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I really hate to bring them up again, but I couldn't find the answer before... What exactly does a compressor DO? Based on the name, I would guess that it compresses the signal, but exactly what does that do to your sound and why would I want one? (For the record, I play anything rock-oriented. From B.B to Metallica)
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Jul 12, 2009 13:39
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UrethraFranklin posted:Ok, I'm looking to get a new overdrive pedal, and I'm very interested in Fulltone pedals, particularly the OCD and Fulldrive MOSFET 2. Unfortunately, I can't find anywhere where I can try them out, so I'm kind of relying on youtube clips to decide. What I like about both of them is that they aren't always so compressed/high gain, you can set them to simply provide some boost/sustain/gain for leads/soloing. I currently have a BBE Green Screamer, and it's not bad, but it has a weird tone to it that is really starting to get on my nerves. Which do you guys prefer, and for what reasons? Are there any other pedals I may be overlooking? cat doter posted:So you guys probably know a shitload about dirty pedals, hopefully you can help me out. I like my amp's dirty channel and it really opens up with a tube screamer, but I'm looking for a nice distortion pedal, something that goes beyond just amp overdrive being pushed to the limit. What you BOTH want is a Visual Sound: Jekyll and Hyde. The Jekyll is a modified TS808 with a Bass Boost, meaning you get a real fat and warm overdrive from it that can be used as a boost or a nice dirty pedal all by itself. I absolutely love the OD on the J+H. The Hyde is a great distortion pedal. It's not the most brutal or metal pedal, but it holds its own against Black Album era Metallica and is very versatile. It's warm and chunky with a slight hint of hum, but not overbearingly (mind you, I push mine fairly hard). Both sides of the pedal are seriously awesome. You can also get the OD and the Distortion in seperate pedals if you like. I cant recommend them highly enough.
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Nov 26, 2009 07:29
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Hubis posted:Posting this for Hammer Floyd to drool over: Ohmygodohmygodohmygodohmygod Are you aware exactly how much money this clip is going to cost me? Seriously, that drone bass is something I've wanted to muck around with for AGES. Not to mention the awesome synth keyboard sound. That's...just...Mmmmmmm. Towel please.
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Feb 28, 2010 22:15
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I'm looking for a decent Noise Gate. Any suggestions?
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Jul 6, 2011 07:46
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Right. I have a JHS Muff. I also have a 1970s Silverface Fender Bassman. They do not like each other. I would like them to like each other. Suggestions?
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Dec 12, 2018 08:33
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Kilometers Davis posted:What’s your entire chain from guitar to speakers? From player all the way down: Wannabe Gilmour, but with an alarming lack of talent or feel -> Guitar -> 10 Stage Bypass Looper so none of my pedals mess with anything else unless I tell it to -> JHS Muff in the looper (tried it in\out, didn't make a difference) -> Bassman -> 2x12 Mesa Cab with V30s
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Dec 12, 2018 12:17
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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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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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YO! I'm the sort of nerd who does pedal demos on YouTube. There's always an eternal debate about what goes where and what does what. So I thought I'd throw my hate in the ring and try to do a bit of a comprehensive video about what the main kinds of guitar pedals are, and roughly where they should go on your pedalboard. https://www.youtube.com/watch?v=Xo7XiTWX8qE Here's the order I recommend:  However, as I stress in the video, there's no real "rules" to this, rather it's a series of semi-serious suggestions. As proof of concept though, the end is an improvised jam (wank session) where I play through my own board, showing how things stack and sound good with the way I have things set up. But if you're more keen on watching somebody gently caress around with pedals rather than rant about pedals: https://www.youtube.com/watch?v=4M192dsSxJM Here's the video of me loving around with my pedalboard making all sorts of fuzzy fun noises. Hope you enjoy the video! Feel free to explain in great detail why I am wrong down below. If nothing else, I'm sure we'll get some good ideas on what pedals go where.
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Mar 4, 2024 08:01
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I should have specified in the video, that I'm always running my delay\reverb in my FX loop. So therefore the noise gate isn't impacting the delay\reverb at all. Tuner can work just fine first but it won't kill the noise from your signal chain. If your amp is noisy and you run a boost 100% of the time, having the tuner last will kill all the noise from your entire signal chain. Honestly the only time when a pedal will really impact the "pitch" from being left on is a modulation pedal, so as long as that is off when you go to tune, it's a better "shut the gently caress up" switch without sacrificing anything.
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Mar 4, 2024 21:16
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Yeah, in hindsight: I'll add an addendum to the video. Using Tuner\Noise Gate last works perfectly well for my setup, but in the context of the video, it probably is far better advice generally speaking for the Noise Gate and Tuner to be first in a pedalboard. I get away with having them last and they suit my personal setup better being at the end of the pedalboard, but I forgot that not everybody lives in my own little world! Kvlt! posted:my philosophy is unless its pure function like a germanium fuzz face that really likes to see signal first, theres really no right or wrong order, just right or wrong to your own ears, which is part of the joy of the hobby. i need to get into synths bc i tweak pedal knobs more than play guitar But this is KINDA why I'll still leave what I originally said in the video. Over time, as you become more familiar with your setup and your effects, you'll start to come up with your own methodology and setups which work for you and your setups, so I'll leave my original rant in the video to highlight this 
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Mar 4, 2024 23:50
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Thanks for the kind words and the suggestions though! When you're doing a deep-dive video, it's easy to get lost in your own little world and forget about what's going to be better advice for everybody else 
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Mar 5, 2024 00:24
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JamesKPolk posted:I always head compressor first? is that not a thing? It definitely can be! It depends what you use a compressor for. If you're doing sorta funky stuff or you're a strat\tele player and you need to tame spiky transients and make things a bit more consistent, compressor first is perfect. However, if you're a big user of drive pedals, I found that a compressor before drive usually strangled the drive pedal and killed a lot of the personality from the drive pedal. I like how a drive pedal tweaks the transient of a guitar signal, so I like the compresser after my drive pedals so that I keep that personality. HOWEVER: If Compressor first is absolutely winning for you, then hell yeah brother. Rock that compressor.
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Mar 6, 2024 01:47
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It's the same logic of why I like my noise gate last. I think a noise gate circuit is KINDA similar to a compressor, it just kills the signal after a certain threshold rather than...y'know. Compressing it. I sorta go with the idea of making your signal be what you want it to be before squashing it or clipping it with a comp or noise gate.
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Mar 8, 2024 14:11
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