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The Demilich posted:Anyone have any echo pedal recommendations? I acquired a desire after hearing the Fuzzlord Space Master Echo, but it's new territory to me and I'm not sure what else is available. Old Blood Noise Endeavors Black Fountain V3 knocked me out for tone and functionality - OBNE was founded by a guy who worked for Keeley in the early 2010s and then was a founder at Walrus Audio but left to establish OBNE in 2014. Some OBNE pedals have an expression jack and you can combine them with their Expression Ramper to get really cool with things. They also have an Expression Slider to put precise adjustment at hand-level if that's a thing you need. Speaking of Keeley - Keeley Caverns V2 is my other delay, PT2399-based (often referred to as analog voiced though it is technically a variable rate digital sampler that recreates a BBD-chip like functionality). They tend to feature 650ms of delay time or lower because poo poo sounds weird with them above that. I like how he did his, reminds me of the Wampler Faux Tape Echo which is also PT2399 based. Caverns is a dual function pedal with a delay and reverb on different switches each with four knobs and one three way switch to control the two sides. I have decided on OBNE Visitor (which does have an element of delay but is primarily a really cool, out-there modulation) -> Black Fountain V3 -> Caverns V2 -> Walrus Audio Fathom for my echoes n ' verbs, which fits my goals for the last stages of my pedal board and should let me do what I want to do creatively. That said there are as many delays and reverbs as there are fish in the sea - it helps if you know what sort of thing you want them to do, and pursue within that boundary. Otherwise you might be better off with something more basic and less costly, or go the other way and spend more to get something like the revamped DL4 MkII which can do a solid version of nearly anything. Agreed fucked around with this message at 05:30 on Jun 15, 2022 |
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Jun 15, 2022 05:00
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Massive props to oil can delays, they have this certain magical quality to them. It's fantastic, and I really want to get one, honestly it'll probably be the Black Fountain. I run two delays at the moment, a DOD Rubberneck and a plain ole Boss DD-3. Both are great at what they do. I've played with many more, and a standard digital delay, an analog delay you vibe with (I prefer the Rubberneck over the Carbon Copy for example), and a "weird" one like an oil can or reverse or whatever, is the gold standard for any delay sound I could want. Then stack them.
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Jun 15, 2022 07:46
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I have a Boss DD-500 that has a million sounds in it and I only use its digital delay mode (which is 1 mode out of 12 or so) with just three patches of different level/feedback values. So yeah, really depends on what you want/need...
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Jun 15, 2022 17:10
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Ok, I'm just missing a few ingredients that are still in the mail but what I have going on now is making me grin so I wanted to share a quick clip https://soundcloud.com/user-6129700...=social_sharing This has some comps and dirts, and the delays and modulation I mentioned (except the Visitor, it'll be here early next week), plus Earthquaker Pitch Bay which is a weird and somewhat glitchy sounding tunable two-voice harmonizer that I dig. Details of exactly what was used at the Soundcloud link. I freaked out when I first put the Black Fountain in because it sounded HELLA DARK, way darker than I remembered in the store. Like, "can I use this muffled barely-there sound" kind of dark. Turns out I had the wrong power supply going to that chain and it was current starved. Oooops. Nothing was harmed, it sounds exactly like I wanted it to when I gave it enough juice.
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Jun 16, 2022 07:33
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Anyone recommend the Digitech Drop? I plan on buying a Helix in the near future but: A) the drop is on sale B) I heard the poly stuff uses heaps of DSP So probably not a bad purchase to compliment it?
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Jul 7, 2022 07:20
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Having owned both its hard to say which is better, drop or helix capo effect (both designed by the same team, albeit in a non contract violating way that’s different). Helix seems to get lower without getting muddy, maybe tracks a little faster. Drop sounds a bit better as long as it doesn’t go under -3. Helix capo takes up about 25% DSP of the bigger units 50% DSP of the stomp.but that leaves enough for other effects and amps if you pick the light ones (I always use the JC120 amp anyway and thats v simple) Any form of digital retuning always feels slightly weird anyway cause your strings resonate at a different pitch to the sound. You may not even like it regardless. I can I will use a physical capo instead.
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Jul 7, 2022 10:47
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massive spider is dead on If you're thinking of full Helix or LT, you don't need the Drop unless you're using crazy-high DSP on every patch. If you're using the Stomp, you could go without it, but the poly capo on its own cuts off numerous amp and effect blocks. The Drop is the only pedal I haven't been able to permanently remove from my Stomp board for this reason.
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Jul 7, 2022 15:31
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Thanks guys, looks like I’ve been cured of the GAS this time!
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Jul 7, 2022 21:15
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Anyone tried the mod to add a clean blend to an MT-2? I wanna try it but mines a waza so im nervous to drill it
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Jul 13, 2022 13:09
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Red_Fred posted:Thanks guys, looks like I’ve been cured of the GAS this time! It’s the right choice imo. I absolutely did not care for the Digitech Drop. It felt and sounded totally off to me even if I would say that it got “close enough” in practice. Close enough just didn’t do it for me though. It felt like I was sending a message through my guitar playing that told something else to play other notes. The disconnect wasn’t great.
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Jul 13, 2022 16:07
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Kvlt! posted:Anyone tried the mod to add a clean blend to an MT-2? I wanna try it but mines a waza so im nervous to drill it Is the Waza Craft MT-2 not made with surface mount components? My impression was that all of the Waza Craft versions were surface mount, which would make modding them incredibly difficult, if not outright impossible.
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Jul 13, 2022 17:22
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Major Operation posted:Is the Waza Craft MT-2 not made with surface mount components? My impression was that all of the Waza Craft versions were surface mount, which would make modding them incredibly difficult, if not outright impossible. surface mount is fine. through hole replacement kits aren't gonna work obviously but its still the same circuit. w/ this I'd be tempted to just do the mod on a daughter board as there's a lot more space in there and wiring would be easy
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Jul 14, 2022 02:54
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I'm in the market for a pedal board but know next to nothing about them. Things to consider:
Please school me on pedal boards! 
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Jul 16, 2022 00:15
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Red_Fred posted:I'm in the market for a pedal board but know next to nothing about them. Pedal train has a really good board builder on their site. You pick one of their boards to start with, then enter all your pedals and it gives you images of them you can drag around the board. Even if you don't want to spend pedal train money, you can then take the measurements of whichever one of their boards work the best and have a look at competitor options. Most boards come with a gig bag.
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Jul 16, 2022 01:03
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Everybody give it up for the Line 6 DL4, the delay pedal that is basically its own instrument
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Aug 15, 2022 21:56
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I thought the DL4 was the poo poo back in my college days, but haven't tried the revamped one yet. I've been really impressed with what the EHX Grand Canyon can do - lots of delays, good types, mono input but stereo output with ping-pong operation... Cool, but I am really loving its built-in polyphonic pitch shifter right now though and keeping it in that mode a lot of the time. Great tracking on it, does the POG thing really well but has adjustable intervals. It's part of its "Pitch Delay" - it can work as described of course, set it up to do ping pong pitch shifted delays with adjustable level and feedback and all that, works great when you want the delay line pitch shifted, but if you set the delay time on it to nothing it turns into a pitch shifter with adjustable wet/dry and the feedback control gives you additional octaves of your initial pitches. I've been using a T-Rex quint up front, into an Earthquaker Pitch Bay, then the Grand Canyon set up like that and it makes the guitar sound like a big rear end unison synth or something with all that going.
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Aug 15, 2022 22:19
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muike posted:Everybody give it up for the Line 6 DL4, the delay pedal that is basically its own instrument Watching Dave Knudson (guitarist from Minus the Bear) work his magic with his setup makes me want to go out and buy multiple DL4s : https://www.youtube.com/watch?v=9CwL3yb1pLY&t=593s
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Aug 15, 2022 22:20
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What a cool way to use loopers, that's badass
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Aug 15, 2022 22:52
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homewrecker posted:Watching Dave Knudson (guitarist from Minus the Bear) work his magic with his setup makes me want to go out and buy multiple DL4s : Yeah he's actually exactly why I got the DL4, I think. I can use it however I want to do just normal delays with tap tempo, or I can use the loop function to make crazy sounds, but I still get to keep my normal delay sounds. No compromise. THey just released a MK II which can do it all and even has more features. also keep in mind this guy was the guitar player for Botch lol muike fucked around with this message at 23:48 on Aug 15, 2022 |
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Aug 15, 2022 23:05
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Just picked up a Behringer Model D synth (their clone of the Minimoog). Want to dial in some authentic '70's vibes, especially for a Pink Floyd tribute I'm in. Need a delay (and more) for it, and really want one that would make it easy to dial in exact delay tempos for songs like "Any Color You Like" where the delay has to be exactly on the beat. Is there such a thing as an analog delay that lets you dial in an exact BPM, either by MIDI or with a dial? Would I just be best served getting something like a Memory Man and getting good with the tap tempo? Any other recommendations for delays or multi-effects units for a few hundred bucks or less that pair well with this kind of synth?
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Aug 31, 2022 06:41
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Drink-Mix Man posted:Just picked up a Behringer Model D synth (their clone of the Minimoog). Want to dial in some authentic '70's vibes, especially for a Pink Floyd tribute I'm in. Need a delay (and more) for it, and really want one that would make it easy to dial in exact delay tempos for songs like "Any Color You Like" where the delay has to be exactly on the beat. Is there such a thing as an analog delay that lets you dial in an exact BPM, either by MIDI or with a dial? Would I just be best served getting something like a Memory Man and getting good with the tap tempo? There are heaps of different units that plug into the tap tempo input of a delay pedal and let you dial in exact bpms. I use the Selah Quartz for recording with a few different tap input pedals and it works a treat.
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Aug 31, 2022 06:55
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Drink-Mix Man posted:Just picked up a Behringer Model D synth (their clone of the Minimoog). Want to dial in some authentic '70's vibes, especially for a Pink Floyd tribute I'm in. Need a delay (and more) for it, and really want one that would make it easy to dial in exact delay tempos for songs like "Any Color You Like" where the delay has to be exactly on the beat. Is there such a thing as an analog delay that lets you dial in an exact BPM, either by MIDI or with a dial? Would I just be best served getting something like a Memory Man and getting good with the tap tempo? Some sort of echoplex, including its preamp. Im a guitar player so idk how itd work with synths but I know guitar in Floyd used em and it might be fun to experiment with
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Aug 31, 2022 07:05
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You can dial in a delay by ear and don’t really need exact bpm since the echo only happens a few times and then it’s gone. So if it’s 118 bpm and the song is at 120 it will have faded out before it becomes an issue. It’s not like a sequencer where that 2bpm difference will accumulate till the tracks are totally out of sync.
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Aug 31, 2022 08:50
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Drink-Mix Man posted:Just picked up a Behringer Model D synth (their clone of the Minimoog). Want to dial in some authentic '70's vibes, especially for a Pink Floyd tribute I'm in. Need a delay (and more) for it, and really want one that would make it easy to dial in exact delay tempos for songs like "Any Color You Like" where the delay has to be exactly on the beat. Is there such a thing as an analog delay that lets you dial in an exact BPM, either by MIDI or with a dial? Would I just be best served getting something like a Memory Man and getting good with the tap tempo? There is the providence Chrono Delay that shows the delay time in ms or BPM http://www.providence-ltd.com/pedals_02.html#h_dly but that is pretty expensive for a single pedal. For half that price you could get a Zoom MS70CDR which will give you a lot more options and flexibility
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Aug 31, 2022 17:20
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Thanks, that's all super helpful. Does analog vs. digital mean much when it comes to delays or MFX on synths these days, or is that just something retro gear snobs think?
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Aug 31, 2022 19:30
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Drink-Mix Man posted:Thanks, that's all super helpful. It means a lot but not strictly in a Good vs Bad way depending on your preferences. Trust your ears and listen critically and you’ll find the best stuff for you what you want. Emphasis on you, the most important part of your signal chain 
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Aug 31, 2022 20:06
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It means little these days. Personally I dont like the memory man sound even though theyre analog. If you want the pink Floyd binson echorec sound you'll have to go digital unless you want to drop several grand. Id just buy a DL4 mk2 and be done with it.
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Aug 31, 2022 20:45
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It's outside your price range, but if you also play guitar or bass, the HX Stomp sounds great and is switchable between instrument and line-level inputs. Reverb.com put out a great video a couple of years ago pairing pedals with synths, and they also show what the HX can do: https://www.youtube.com/watch?v=l_adHwxh7b4
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Sep 1, 2022 13:50
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Catalinbread do make a specific 'Echorec' pedal which would theoretically get you even closer to the Floyd sound, but there's no tap tempo and I've no idea of whether it really matches the real deal. If you're looking for a 'tape delay', I've been having a good time with a Keeley Eccos recently and can recommend. Digital, but takes up a smaller footprint than DL4 etc., has tap tempo, all that, although no specific bpm entry mode. Really zones in on the 'tape' side of things. Not sure I would've paid full retail but there's lots of cool features in there and it sounds pretty legit if you take the time to dick around with the 'alternate' functions of all the pots.
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Sep 1, 2022 14:12
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If you have a bit of money to throw around on a pedal, I highly recommend the Strymon Volante. Not just a very close emulation, it sounds very musical and natural, and is very versatile.
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Sep 8, 2022 18:24
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Starting off with a shameless plug... I've released 5 more demos! This time I focused on modulation\swirly effects. https://www.youtube.com/watch?v=OlotNSHG2Z4 So when you spend some time recording swirly guitar effects, obviously your brain will rabbit hole on swirly guitar effects and how you like to use them. It's fairly obvious that David Gilmour is a gigantic influence of mine (and...I assume almost everybody really) and lord knows the man made extensive use of swirly pedals. Personally, I tend to just use a rotary pedal for all my swirly needs. It sorta does the chorusy thing, it sorta does the throbby thing, it sorta does all the things, while still sounding cool as poo poo. So if I'm jamming on something and I want swirlies...I stomp on a rotary. However, when nerding out on this topic with a mate of mine, he was almost appalled by my approach. He firmly believes that each effect (chorus, flanger etc.) has their specific use and to get it wrong is like rocking up to a wedding in jeans. Commence argument. He had a number of good points. There are some specific effects which are tied to certain songs. Phaser for Brain Damage on Dark Side Of The Moon for example. Flanger for 46&2 on Chancellor's bass. Chorus for 80s Hair Metal. We could agree that there have been specific uses for each effect which are necessary\iconic whereby simply stomping on a rotary isn't going to be helpful. ...But NEITHER of us could agree with any sort of guidelines about what effect would be most suitable where. What about Phaser makes it equally awesome for Brain Damage, as it does for EVH? Ergo: I open the topic to the internet. What makes you decide: "Yes, this is a guitar part which definitely needs <insert specific effect here>" rather than...my approach of "SWIRLY GO FUN TIME WHEEEEE?"
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Oct 23, 2022 00:35
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In my experience, most swirlies tend to prefer high frequencies and, unless specifically made for it, tend to be near-unnoticeable on bass... with the exception of flanger, which is time-based. Even the neck pickup on my B-b baritone doesn't get along with my swirlifiers. They all have their different sounds, uses, and ideal placement in the chain, but the best one will always be the one that's best for you, your situation, and the song. Maybe I'll effortpost my own experiences later.
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Oct 23, 2022 15:57
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When dealing in a tone on guitar (or synth) I always think to some degree youre trading on cultural associations of that sound. So chorus is always gonna be a little bit 80s/(90s if its distorted), spring reverb and trem is a bit old school because they literally came built into the amp in the 50s and so on. Rotary and phase are psychedelic. This isnt always the case if youre for example dealing in a chorus real subtly in a mix as an actual thickener to the point its not immediately noticeable as chorus but its always at the back of my mind. The interesting thing is the sub associations within each era, so chorus can be the sound of cornball 80s hair ballad sure, but chorus can also be goth. I suppose thats kind of like the way items of clothing work as signifiers too, bushy beards can say 'lumberjack' or 'hipster'. So yeah I think your friend has a point, you can get away with using rotary for a lot of things if you just need modulation since its just a variable chorusey/phasey thing, but its not the same as dressing for purpose. massive spider fucked around with this message at 17:07 on Oct 23, 2022 |
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Oct 23, 2022 16:57
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There's a sort of jazz guitar that works with chorus but is kind of unimaginable with a phaser
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Oct 23, 2022 20:35
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massive spider posted:When dealing in a tone on guitar (or synth) I always think to some degree youre trading on cultural associations of that sound. So chorus is always gonna be a little bit 80s/(90s if its distorted), spring reverb and trem is a bit old school because they literally came built into the amp in the 50s and so on. Rotary and phase are psychedelic. I think this is a good point. There's a lot of cultural association with certain effects. 1950s Trem is a big one in my mind, as is chorus being on...pretty much anything for the 1980s. For a lot of the times, those effects were chosen to be fashionable, but there also had to be some sort of logic to it as well yeah? How did it become fashionable in the first place? What was the logic that went into the original decision of: "Let's put flanger on this" and then suddenly it's a bit of a cultural thing... After The War posted:They all have their different sounds, uses, and ideal placement in the chain, but the best one will always be the one that's best for you, your situation, and the song. Maybe I'll effortpost my own experiences later. This is what I'm interested in! What is it that will make somebody first of all say: "This would be way better with a bit of modulation on it" Then what would make them say: "Chorus works a thousand percent better than flanger here" Because there are plenty of recorded cases, where one particular effect was clearly the correct choice and any other modulation would be inappropriate. So I'm trying to work out what makes people go: "We need chorus here" and how they will be correct when they say it.
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Oct 24, 2022 00:58
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You don't have to be right until you press record. The SPX90 is a good example. One preset on it that didn't really exist before is the sound of shoegaze, another preset that didn't really exist before is the sound of almost all rock bass post 1990ish. No one read the manual and went "Ah, symphonic, that will be the sound of rock bass". People flick through presets and something sounds good. The history of popular music is someone loving around for ages and then a whole bunch of boring talentless dicks doing the same thing to appease the psychopathy if the people who corporatise art.
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Oct 24, 2022 01:32
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They also go about their process differently, and that will affect the sound and feeling accordingly. Phaser drops out the low end, so it always feels light and airy to me - even minor key stuff comes across as more wistful than sad. Chorus and vibrato have a detune effect that can feel very emotional, like the catch in someone's voice before they burst into tears... or like something deep underwater (I'm a 90s kid, so chorus will always mean the "Come As You Are" intro more than any power ballad). Flanger is basically the only one that can take a heavily distorted sound without freaking out. It's mostly a matter of figuring out how the different sounds make you feel, and incorporating them appropriately. Familiarity comes from the aforementioned loving around and playing until you find the effect (and settinthat feels right. As for knowing when you want to add modulation at all, for me it's always when I feel like a part needs detail beyond what the instrument can provide on its own - adding color or shade without fundamentally changing the music itself. Sorry if that's overly rambly, I thought I'd put a little time in with my modulation pedals before replying, and the next thing I know it's two hours later and I'm half asleep. They do that, too...
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Oct 24, 2022 05:43
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After The War posted:In my experience, most swirlies tend to prefer high frequencies and, unless specifically made for it, tend to be near-unnoticeable on bass... with the exception of flanger, which is time-based. Even the neck pickup on my B-b baritone doesn't get along with my swirlifiers. With bass, modulation works well later in the signal chain after a good amount of distortion. The basic tone is nice & gritty, then as soon as you kick on the swirly it smooths out. The change is very noticeable in that application. For context, the only mod pedal I have that's specifically for bass is the BF-3. The Phase 100 and Dimension-C work great on bass, have a really unique and noticeable sound, and they sound different than flanger. There's really a lot of potential with "guitar" modulation pedals on bass, just make sure you have a clean DI there to anchor everything.
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Oct 24, 2022 23:18
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I’m getting my first real pedalboard soon after wanting one for years of collecting and I’m very excited. Dealing with noise buildup over the length of the chain has rendered a lot of things unusable for studio work so I just did it in the DAW and had a bunch of really cool things collecting dust. I’ll post it when it’s done
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Oct 25, 2022 19:11
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H13 posted:
I tend to run half a phaser pretty much all of the time: Red Witch Moon Phaser, tremo-phase setting, with a dummy plug in the second output. Turns it from an overwhelming swirl to a more subtle pulsing. Sometimes I’ll run two, especially if I can use the stereo outs. It sounds maybe Univibeish, like Trower. For chorus I really like a subtle MXR that you can barely detect. Makes the guitar sound just a bit prettier. Unless I’m going full-on Jazz Chorus, that’s a good sound. When the urge to flange hits me, I have a couple good options, MXR and ADA, and after a couple minutes I turn it off again and make a mental note to go listen to some Pat Travers. I just don’t like how flanger takes over. I guess I’m not very swirly.
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Oct 25, 2022 21:07
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