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3toes posted:Haha well that 'Wad is a clone. And I guess I'd be paying for the expertise of someone who has done tons of them at this point. As someone who is pretty into boutique stuff, don't pay that much for a clone. Don't pay that much for an original unless you're a collector and it's just gonna sit around, like some kind of rockin' investment or something. "Expertise" is a lot cheaper than $350 in the DIY pedal world.
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Oct 14, 2008 19:01
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Demolisher posted:Does the micro POG track quick distortion well? Tremolo picking and the like. Probably, but I bet you'd get better results putting it before your distortion than after it.
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Oct 15, 2008 17:03
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hamaien posted:So I need (want) a fuzz pedal now that I have everything else I needed (wanted). Seeing as how there are probably a few thousand choices out there, where is a good starting point? Other than Devi Ever and Zvex, what are some good fuzz brands out there? Go to https://www.fuzzhugger.com. They're a great seller, carry Devi Ever, Mellowtone, and Pro Tone pedals. Every pedal page has a video review, usually more than one, and many have other sound clips as well. They're a pleasure to buy from and if you email 'em they'll be able to help you pick a fuzz (if listening to the clips doesn't help). For my money, the two best fuzzes I've ever used are the Aramat Effects Mojo Fuzz and the Pro Tone Monster. The Aramat Mojo Fuzz is a modified Fuzz Face pedal using NOS Germanium transistors, but Keith (the guy behind the company) passed away a few months back so you're stuck looking for a used one. However, the Dunlop big round blue Jimi Hendrix Fuzz Face (silicon transistor) sounds amazing too, and has a hotter sound if that's what you're after. Very nice reissue, they finally got it right. I am also quite fond of the Singing Tree Overdrive for a choppy, sputtery fuzz that, at max gain, makes lovely square waves out of lower notes on the guitar but just overdrives higher notes (very flexible pedal since it has a voltage divider control, really tweaks the gain). Earlier I mentioned the Pro Tone Monster. It is a Muff-style fuzz, but its range of gain starts where the Big Muff maxes out, and goes to absurd heights of spitting, raging, gated fuzz roar. I keep the gain around noon for a hellacious high gain fuzz tone that still has definition for chords and lower register riffing. If I could only have one fuzz, it'd be a hard pick between this one and the Aramat Mojo Fuzz. A totally worthy contender in the very low price bracket, however, is the Danelectro Cool Cat Fuzz. Seriously, that pedal rocks. It's $25. Here are some clips.      Sounds so much better than a $25 pedal has any right to, and it's got true bypass switching and quality components inside its metal case (with metal jacks). You've got a choice: a couple pizzas, or a Cool Cat Fuzz. I think you know what to do.
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Oct 29, 2008 22:38
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G9.2tt can go wherever you need it to depending on how you're using it. If you're using it as a preamp with its various amp models, you might want to run it directly before the power amp of your guitar amplifier (guitar into your G9.2tt input, and its output directly into the amp's Effects Return to bypass the amp's preamp section). If you're using it for stompbox models (Klon/DS1/OD1/Muff/etc.) and/or wah, you'll probably want to run it into the front of your amp. If you're using it for effects only and you like how your amp's own distortion sounds, then you'll want to run your amp's FX Send into the G9.2tt's input, and run the G9.2tt's output into your FX Return. You can also use the 4-cable method, but that's more than I think you want to get into really - if you do, though, google it and you'll learn all you need to in order to make it work. As for the DD6, I usually put delay after everything but before distortion. If you're using it with the G9.2tt with amp modeling and cabinet simulation on (direct into the PA, for example), then you're going to want to run the delay in the G9.2tt's own effects loop. If you're using it all into the front of an amp, you'll probably want to use the DD-6 in your amp's effects loop.
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Oct 30, 2008 23:18
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The DD-7 is out and it throws their previous delays out the window. It has much more authentic analog-style sounds than the previous incarnations. The DD-2/DD-3 have an analog "sound" because they both use a (the same) really low-fi digital delay chip and have a low samplerate if I remember correctly. Tap tempo is one of the biggest advantages of digital delay, I would never use a digital delay that didn't have it. However there are, in my opinion, options that are better than the DD-7. Digitech's new (well, sort of, released last year so it's new enough) Hardwire Delay is really awesome and also has a decent looper and great modulated delay (analog delays make a lot of their modulation capabilities). The EHX Stereo Memory Man with Hazarai is a great delay, not perfect by any means but it's been a complete joy in my signal chain and I can't see myself getting rid of it any time soon - its modes are fairly unique, it has some really cool features like diffused repeats and multiple types of filtration, a mod delay mode where you can go from 300ms down to just a few MS which means you can actually get chorus and flanger from it... Its looper is relatively long-lasting considering it's a delay, and it can record and loop its own delays which no other unit can do. That's hardly an exhaustive survey of delays, there are even some interesting new ones out that freak me out, the Digitech Timebender might be the second coming of delay Christ and Joe Satriani's new signature Vox delay pedal has some pretty neat features (though it seems a little overpriced for what it does, to be honest). And there are many more.
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Apr 8, 2009 03:49
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Short answer: CS3s suck and are noisy, though there are some mods that fix them. Dyna-comps have a pretty specific sound; a lot of people don't care for the modern block letter Dyna-comp but love vintage script ones and the new script reissue as well. The Super-comp is a more tunable Dyna-comp if you like its basic sound but want more control over its action, and for the minor price difference it might be worth getting. One of the best bang:buck comps around is the DOD Milk Box compressor, very flexible and it sounds great. The Keeley comp is expensive because it's basically a recreation/mod of the old Ross Compressor, highly regarded for its sound (it was, if I recall, based on a Dyna-Comp of its time). The new ones have some added features, and the unit supposedly has very little noise. A very good comp that has stayed with me even after I found the holy grail (discussed momentarily) is the BBE Orange Squash, a modern take on the Dan Armstrong Orange Squeezer comp. It has a very warm overall sound, no low or high frequency loss like the Dyna-Comp can have, and while you don't get control over its attack, you DO get control over the compression level (which, in the Dan Armstrong unit, was set from the factory), and it can do anything from subtle fattening to some real squash at higher settings. Since MF blew these out cheap you can find some great deals on them, and I recommend giving it a shot if you're looking for something to add some mojo to your guitar's output without taking away what you like already. But the real cream of the crop, in my experience... The best compressor I have ever used, with which I am totally in love, is the Barber Tone Press, at $150. It has a phase-correct Blend knob in addition to the Compression and Level knobs (and the internal Color knob which further tweaks the compressor's sound to be more modern and hi-fi to more vintage and frequency lossy). The Blend knob is basically black magic for your compression, because at a 50/50 blend, you get 100% of your natural attack while still getting the full benefits of a fuller sound and greater sustain. All compressors without parallel compression (blend knob) will, to some degree or another, have a "pop-in" when you play at higher settings or with a sharp attack. The pop-in is an immediate volume reduction followed by a raise in the volume as the compressor reaches its nominal level. It can be controlled by an Attack knob which lets you change how quickly the compressor starts working, but that is a compromise solution because you don't get the benefits of a quick-acting compressor on your overall sound. The blend knob takes care of that because the pop-in basically ducks below your unaltered guitar's output, and then as your guitar's unaltered signal gets quieter, it basically ducks below the compression. It is completely transparent, you will never hear any of that, but that's a fair description of what's going on - the end result to you is that you get all of the benefits of a compressor but none of the detriments. Black magic. Plus, David Barber is a great guy who makes great products with extreme attention to the details of their construction, doesn't goop anything because he has no illicit secrets to hide (he even prints the component values on the PCB to make repairs easier), and puts the lie to expensive boutiques by selling remarkably affordable pedals. You buy a Barber, you feel like you've got your money's worth and then some. Among the best in the business. Brian from Wampler/Indyguitarist/ToneClonePedals is another great builder, and he's taken the idea of the Tone Press (which was released some time ago, and which won Guitar World's editor's pick in 2002) and made a new take on it with some different features (it's not based on the Tone Press circuit, but it is a pedal comp with parallel compression, which David Barber pioneered). The Wampler Ego Compressor is one of the few comps I would still like to try, just because I have experience with his other products and he does very good work, and all of his features make a lot of sense, no useless trivia but just great, creativity inspiring tools that don't get in your way but let you do more than the average pedal. I might see if I can't get him to send me a review unit for the blog, just to give it a try and generate some interesting content since a lot of folks wonder how the Tone Press and the Ego Compressor sound. Oh, wait, that wasn't a short answer at all, was it? Guilty as charged, I guess. Agreed fucked around with this message at 23:35 on May 22, 2009 |
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May 22, 2009 23:29
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Rkelly posted:I need a gsp2101 or can I copy that sound in at2xgear? Any ideas? Any computer modeler will do that sound. Heck, I could make you a patch if you want. AT2 only, or do you have more of the software? I'd prefer AT:Metal for that, it has a better pedal harmonizer up front which might work better for that sound.
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May 23, 2009 22:04
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Rkelly posted:I have X-gear. So I have AT2 AT2J AT2F and AT2M. It was your fault I bought this also. 8) Glad to spread the disease  The AT suite is an extremely capable modeling rig, no doubt about it. If you've gotta pick just one, it's a heck of a pick. The competition's stiff but they remain high-end. There are a number of different pitch shifters in the software, now, and it might be worth trying them all just to see which you prefer. I notice that the pitch shifting works more accurately at lower samplerates; as I use StompIO to track guitar, I record at either 44.1khz or 48khz, and with the high quality conversion of the unit (not to mention its exceptional preamp) there is no aliasing. The upsampling in X-Gear is excellent, so there are no quality losses to contend with and a great deal of performance gain in addition to the benefit of more accurate tracking. I could hook you up with a paper which explains why the usual sales pitch for higher sample rates ("see, it's like taking snap-shots of the waveform, and with more snapshots you get a more accurate picture") doesn't tell nearly the whole story. The only things to worry about are aliasing byproducts of the filtration that occurs during conversion, and with good converters that is an extremely, extremely diminished issue. There's a lot of cool math that goes into reassembling the waveforms, and Nyquist isn't "just a theory" if you get what I mean. You will likely experience no detriments at all from recording at 44.1khz, and it can improve your modeler experience substantially provided that the modelers employ oversampling to give the distortion DSP more room to breathe (so to speak).Pitch-related effects in Guitar Rig 3 and ReValver MkIII also track best at 44.1khz/48khz, though Guitar Rig 3 especially is pretty robust when it comes to scaling to higher samplerates without a lot of hassle. But if you want to use its pedal pitch-shifter (Whammy model) polyphonically without a lot of glitching, you're going to need to back it down to 44.1khz or suffer through unreasonable delay in order to give it time to "think." Agreed fucked around with this message at 06:18 on Jun 1, 2009 |
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Jun 1, 2009 06:12
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I have no experience with the Trimode, but I do use the Hot British all the time. It's a fantastic pedal, extremely versatile (though the EQ adjustments take some getting used to and aren't totally intuitive) with a very powerful and professional sound. It's also built like a tank, definitely intended to stand up to touring. They advertise them as Tube Distortion but that's more marketing than authenticity - they do use tubes in them, but it's a starved plate configuration. The higher voltage of the pedals affords them a lot of headroom in the actual clipping stages (diodes) and then they feed that already pretty dynamic sound into the starved plate tube, which, operating at the lower end of its curve, basically just "tubes up" the soun so to speak, softening the harsher diode clipping and giving it some sag/tube-like response. Don't be afraid of starved plate, it's not evil or bad or anything, but don't buy it just because it says tube. Buy it because it sounds good and does what you need (if it does!).
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Jun 3, 2009 17:54
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GrAviTy84 posted:In the same vein, I don't know why you'd need to run a volume pedal before dirt. You have one built into your guitar. If all you're doing is lowering and raising the output of your guitar in an ordinary usage scenario (say, to get more or less crunch out of your setup), the volume pot is fine. On the other hand if you're doing swells or otherwise altering your amplitude for effect, OR if you intend to adjust the volume without having to keep a hand on your volume knob, a pedal's a good way to go.
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Jul 16, 2009 01:34
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Oh yeah, well, [namedrop] does use one, so I'm right. ("I guess it really boils down to a matter of taste" is the right answer, and depending on what you're playing and how you use volume you won't be able to do it as easily with your hand unless you have three hands.)
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Jul 17, 2009 00:16
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Boss CS-3 is a compressor that I actively dislike. It has a high noise floor and does not, in my opinion, have a pleasant range of compression. It can supposedly be improved with modifications but I would instead recommend getting a better compressor to begin with. Pedalgeek ships internationally and they have the Barber Tone Press, which is my favorite compressor ever.
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Sep 19, 2009 00:22
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CmdrSmirnoff posted:That's a shame. The Barber is really drat expensive, too. See if they have a DOD Milk Box. It's a great cheap compressor. Much better than the CS-3 for like half the price (not certain on the exact price, actually, but I know it's inexpensive). GS, I never got a chance to try the Black Finger. I've heard that A) it sounds nice, very warm, soft-knee compression and B) noisy as hell.
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Sep 19, 2009 07:24
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mrbradlymrmartin posted:Anybody looking for a comp oughta try the script reissue Dyna Comp. I think it's just dandy Does seem to have a nice sound, but at $160-$180 depending on where you buy it it's priced higher than the Tone Press and for the money I think we can expect more technologically advanced compression than that - unless, of course, you're after the specific Dyna-comp sound, in which case it's as good an example as you'll find and does sound nicer than the standard Dyna-comp that you can get for not half the money. But the price gets you into pedal opto-comps that are pretty damned high quality, and passes the Tone Press along the way - I probably sound like a broken record, but  Format is "play something with the Tone Press off, then play something similar with the Tone Press on." I think I goof at one point but it's not hard to hear since everything sounds better with the Tone Press on. The latter part of the clip is letting notes and then chords sustain without the TP, then with the TP. This clip usually convinces people that I am not bullshitting and the Tone Press really is just the cat's pajamas. Agreed fucked around with this message at 11:24 on Sep 19, 2009 |
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Sep 19, 2009 11:20
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Scarf posted:I've been messing around with Delay in Guitar Rig a lot lately on my bass and having a lot of fun. Anyone able to recommend a good unit? I really like the "PsycheDelay" in GR, is that based off of an actual unit? The PsychDelay includes functionality that's traditionally been a part of Eventide's delay algorithms. Look into getting an Eventide Timefactor - though it'll cost you a substantial amount, it's one of the best units (if not the best) on the market for stomp-box delay.
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Nov 24, 2009 13:07
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While it's actually become kind of a thing for ODs to have a blend control, it's not really done to any degree on fuzzes. There are pedals designed to let you run stuff in parallel, but a cheap mixer would do the trick just as well and give you hand-level control over the stuff if you ran the cables for it.
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Dec 13, 2009 02:40
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sleep posted:Putting a cheap mixer on your pedal board doesn't sound like a very good idea. Both the size and the "oh no I just knocked the master fader from 0 to +15 dB and I'm in feedback hell"-factor speak against it. Then maybe someone with smaller and less clumsy feet than mine would do fine with something like that. Hence hand-level - I meant that to imply you'd want to have it at hand, rather than at foot, for exactly that reason. There was quite a bit of discussion over using small mixers to accomplish parallel signal paths at TGP and HC last year, didn't really catch on but it's still a neat idea.
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Dec 13, 2009 18:00
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The closest I've ever come to making a guitar sound like a sitar without actually using synthesis is this right here: Amplitube Fender's '63 Reverb overdriving on its own, dialed in for a heavy dwell, bright, splashy reverb, pushing hard into a Champ 600 sim just lightly crunching. Makes the reverb trails overdrive slightly, which lends to the sense of resonance that the clip has. The guitar is a strat. But a lot of the "hey that kind of sounds sitar-ish" comes from playing a non-traditional scale and throwing in some microtonal bends. The Roland VG-99, when interfacing with a guitar that has one of their good hex pickups, can really make your guitar sound like a sitar without workarounds. But you're looking at $1300 or so minimum to invest in that setup if you buy new. Less used. Way Past Cool! posted:By the way, apparently every single Behringer pedal is a clone (usually based on Boss) and I was wondering how they compare to the pedals they're copying. I know they're made of cheaper components/ housed in plastic but for more expensive and discontinued Boss pedals it seems like a good alternative. Does anybody know how they compare soundwise? They range in quality, but they're pretty damned good in general as far as the sound goes. Many feature plastic cases but plastic is strong, I'd imagine the inexpensive switches will fail long before the plastic cases break. They tend to have plastic-shaft potentiometers, which means they have a lot of wiggle and that is disconcerting and definitely presents some durability concerns if you don't have a lot of control over where they're at. But the circuits in them are often pretty darned good. I think the Behringer Ultra Metal (UM-300, I think, it's hot pink) sounds much better than the Boss Metalzone, for example. If you have any specific questions, I've tried quite a few of them out and I have a lot of experience with pedals so I've probably at least plugged in once or twice to most of the pedals they're emulating. I'll be happy to help if I've had first-hand experience with the ones you're curious abut. Agreed fucked around with this message at 22:13 on Dec 24, 2009 |
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Dec 24, 2009 22:06
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Gorilla Salsa posted:Yes, but can your precious plugins make your guitar sound like a violin? Pathetic. That sounds nothing like a violin. That sounds like a cello.
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Dec 27, 2009 02:35
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ProTone Monster fuzz will do exactly that sound but it's kind of pricey.
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Feb 11, 2010 18:05
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The RAT is a slew rate distortion, it has a fairly true-to-the-input sound, one of the things that makes it such a versatile pedal that works well and lets you retain the character of your instrument. Big Muff Pi type circuits tend to squash the poo poo out of what you're running into them and give you the sound of a BMP (also making it a versatile pedal, but in a different way, if you get what I mean). The ProTone Monster fuzz is based on the Big Muff Pi, but it is hotrodded to hell and back. Really absurdly heavy fuzz from it, Dennis from ProTone refers to it as a fuzzstortion and it's an apt description. If you're considering Zvex, it isn't out of your price range. Plus it looks cool 
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Feb 11, 2010 21:44
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I got my review copy of Amplitube 3 in today. Normally it's kind of hard to get worked up and excited about new software when you've played literally every single thing out there, but after spending some time with Amplitube 3, I'm able to get back to the sort of giddy excitement that I used to get when I'd try something new. The sound, the user interface, the functionality have all been greatly improved, and the new models and the newly remodeled preexisting models all sound really good, too. I played with the new polyphonic resonance filter for half an hour or more, just setting it up for different sympathetic notes and messing with the filter to get a very interesting cello-like sound out of it. My wife found it really relaxing, even though the amp model feeding the resonance filter rack unit was a Mesa Mk. III model cranked. I haven't even had time to really go deep into it, but the new cabinet and room simulator sets a new standard. That's is a bold statement, given how well Guitar Rig 4's Control Room cab simulation sounds; it's good, but the new AT3 cabinet, room, and mic modeling is the first fully functionally, totally dimensional cab sim, so good that I think people might retire their IR collections once they get to know it. Anyway, this is just a quick blurb. This is going to be a big deal. I'll have more to say about it soon. I want to really get to know it before I speak too much on it. I'll be writing a review for FrugalGuitarist.com for publication on Monday (target), and on my software and gear review blog I'll be covering it in-depth and posting clips, taking requests, etc. Agreed fucked around with this message at 07:21 on Feb 26, 2010 |
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Feb 26, 2010 07:17
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I'm basically getting rid of all but the most sentimental pedals, now, they're just redundant. So, I guess, pay attention to the gear thread if you want some dirt, some of it pretty cool and/or boutique stuff. Or just get AT3 if you've got a decent converter. Guitar Rig 4 was cool when it came out, it still has a lot of really impressive things about it, and its synth control section still means there's stuff you can do with GR that you can only do with GR, but IKMM really seems to be leading the pack for sound quality. And that's for their pedal models, amp models, cab models, all of it. Agreed fucked around with this message at 19:12 on Feb 26, 2010 |
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Feb 26, 2010 17:52
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Hadlock posted:I played around with Amplitube about a year ago and either my computer isnt fast enough (2.4ghz core2duo, 4gb ram) or the software hasn't developed enough that I can strum the guitar and hear the chord with no noticable delay. Maybe you can get used to it. I dunno. Not enough info to diagnose the problem but I'm going to guess that your issue is that you don't have an audio interface capable of extremely low latency, or you don't know how to configure your audio interface for extremely low latency. In the former case there are some good and inexpensive options tailored specifically for instruments, I can help you if you are interested; in the latter, don't feel too bad, the whole process is not entirely straightforward until you are used to it and then it feels second nature enough that you accidentally look  when you're just trying to help people.So, what kind of audio interface are you using?
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Mar 3, 2010 09:43
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What kind of audio drivers are you using for the interface? Does it have an ASIO driver, and are you using that?
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Mar 3, 2010 18:30
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Scarf posted:an auto-wah's sweep sets to a defined rate like on a phaser or flanger That is definitely not what I have understood auto-wahs to be. I thought it had more to do with the sorts of things that each were capable of, not that an autowah is an LFO filter while an envelope filter isn't. Envelope filters can emulate some wah sounds, but they can also do really cool stuff that wahs can't do at all. Could you link some example pedals so I can get a better idea of the distinction you're pointing to?
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Mar 5, 2010 20:33
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I think you're right, especially considering the actual name "auto-wah" and how it was probably originally used. It's just odd to me since sims going back to the old Zoom 505 units have had "Autowah" modules that are definitely envelope following wah-type filters. And in, for example, Amplitube 2 onward (not sure if before), the Wah pedals have an "Auto" mode, which makes them envelope controlled. Do you think the distinction holds up or has it decayed to the point of primarily historical significance? I mean, really, the difference between "wah" and "filter" is a little bit semantic in itself, this isn't something we should worry too much over, I do think it's interesting how the terminology changes with time though.
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Mar 5, 2010 21:09
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Hadlock posted:Good reverb pedal for about $100 or less? My amp doesn't have one built in, and using a Holy Stain as a crutch isn't cutting it anymore. Sell you my favorite one, a Marshall Reflector, for $60. It's a fantastic pedal, but I'm going all in-the-box.
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Mar 22, 2010 21:52
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Hadlock posted:This talk about EQ pedals gave me an idea. You'd need some sort of auto A-B switch that had an adjustable oscillating (square wave) rate, sort of like a tremolo, but it would cut between A&B, which would feed into two EQs, each with different settings. My guess would be that you'd end up with a slight warble halfway between a phaser and a tremolo. For shits and giggles you could add in a toggle switch to change the wave from square to sine , and then a depth knob to blend the dry signal with the EQ'd signal. Too late for me to gently caress around with this right now, but I already know how to do it in Guitar Rig 4. Should be possible in some other software, as well, Overloud TH1 for sure, maybe ReValver. What's required is a signal splitter. Guitar Rig 4 makes it easy because it includes an excellent splitter and also a variety of synth-style control options. Either an aggressively clipped LFO or an analog-style sequencer (might be using the wrong terminology, but it's not a step sequencer, it's the one that allows you to define the value for each subdivision - sorry, it is late and I am tired) would work here, assigned to control the signal split A/B slider, with the differing EQs set up in each. Boom, done. I'll have an example up tomorrow
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Apr 27, 2010 05:33
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drat, beat me to it. Well, that's what it sounds like  Remind anyone else of a comb filter or a bandpass without resonance? Agreed fucked around with this message at 19:19 on Apr 27, 2010 |
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Apr 27, 2010 19:15
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Hadlock posted:I am really fond of my Marshall Reflector (RF-1), and I am pretty sure Agreed is regretting selling it to me Glad you're liking it, and yeah, I miss the hell out of it. They never should have stopped making that pedal, best compact reverb ever. CalvinDooglas, I don't like the Bad Horsie II. But I do really like the George Lynch Dragon Wah, which is available mass-market as the Version 2. I bought one of the original 250, I guess they sold quickly enough that they decided to make it a production model with some added features. Fuckers!  But, it is a really fantastic sounding wah, voiced low but with enough cut in the treble when you approach the top end of its sweep that it gives you plenty of wah cut if you need it. But definitely capable of the full lower register of wahs, which a lot of wahs kind of suck at, especially other optical wahs (e.g. I had an Ibanez Weeping Demon and loved it for nearly everything but in its lower register I couldn't get it to sound quite right).
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Jun 4, 2010 13:03
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lechunnel posted:They... stopped making them? How come I can get them at shops? Did they change the circuitry at some point? Musician's Friend posted:We're sorry, this product has been discontinued All the pedals in that series were of Chinese manufacture. They stopped making them and others due to QA problems with the whole damned line. Basically, too many would work fine for a few days and then not work at all, and that's not just the Reflector, it's all their digital pedals and even some of the analog ones. They also had weird, stupid problems like the footswitches stomping right through the chassis and other things that basically reflected poorly on their quality assurance and dedication to putting out good products. The usual scenario with electronics applied - if it was going to fail, it would pretty much fail within a few days of use. Otherwise expect it to last a long time. Mine was used constantly for, I don't know, two or three years before I sold it to Hadlock as part of a big gear sale. I suspect it continues to kick rear end and reverberate names to this day. You can still find them in stock at some places because they made a poo poo ton of them and they're an underrated series of pedals in general so they hang around.
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Jun 4, 2010 13:59
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CalvinDooglas posted:I like the guitar to stop playing when I do. Very, very genre relative.
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Jun 8, 2010 18:27
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Sounds to me basically like a more expensive but also more varied EHX Cathedral. YMMV.
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Jun 9, 2010 05:15
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dancehall made what is probably the perfect fuzz recommendation if you're looking for a fuzz that'll do traditional sounds to some more raspy, thwompy stuff. Thwompy. Well, you'll know it when you hear it. Also check out stuff from FuzzHugger over at https://www.fuzzhugger.com Tom makes excellent, versatile fuzz pedals that have a sound of their own. I consider myself bound by some form of NDA (even if it's just scout's honor) after he gave me the skinny on one of his early pedal designs while I had it in for review, but suffice it to say I was impressed enough that I bought the damned thing, and own more pedals from his FuzzHugger(fx) brand now too. Including a wicked custom fuzz that really doesn't compare to anything I've ever used before. But that was a one-off, it's (kind of a joke, but I like it) the official Jeff Baker signature pedal. That's me. Ha ha. I'm cooler than Joe Satriani because my signature pedal is an oscillating fuzz.  Anyway, depending on what you're after, the Barber Trifecta is really an unassailable pedal; I am a HUGE fan of David Barber's designs and own a number of his products, though I don't own that one (I had a lot of fuzz already before I learned about his stuff and it felt a little redundant to get another big muff, even if it's pretty much a combination of the most flexible and the most affordable - and probably the most durably put together - big muff around). But check out Fuzzhugger stuff too, some really nice pedals there.
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Jun 10, 2010 08:50
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I am highly experienced with ODs and distortions, with quite a few cool fuzzes too. I can try to help. First, the Metalzone just sucks. It sounds like garbage into most amps. There are rare exceptions. If the amp is bass-heavy without a great deal of treble emphasis, the Metalzone can actually sound great into it. However, if you like the basic Metalzone clipping behavior (that is, the way it distorts, the feel of playing it, not the sound itself) there are a ton of pedals based around the Metalzone's clipping circuitry. Digitech's Grunge pedal, Danelectro's Fab-Tone Distortion (big cockbroach brown metal enclosure, not the little one), EHX Metal Muff, and others share the basic clipping topology of the Metalzone but with different tone shaping. The basic clipping circuitry of a pedal has a lot to do with its feel... A cascaded gain stages high-gain pedal is going to be a lot different than a pedal that squares out the waveform in fewer step by just clipping the gently caress out of it (this is how Fuzz typically works). Some pedals kind of ride the line between distortion and fuzz. Protone's Monster Fuzz is topologically related to the Big Muff, but it's a lot more focused, and way, way higher gain; it has a ton of great distorted range on its gain knob before it flips the crazy switch somewhere around 2 o'clock and starts getting kind of spitty in the bass frequencies. Its tone knob is also a lot better than the stock Muff's. The Hoof is a great high-gain fuzz, though, I think in it you've got a lot of capabilities. Throw an EQ pedal after it and you have a huge range of sounds. The stock SD-1 is a great sounding pedal if you ask me, just a Tubescreamer with an extra diode for asymmetrical clipping. Some other variants on the SD-1 are out there, I own an MXR Zakk Wylde OD which is clearly an adjusted SD-1 if you look at the circuit, just lets through a lot more frequencies in the low and high end and has more pronounced amplification and clipping thanks to a gainier Motorola IC. Album tones cannot be had with a single pedal. Thousands of dollars of outboard gear and software and decades of combined experience in recording go into making albums sound like they do. Even the best pedals designed to sound like a certain album will only get you in the ballpark. E.g. the ProTone Jason Becker Distortion. It's modeled on the pedal and amp setup that Becker used for the Perpetual Burn album, and it has a pretty damned close vibe, but you're going to need to know what you're doing recording and mixing to get a sound that is close to Jason Becker's (let alone the playing, haha). I have a Singing Tree, what's your interest in it? It's a variant on the Electra Distortion, one of the simpler overdrive circuits out there, I won mine in a contest and think it sounds great. It'll square out a guitar signal in a pretty lovely way when set correctly, throw a filter after it and a delay and you can do some cool guitar-as-a-synth tones.
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Aug 23, 2010 19:33
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Tsunami Redux posted:Right, Aenima was in reference to Devi's pedal: http://aenima.deviever.com/ I'm not looking to reproduce Tool's Album, Aenima. Sorry for the confusion there. This will be helpful, I'll give you some recommendations + some clips 
Agreed fucked around with this message at 02:59 on Aug 24, 2010 |
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Aug 24, 2010 01:09
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solid-state half stack. Any help is greatly appreciated.
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What amp and cabinet setup will this be run into, out of curiosity? I can try to match it as closely as possible in my software to give you a better taste of what you'll get.
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Aug 24, 2010 16:33
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Tsunami Redux posted:Well, right now I have a Vox vt30 that I use to practice. Well, what Vox model do you use with your current pedals?
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Aug 25, 2010 00:11
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| # ¿ May 9, 2024 20:35 |
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I'll just go with AT:Fender's reliable Fender Twin reissue model. Should ballpark it for you, anyway. Okay, you wanted high gain scooped stuff?
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Aug 25, 2010 00:29
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