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havelock posted:Fair enough. I thought you just looked at the pcbs of the one you bought, rather than having any sort of inside info. not doing it to save money persay but, I certainly don't want to spend $100 to build a pedal I could buy for $100. I am interested in learning and will have time to kill. if I can build solid pedals for 30-60 bucks and give to my friends- id be happy. I think with all this info, I'll be on the road to figuring it out, once I get on a computer. thanks for all the tips!
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May 13, 2014 03:51
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Ferrous Wheel posted:Holy crap, that minifooger drive sounds really cool. I wish I could find a demo that focused more on brighter settings, but I've heard enough to know they're possible. Agreed's endorsement of the design and build quality is also encouraging. They'e not too spendy either; it might make more sense to replace my decrepit Tubeworks overdrive with one of these rather than pay someone to restore it. Ferrous Wheel posted:The MF tremolo is super cool too but unfortunately doesn't do a square wave shape. What's with that? Here's a fun trick with the Trem (settings are not intended to be absolute, just a guide, as with the manuals included with the MF's): Shape: 3:30 Tone : 11:00 Speed: 9:30 (another variation is with the Speed at 7:00) Depth: 7:00 This is less of a 'tremolo' effect and more of an 'eq' thickening of your sound, and it sounds absolutely VICIOUS with a lot of gain. Depending on where/what you're playing and the settings on your amp, use the Tone control to adjust the result to the pitch you want, such as chunking away on some power chords, or an Edge-esque shimmering chordal effect, or whatever. It gets even more fun with a Chorus slightly in the background. Honestly, I feel the need to apologize for all my MF enthusiasm lately. I've been jaded and blasé about effects for a long time, they're pretty much something you 'need' at some point (especially in a band context, genre depending of course), and other than an occasional 'oh well, that's pretty cool' it's just, 'meh, need a widget, look on AmazonBayCenter and buy whatever'. The MF pedals have REALLY had me excited, not because they sound so much better than everything else (and honestly, I stay pretty well clear of all the audiophile guitarist MY TONEZ OH GOD MY TONEZ bullshit) but because they've got the potential to be so WEIRD if you want them to be on top of being as normal as you'd like. I mean, if you think about it, they're pretty out there as far as their use goes: A Trem used as an EQ. A Ring Mod used as a low-fi/bandpass-ish 'thing' An OD used as a Wah A Boost used as an EQ/Volume Control/Comp A Delay that makes for one HELL of a Whammy pedal The manuals are a great example of the mindset behind these things, and it's what REALLY excites me about them so much. There is absolutely zero explanation or definitions given. They each provide you with 4 example settings, a brief description of what to expect from those settings and each one highlights a different control on the pedal itself. Anything more, you're left to experiment with on your own or find out about from someone else. They just encourage you to experiment, and that's what I dig so much. Anyway, huge wall of goofygoonshit.txt worthy stuff right there, but there y'go. Edit: And, if anyone's interested in them and on a tight budget, they're starting to show up used here and there. Used Ring for $99 @ GC Used Boost for $99 @ GC iostream.h fucked around with this message at 05:08 on May 13, 2014 |
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May 13, 2014 05:05
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Smash it Smash hit posted:not doing it to save money persay but, I certainly don't want to spend $100 to build a pedal I could buy for $100. IMO the kits are overpriced, especially if you can drill the enclosures yourself, and are planning on making more than one pedal. On Mouser you can even get Hammond cases already finished in different colors. Small Bear pricing is about the same as Mouser sometimes, it's good to cross-check. Oh, and for the 3PDT switches (if you're doing TB pedals) http://www.bitcheslovemyswitches.com/ has them (and sells on eBay too) for decent pricing considering it's shipping from inside the states. You can go cheaper but it will come on the slow boat from China. For smaller circuits, you can just perf/vero board them. For larger and more complex circuits places like madbeanpedals and tonepad have PCBs. Also I should really say if any goons are in the Boston area and want to get into making pedals feel free to PM me, I have no problem showing you some stuff, and even getting you started with some components for just cost.
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May 13, 2014 14:39
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I seem to have my Tremolo working well without much pop now. I moved it from the loop to last in front. Sounds fine and is only the tiniest bit noisy when shutting off. Excellent! Thank you guys, as always you're a huge loving well of knowledge  In other news iostream is an infectious bastard and I ordered the MF Delay from Amazon. Planning on going for the Drive sometime soon too. Its so fat and vicious.
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May 15, 2014 03:00
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E: ok so all of my questions have been answered after simply trying the pedal at the guitar store. philkop fucked around with this message at 22:58 on May 17, 2014 |
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May 17, 2014 17:13
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Which Moog Should I get first after I sell $200 of pedals?
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May 17, 2014 22:05
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juche mane posted:Which Moog Should I get first after I sell $200 of pedals? Trem.
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May 18, 2014 10:08
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juche mane posted:Which Moog Should I get first after I sell $200 of pedals? What do you feel you are missing/what sound are you going for?
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May 18, 2014 10:20
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Doesn't matter; get the ring mod and an expression pedal. Edit: For the record, I was joking by recommending the least commonly used option. That said, everything below is good advice. Ferrous Wheel fucked around with this message at 16:43 on May 19, 2014 |
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May 18, 2014 16:59
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iostream.h posted:Trem. This or the delay, that's my progression so far. The trem is a good way to get a feel for what these pedals can do and the design philosophy around them. I haven't had a lot of time to mess around with my delay since getting it a few days ago but it's just as top quality as the trem. Put both together you can go from subtle pleasing sounds to warping your guitar tone into a synth being blasted through a psychedelic black hole. For a while I sat my guitar against the amp and used the knobs + feedback to create some sounds I've never heard coming through an amp. The fact that they've made pedals that are super easy to dial in multiple sounds and tweakable for hours is too cool. I love this pedal line 
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May 18, 2014 17:18
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Ferrous Wheel posted:Doesn't matter; get the ring mod and an expression pedal. I am super against the buy gear for the sake of buying gear mentality.
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May 18, 2014 19:04
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Stravinsky posted:I am super against the buy gear for the sake of buying gear mentality. while I agree, you can also miss on a lot of cool sounds/pedals if you don't try. that's what's rad about the used pedal market, you can usually buy and sell without much of a loss sometimes even a small gain.
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May 18, 2014 19:17
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Stravinsky posted:I am super against the buy gear for the sake of buying gear mentality. :stravinsky!!!:
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May 18, 2014 19:36
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Do you guys have a reccomendation for a good entry level delay pedal for guitar? I was looking at the Vox Delaylab but open for suggestions.
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May 18, 2014 19:59
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What's your budget?
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May 18, 2014 20:15
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Smash it Smash hit posted:while I agree, you can also miss on a lot of cool sounds/pedals if you don't try. that's what's rad about the used pedal market, you can usually buy and sell without much of a loss sometimes even a small gain. I feel you. Its just that the shotgun approach of if I buy enough pedals I will eventually stumble upon my holy grail of tone rarely works out for anyone. Especially so if you if your not like Trent Reznor in the late 90s early 00s having people whose sole job is to buy every piece of music equipment available. I believe you should get at least an idea of what sound/tone you want prior (listen to tons of music, play with other dudes gear) and then start looking at what you would need to buy to achieve it. Take Rageaholic Monkey (no offense dude), hes going to be back in here in a month or two asking about two pedals he saw that he is super excited about that he is going to dump the last pedal he bought to get one of them. And he is going to keep doing this non stop because he has no idea what sound he is going for. Don't get me wrong, moog pedals are super well made and do what they are designed to do at a level that many pedals do not achieve. But dropping $200 or more on the best trem/ringmod/whatever pedal is kinda dumb if it ends up just collecting dust because it turns out that it has no place on your board. I am of course assuming most of the people here are buying pedals to find their sound. If its your hobby to buy a bunch of gear and play with it then resell it then do what makes you happy. Abu Dave posted:Do you guys have a reccomendation for a good entry level delay pedal for guitar? I was looking at the Vox Delaylab but open for suggestions. Taking your entry level qualifier here, boss or digitech. I would moss def hang towards boss just because I have had multiple digitech pedals crap out on me. Another thought if you want a simple pedal would be BBE's Two Timer. It allows you to have two different delays set up that you can access via stomp switch so that you can have both a subtle delay and something you would use for solos or whatever. Kilometers Davis posted::stravinsky!!!: 
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May 18, 2014 21:27
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If you're going the Digitech route for delay, I'd advise against the Hardwire DL-8. That was my first ever delay pedal and I had it for a few months and didn't really like its sound at all so I sold it and got a Boss DD-7 to replace it, which I liked way better and had for a few years. I just sold that one a couple months ago because I got the Dispatch Master which has both delay and reverb. I've had no personal experience with Digitech's XDD DigiDelay, but I just watched a couple videos on it and it seems like it sounds nice enough to make a good first delay pedal. At $100, it's cheaper than both the DL-8 and the DD-7 if that's a big factor for you. Stravinsky posted:Take Rageaholic Monkey (no offense dude), hes going to be back in here in a month or two asking about two pedals he saw that he is super excited about that he is going to dump the last pedal he bought to get one of them. And he is going to keep doing this non stop because he has no idea what sound he is going for. Don't get me wrong, moog pedals are super well made and do what they are designed to do at a level that many pedals do not achieve. But dropping $200 or more on the best trem/ringmod/whatever pedal is kinda dumb if it ends up just collecting dust because it turns out that it has no place on your board.  I mean, I have a feeling I'll know what best compliments my playing style when I play around with it, but so far I've bought a bunch of pedals and none of them have given me quite what I'm looking for. Though as a result of buying all these, I now know that I need some form of reverb, delay and fuzz as permanent fixtures on my board. I have like $1,500 worth of pedals on my Amazon wish list right now that I've researched and seem like they could give me really stellar sounds that I've never had before, but who knows. What if I spent the money and got all of them and only half gave me what I wanted, or only half of them were pedals I could use all the time and the other half had cool sounds but sounds I'd use very infrequently? (Although I'm convinced that if I bought the Eventide Space, it'd serve me well and I'd never sell it. But when the gently caress am I going to have $500 to drop on one pedal?) I spent like $230 on the Zvex Instant Lo-Fi Junky right after Christmas (granted, I got half the money for it as Christmas presents, but still) because I saw a video of it in...I think the synth thread which showed it giving this awesome Boards of Canada type sound and I thought it could do the same for me. But when I got it and played around with it, yeah it gave me cool sounds but nothing I felt I could use all the time. So it collected dust for a few months and I just sold it recently. Rageaholic fucked around with this message at 22:11 on May 18, 2014 |
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May 18, 2014 21:57
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Thank you guys for the words. My budget is like $200, which is decent I assume for a effect pedal. Will investigate all the listed options and thanks!
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May 18, 2014 23:03
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re: delay pedals--any thoughts on the TC Flashback? I've got the Hall of Fame reverb and like it a lot, and the EHX Memory Boy feels limiting.
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May 19, 2014 00:21
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The "I know exactly what sound I want" thing can trip you up with the Moog pedals, though. I'm reviewing two tremolos right now, back to back (hey, don't laugh, not much of a difference conceptually from reviewing a shedload of fuzzes and dirts back to back to back to back, just more fun  ) - one is the MF Trem, the other is the Wampler Latitude. They are both absolutely fantastic pedals, but they do extremely different things. The Moog MF Trem I almost want to call a "tremolo emulator" in that while, yeah, it is capable (through some seriously cool engineering chops) of producing destructive interference that can be dialed in to have some remarkably authentic tremolo sounds, its real strength lies in what is not advertised. It starts at "it can sound like a trem" and turns into any number of things when you mess with it, and with just four knobs. Same profound design qualifications that make the MF Drive so conceptually interesting - OTAs in an age where VCAs are the go-to ICs for this kinda thing, the Moog ladder filter used creatively across the lineup, voltage controlled features that actually go beyond what the adjustment range of the pot they're linked to is (this is especially apparent on the Drive, where an expression pedal makes it a wicked tasty dirty wah, which is more than the face control can do - it'll get into cocked wah territory, but nowhere near as aggressive or long of a sweep).The MF Trem is a pedal that really wants you to say "ok I can do trem stuff, cool, now let's see what else this crazy sucker has in store!" Because there's a HUGE wealth of stuff it can do, so much that I'm having trouble really doing it justice in words. Most profoundly I think it works amazingly well with the Depth set quite low, the Tone set to let more high frequencies through with less waveform cancellation, and the Speed and Shape adjusted so that it isn't really obviously having at the signal - it has a profound clarifying effect on your instrument of choice which does amazing things in a live or crowded-recording context. It makes whatever is run through it stand out in a way that is difficult to concisely describe but which is immediately apparent if you just listen for it. By way of comparison, the Wampler Latitude is sort of a blend of "very studio capable trem features" but with all of that control given to you underfoot. You can dial in some really crazy tremolo tones with it, and that is what it does. A huge variety of them. Hell, it has a control which increases the period between tremolo waves, and another which shifts the waveform to have a faster attack or a faster release. It does all I could possibly ask for in a tremolo pedal, without being too complex to use live or too simple to take to the studio. You've got digital control (including tap tempo and foot-activated note subdivision from quarter to eighth to dotted eighth to triplet) over a fully analog tremolo with three basic waveforms and a great deal of stuff you can do to modify how those waveforms work, it is tremendously powerful at shaping the volume envelope - because that's what Tremolo pedals do. There is a huuuge difference in design goals here. If you know you want an incredibly precise, incredibly controllable and great sounding tremolo, I'd recommend the Latitude by a mile because it will do everything an analog tremolo is capable of doing (but with the aforementioned digital precision - really clever work, there, keeping the signal path analog but controlled by digital means, definitely a pro move and I'm glad to see Brian and the team embracing the future without giving up the good poo poo we bring from the past there)! If you want to be able to do quite a bit of trem stuff, with an emphasis (it stands out here) on sounding very similar to a classic optical trem for basic needs and mussing up the waveform with the Shape control to move it to other stuff for more out-there sounds, because it is after all a Moog and what would a Moog be if it couldn't do "out-there sounds!" But it also happens to not really be especially committed to being a tremolo. Whereas nearly any trem with a sufficiently high rate of speed and the right waveforms can sound ring-mod-like, this one gets closer to that capability such that having the Minifooger ring mod and it on the same board and getting them in sync with the MF Trem's most ring-mod-like sounds produces some really out there stuff. And it works really, really well to just punch up a signal that isn't cutting for whatever reason, despite not actually being loud or anything - it has to do with its sophisticated, phaser-based innards and the way that a signal which is always just very slightly phasing (but not in an overt, in your face "effecty" kind of way at all) has an unbelievable level of clarity either into or after distortion. Moog's design philosophy is more about trying to draw you into creative experimentation. That fits a few particular niches especially well, but it may not be the ideal pedal if what you want is the most controllable super duper trem in the world. Wampler's design philosophy is very different - sure, they want you to experiment, too, but they built the Latitude to take the overall idiom of "trem stuff" and make it as broad as necessary and as accessible as possible, without deviating from the path of Building A Tremolo. A really badass tremolo, at that. I feel like you've got two extremes, here, in terms of design philosophy - which is why I've spent time droning on about 'em in the first place - and they service very different needs/wants for guitarists. At one end, you have the pedal which doesn't even really tell you everything about itself in the literature; it's barebones, even! But they want you to use it and discover all the cool poo poo it can do in your rig that they didn't even explicitly think about, necessarily, when putting it together (though I guarantee you they would be able to discuss, at length, any usage scenario you come up with and why it works well in said scenario)! At the other end, you've got an expertly designed and crafted pedal aimed at just totally loving nailing How To Make A Tremolo That Works For Your Rig. It isn't a pedal to do trem stuff and oh also a bunch of crazy awesome unrelated things; but in terms of its trem functions, it really kills it for straightforward ease of use despite (well considered) sophisticated functionality. Making the best gat damned analog trem possible, and giving you digital-level control of its inner workings so that you can run it on the road or in the studio and be able to play whatever your setlist or setup needs. So Moog is at the far side of the "explore, be adventurous, don't be shy" design philosophy, and Wampler is at the other side of "this is everything you need to make pretty much any kind of tremolo sound you could possibly want for existing songs, and new songs that you'll be wanting a tremolo for - take advantage of all of its features and it will do pretty much whatever volume envelope trickery you need." There are other companies that align themselves closer to one or the other side of that spectrum, and I think, to wrap up, they appeal to different sorts of guitarists. If you're more experimental, you'll probably be looking fondly at something that encourages you to experiment with a really unconventional design and a little bit of mystique as to what all you can do with the thing. If you know what you want and need the explicit control granted by well-thought-out controls that still stay within the milieu of conventional trems, just kicking the amount of adjustment (both hands-on and hands-free) up to the max without crossing over into "how the hell does this thing even work" territory, you'll probably be extremely pleased that you've got the power to do exactly what you were thinking about doing. There is room for experimentation. I think it's incredibly important, especially once you've got past the initial "so how do I even use pedals per se" stage in your playing, to seek out new experiences with apparently familiar things. There's also, and this is I think the thrust of Stravinsky's argument, the risk of going overboard if you're experimenting as a sort of complicated ruse to avoid making music. If your pedal collection starts to rival or overtake how much you spent on your amp and your guitar and you still don't have a little EP's worth of songs that you could put down if you had the opportunity, you may be in the "buying for the sake of buying" GAS trap. It's a fine line, especially for newer players, because there's a lot of influence that more experienced guitarists have whether they realize it or not and it can be easy for enthusiasm for something that is really cool to be infectious in a way that doesn't end up helping the newer guitarist in the end... But it could also be the kind of influence that helps an individual to shape their style, or find something that they never really knew existed. There's some responsibility on both sides to be smart about the whole thing, but it really does come down to an individual choice at that point in a musician's walk into their future.
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May 19, 2014 01:48
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Professor Science posted:re: delay pedals--any thoughts on the TC Flashback? I've got the Hall of Fame reverb and like it a lot, and the EHX Memory Boy feels limiting. Cool and fun with lots of interesting sound possibilities, but lacks a bit in the durability department. There also happen to be some absolutely amazing sounding delays in the $170-$200ish range that give it more than a run for its money in terms of sound quality. I fully agree that the Memory Boy is limiting, but in fairness it's meant to do what it does and it does that - a pedal made for people who aren't really that arsed about the limitations, I think. If you're finding it limiting, it's because you've outgrown what it can do, if you get my meaning. Not every Flashback is going to croak early, of course, but I've seen more do so than I would expect for pedals across various other competitors. I guess the Digitech HW delay also has a bit of a high failure rate, mainly due to some switch issues if I remember right, but those two stand out in my memory as pedals to be cautious of, especially if buying used, because you have to baby them a bit if you expect them to hold up well over time. The audio strumming timed tempo is a neat gimmick that lets them keep the small form factor without losing the capability to control the tempo without having to bend down and adjust a knob; it's not really any worse than tap tempo in my experience, good tracking of input, it does its job. Some people also really like the Toneprint thing, which I can understand since some cool artists have gotten on board with it and it's a nice shortcut to sounding good. Big FYI that I just learned about myself - it's on sale brand new at PGS right now for like $126 (as opposed to $170!), so if you like its features and don't mind being cautious with it so that you don't stress it more than it can handle, strike while the iron is hot and save nearly $50 on the pedal. Weird but probably necessary full disclosure - I write for Tone Report Weekly, which shares a whole lotta names in terms of management/editorial with the owners and higher up staff at PGS, so I am in some form or fashion affiliated with them. I don't know why it's getting a huge sale right now, I only found out about it when I searched for them online to see what the price spread is and that stood out to me. Maybe because the 4X version is afoot? I dunno, man. Either way, it's a good but not perfect pedal but at $126 that is some killer bang for the buck. Just be gentle with it and all that and you should be fine.
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May 19, 2014 12:53
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The flashback, boss DD7 and Delaylab are all baller although the delaylab is a bit big. I really like the sound of the flashback and have owned like 3. Really just get anything you want, I've owned most delays at that price range and they're all "good". The only ones I've ever been like "wow I hate this" are the memory boy and DL4. massive spider fucked around with this message at 13:28 on May 19, 2014 |
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May 19, 2014 13:22
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Agreed - just out of curiosity: did you happen to write the Tone Report article on out-of-the ordinary distortion pedals?
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May 19, 2014 14:01
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JohnnySmitch posted:Agreed - just out of curiosity: did you happen to write the Tone Report article on out-of-the ordinary distortion pedals? Nah, that was Fletcher Stewart. My workload is exclusively reviews, so far - not because I don't have ideas for features, I'm sitting on a few for a rainy day actually - but because I really really really enjoy trying out different pedals, getting to know them, then talking about them. It's fun 
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May 19, 2014 14:42
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Right now for looping all I have is a Digitech Digidelay, which gives me a whopping 4 seconds to play with. I'm looking for something with more time to play with, as well as some sampling abilities. Is the Line6 DL4 basically the way to go for this, or is there anything else I should be looking at?
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May 19, 2014 16:31
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massive spider posted:Really just get anything you want, I've owned most delays at that price range and they're all "good". The only ones I've ever been like "wow I hate this" are the memory boy and DL4.
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May 19, 2014 16:53
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Rageaholic Monkey posted:What didn't you like about the DL4? Just curious because I wanted to get one of those eventually. That's what Dave Knudson uses to make Minus The Bear sound like Minus The Bear, and I've watched a bunch of videos on it and it looks crazy versatile. That's why I was thinking DL4, as I've been a fan of Dave since the Botch days. Here is a rig rundown where he shows the 4 DL4's he uses: https://www.youtube.com/watch?v=9CwL3yb1pLY#t=9m53s
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May 19, 2014 16:59
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DL4s aren't great at the actual delay thing even though the looper is really neat and they're super fragile
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May 19, 2014 17:17
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Declan MacManus posted:DL4s aren't great at the actual delay thing even though the looper is really neat and they're super fragile That's why if anyone knows a better looper pedal (sampling a plus) that isn't a DL4 I'm all ears. e: Like the TC Ditto looper seems like it would be great, opinions? booshi fucked around with this message at 17:32 on May 19, 2014 |
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May 19, 2014 17:22
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booshi posted:That's why if anyone knows a better looper pedal (sampling a plus) that isn't a DL4 I'm all ears. I have a Ditto, and it's pretty awesome for the price/form factor, but you have to be pretty slick on your feet to work the single footswitch on the fly (it's tap once to record, tap again to play/overdub, double tap to stop, hold to clear, etc). I personally prefer having a separate start/stop footswitch, which apparently the new Ditto X2 has (though it's a lot bigger and a bit pricier). I also have an Akai Headrush that I friggin' love (it's got a really sweet multihead tape delay mode to), but thanks to a flaw in the chip that Akai fully acknowledges but takes no responsibility for, it sometimes randomly stops playing and deletes everything, making it totally untrustworthy live for me.
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May 19, 2014 17:41
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booshi posted:That's why if anyone knows a better looper pedal (sampling a plus) that isn't a DL4 I'm all ears. The DL4 is the only pedal I know of that does everything that the DL4 does on the looping front. I have no idea why someone hasn't tried to build a better version but it is what it is. I know my TimeFactor can do some of the varispeed stuff but doesn't really let you tweak it with just your feet, and I think the Strymon Timeline lets you do a lot of wacky poo poo with a MIDI controller (but that requires a MIDI controller). The Ditto is a bit too simple for my tastes (can't work with just one footswitch). Honestly? If I was serious about looping I'd run a computer-based setup with a MIDI footswitch.
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May 19, 2014 17:55
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Yeah I can handle the one switch setup of it, though may consider the X2. I'm trying to avoid having any computer with my setup, as I'm working on a project guitar that is going to have built in effects/tone generator that is controlled through light sensors, soft potentiometers, and other fun stuff but I'm trying to keep it onboard with just an Arduino. I don't want to have to run a bunch of stuff for a laptop setup as well because at that point I'll start going way deeper on my project guitar and I'm really trying to keep it completely on the Arduino.
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May 19, 2014 18:16
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Stravinsky posted:I am super against the buy gear for the sake of buying gear mentality. Honestly, as much as I love the drat things, I won't randomly without reason throw out MF as the be-all/end-all solution for anyone and everyone. I'm firmly on record (and without professional affiliation) of loving them and thinking they're some of the best sub-$200 effects pedals available, but no, not for everyone at all. BUT, the question I responded to was: juche mane posted:Which Moog Should I get first after I sell $200 of pedals? Honestly, it didn't seem to be an odd question, there have been several times I'd say something like 'I'm in the mood for a new effect, what's fun?' and I'll go try it, if I don't dig it, meh, if I do, then yay something new to step on at odd/inappropriate times. It's music, it's all fun and games until the bass solo. Agreed posted:It's a fine line, especially for newer players, because there's a lot of influence that more experienced guitarists have whether they realize it or not and it can be easy for enthusiasm for something that is really cool to be infectious in a way that doesn't end up helping the newer guitarist in the end... But it could also be the kind of influence that helps an individual to shape their style, or find something that they never really knew existed. There's some responsibility on both sides to be smart about the whole thing I'm joking please don't kill me jazz guys. Actual content: Regarding Agreed's assessment of the Trem as a 'clarifier', I left it on for about 85% of both gigs this weekend and both sound guys asked what I did when I kicked it on during sound check. 'That's a TREM?' was the response from both. Drive as wah, well, I can't say enough about it. Clear and fuzzy all at the same time, deep, rich swells and a crisp treble response on the high end. LOVE LOVE LOVE it and it's hilarious when the lookee-loos after the gig are checking out my board and ask where my wah is and why I have an expression pedal labeled simply 'wah' next to the others, 'what's it plugged IN to??'. Fun fun.
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May 19, 2014 18:53
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Going to go ahead and writeup a quick recommendation, simply for how versatile and cost effective this pedal is. The Ditto Looper (the small no battery one.) Price: Great - I traded an old boss chorus pedal I never used for one but I have seen them going for less than 75$ used. New is crazy cheap too. Pros: Stupid Simple, cheap, helps for practicing, helps songwriting. Basically for me it just makes it super easy to pick up the guitar and make some great sounds. My timing and soling have drastically improved after a few weeks of using this. (most of these things can be said for any looper but I have experience with this one.) Cons: No battery (get the x2 for battery+effects) Neat things they don't advertise: Need to dial in your pedalboard/amp settings? Set the looper in front of everything so you can tweak away while your loop self plays. This is seriously one of the main things I use this for, and if it did nothing else it would be worth it for this. I like to record a good 30 second loop with some mixed in dynamics and examples of how I'd be playing then spend an hour dialing in the pedals. I don't now why they don't advertise this more... All the demo guys record long bits of chords then solo but short scale ambient sounds can be had too and are plenty fun. I'll eventually get another ditto just to have a micro ambient loop then add longer sections to it. Overall: I never write reviews, and this one was probably lovely but I liked this thing enough to come here and tell you not to buy that 4th fuzz pedal and just get this. It is the most fun I've had on a looper.
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May 19, 2014 23:09
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Sounds cool I'd love to play around with a looper, and if for some reason I don't end up getting the DL4 eventually, I'll get the Ditto X2. Short ambient loops are something that interests me more than just about anything else, so I might get a looper before I get anything else. Well, after I figure out my fuzz situation, that is.
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May 19, 2014 23:41
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Alright, you assholes - Moog MF Delay ordered. Also a PSA. If Musicians Friend has what you want you can email forums@musiciansfriend.com and get a 'custom quote'. They quoted me $165 for the Moog, which is probably similar to PGS or Prymaxe's better coupons but they didn't have it in stock anyway.
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May 20, 2014 01:03
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Agreed posted:Cool and fun with lots of interesting sound possibilities, but lacks a bit in the durability department. There also happen to be some absolutely amazing sounding delays in the $170-$200ish range that give it more than a run for its money in terms of sound quality.
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May 20, 2014 06:01
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Rageaholic Monkey posted:What didn't you like about the DL4? Just curious because I wanted to get one of those eventually. That's what Dave Knudson uses to make Minus The Bear sound like Minus The Bear, and I've watched a bunch of videos on it and it looks crazy versatile. He uses it for the looper which is baller but the actual delay sound isn't that great. Also it forgets your tempo every time you bypass it.
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May 20, 2014 06:22
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massive spider posted:Also it forgets your tempo every time you bypass it.  Maybe I'll knock the DL4 off my Amazon Wishlist and just get the Eventide TimeFactor for delay and the Ditto X2 for looping for $465 (on Amazon) at some point in the future as opposed to the DL4 for both for $250 (if ever I happen to become made of money  ).
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May 20, 2014 06:47
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Rageaholic Monkey posted:Well that's no good I have a TimeFactor for sale if you're interested in buying one.
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May 20, 2014 13:10
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