
Dave Ferguson: An interview and his pedal board.
From Ian Collard: "Hi Randy, someone just posted this video of us at a festival we played at last month, we flew there so I used the back-line fender twin provided by the festival. I had about 5 minutes to set up because of the tight change over times between bands and used the Tone +, Harp Attack and Lone Wolf Delay. The pedals provided a huge improvement over the sound I got through that amp without the pedals, I just thought I'd share it with you."
From Zack: "Randy, I got the pedal! This thing sounds INCREDIBLE. It makes my amp sound SO distorted, which is what I've been trying to go for with no luck and through the PA? WOW."
Bobby Mack: live @ Antone's with guest Stephen Schneider on harp.
Harmonica is a Low F SP20 through a MC-151 JT-30VC into a Lone Wolf Harp Attack pedal into the PA via a DI box.
The Harp Attack is PATENT-PENDING