The Dimension Blue Monger has the look and feel of a precision audio component. Its blue, anodized metal housing; its gold trim; its knobs’ reassuring resistance—all of these details bespeak a level of attention and care which only audiophiles and hi-fi geeks normally know. And the sound? Well, the sound leaves one wondering why anything less would ever do.
The Dimension Blue Monger was designed by Björn Juhl of BJFE, a Swedish guitar effects company. Mr. Juhl has collaborated with other companies prior to this latest venture, and one hopes that Mr. Juhl will collaborate with One Control again. The collaboration with One Control allows Mr. Juhl greater access to the specialty pedal market. Ordinarily, he builds just a few pedals by hand in limited quantities. As far as collaborations go, this latest one is a winner.
The Dimension Blue Monger provides three simple controls, in addition to the usual bypass footswitch: Mix, Colour, and Complexity. Mix goes from totally dry to totally wet, which pleases this reporter after too many encounters with mix knobs that max out at 50 percent or that output no signal at the lowest settings, as if they were actually volume knobs. Moreover, the Dimension Blue Monger is a cool, compact little unit whose diminutive size will help save space on the pedalboard.
Low Complexity and low Colour levels produced a “wide,” resonant chorus with subtle, shifting shimmer. I would say that the effect is a bit metallic at these settings, but I don’t mean the description to appear dismissive. If the setting sounds metallic, it’s the softest metal I’ve ever heard. Allowing chords to ring out sent my mind drifting along a stream in a soul-soothing, soft-lit digital landscape. I loved the watery shimmer of low notes that I plucked in a little walking bass line with an open D chord.
The Complexity control seems to modulate the speed and depth of the delayed signal ever so slightly. Chorus effects, as Tone Report readers might recall, double the signal, then ever-so-slightly delay and modulate the double. Middling and high Complexity settings deliver a richer, more complex chorus with a bit more warble. Whereas the low setting produced a slow undulation, the high setting produces a crystalline, shimmering subtle vibrato. I picked up faint hints of a Leslie speaker cabinet in its more subdued settings. I liked what I heard.
The Colour knob controls the brightness of the effect. Higher Colour settings produced a slightly more shimmering, slightly clearer effect worthy of the best ‘80s-era, chorus-heavy guitar riffs. The difference between these high and low settings was subtle, but definite; I’d say that this subtlety is precisely the reason that the Dimension Blue Monger raised my spirits on the otherwise dreary, rainy day when I tested the unit.
One Control states that the pedal is actually a hybrid chorus and flanger effect. In truth, the two effects are not so dissimilar that this combination would be unusual. The more metallic tones I noticed reminded me of flange effects, but overall I felt that the unit was definitely a chorus effect.
I would compare this unit to that other fantastic chorus unit, the Chorus by Anadime (reviewed issue?). I suspect that many people dismiss chorus as a lesser effect, one that is perhaps overused. The sentiment is familiar and understandable. Chorus effects often lack the flamboyance which thrill-seeking tone hounds favor. So, when a truly special chorus comes along, one which stands out because of its subtlety and complexity and—dare I say it? je ne sais quoi—I feel I ought to speak up. I believe that the Dimension Blue Monger is just such a pedal, worthy of placement in the pantheon of chorus effects.
What We Like: Wonderful complexity and depth of tone; subtlety worthy of the finest effects; a certain je ne sais quoi.