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im_sorry posted:What's the general opinion on the Digitech Bad Monkey? I bought one, and it makes the lead channel settings of my Peavey Envoy 110 sound really awesome (at least, to my inexperienced self), but I was wondering how it compared to things like the Wasabi. Harmony central loves the Bad Monkey. I think it's pretty much the best bang-for-your-buck overdrive on the market right now, except for when the Wasabi OD's on ultra double secret clearance for $20-$40. The Bad Monkey is a rich, great sounding overdrive, not quite a TS sound but not really Boss-ish either. Very capable overdrive, nice second-order harmonics, all around great sounding pedal and it's $50 or under brand new. Hell yeah.
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Jul 8, 2008 23:30
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I didn't care for the Bad Monkey, preferred the SD-1 for around the same price.
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Jul 9, 2008 04:55
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Cross posting from the post your new gear thread. Left to right: Digitech Digiverb, Wasabi Chorus/Trem, Wasabi OD, Boss MD-2, Snarling Dogs Blues Bawls wah pedal. I love all of them, especially the MD-2 and the wah. My pedalboard is held together using bicycle chain links. I posted a guide on how to put it together (with lots of pictures) but I think it's been archived.
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Jul 9, 2008 05:16
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im_sorry posted:What's the general opinion on the Digitech Bad Monkey? I bought one, and it makes the lead channel settings of my Peavey Envoy 110 sound really awesome (at least, to my inexperienced self), but I was wondering how it compared to things like the Wasabi. It's a really great pedal. It's basically a tubescreamer clone with more tonal options. Sounds a bit smoother too, comes in a very rugged casing and is drat cheap.
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Jul 9, 2008 21:23
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So I somehow ended up with a $50 GC gift card and am trying to decide how to spend it. I want a pedal of some sort, and I already have a DS-1. Can anyone recommend an overdrive pedal in this price range that will give a distinct tone from my DS-1? I was looking at the Ibanez TS-7, how is that?
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Jul 10, 2008 17:46
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Prof Eli ASSBLASTER posted:So I somehow ended up with a $50 GC gift card and am trying to decide how to spend it. I want a pedal of some sort, and I already have a DS-1. Can anyone recommend an overdrive pedal in this price range that will give a distinct tone from my DS-1? I was looking at the Ibanez TS-7, how is that? The Boss OD-1 is a great $50 overdrive pedal.
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Jul 10, 2008 17:57
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bisticles posted:The Boss OD-1 is a great $50 overdrive pedal. Does it sound distinct from the DS-1?
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Jul 10, 2008 18:11
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Prof Eli ASSBLASTER posted:Does it sound distinct from the DS-1? Well, as far as gain-based effects go, they're very different. The OD-1 is an overdrive pedal, which gives you a tube-like breakup of the peaks of your signal, emulating the way that an overdriven vacuum tube treats an audio signal. Distortion pedals emulate what happens when tubes (and speakers and other things) get a signal too hot to handle without ... well... distortion. They're different in those regards, but if you want something totally different from the DS-1, maybe you'd want to try out a Chorus, Tremolo or Phaser effect. There are tons of demos on youtube of what they all generally sound like.
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Jul 10, 2008 18:51
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Apologies if this has already been asked, but could someone explain how BBE's Sonic Maximizer works?
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Jul 18, 2008 07:37
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Minto Took posted:Apologies if this has already been asked, but could someone explain how BBE's Sonic Maximizer works? Basically has an equalizing effect that occurs thanks to an extremely small delay of certain frequencies in relation to other frequencies, though there's probably other stuff going on too - I'd guess compression and some more straightforward EQ as well. Very useful in a PA setup, helps vocals sound good in the mix, pretty asinine in a guitar rig but if you like it then knock yourself out.
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Jul 18, 2008 07:46
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bisticles posted:The Boss OD-1 is a great $50 overdrive pedal. The OD-1 hasn't been on sale for over twenty years.
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Jul 18, 2008 14:38
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dancehall posted:The OD-1 hasn't been on sale for over twenty years. Whoops, meant the SD-1.
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Jul 18, 2008 14:43
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I know a lot of people around here have/are getting an EHX Micro POG, and I'm thinking of jumping on the bandwagon. I'm a little concerned, though, cause I have an EHX #1 Echo (same form factor/line of pedals) and it has a noticeable volume drop that really irritates me. Does the Micro do anything akin to this at all? Also, can I have just the output from the effect out and still use the "Dry" knob effectively? And any idea if it's true bypass or not on the effect out?
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Jul 18, 2008 20:25
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dancehall posted:The OD-1 hasn't been on sale for over twenty years. About twelve years ago, when I was taking bass lessons, my instructor had a couple Boss pedals - an HM-2 and an OD-1. He offered them to me for $30 each, and let me borrow them to try out. I didn't think that the OD-1 sounded as cool with my bass as the HM-2, and I was quite short on cash, so I only bought the HM-2. Now, while I love the HM-2 like a milkshake, I still wish I had just suffered without slurpees for a couple weeks and also bought the OD-1.
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Jul 18, 2008 21:02
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Raze posted:I know a lot of people around here have/are getting an EHX Micro POG, and I'm thinking of jumping on the bandwagon. I'm a little concerned, though, cause I have an EHX #1 Echo (same form factor/line of pedals) and it has a noticeable volume drop that really irritates me. Does the Micro do anything akin to this at all? Also, can I have just the output from the effect out and still use the "Dry" knob effectively? And any idea if it's true bypass or not on the effect out? No volume drop unless you want it, because the pedal only consists of three volume knobs, really. I'm pretty sure it is true bypass. Please reword your question about the dry/effect outs because I have no idea what you mean.
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Jul 18, 2008 21:16
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dancehall posted:No volume drop unless you want it, because the pedal only consists of three volume knobs, really. I'm pretty sure it is true bypass.
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Jul 18, 2008 22:06
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Raze posted:Excellent, thanks! I mean the "Effect Out" is still a blend of the effect and the original guitar sound that can be tweaked with the knob. Also, have you put it in front of heavy distortion much? yeah, the dry out is dry signal only, the effect out is whatever you set the knobs to, which can include dry signal up and both octaves off. It works great in front of a Big Muff. Really gets those White Stripes sounds, if that's what you're looking for.
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Jul 19, 2008 00:39
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Let's bring this thread back from the dead and discuss Fuzzes. After a long run of using overdrives and boosts I got my first fuzz, a MI Audio Germanium Neo Fuzz. All I can say is I'm a convert. Running it through an amp already on the boil and you get a nice thick, bluesy, sustaining fuzz. It can get a bit over the top but I like the fuzz set at about halfway with a bit of boost from the volume knob. Now I have an Analogman Sunface on the way, it's a slippery slope. I know there are other fuzz fans here, tell me you favourites.
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Jul 30, 2008 08:35
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qball posted:Let's bring this thread back from the dead and discuss Fuzzes. I post about it all the drat time, but one more can't hurt... my Lovepedal White Dragon is a loving awesome pedal. SI Fuzz Face clone on one side, Ge Rangemaster on the other, and all sorts of bliss in between. I've also been known to use a Big Muff.
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Jul 31, 2008 04:39
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I do love the piss out of my Zvex Fuzz Factory when I'm playing Muse covers (read: every other song I play). It's just so awesome for being a tool with, getting it to oscillate its pants off. Unfortunately if I chain it into my Zoom G2.1u I need to be careful what modelling and effects I use with it or it goes to crap. I need an effects loop I guess. Actually, on that topic. If I get myself something like a Roland KC-350 or Behringer 1800FX or whatever keyboard amp with an effects loop I'll be out of luck with that problem, won't I? 'cos I'll be needing to run the Zoom before the input into the keyboard amp still, to provide the modelling? Or will the modelling still work fine through the effects loop?
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Jul 31, 2008 12:17
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I saw a NYC Muff on my local craigslist that got cheaper and cheaper every day, until I just had to pick it up for $30, thinking "Eh, I'll just play with this for a while, then put it on eBay for a quick profit". Turns out I really really liked it, and now it's part of my pedalboard. So... yay fuzz!
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Jul 31, 2008 16:10
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Reading through this topic, I just realized that I'm quite the neophyte and I have no idea how an effects loop works. My amp (or rather, the amp I'm using), the Marshall MGHD100FX half stack, has an FX send and FX return jack in the back. I tried plugging my pedal chain into both jacks, and all I got was nonsense noise. Would someone mind breaking the process down for me, and what it's used for? I'm sure it's pretty simple, I just can't figure it out. For reference, my effect chain: Amp->DigiTech Jamman->TU-2->TR-2->MT-2->808 reissue->FZ-2.
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Jul 31, 2008 16:59
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qball posted:Let's bring this thread back from the dead and discuss Fuzzes. I have two fuzz pedals right now, looking to get more. My favorite so far is my Aramat Effects Mojo Fuzz (based on the fuzz face, two germanium transistors - he says he's using AC108 now, I think, but my pedal has NEC work-alikes, it's one of his early pedals though... sounds absolutely amazing, regardless), but if you want to get anything from Keith you better hurry because he's battling brain cancer and it isn't going so well. I was supposed to get a bunch more, but there was some kind of bizarro miscommunication and he thought I had paid him when I hadn't, and he thought he sent me the pedals when he didn't. Right now I'm hardcore jonesing for a Dunlop Jimi Hendrix Sig. Silicon Fuzz. Those things are the best sounding production fuzz pedal I've ever heard, and well worth the price. Boutique quality from a big manufacturer. Best sounding silicon fuzz I've ever played.
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Jul 31, 2008 17:53
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For anyone who wants a Muff-style fuzz with more control, I heartily recommend the Barber Trifecta.
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Jul 31, 2008 17:53
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Agreed posted:Right now I'm hardcore jonesing for a Dunlop Jimi Hendrix Sig. Silicon Fuzz. Those things are the best sounding production fuzz pedal I've ever heard, and well worth the price. Boutique quality from a big manufacturer. Best sounding silicon fuzz I've ever played. Are these the ones in the big round Fuzz Face enclosures? I heard they sound like rear end.
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Jul 31, 2008 22:20
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Do I need a boost? I really don't understand what a clean boost does for you. Can't you just turn up the vol? Oh, and I play blues.
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Jul 31, 2008 23:58
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the wizards beard posted:Are these the ones in the big round Fuzz Face enclosures? I heard they sound like rear end. It's the big blue one. And you heard wrong. It's a repro of the silicon chip version of the original fuzz face (I've already got a great germ fuzz face mod/clone), point-to-point wired, true bypass, faithful down to the type of transistor and to the lack of a battery eliminator jack. Sounds amazing if you like what the Fuzz Face has to offer. The only reason not to like it would be if you don't like the Fuzz Face sound.
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Aug 1, 2008 02:11
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Hey Agreed (and others) I'm GASing for another metal pedal given I seem to spend most of my time playing metal these days. Got the Zoom Tri Metal already and it's great. Looking for some different sounds though. Maybe something that responds to palm muting a bit better. Was looking at the Line6 Uber Metal. Seems to have a wide range of tones and also has a noise gate. Opinions?
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Aug 1, 2008 02:34
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I've been itching for an excuse to do a high gain pedals comparison, I've got five or six of them right now. Don't know what you mean when you say the Tri-Metal doesn't respond well to palm mutes, though, it's got one of the chunkiest, tightest PM responses you'll ever find in a pedal. Roll the bass back, like 9-10 o'clock back, I find that's about the sweet spot. Be more specific and I can probably help, I've tried pretty much everything except for the boutiques, and I've tried some of them...
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Aug 1, 2008 02:58
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I'm talking super tight palm mutes. Perhaps you can really only get that with a noise gate? My settings are generally like this Treble - 12 o' clock Mid - 11.5 o' clock Range - 12 o' clock Bass 12.5 o' clock Any higher and it's flubby Gain 3 o' clock I sometimes up the mid to around 1 and lower the bass to 11ish. I'll try dialling down the bass a bit more.
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Aug 1, 2008 03:07
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The Tri-Metal needs a gate less than any high gain pedal on the market. I don't see any sort of noise gate in the circuit diagram, but it is the quietest pedal of any kind (high gain or otherwise) that I have ever used. Eerily quiet. Tight palm mutes has a lot to do with the physics of your amp, too. Unless you've got a closed back cab and a fairly tight amp (at least a fairly tight clean channel, in this case) to begin with, tight palm mutes might not be on the horizon. The closed back cab is the biggest part of the equation by a lot, and that's why I only use closed back cabs. But I don't know what you're using - could you disclose the whole playing rig, so I can get an idea of the context within which you're asking for a pedal recommendation? From guitar and pickups down to what speakers are in your cab and what type it is, please.
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Aug 1, 2008 03:25
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Guitar : AL3000 with Seymour Duncan JB/JAZZ combo. Also Mexi strat with Lace sensors (Red, Silver, Blue). Have a Jap Strat too but don't play metal on it. Amp (aka the highly probable weak link). Fender Hot Rod Deluxe. It's a great amp, lovely clean channel and it takes pedals real well. Not exactly built for hi-gain stuff though  Speaker : Eminence Legend 125 50 Watt. I mentioned the noise gate because I thought some of the tighter palm muting came from rapid noise gate attack. You're right that the pedal is drat quiet.
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Aug 1, 2008 03:33
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A noise gate configured for a fast attack and high sensitivity can help with staccato riffing, but it isn't going to tighten up a loose mute. And your amp is most certainly what's preventing you from getting the sound you're after, I'm afraid. Those amps have a lovely clean channel, but even the 410 combo doesn't do high gain very well, even with pedals. You can get a great rock and even hard rock tone out of 'em with pedals, but that relies less on having the all-important tight foundation of a closed back cab than does high-gain/metal. The Tri-Metal is trying very hard to make that amp give you crushingly tight mutes, but the amp just won't let it. Another option would be to find a pedal with a higher low-frequency center, which would let you get a lot of the sound and feel of a closed back cab without needing the low tuning, hard baffle, and sealed enclosure to get as low as the Tri-Metal's bass center frequency. I'd recommend the EHX Metal Muff or the Danelectro Cool Cat Metal as things to try, they both have a higher frequency bass center and their overall sound should play nice with your amp and your expectations. But you won't solve the problem, really, or get the genuine impact of a nice, tight mute without going to a closed back cab.
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Aug 1, 2008 03:42
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Thanks for all the tips dude. I'll be sure to give those pedals a go and some day when I have money I'll look in to getting another amp more geared towards high gain stuff.
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Aug 1, 2008 03:48
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Agreed posted:It's the big blue one. And you heard wrong. It's a repro of the silicon chip version of the original fuzz face (I've already got a great germ fuzz face mod/clone), point-to-point wired, true bypass, faithful down to the type of transistor and to the lack of a battery eliminator jack. Sounds amazing if you like what the Fuzz Face has to offer. I haven't played one, but I seem to remember the DIY community were buying these for change in pawn shops and gutting them to make Ge FF replicas. Looking around online, it looks like the JH1 and the JH2 were the lovely pedals, is the JH-F1 different? The Dallas Arbiter reissue is cheaper and apparently has the original Germanium trannies, have you played that one?
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Aug 1, 2008 10:40
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Leninboarrir posted:Reading through this topic, I just realized that I'm quite the neophyte and I have no idea how an effects loop works. My amp (or rather, the amp I'm using), the Marshall MGHD100FX half stack, has an FX send and FX return jack in the back. I tried plugging my pedal chain into both jacks, and all I got was nonsense noise. Would someone mind breaking the process down for me, and what it's used for? I'm sure it's pretty simple, I just can't figure it out. None of those pedals bar the Jamman need to be in the loop, not even that probably. The effects loop is used for pedals that you want to go after your amps preamp, which is where the amp gets its most of its tone coloration/gain If you were using a delay pedal for instance, and you put it before the preamp it would be a horrible mess as all the decaying notes would be distorted together into mush. Putting in the effects loop means that it happens the other way round, and the delay starts working after the note's been distorted. You arent using any such pedals and you're not getting your distortion from the amp anyway, so you dont need to use the fx loop.
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Aug 1, 2008 14:32
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Thanks for the info! One other question: I don't currently have a preamp, and people have been telling me I should get one, especially because I play with pedals. Any recommendations?
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Aug 1, 2008 15:08
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Leninboarrir posted:Thanks for the info! One other question: I don't currently have a preamp, and people have been telling me I should get one, especially because I play with pedals. Any recommendations? Wha..? Do you have an amp? The pre-amp is the first stage in your amp. If you have that Marshall amp then you have a pre-amp. Do you mean an external pre? 
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Aug 1, 2008 15:10
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Yeah, that's what I meant. Like I said, I'm still in the learning stage when it comes to equipment.
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Aug 1, 2008 15:13
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Yeah, you don't need a preamp. You've got a Marshall MGHD100FX, which has a preamp and a poweramp area. You'd *need* a preamp if you had just a poweramp, like one of these. Typically speaking, the preamp brings your signal up to line level and shapes the tone according to the characteristics of the circuitry and how you have the bass/mid/treble knobs spun. That's fed into the power amp amplifier area, which amplifies that signal to where it can drive your speakers. On your amp in particular, the Gain knob adjust just how much the preamp stage amplifies the signal, and the Master Volume knob adjust how loud the power amp stage amplifies that signal. You can "overdrive" the amp by raising up the gain, thereby amplifying the signal so much that it begins to distort. By backing this knob down and increasing the master knob, you'll get more volume before it starts to distort. So yeah, you don't need to buy a preamp... you've already got one.
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Aug 1, 2008 15:29
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