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Nelsocracy posted:What do you guys use your delay pedals for typically? People constantly mention to me that I need to get one, but I borrowed one from a friend before and couldn't find any use for it really. I guess it's good for some really out there or echo kind of stuff but I play straight up jazz. A friend of mine was saying they can be good to use as a kind of reverb? most common uses: -surfy slapback delay, sounds reverb-ish -add body to leads with longer delay time -play with it rhythmically a la U2
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Apr 7, 2009 02:13
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Lately I've been running my delay into a compressor, with the delay set to minimum delay time and max feedback to get a nice drone-y sound (The compressor helps the feedback from getting too overwhelming in my experience). I need to build a voltage sag circuit (or find an old 9v) to power a boost pedal so I can run that signal into it and get a nice, raspy drone.
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Apr 7, 2009 16:58
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While we're on delay pedals, I'm interested in a Boss DD-2, 3, 5, or 6 but have no idea what the pros or cons to them are besides the 2 and 3 sound more analog and that the 6 has tap tempo. Any advice?
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Apr 8, 2009 03:30
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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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Anyone have a reccomendation for a volume pedal? I'm not sure if it really matters what brand or not. I guess I could always make my own if it's simple enough.
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Apr 8, 2009 04:36
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Nelsocracy posted:Anyone have a reccomendation for a volume pedal? I'm not sure if it really matters what brand or not. I guess I could always make my own if it's simple enough. Volume control is one of the simplest effects to create, if you're good with electronics/have time to learn them. I've been searching for a good tutorial on Google, but I'm having some issues coming up with them. I recommend you do your own search. I know you'll need at least some sort of potentiometer setup with a 100 pF capacitor somewhere in there to make sure the tone doesn't get too bass heavy when you lower the volume. Since it mostly just controls signal strength, it's a good first build. But if you aren't going to build your own, I recommend one of the Goodrich lines (such as the Goodrich L120.) Another thing to consider is the difference between passive and active pedals. Passive ones don't have an external source of power, so you're very likely to lose some tone. Active ones have an external source of power, and as such are likely to be more expensive. You may want to consider George Dennis volume pedals, as well, depending on your budget.
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Apr 8, 2009 04:51
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Thanks for the advice. I don't have an experience with electronics, but I'll be building (and wiring) a custom guitar this summer so some practice would be nice. I'll take a look at custom builds and see if it looks feasible, otherwise I will look at the brands you suggested. Also I forgot to thank in my last post for the uses of a delay pedal, I might give delay another try although I'm still not convinced it's for me.
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Apr 8, 2009 05:38
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Cool, thanks Agreed. I've already got a good sounding delay (Deluxe Memory Man) that I like and use so at this point I'm only looking for something I can use to mess around in the hairier side of delays that only digital can give you access to. The Timebender and the SMMH are really interesting but they're way more involved and expensive pedals than I'm looking for. I had the older model Boss DDs in mind only because I figured they'd be cheaper than the latest but I think I'm going to shell out and go for the DD-7. Thanks again. 
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Apr 11, 2009 18:10
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Does anybody know where I could get a relatively inexpensive pan/crossfade pedal? I'm interested in finding something with a single guitar input that I could use a foot pedal to fade back and forth between two mono outs (for different amps or effects chains or whatever). Ernie Ball makes a stereo version, but it's about $175 and that's pretty expensive for what seems like a really simple circuit. I've found a couple of schematics for crossfader circuits online, and it shouldn't be TOO hard to cannibalize an old wah pedal for this purpose, but if anybody knows of any guitar-specific plans, I'd be interested in checking that out too.
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Apr 12, 2009 22:34
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OK, pedalboards. Right now, I've got a moderate collection of pedals, and it's getting to the point where I'd like to be able to tie them all down and have something where I can hide the cables. I've got a few over-sized EHX pedals, and ideally I'd like to be able to set them up in two rows (front for the pre-amp pedals, back for the FX loops). So, my priorities are: 1) Big enough - at least 21" wide, and 14" deep 2) Slotted so I can conveniently run cables/power under the pedals 3) Tiered/Slanted so I can easily access back row pedals 4) Able to support fixing pedals with segments of bike chain (if possible) Does anyone have any suggestions for anything that would work for me? Pedaltrain has a few that look like they might work, but I was hoping to get some input before I dumped $100 on a pedal board. Does anyone have suggestions on what to use for wiring them? I'm comfortable with a soldering iron, but I've got a wide variety of jack layouts on my pedals, so I will need some custom cables I imagine.
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Apr 24, 2009 21:23
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Does anyone know if it's possible to replace the metronome sounds on a Boss RC-20XL with sound files from the computer? Or if it's possible to put a sound file onto a loop track via the computer? I want to put on some kind of swing drum beat to jam to, im sick of the terrible sounding metronome that is built in (about 15 different sounds but all are terrible except the standard metronome click which is tough to swing to as it's steady quarters obviously)
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Apr 25, 2009 19:05
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I'm considering getting one of these, it was mentioned way back at the beginning of the thread. It looks pretty useful and it's cheap, which is important because I have little to no money at the moment. I'm pretty much planning on ordering it this week, so I just thought I'd stop in and make sure that this wouldn't be a mistake. It's a good pedal, right? It'd be staying in my house, so durability isn't a huge concern.
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Apr 25, 2009 19:57
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The Fish 'n Chips is a great pedal - quieter than the Boss 7-band, only with a cheaper switch and jacks. If you don't mind giving money to Danelectro it's totally worth it.
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Apr 26, 2009 15:25
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What are some pedals that do both reverb and delay well in one unit? I was looking at a Space Echo but I would prefer something a little cheaper; any ideas?
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May 8, 2009 02:43
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I used to play Iron Maiden so all I needed was my guitar and high-gain amp. Now I'm going to play in a general cover band which does more pop and funk stuff, which means i need to have a lot more sound options. My current issue is getting a decent compressor pedal. I own one of those dirt-cheap Behringer things, but obviously it sucks balls. What I need is a good balance between a nice compression/sustain for chords, but also a more 'percussive' attack for some funky notes. Current setup: Main guitar: Ibanez JS-1000, humbuckered but switchable to single coil Amp: Fender Twin Reverb FX: Bad Horsie Wah -> behringer comp -> Boss eq (to boost highs)-> Boss OD2 -> Behringer dig. delay (too bad my old Boss DD-2 died)-> H&K Rotosphere Mk2 I usually tend to look at Boss stuff first, and the CS-3 is not very expensive. Any other compressor recommendations? (apart from 'ditch the Behringers you fool')
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May 8, 2009 09:54
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[In before an Agreed novel about compressors] People use compressors for different reasons, so this may mean nothing to you, but I found the CS-3 to be pretty dull in stock form. About the only practical use I had for it was running an acoustic through it so I could strum and fingerpick at the same volumes, which was kind of cool, but it wasn't what I wanted with electrics. There's a DIY modification for it put out by Monte Allums called the Opto Mod (not to be confused with Octo Mom) that adds a lot more character to it. This gives it more of that "squish" type of envelope that is characteristic of the compression effect that a lot of clean single-coil players use. So if you score a good deal on a CS3 and want to juice it up a little bit, that's an option. I also have a Dynacomp that I really dig. It's basically a slightly different flavor of that "squish" effect. I use it with the output and sensitivity at about 2 o'clock to sort act as sort of a boost for clean solos, since it also helps to keep the quacking of a tele's single coils to a minimum.
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May 8, 2009 15:00
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wlokos posted:I'm considering getting one of these, it was mentioned way back at the beginning of the thread. It looks pretty useful and it's cheap, which is important because I have little to no money at the moment. I'm pretty much planning on ordering it this week, so I just thought I'd stop in and make sure that this wouldn't be a mistake. It's a good pedal, right? It'd be staying in my house, so durability isn't a huge concern. It finally arrived after some mail issues (unrelated to the company), so I got a chance to try it out, and drat, it was definitely worth the thirty bucks. My reasonably crappy amp sounds one hundred percent better with the addition of this pedal. The tone I can get is much smoother and more defined now, whereas before I really didn't like the tone I got at all. I highly recommend this thing to everybody.
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May 15, 2009 00:35
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I need a power supply for a boss pedal, will any old radioshack power supply do or do I need to get the official boss one?
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May 21, 2009 22:42
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stun runner posted:I need a power supply for a boss pedal, will any old radioshack power supply do or do I need to get the official boss one? well you don't have to get the Boss one, but you can't just use any old power supply. Check voltage, current, and polarity. Voltage should be 9V DC, regulated. Anything else will not work properly. Higher voltage could kill it and AC power will absolutely obliterate your pedal. Max current should ideally be 200 mA or higher. This is WAY more than your typical fuzz pedal needs, but digital pedals often need 75mA to 100 mA, and occasionally you'll get something in the 150 mA or higher. Polarity needs to match. Boss pedals are negative tip, positive sleeve. If you don't match it up, it won't work, and you risk damaging the pedal (depending on what kind of reverse polarity protection the pedal has). Many household wall warts are the opposite, so be careful about this. Save yourself some hassle and get the Boss, or better yet, get a Godlyke Powerall or Visual Sound 1Spot from Guitar Center of Musicians Friend.
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May 22, 2009 18:23
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bisticles posted:[In before an Agreed novel about compressors] I was actually coming in to ask about compressors. I'm thinking this is what I'm missing in my chain, but I'm not sure what exactly I'm shopping for. I've found CS3s as cheap as $40, then the dyna comp at $60/$70, then I'm seeing a keeley compressor as much as $150 to $250. Why the dramatic difference in prices? Is the extra money worth it?
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May 22, 2009 23:13
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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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I just got a brand new Nord Electro 3 and it is amazing! I was thinking about buying a real Rhodes, but decided to save up some money and get this for the portability factor and awesome piano/organ sounds. It has pretty great built in Tremolo, Auto-Pan, Auto-Wah (really just for clavinet), reverb, Flanger, Chorus, Phaser and amp simulators. The overdrive from the amp simulators is great, but I am looking for something more. More versatile, more badass, etc! I also need some serious delay. For delay I am thinking of the Line6 DL4 which I can get used for about 200 bucks, and for fuzz/distortion/badassery I am looking at the Big John Hairy Balls pedal. The effects on the rhodes here: http://www.youtube.com/watch?v=SXYWXGx7-kU&feature=channel_page at about 3:00 in make me pretty excited. Here is where my dilemma is: Having all of these effects built in to my board is somewhat limiting, and somewhat liberating. Am I going to be limited by the forced signal path (It goes from auto pan/wah/tremelo to flanger/chorus/phaser to reverb to amp simulators) that my keyboard implies? If I go from all of these effects to fuzz to delay are things going to get weird? I know distortion on reverb can get weird. What I am trying to avoid is spending 400 bucks to get a couple nice pedals and find that in order to use those along side effects I already have access to I am going to need more outboard gear. If this is the case, I will probably just stick with what I have on the board and add a delay modeler to the end. Pedal demos on youtube are great, but very rarely do you hear a rhodes or other keyboard going through one. Any advice/enlightenment on my situation would be great.
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May 23, 2009 03:55
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What do you guys think of using the EHX's Big Muff Pi w/ Wicker as a main distortion pedal for a rock band? I've got a line 6 multi effects pedal I'm not happy with what I've been able to get out of it, so I'm trying to build up some effects and I was really impressed with this one, but I don't know if it'll get as heavy as I'd like. Some of the youtube demos get it and some don't. The local guitar center didn't have one 
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May 23, 2009 04:15
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Are there any pedals out there designed simply for making lots of weird un-guitar sounding noises? I've gone about as far as I can with my current set-up and I'd like to try some semi-DJing with my guitar rig.
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May 23, 2009 06:45
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Stayne Falls posted:Are there any pedals out there designed simply for making lots of weird un-guitar sounding noises? I've gone about as far as I can with my current set-up and I'd like to try some semi-DJing with my guitar rig. The MXR Blue Box comes to mind. It tracks (very loosely, I might add) the most prominent note that you're playing and then doubles it two octaves down and mercilessly fuzzed. Makes for some pretty cool Nintendo noises. Also, I've found that setting #69 on the GSP2101 *is* the Ratatat sound. This is saturated tube disturtion plus some delay and reverb sent through the harmonizer, which is set to the 3rd in an Em scale. harmonized guitar sample an AOL chatroom fucked around with this message at 14:05 on May 23, 2009 |
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May 23, 2009 13:56
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bisticles posted:The MXR Blue Box comes to mind. It tracks (very loosely, I might add) the most prominent note that you're playing and then doubles it two octaves down and mercilessly fuzzed. Makes for some pretty cool Nintendo noises. Helllllooooooooo Wildcat.
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May 23, 2009 18:29
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bisticles posted:The MXR Blue Box comes to mind. It tracks (very loosely, I might add) the most prominent note that you're playing and then doubles it two octaves down and mercilessly fuzzed. Makes for some pretty cool Nintendo noises. I need a gsp2101 or can I copy that sound in at2xgear? Any ideas?
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May 23, 2009 19:54
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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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Agreed posted: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. Since you went into some serious detail earlier about compressors, I was wondering if you could explain to me something about compressors. I get the basic idea behind the effect (limiting dynamic range, etc.) but I still don't exactly "get" what any of the settings on compressor pedals actually do. How do "sustain" and "attack" actually affect the tone or what the compressor is doing to the signal? If it helps I'm using a Digitech RP-350 which has the BOSS CS-2 and the MXR DynaComp as models included.
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May 25, 2009 18:31
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OK, sweet write-up Agreed. I ended up going with the Orange Squash for budget's sake, and I'm really happy with the results. Now I need some chain advice. I have the Orange Squash (comp), TU-2 (tune), H2O (chorus/echo), DS-1 (dist), and I'm getting a Volume pedal, an Overdrive, and probably replacing my DS-1 with a different distortion. I'm going for a fairly simple rock sound, which order do I put the following in for best results? comp, tune, chrous/echo, dist, volume, OD.
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May 30, 2009 16:52
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Epiphopotamus posted:OK, sweet write-up Agreed. I ended up going with the Orange Squash for budget's sake, and I'm really happy with the results. I think tuner should absolutely be in the first place. Compressor depends if you want to have it after the distortion or before it, but I'd leave it after the overdrive to still have some picking dynamics. I'd say go with this: Tune, Overdrive, Distortion, Compressor, Echo, CHorus, Volume. The good thing about overdrive before distortion is that when you set it up with low gain before the distortion, it can add some picking dynamics to your playing, and make for a good effect.
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May 30, 2009 17:31
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Are there any not-ridiculously priced multi-effects pedals out there that can also control a remote switch - like an amp footswitch?
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May 30, 2009 20:13
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warwick5s posted:Are there any not-ridiculously priced multi-effects pedals out there that can also control a remote switch - like an amp footswitch? The only thing like that I've seen is the Boss OD-20 Drive Zone. It's a Distortion/Overdrive stompbox modeler with a 1/4" output that can toggle an amp's channel.
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May 30, 2009 22:46
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bisticles posted:The only thing like that I've seen is the Boss OD-20 Drive Zone. It's a Distortion/Overdrive stompbox modeler with a 1/4" output that can toggle an amp's channel. The TC Electronic rackmount guitar stuff and G-system have switch outputs, but I think those are too expensive. Basically, I think my guitar player's rig has broken what I think a guitar rig should be. All it is is a Diezel VH4S, a G-System, and a recto 4x12. Functionally it's almost like a modeling amp or something...everything is just in patches and the G-System can switch between the four channels on the Diezel via MIDI. Plus he can throw the effects from the G-system before the preamp or in the fx loop, and add external stompboxes with the loops. Something tells me there isn't a pedal I can throw on a regular old combo like a 6505 and duplicate that kind of amp channel switching + patches without spending that kind of money, unless I go with a modeling amp.
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May 30, 2009 23:36
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Epiphopotamus posted:I'm going for a fairly simple rock sound, which order do I put the following in for best results? Tuner -> volume -> OD -> distortion -> compressor -> echo/chorus In this case, while the compressor is on the volume pedal acts as a dirt control that doesn't really affect volume at all. When the compressor is off the volume pedal acts like a combination volume control/dirt control. I find the latter incredibly useful, although some folk don't seem to care for it.
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May 31, 2009 23:37
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dear guitar people, i'm after a decent distortion effect for my live electronic music setup. i'm pretty sure distortion is a guitar speciality, so was wondering which pedal you guys would recommend? cheers!
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Jun 1, 2009 03:09
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Agreed posted: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. I have X-gear. So I have AT2 AT2J AT2F and AT2M. It was your fault I bought this also. 8) Trying the AT2M harmonizer now? How about the rack mounted ones as an insert into revalver?
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Jun 1, 2009 04:36
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archie posted:dear guitar people, There are probably hundreds of thousands of different distortion effects so you might have to help us by narrowing it down. Do you want a small amount of breakup to warm up the sound? Do you want a saturated but controllable effect? Or do you want a full on meltdown type sound? What is your budget?
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Jun 1, 2009 05:49
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hamaien posted:There are probably hundreds of thousands of different distortion effects so you might have to help us by narrowing it down. Do you want a small amount of breakup to warm up the sound? Do you want a saturated but controllable effect? Or do you want a full on meltdown type sound? What is your budget? yeah it wasn't the greatest description... 'saturated but controllable' sounds like the one i'd be keen. no budget contraints as i'm sure most of them would be cheaper than the at least $1k i'd be spending on a rack for the same purpose. i'm trying to add warmth, a fuller sound and some crunchy stuff to audio coming out of my synths and other things from the sampler. thanks for any advice!
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Jun 1, 2009 05:54
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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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