While I may have posted about this before, one of my first pedals was a Fender. It was their California Series pedal tuner. The thing was complete crap. It hardly worked, and that is still being generous. I got rid of that and switched to the BOSS TU-2 that is still working like day one. Fender pedals don't have a great reputation, but their new line of pedals is doing a lot to change that. Let's look at the Fender Full Moon Distortion.
That Name
I don't dislike the name that Fender has given their new high gain distortion pedal, but at the same time, it is not great. The strongest statement that I can make about it is that it is extremely forgettable. Thankfully, the pedal is not as forgettable. Unlike the pedals of Fender past, the Full Moon distortion is not a pedal that they want people to forget about. High distortion pedals have a habit to come with some extra knobs and switches, both of which the Full Moon has. So is this a pedal that will fade into the sea of high gain pedals? Well, it does have some things going for it.
The Sounds
It's been a minute since I was a really metal-player. My signal chain either contained a Metal Zone plus EQ and boost or it was just an overdrive into a gunned amp. There are tons of options for metal players out there now. The Full Moon is just the newest in a long line of pedals, but is there anything that makes this pedal stand out? A little bit. You have your basic layout of tone controls (High, Mids, and Lows) but then you get a Hi-Trem that lets you smooth off the super-high-end. You also get a basic Boost function which is nice. In addition to all that, you also get a switch to go between symmetrical and asymmetrical clipping and another for "Bite". Bite will boost your high-mids and give you more pick-attack. Both of the switches make subtle changes, but I am a sucker for things to fiddle with. With all of these options, it is pretty easy to dial in a sound that is pleasing to the player. Going into a clean amp, it is easy to achieve great rock tones with the gain dialed back a bit. Cranking the gain is naturally rewarding as well. Yes, this high-gain pedal does high-gain well.
Conclusion
Fender has set themselves up to compete with the best pedal builders out there today. The pedals are pretty and boutique-ish. If this were coming from a smaller builder, I would expect to pay a lot more. But because Fender is... Fender. They can mass produce and keep cost down. Make the Full Moon distortion an attractive pedal for a guitarist that is looking to find a pedal with plenty of gain and flexibility.
Showing posts with label Distortion. Show all posts
Showing posts with label Distortion. Show all posts
Tuesday, October 16, 2018
Tuesday, October 9, 2018
The Ugly Truth About BOSS MT-2W WAZA Craft Metal Zone
BOSS decided to break the dang internet, or at least our tiny little corner of it, with the announcement of the BOSS MT-2W. It is regarded by some to be the most despised of all pedals and praised by others for its unique sound and features. Along with the Dimension-C, the Metal Zone has gotten the WAZA treatment. So what does that mean for this divisive pedal? Well, let's take a look at what the BOSS Waza Craft Metal Zone MT-2W has done
First, a little backstory. I think I've shared this before, so I'll keep it brief. I used to play in a metal band. In my search for great metal tone. I, for a time, used a Metal Zone running through a GE-7 into an amp set for the edge of break-up. I still remember that I set the gain all the way down. This pedal had enough gain at zero. The more you turned up the distortion knob, the more noise and hiss came through the pedal. I still think that a Metal Zone running through an EQ is a powerful combination and an easy way to enter metal tone nirvana. So what do I think of BOSS releasing a Waza Metal Zone?
It makes sense. If you really think about it. Waza is the "greatest hits" of BOSS. The first pedals in the line were some of their best sellers. The SD-1 and DS-1 have sold tons of units. Nearly everyone that has gotten into pedals at least knows of these pedals if not owns them. I've owned several of each. (Why? It's hard to say.) But Waza isn't just about BOSS' most popular, current production models. They have rereleased some of the most coveted vintage pedals from the past. The DM-2 has been a vintage favorite for those that crave analog delay tones. The CE-2 is another pedal that saw rerelease in the Waza line. Both of these pedals are often emulated, but it seems like there is still a draw for something backed by BOSS. So why the Metal Zone? It's not as common to see an MT-2 as it is an SD-1, the Metal Zone is still in production, so why then? I think it's the same reason the BD-2 got its custom setting. Modders.
One of the first pedals that I ever modded was a Metal Zone. I liked the pedal, but the noise was always bothersome. So when I stumbled across a mod that was supposed to help with that, I jumped on it. I also killed the first MT-2 I ever tried to mod. eBay loved me. I think this is the reason that BOSS has given the Waza treatment to the MT-2. I hate being too cynical (or maybe I don't. I don't know.), but it makes sense. BOSS doesn't see much money from the modding community. When I modded pedals, I didn't buy a new pedal. I jumped on eBay and bought the cheapest pedal I could in case I screwed up the mod. I'm many others do the same, so BOSS wants to cut out the middleman and sell us the modded pedal up front. It makes all the sense, but is it worth it?
Log story just a little bit longer: yes, it is worth it.
The End
Just Kidding! did you think I wasn't going to talk this point into the ground? Is this your first time here? So, you may have noticed that I haven't talked about what this pedal sounds like. (I mean, if you think about, reading about what a pedal sounds like is a little silly, but hasn't stopped me before) If you like the way the Metal Zone sounds then you'll like the Waza Zone. If you didn't, then you probably won't be blown away by this pedal. If you don't know if you like the Metal Zone or not, then what have you been doing? It's been around for over 20 years... To be honest, this is one of the Waza pedals that I'd be interested in. I don't have very many heavy distortion pedals, and the MT-2 hold a special place in my guitar playing history, so buying a premium/custom version from BOSS for 50% more isn't a stretch.
First, a little backstory. I think I've shared this before, so I'll keep it brief. I used to play in a metal band. In my search for great metal tone. I, for a time, used a Metal Zone running through a GE-7 into an amp set for the edge of break-up. I still remember that I set the gain all the way down. This pedal had enough gain at zero. The more you turned up the distortion knob, the more noise and hiss came through the pedal. I still think that a Metal Zone running through an EQ is a powerful combination and an easy way to enter metal tone nirvana. So what do I think of BOSS releasing a Waza Metal Zone?
It makes sense. If you really think about it. Waza is the "greatest hits" of BOSS. The first pedals in the line were some of their best sellers. The SD-1 and DS-1 have sold tons of units. Nearly everyone that has gotten into pedals at least knows of these pedals if not owns them. I've owned several of each. (Why? It's hard to say.) But Waza isn't just about BOSS' most popular, current production models. They have rereleased some of the most coveted vintage pedals from the past. The DM-2 has been a vintage favorite for those that crave analog delay tones. The CE-2 is another pedal that saw rerelease in the Waza line. Both of these pedals are often emulated, but it seems like there is still a draw for something backed by BOSS. So why the Metal Zone? It's not as common to see an MT-2 as it is an SD-1, the Metal Zone is still in production, so why then? I think it's the same reason the BD-2 got its custom setting. Modders.
One of the first pedals that I ever modded was a Metal Zone. I liked the pedal, but the noise was always bothersome. So when I stumbled across a mod that was supposed to help with that, I jumped on it. I also killed the first MT-2 I ever tried to mod. eBay loved me. I think this is the reason that BOSS has given the Waza treatment to the MT-2. I hate being too cynical (or maybe I don't. I don't know.), but it makes sense. BOSS doesn't see much money from the modding community. When I modded pedals, I didn't buy a new pedal. I jumped on eBay and bought the cheapest pedal I could in case I screwed up the mod. I'm many others do the same, so BOSS wants to cut out the middleman and sell us the modded pedal up front. It makes all the sense, but is it worth it?
Log story just a little bit longer: yes, it is worth it.
The End
Just Kidding! did you think I wasn't going to talk this point into the ground? Is this your first time here? So, you may have noticed that I haven't talked about what this pedal sounds like. (I mean, if you think about, reading about what a pedal sounds like is a little silly, but hasn't stopped me before) If you like the way the Metal Zone sounds then you'll like the Waza Zone. If you didn't, then you probably won't be blown away by this pedal. If you don't know if you like the Metal Zone or not, then what have you been doing? It's been around for over 20 years... To be honest, this is one of the Waza pedals that I'd be interested in. I don't have very many heavy distortion pedals, and the MT-2 hold a special place in my guitar playing history, so buying a premium/custom version from BOSS for 50% more isn't a stretch.
Labels:
Boss,
Boutique,
Custom,
Distortion,
Metal Zone,
MT-2,
MT-2W,
New,
New Gear,
New pedal,
Not a review,
Pedal Mods,
Ugly Guitar Truth,
Waza,
Waza Craft
Saturday, January 27, 2018
NAMM 2018: Fender Santa Ana Overdrive Pedal
The Santa Ana Distortion from Fender is bold offering. In fact, all of the pedal in their new range at NAMM 2018 are surprising. In the past, Fender have played it safe when dealing with effects. Most recently they've produced pedals that resembled far east micro-clones of three knobbed overdrive, distortion and the like. But it looks like they are ready to blaze a new path. The Santa Ana features a brushed aluminum body and a full range of features. I'd say that Fender has a winner on its hands, but I'd need to hear a better demonstration than the NAMM Show floor can provide.
More Information:
The Santa Ana is designed to be an open sounding and dynamic pedal that can achieve a wide range of overdrive flavors, from edge-of-breakup tones through to thick, rich and sustaining lead sounds. It responds very well to your playing dynamics, and will clean up simply by rolling down the volume control on your guitar.
For blues and rock players who like an amp-like response, this pedal will give the balanced range of dynamics that you require, and help to bring out every nuance in your playing.
A boost switch is a handy addition to the Santa Ana that lets you set up your core tone with the pedal, and then engage the boost effect to push your sound even further into saturation. This effectively gives the Santa Ana two separate tones making it a very versatile pedal.
This is a thoroughly professional pedal - both in tone and appearance - and would make a welcome addition to your pedalboard.
More Information:
Santa Ana - Sounds Like Santana?
The Fender Santa Ana Overdrive pedal is a dynamic and nuanced overdrive effect that is perfect for generating the types of tones associated with the guitarist from which this pedal (most likely) gets its name - Santana.The Santa Ana is designed to be an open sounding and dynamic pedal that can achieve a wide range of overdrive flavors, from edge-of-breakup tones through to thick, rich and sustaining lead sounds. It responds very well to your playing dynamics, and will clean up simply by rolling down the volume control on your guitar.
For blues and rock players who like an amp-like response, this pedal will give the balanced range of dynamics that you require, and help to bring out every nuance in your playing.
Multiple Controls
The Santa Ana pedal has a 3-band EQ and presence control to shape your sound. It also dual independent voices for different flavors of overdrive.A boost switch is a handy addition to the Santa Ana that lets you set up your core tone with the pedal, and then engage the boost effect to push your sound even further into saturation. This effectively gives the Santa Ana two separate tones making it a very versatile pedal.
Professional Features
The Santa Ana has a rugged and lightweight aluminum chassis with a brushed metal finish. This gives it both read-ready durability and a classy-aesthetic that can take pride-of-place on your pedalboard. The pedal is built by Fender who have a multitude of experience in amplifier design and you can be sure that this pedal will last a lifetime of gigging, rehearsing and recording.Magnetic Battery Door & Jewel Light
The jewel LED light not only looks great, it also adds a handy on-stage visual indicator of the pedal's operation. The pedal has a clever battery compartment door; it has a magnetic latch which means you can easily change the battery with no fiddly screws to worry about.This is a thoroughly professional pedal - both in tone and appearance - and would make a welcome addition to your pedalboard.
Features
- Rich and open overdrive with great pick dynamics and nuance
- 3-band EQ plus presence control for maximum tonal shaping
- Two voices
- Boost switch
- Drive and level controls for wide ranging tone from edge-of-breakup to thick saturation
- Responds to guitar volume control and cleans up when volume is rolled down
- Rugged anodized aluminum construction
- Classy brushed finish and jewel light
- Battery door with magnetic latching opening (no screws needed)
- Powered by 9V battery or DC
Specifications
- Effect Type: Overdrive
- Controls: Bass, Middle, Treble, Presence, Output Level, Voice Toggle (A/B), Drive, Boost Footswitch, Bypass Footswitch
- Inputs: 1 x 1/4'' Instrument
- Outputs: 1 x 1/4'' Instrument
- Power Requirements: 9-Volt Battery or DC Negative AC Adaptor
- Power Consumption: 120mA
- Input Impedance: 1M ohm
- Output Impedance:5k ohm
- Material: Anodized Aluminum
- Color: Red
Labels:
Boost,
Distortion,
Fender,
NAMM 2018,
New Gear,
Santa Ana,
Ugly Guitar Truth
Friday, January 26, 2018
NAMM 2018: Fender Pugilist Distortion Pedal
Probably the most surprising thing to come from NAMM so far is the new line of effects from Fender. No, Fender branded effects are not new, but this line of effects is different from effect pedal from Fender in recent years. These pedal are actually interesting. Several years ago, Fender put a line of effect with racing stripes. These effects were underwhelming from top to bottom. Fender also had a line of micro-sized effect. I'm unsure if either of these lines of effects are discontinued, but it does look like they are moving in a completely different direction. I personally like this directing.
More information:
The two circuits can be run independently and blended together, or cascaded (one running into the other) which can provide a thick saturation and a high degree of interactivity.
In the Pugilist's Series Mode, the two distortion circuits are cascaded, and this has the effect of letting circuit A become a 'boost' into circuit 'B'. This mode lets you achieve a full-on saturation with thick sustain and dynamic articulation that is ideal for crushing rhythm sounds and liquid smooth lead guitar playing. A bass boost also lets you achieve a thick low-end response.
This is a thoroughly professional pedal - both in tone and appearance - and would make a welcome addition to your pedalboard.
More information:
Pugilist Distortion
The Pugilist Distortion features a dual circuit design that can provide a huge range of distortion tones, from light breakup through to fully-encompassing saturation.The two circuits can be run independently and blended together, or cascaded (one running into the other) which can provide a thick saturation and a high degree of interactivity.
Dual Circuits
Each of the Pugilist's distortion circuits features tone and gain control to let you shape your sound to how you desire. The circuits can be operated in blend mode, which runs them in parallel and means you can blend both sounds together for an incredible amount of diversity. This mode is fantastic for achieving a nuanced distortion tone for riffing and complex chordal work.In the Pugilist's Series Mode, the two distortion circuits are cascaded, and this has the effect of letting circuit A become a 'boost' into circuit 'B'. This mode lets you achieve a full-on saturation with thick sustain and dynamic articulation that is ideal for crushing rhythm sounds and liquid smooth lead guitar playing. A bass boost also lets you achieve a thick low-end response.
Professional Features
The Pugilist has a rugged and lightweight aluminum chassis with a brushed metal finish. This gives it both read-ready durability and a classy-aesthetic that can take pride-of-place on your pedalboard. The pedal is built by Fender who have a multitude of experience in amplifier design and you can be sure that this pedal will last a lifetime of gigging, rehearsing and recording.Magnetic Battery Door & Jewel Light
The jewel LED light not only looks great, it also adds a handy on-stage visual indicator of the pedal's operation. The pedal has a clever battery compartment door; it has a magnetic latch which means you can easily change the battery with no fiddly screws to worry about.This is a thoroughly professional pedal - both in tone and appearance - and would make a welcome addition to your pedalboard.
Features
- Dual circuit distortion pedal
- Dual circuits can be cascaded for thick saturation with great versatility
- Bass boost to bring back the low-end
- Series/blend lets you control the two circuits (parallel or series operation)
- Dual tone controls
- A very versatile pedal, with great interactivity between the two circuits
- Rugged anodized aluminum construction
- Classy brushed finish and jewel light
- Battery door with magnetic latching opening (no screws needed)
- Powered by 9V battery or DC
Specifications
- Effect Type: Distortion
- Controls: Tone A, Drive A, Tone B, Drive B, Blend (A/B), Blend/Series Toggle, Bass Boost Toggle (On/Off), Output Level, Bypass Footswitch
- Inputs: 1 x 1/4'' Instrument
- Outputs: 1 x 1/4'' Instrument
- Power Requirements: 9-Volt Battery or DC Negative AC Adaptor
- Power Consumption: 22mA
- Input Impedance: 1M ohm
- Output Impedance: 1k ohm
- Material: Anodized Aluminum
- Colour: Gold
Labels:
Distortion,
Fender,
NAMM 2018,
New Gear,
Pugilist,
Ugly Guitar Truth
Thursday, May 26, 2016
The Ugly Guide To Buying Your First Guitar Pedal
Let me start by saying that the previous post about "Your First Guitar Pedal" was just awful, and not very helpful at all. Having said that, lets try it again...
So there you are, standing in the store or, more likely, looking at a website. Let's do this: find the guitar effect page, then select the box that sorts everything in order of cheap to not-cheap. Now we should be looking at some very reasonably priced items. The first pedals you might see are some by Danelectro. There are some of these pedals that are diamonds in the rough, however we are going to move past most of these because of their durability. They are affordable, but they are made from plastic and won't stand up to much rough housing. For the same reason, we are going to skip past the Behringer pedals. These aren't bad choices, but I'd prefer to have a pedal that I can grow into rather one that I'll quickly out grow.
Now we are up to pedals that cost right at $50. This gives you a lot of options. There is a pedal that you are going to want to buy. It is a Boss Distortion. It is Orange. Do not buy this pedal. For some reason, every guitarist wants to buy this pedal. I bought one. Everyone who has played pedals has been temped to pick up one of these pedal. resist that urge. Put. The pedal. Down. So you have a choice to make, but don't worry, I'll help you. There are four pedals: Boss SD-1, TC Mojomojo, TC Dark Matter, DOD 250* (*currently at $50, but I've seen it at $99 when not on "sale", but it can be regularly found for $50 new) All of these pedals are very solid, but you have to know what you are looking for. These are all overdrive/distortion pedals. So decide how much grit you want and pick your pedal. Just want a little grit? DOD 250. Little more? SD-1 or the Mojomojo (the mojo has bass and treble control, the SD-1 has a more classic sound) The Dark Matter is a flexible distortion that punches about it's price tag.
But wait, what about BandX pedal that cost (<50 and="" best="" bread="" distortion="" it="" overdrive="" s="" says="" since="" sliced="" strong="" the="">50>
Most of the pedals that fit into that statement above have a few things going against it. Modtone, Outlaw, and many others aren't going to offer the type of support that the larger established makers can. It's important that your first experience with effects be a smooth one, otherwise you might get a bad impression due to a bad QC or customer support. Boss (Roland), TC Electronic, and DOD (Digitech/Harman) are going to stand behind their product and offer warranties.
What about this one guy that makes a pedal that's the greatest thing since sliced bread?
Again, there are reasons why your first pedal shouldn't be one that fits into the previous statement. Not to say that boutique pedals, I like them. The main thing that deters me from recommending these pedal is the price. Many people just getting into effect don't want to invest more than they have to. Also, there are so many builders and sometimes their products can be a little cryptic. You might want to buy a light overdrive and end up with a over the top fuzz pedal. It might be exciting to buy from a boutique builder, but when it's your first go-round, then you should get your feet wet before jumping into the deep end.
Should I only buy Boss/TC/DOD pedals, of course not. But these are good pedals to get your start. It is a new experience to have the capability to adjust your tone without taking you hands off the guitar. These are great pedals that can serve as a great jumping off point for anyone looking into guitar effect pedals.
So there you are, standing in the store or, more likely, looking at a website. Let's do this: find the guitar effect page, then select the box that sorts everything in order of cheap to not-cheap. Now we should be looking at some very reasonably priced items. The first pedals you might see are some by Danelectro. There are some of these pedals that are diamonds in the rough, however we are going to move past most of these because of their durability. They are affordable, but they are made from plastic and won't stand up to much rough housing. For the same reason, we are going to skip past the Behringer pedals. These aren't bad choices, but I'd prefer to have a pedal that I can grow into rather one that I'll quickly out grow.
Now we are up to pedals that cost right at $50. This gives you a lot of options. There is a pedal that you are going to want to buy. It is a Boss Distortion. It is Orange. Do not buy this pedal. For some reason, every guitarist wants to buy this pedal. I bought one. Everyone who has played pedals has been temped to pick up one of these pedal. resist that urge. Put. The pedal. Down. So you have a choice to make, but don't worry, I'll help you. There are four pedals: Boss SD-1, TC Mojomojo, TC Dark Matter, DOD 250* (*currently at $50, but I've seen it at $99 when not on "sale", but it can be regularly found for $50 new) All of these pedals are very solid, but you have to know what you are looking for. These are all overdrive/distortion pedals. So decide how much grit you want and pick your pedal. Just want a little grit? DOD 250. Little more? SD-1 or the Mojomojo (the mojo has bass and treble control, the SD-1 has a more classic sound) The Dark Matter is a flexible distortion that punches about it's price tag.
But wait, what about BandX pedal that cost (<50 and="" best="" bread="" distortion="" it="" overdrive="" s="" says="" since="" sliced="" strong="" the="">50>
Most of the pedals that fit into that statement above have a few things going against it. Modtone, Outlaw, and many others aren't going to offer the type of support that the larger established makers can. It's important that your first experience with effects be a smooth one, otherwise you might get a bad impression due to a bad QC or customer support. Boss (Roland), TC Electronic, and DOD (Digitech/Harman) are going to stand behind their product and offer warranties.
What about this one guy that makes a pedal that's the greatest thing since sliced bread?
Again, there are reasons why your first pedal shouldn't be one that fits into the previous statement. Not to say that boutique pedals, I like them. The main thing that deters me from recommending these pedal is the price. Many people just getting into effect don't want to invest more than they have to. Also, there are so many builders and sometimes their products can be a little cryptic. You might want to buy a light overdrive and end up with a over the top fuzz pedal. It might be exciting to buy from a boutique builder, but when it's your first go-round, then you should get your feet wet before jumping into the deep end.
Should I only buy Boss/TC/DOD pedals, of course not. But these are good pedals to get your start. It is a new experience to have the capability to adjust your tone without taking you hands off the guitar. These are great pedals that can serve as a great jumping off point for anyone looking into guitar effect pedals.
Labels:
250,
Boss,
Dark Matter,
Distortion,
DOD,
First Guitar Pedal,
MojoMojo,
Overdrive,
SD1,
TC electonics
Tuesday, March 8, 2016
Ugly Truth: Fulltone Catalyst
Lately I noticed that a couple of the Fulltone pedals have been marked down to a reasonable price. $80 for a Fulltone pedal used to be unheard of. The Catalyst and Fat Boost have both been marked to a discount price. I don't keep tabs on Fulltone, so I don't know when this happened, but everything looks like it has been recently. Used prices are still floating around previous levels. I was reading about the Catalyst on some forums and found where someone was over the moon to find one used for $99. I had a little experiences with the pedal a few years ago. I was playing some sessions with a group of guys, and used some borrowed gear. I dug the pedal then, but it was traded/sold. I haven't thought much about the pedal since, but when I saw that it was so affordable I decided to visit it again.
It's Flexible
You read the description on the Fulltone website and it makes this pedal sound like it can do anything. Boost, Overdrive, Distortion, and Fuzz. There are tons of pedal that want to do "everything" but few actually do more than one thing very well. Once you start to play with this pedal, you notice that it achieves several sounds. You might not like all of them, but there is probably a few you might. I ran this into my Vox AC15. It wasn't magic right away. I am a pretty big fan of the Vox on its own, but I did like the Catalyst as a Boost/light OD. It thickened up the sound and acted like a nice EQ. It sounded nice with Chords, but I think this pedal is more flexible than articulate.
It's Underwhelming.
For a pedal that debuted well over $100, it kinda under-preform. This pedals actually acts better when the front of the pedal is hit pretty hard. I put a Klone in front of this pedal and it really opened up. This pedal seems to have plenty of head room, which is odd for a dirt box. So I'm guessing that it's a holdover from it being capable of a clean boost. However the boost isn't very "clean". It colors the tone in a very noticeable way. I liked it with my Vox. But I found that heavier gain setting were better with my American voiced amp.
I Like It
But I don't love it. It comes up a little short of awesome. My biggest complaint is that is not articulate enough. Chords sound thick and rich, but the single note runs don't translate well. Also, picking patterns get muddy. That's my biggest complaint, but you don't buy a fuzz to be clean and clear. But you think that your fuzz could be a boost, or work as and overdrive... So maybe Fulltone didn't really hit it out of the park with this one.
Conclusion
Fulltone may be clearing out the Catalyst and Fat Boost. They aren't the most popular pedals. They haven't been updated. Mine still say V1 on the PCB. This pedal is a little confused, but it still has a some good sounds. Its flexibility and versatility are what set this pedal apart. Would it be better if you had single pedals that did fantastic jobs of each one of the things that this pedal can do? Of course. However, this pedal is enough to do several different functions, and it has a voice that is unique. If you considered picking one of these up, then it may be time to grab one.
Support the blog by shopping on Amazon by using my link!
There should be an ad below:
It's Flexible
You read the description on the Fulltone website and it makes this pedal sound like it can do anything. Boost, Overdrive, Distortion, and Fuzz. There are tons of pedal that want to do "everything" but few actually do more than one thing very well. Once you start to play with this pedal, you notice that it achieves several sounds. You might not like all of them, but there is probably a few you might. I ran this into my Vox AC15. It wasn't magic right away. I am a pretty big fan of the Vox on its own, but I did like the Catalyst as a Boost/light OD. It thickened up the sound and acted like a nice EQ. It sounded nice with Chords, but I think this pedal is more flexible than articulate.
It's Underwhelming.
For a pedal that debuted well over $100, it kinda under-preform. This pedals actually acts better when the front of the pedal is hit pretty hard. I put a Klone in front of this pedal and it really opened up. This pedal seems to have plenty of head room, which is odd for a dirt box. So I'm guessing that it's a holdover from it being capable of a clean boost. However the boost isn't very "clean". It colors the tone in a very noticeable way. I liked it with my Vox. But I found that heavier gain setting were better with my American voiced amp.
I Like It
But I don't love it. It comes up a little short of awesome. My biggest complaint is that is not articulate enough. Chords sound thick and rich, but the single note runs don't translate well. Also, picking patterns get muddy. That's my biggest complaint, but you don't buy a fuzz to be clean and clear. But you think that your fuzz could be a boost, or work as and overdrive... So maybe Fulltone didn't really hit it out of the park with this one.
Conclusion
Fulltone may be clearing out the Catalyst and Fat Boost. They aren't the most popular pedals. They haven't been updated. Mine still say V1 on the PCB. This pedal is a little confused, but it still has a some good sounds. Its flexibility and versatility are what set this pedal apart. Would it be better if you had single pedals that did fantastic jobs of each one of the things that this pedal can do? Of course. However, this pedal is enough to do several different functions, and it has a voice that is unique. If you considered picking one of these up, then it may be time to grab one.
Support the blog by shopping on Amazon by using my link!
There should be an ad below:
Labels:
Boost,
Catalyst,
Distortion,
Flexible,
Fulltone,
Fuzz,
gain,
Gear Review,
Guitar Gear,
Guitar Pedals,
OD,
Overdrive,
review,
Sell
Wednesday, December 30, 2015
Boss Blues Driver VS Digitech Screamin' Blues
Earlier this year I was hanging out in guitar forums, go figure and I saw a thread about the Boss Blues Driver. There was some people discussing its merits and if they should buy one. A trusted source that reads schematics like children's books insisted that the Blues Drive and Digitech's Screamin' Blues overdrive was a direct copy of the BD-2. He even mentioned that some of the mods made famous by some, have been made mote by the addition of a Bass knob. This made Digitech's pedal look rather attractive. So, later, when I saw that MF had a Stupid Deal Of The Day where they sold the pedal for $30, I bought it. I do have a modded BD-2 so is the Screamin' Blues really its superior?
Boss BD-2 Blues Driver
The first time I ran across this pedal, I didn't like it. It seemed to make everything sound static-y. Running the tone past noon seemed to just make things thin. Running into a AC15, I couldn't get the two to jive. After chasing tone for a while, I came back around to the BD-2. I wanted to give it another go. Its application is legitimate. I do like it in some situations. I have a unit that is modded pretty heavily, mostly to increase the bass. Now the unit has a large, tight low-end. The pedal is a little bit of a sleeper, but usable.
The Digitech Screamin' Blues
Back to back these pedals sound very similar. When A/Bed The Digitech can match the stock BD-2 at every turn. With the more flexible tone section, the Screamin' Blues gets into other territories. It will get a little fatter sounds, and for the most part does a good just as adding bass without getting muddy. Is it the best sound Blues Drive pedal? No. It is flexible and usable. Unlike The BD-2, this pedal is usable out of the box. However, this pedal falls flat when you consider that it is difficult to mod and change if you wanted to. It also looks and feels cheaper. Digitech pedals don't hold up as well as Boss pedals do. Plus, they are a little wider, so make some room on your board.
Conclusion
Both of these pedals will give some nice tones. If you know how to tweak you tone, then I'm sure you'll find some setting that is pleasing. However, the best pedal just make you start changing your amp tone, but allow you to shape the pedals sound to compliment your amp. Stock, out of the box, I'd have to give the edge to the Digitech. However, I don't trust it. On the other hand, You can buy two for the price of one Blues Driver...
Boss BD-2 Blues Driver
The first time I ran across this pedal, I didn't like it. It seemed to make everything sound static-y. Running the tone past noon seemed to just make things thin. Running into a AC15, I couldn't get the two to jive. After chasing tone for a while, I came back around to the BD-2. I wanted to give it another go. Its application is legitimate. I do like it in some situations. I have a unit that is modded pretty heavily, mostly to increase the bass. Now the unit has a large, tight low-end. The pedal is a little bit of a sleeper, but usable.
The Digitech Screamin' Blues
Back to back these pedals sound very similar. When A/Bed The Digitech can match the stock BD-2 at every turn. With the more flexible tone section, the Screamin' Blues gets into other territories. It will get a little fatter sounds, and for the most part does a good just as adding bass without getting muddy. Is it the best sound Blues Drive pedal? No. It is flexible and usable. Unlike The BD-2, this pedal is usable out of the box. However, this pedal falls flat when you consider that it is difficult to mod and change if you wanted to. It also looks and feels cheaper. Digitech pedals don't hold up as well as Boss pedals do. Plus, they are a little wider, so make some room on your board.
Conclusion
Both of these pedals will give some nice tones. If you know how to tweak you tone, then I'm sure you'll find some setting that is pleasing. However, the best pedal just make you start changing your amp tone, but allow you to shape the pedals sound to compliment your amp. Stock, out of the box, I'd have to give the edge to the Digitech. However, I don't trust it. On the other hand, You can buy two for the price of one Blues Driver...
Tuesday, December 15, 2015
Hands On Review Of The Electo Harmonix Crayon Overdrive
There has been a lot of talk about this little pedal. Most web-stores don't even have the Crayon on there sites yet. A local store selling through Reverb.com was able to hook me up with one. The main thing is that everyone wants to know what other pedal it sounds like. Well I've tried it out and I can now tell you. However, that would be blowing my load a little too soon. So here's what owning and using this particular pedal has shown me.
It's Pretty Good.
A lot of people liked what they heard from the EHX video demos. The Soul Food was a huge hit, so when they debuted a new light/medium overdrive peoples ears perked up. The Four knobs are a departure from most of their small drive pedals. Giving us Bass and Treble to manipulate is a step up. The clipping is musical and satisfying. The Bass and Treble are responsive and flexible. The Gain take you from clean to filthy with a twist. There is plenty of meat on these bones too. Playing a Tele through a Vox AC15 you'd expect twangy and spanky, but with this pedal engaged you plenty of grunt to thicken up that Tele sound.
The Name Is A Little Silly, Considering...
This pedal is one of the best clean boosts with the gain dialed back. It really preserves the sound of your guitar when playing through it. It doesn't jack with your tone in a bad way. Tube screamers will always add that mid-hump, but this pedal, when set correctly, will give you your tone right back to you, only louder. But not much louder. Much of the volume remain hidden until you start to add gain. But that is the reason to buy an overdrive, right? Besides being named after a childish art utensil, "coloring you tone" is considered a no-no, so when the hype video said the pedal did just that, well, it was a little bit of a face-palm moment.
It Gets You Close To That Sound With Minimal Effort
If you look at my pedal board, you will see that I like stacking my gain pedals. I have a Soul Food almost always on and cranked up to push the next pedal (Tube Screamer/OCD/Super Badass). Some times I'll run the TS into the OCD to get really noisy. I like combining Overdrives with other pedals to simulate the effect of a overdriven amp while keeping to bedroom levels. Not to say that other pedals need a another in front of it, but this pedal has gotten pushed-a-little-too-hard (in a good way) sound all by it's self. There are a lot of things that I like about the Soul Food in this pedal, but mixed with better EQ and great clipping section.
In Conclusion
If you are in the market for a single pedal to do must of the heavy lifting of your dirt section and don't want to full with stacking different pedals, then this might be right up your ally. What the Soul Food lacks in flexibility, The Crayon Does rather well, with the bonus of being transparent in the best way possible. This pedal is a little more than just the "pre" section of you gain section. It has the grunt to be your entire overdrive section. It does play well with other though. Especially if the other pedal is heavier. All in all this pedal is a great box. Even if it turns out to be heavily "inspired" by another pedal, this pedal is a great addition to an already pretty stellar list of pedals in EHX's line.
It's Pretty Good.
A lot of people liked what they heard from the EHX video demos. The Soul Food was a huge hit, so when they debuted a new light/medium overdrive peoples ears perked up. The Four knobs are a departure from most of their small drive pedals. Giving us Bass and Treble to manipulate is a step up. The clipping is musical and satisfying. The Bass and Treble are responsive and flexible. The Gain take you from clean to filthy with a twist. There is plenty of meat on these bones too. Playing a Tele through a Vox AC15 you'd expect twangy and spanky, but with this pedal engaged you plenty of grunt to thicken up that Tele sound.
The Name Is A Little Silly, Considering...
This pedal is one of the best clean boosts with the gain dialed back. It really preserves the sound of your guitar when playing through it. It doesn't jack with your tone in a bad way. Tube screamers will always add that mid-hump, but this pedal, when set correctly, will give you your tone right back to you, only louder. But not much louder. Much of the volume remain hidden until you start to add gain. But that is the reason to buy an overdrive, right? Besides being named after a childish art utensil, "coloring you tone" is considered a no-no, so when the hype video said the pedal did just that, well, it was a little bit of a face-palm moment.
It Gets You Close To That Sound With Minimal Effort
If you look at my pedal board, you will see that I like stacking my gain pedals. I have a Soul Food almost always on and cranked up to push the next pedal (Tube Screamer/OCD/Super Badass). Some times I'll run the TS into the OCD to get really noisy. I like combining Overdrives with other pedals to simulate the effect of a overdriven amp while keeping to bedroom levels. Not to say that other pedals need a another in front of it, but this pedal has gotten pushed-a-little-too-hard (in a good way) sound all by it's self. There are a lot of things that I like about the Soul Food in this pedal, but mixed with better EQ and great clipping section.
In Conclusion
If you are in the market for a single pedal to do must of the heavy lifting of your dirt section and don't want to full with stacking different pedals, then this might be right up your ally. What the Soul Food lacks in flexibility, The Crayon Does rather well, with the bonus of being transparent in the best way possible. This pedal is a little more than just the "pre" section of you gain section. It has the grunt to be your entire overdrive section. It does play well with other though. Especially if the other pedal is heavier. All in all this pedal is a great box. Even if it turns out to be heavily "inspired" by another pedal, this pedal is a great addition to an already pretty stellar list of pedals in EHX's line.
Labels:
AC15,
dirt,
Distortion,
Effect pedal review,
effect pedals,
EHX,
EHX Crayon,
EHX Soul Food,
Fender Telecaster,
gain,
GAS,
Guitar Pedals,
Klon,
Klone,
Overdrive,
Pedal Review,
Tele,
Vox
Saturday, December 12, 2015
Ugly Truth About Counterfet Pedals
As anyone who appreciates a nice guitar pedal knows, there is a struggle between spending money on guitar stuff and other things that are less important, like food. So when you can, you try to find deals that make it possible to purchase more of the stuff you need, and maybe put gas in your car if their is a little left over. Recently I've patrolled the internet for a good deal. I found what seemed to be fair. What I traded for was a Surh Riot overdrive/distortion. This pedal is sold for about $200 which made it attractive. The general thought about this pedal is that it is well like. I was sold. So I made a trade of an unspecified amount, but one that I thought favored me. I was wrong...
It turned out to be a fake. There appears to be many of the fakes coming from mostly China. Here is some help information about keeping yourself safe from making the same mistake I did.
1. It's Hard To Tell The Fakes
It seems like this one would be a given. and it is. The people who set out to fool people with their pedals, try hard to imitate the original. I'm not saying that these are clones or copies that share a circuit, but pedals that function and look like the real thing, but are nothing but a sham. Sometimes it take a look on the inside to confirm the actual layout of the circuit or components used. If you suspect that your pedal might be a forgery, and if you aren't lucky enough to have access to a confirmed authentic pedal, Google is your friend. Most pedals have gut-shots on the internet. These are important to help you confirm your pedal. Forums are also handy to weed out your suspect pedal.
2. Pedals That You Think Could Be Fake Aren't
If you've ever tried to mod pedals, you know that even real pedal will have variances from time to time. Boss pedals are notorious about changes the circuits with-in the same models. Fulltone's OCD is on it's forth version. and nearly every other pedal that has been around long enough, have been changed to some extent. So what might look like funny business, might just mean that it is a difference version. It is important to know exactly what your are looking at before you call shanagins.
3. They Might Actually Be Decent Pedals
These pedals are based on, if not directly copying the original, so chances are that they sound like the originals too. The most surprising thing about my experience is that the pedal is good. I was surprised to learn that the pedal I've come to like was a fake. So the pedal that I thought I was getting a deal on, ends up being a decent pedal. If you look at it from a economist's perspective, the utility (how much something is worth to the actual user) is determined by how much the product it enjoyed. In theory, the copy could be enjoyed more. Especially when you consider that the copy is a fraction of the McCoy's price.
In Conclusion
These copies are a corrupt attempt to profit off the success of companies that have toiled for there success. It's an easy was to profit off of something they have not earned. The years dedicated to developing these circuits are often only worth it if the one responsible for that circuit can then turn that work into something profitably. If that product gets ripped off then it there is no incentive to design it in the first place. These imitators might claim to make something more affordable, but make no mistake. If they use the name of the notable original, then it is damaging, not only that particular maker, but the whole independent designer community.
It turned out to be a fake. There appears to be many of the fakes coming from mostly China. Here is some help information about keeping yourself safe from making the same mistake I did.
1. It's Hard To Tell The Fakes
It seems like this one would be a given. and it is. The people who set out to fool people with their pedals, try hard to imitate the original. I'm not saying that these are clones or copies that share a circuit, but pedals that function and look like the real thing, but are nothing but a sham. Sometimes it take a look on the inside to confirm the actual layout of the circuit or components used. If you suspect that your pedal might be a forgery, and if you aren't lucky enough to have access to a confirmed authentic pedal, Google is your friend. Most pedals have gut-shots on the internet. These are important to help you confirm your pedal. Forums are also handy to weed out your suspect pedal.
2. Pedals That You Think Could Be Fake Aren't
If you've ever tried to mod pedals, you know that even real pedal will have variances from time to time. Boss pedals are notorious about changes the circuits with-in the same models. Fulltone's OCD is on it's forth version. and nearly every other pedal that has been around long enough, have been changed to some extent. So what might look like funny business, might just mean that it is a difference version. It is important to know exactly what your are looking at before you call shanagins.
3. They Might Actually Be Decent Pedals
These pedals are based on, if not directly copying the original, so chances are that they sound like the originals too. The most surprising thing about my experience is that the pedal is good. I was surprised to learn that the pedal I've come to like was a fake. So the pedal that I thought I was getting a deal on, ends up being a decent pedal. If you look at it from a economist's perspective, the utility (how much something is worth to the actual user) is determined by how much the product it enjoyed. In theory, the copy could be enjoyed more. Especially when you consider that the copy is a fraction of the McCoy's price.
In Conclusion
These copies are a corrupt attempt to profit off the success of companies that have toiled for there success. It's an easy was to profit off of something they have not earned. The years dedicated to developing these circuits are often only worth it if the one responsible for that circuit can then turn that work into something profitably. If that product gets ripped off then it there is no incentive to design it in the first place. These imitators might claim to make something more affordable, but make no mistake. If they use the name of the notable original, then it is damaging, not only that particular maker, but the whole independent designer community.
Wednesday, October 7, 2015
Are Joyo Pedals Worth It?
No one wants to overpay for anything. I often look for bargains when shopping for music gear. I regularly check the Stupid Deal Of The Day at Musicians Friend. (not a sponsor) I keep tabs of craigslist. I'm a member of Facebook pages were locals post music gear. I'm always on the lookout for a good deal/trade. So when looking at pedals of EBay, one will notice pedals with bargain basement prices. Joyo is probably the most talked about brand in this category. That begs a question, are these extremely affordable pedals worth it? Let's see.
Just like any other pedal brand, no pedal will suit every player. Joyo has amassed a line of pedals long enough that they is sure to be a pedal that is at least appealing to most any player. Many of these pedals are clones, or at least close facsimiles of others. The ones you see mentioned in the forums the most are the gain pedals. Ultimate Drive, Vintage Overdrive, AC Tone, and the Hot Plexi are praised by many. Two of these (the Ultimate Drive and Vintage Overdrive) are 'clones' of an OCD and TS-808 respectively. I've owned an Ultimate Drive (due to a fulfillment error) and gave it a run through. It wasn't a bad pedals at all, but not something I was looking for. However, according to a credible source, my beloved EHX Glove OD is a Ultimate Drive clone!? The latter two pedals are pedals that are voice like a Vox (AC Tone) and a Marshal Plexi (Hot Plexi, duh). All these pedals are spoken of favorably by many.
There are many videos of Joyo pedals, but anything you find on YouTube, and other sites like it, is compressed. You can heard minor differences sometimes, but definitive answers are not found in these videos. I've personally owned several and have tried many of these pedals. I've found that their construction and reliably are solid. But the main aspect to any effect is the sound. In every case, I've found pedals that I've preferred to the Joyo pedals. Joyo fuzz fell to a Big Muff, Joyo Comp yielded to a vintage Ross Comp clone, Joyo Ultimate Drive... well I don't remember because it was replaced by something else... maybe a modded Blue Driver. The following is not an original thought: The difference between Joyo pedals and the ones that may be preferred to them will/can not be heard by the average audience member.
There is a certain effect that brands of pedals like Joyo have. Joyo pedals are extremely affordable and prolific. They are mass produced and many guitar player have come across or used one. But the fact that they are prolific and affordable make them like desirable. There are some exceptions. Lots of people have said that prefer a cheaper pedal to a more expensive one, but this may just be this principle in reverse. There is a certain desirability of an obscure or price exclusive piece of gear. We see pros play guitars with unfamiliar names and shapes. Boutique builders have been capitalizing on this effect for as long as there has been boutique gear. Mods were once a rarity, Analog Man had a huge waiting list on his King Of Tone pedal, and can you say KLON. All these had a allure (or hype) about them due to their unavailability. Joyo has the opposite. A Ultimate Drive might be the same as my Glove OD, but I'll prefer my Glove. Sure Its a cheap pedal, but it's not that cheap.
In Conclusion, Joyo pedals are a affordable option. Just like any other pedal, you have to play them to know whether or not you like what they do. They good thing about Joyo is that picking one up just to try won't drain your bank account. I've read reviews saying that where people have received the wrong people. I can also confirm that this happens, as its happened to me. Besides that, I haven't heard anything about Joyo pedals failing to work. So it seems that they are reliable. Are there pedals that sound better than Joyo pedals? Sure. Are there cheaper pedals? Not many. Can you find decent pedal that for reasonable price? Well, give it a try.
Just like any other pedal brand, no pedal will suit every player. Joyo has amassed a line of pedals long enough that they is sure to be a pedal that is at least appealing to most any player. Many of these pedals are clones, or at least close facsimiles of others. The ones you see mentioned in the forums the most are the gain pedals. Ultimate Drive, Vintage Overdrive, AC Tone, and the Hot Plexi are praised by many. Two of these (the Ultimate Drive and Vintage Overdrive) are 'clones' of an OCD and TS-808 respectively. I've owned an Ultimate Drive (due to a fulfillment error) and gave it a run through. It wasn't a bad pedals at all, but not something I was looking for. However, according to a credible source, my beloved EHX Glove OD is a Ultimate Drive clone!? The latter two pedals are pedals that are voice like a Vox (AC Tone) and a Marshal Plexi (Hot Plexi, duh). All these pedals are spoken of favorably by many.
There are many videos of Joyo pedals, but anything you find on YouTube, and other sites like it, is compressed. You can heard minor differences sometimes, but definitive answers are not found in these videos. I've personally owned several and have tried many of these pedals. I've found that their construction and reliably are solid. But the main aspect to any effect is the sound. In every case, I've found pedals that I've preferred to the Joyo pedals. Joyo fuzz fell to a Big Muff, Joyo Comp yielded to a vintage Ross Comp clone, Joyo Ultimate Drive... well I don't remember because it was replaced by something else... maybe a modded Blue Driver. The following is not an original thought: The difference between Joyo pedals and the ones that may be preferred to them will/can not be heard by the average audience member.
There is a certain effect that brands of pedals like Joyo have. Joyo pedals are extremely affordable and prolific. They are mass produced and many guitar player have come across or used one. But the fact that they are prolific and affordable make them like desirable. There are some exceptions. Lots of people have said that prefer a cheaper pedal to a more expensive one, but this may just be this principle in reverse. There is a certain desirability of an obscure or price exclusive piece of gear. We see pros play guitars with unfamiliar names and shapes. Boutique builders have been capitalizing on this effect for as long as there has been boutique gear. Mods were once a rarity, Analog Man had a huge waiting list on his King Of Tone pedal, and can you say KLON. All these had a allure (or hype) about them due to their unavailability. Joyo has the opposite. A Ultimate Drive might be the same as my Glove OD, but I'll prefer my Glove. Sure Its a cheap pedal, but it's not that cheap.
In Conclusion, Joyo pedals are a affordable option. Just like any other pedal, you have to play them to know whether or not you like what they do. They good thing about Joyo is that picking one up just to try won't drain your bank account. I've read reviews saying that where people have received the wrong people. I can also confirm that this happens, as its happened to me. Besides that, I haven't heard anything about Joyo pedals failing to work. So it seems that they are reliable. Are there pedals that sound better than Joyo pedals? Sure. Are there cheaper pedals? Not many. Can you find decent pedal that for reasonable price? Well, give it a try.
Labels:
AC Tone,
American Dream,
Classic Chorus,
Crunch,
D-Seed,
Distortion,
Fuzz,
Hot Plexi,
Joyo,
Ultimate Drive,
Vintage Flange,
Vintage OVerdrive
Monday, October 5, 2015
Fulltone OCD VS Joyo Ultimate Drive
From time to time I hear the comment that the Joyo Ultimate Drive is a clone of the Fulltone OCD pedal. Some have gone as far as to say that they are the same pedal with different paint jobs. This is a very enticing rumor. Would you like a $130 pedal for only $40? then just buy it from Joyo instead of Fulltone. I wanted to test this out for my self so I acquired both pedals are ran a simple test.
The Similarities
The pedals have similar layouts. Three knobs and a mini toggle. Everything seems to be in the same places. They both are light to medium gain pedals. They have similar soft clipping circuits, not to say they sound "the same", but one can tell that they both try to fill the same spot.
The Differences
The PCBs are not the same or even close. The UD has less mids and more gain. This might appeal to some. The OCD does a good job of cleaning up and being more transparent. I don't always like the more expensive pedals. I use a EHX Glove OD that "clones" the OCD (or does it copy the UD?) as well. This and EHX East River Drive (a TS-808 clone) are my main dirt pedals in my set up. The OCD is just a more tame-able pedal. There are good sounds in the UD. They are just harder to uncover (to my ears).
Conclusion
Both of these pedals are worth a look. If you are looking for a great gain pedal, then check both of these guys out. They have their own sounds and respond a little differ from one another, so take a little time to get to know them. They are endorsed by many, however I don't see my self giving up a spot on my board for either one of them.
The Similarities
The pedals have similar layouts. Three knobs and a mini toggle. Everything seems to be in the same places. They both are light to medium gain pedals. They have similar soft clipping circuits, not to say they sound "the same", but one can tell that they both try to fill the same spot.
The Differences
The PCBs are not the same or even close. The UD has less mids and more gain. This might appeal to some. The OCD does a good job of cleaning up and being more transparent. I don't always like the more expensive pedals. I use a EHX Glove OD that "clones" the OCD (or does it copy the UD?) as well. This and EHX East River Drive (a TS-808 clone) are my main dirt pedals in my set up. The OCD is just a more tame-able pedal. There are good sounds in the UD. They are just harder to uncover (to my ears).
Conclusion
Both of these pedals are worth a look. If you are looking for a great gain pedal, then check both of these guys out. They have their own sounds and respond a little differ from one another, so take a little time to get to know them. They are endorsed by many, however I don't see my self giving up a spot on my board for either one of them.
Labels:
Distortion,
East River Drive,
EHX,
ERD,
Fulltone OCD,
Glove OD,
Joyo,
Overdrive,
Ultimate Drive,
VS
Friday, June 19, 2015
The Ugly Truth About TC Electronic Rottweiler
Ever on the look out for pedals that are stellar, I was browsing in one of my local music stores and noticed a TC Electronic Rottweiler. TC Electronic is more known for their filter and modular effects, but they do have dirt boxes as well. I decided that I needed to give them a try. What I learned surprised me.
My set-up was a Fender Tele Deluxe, into the Rottweiler, to a Peavey Classic 50. The Deluxe and the Peavey tube amp was a great combo. Great American sounds came chiming out. Que the record scratch because when the Rottweiler was turned on, everything changed. Before engaging the pedal I tried to achieve the "on the edge" sound with the amp. No go. If I wanted to sit in front of the amp and not have my ears bleed that is. (even with a master volume) So on came the pedal. Distortion is an understatement. I'm not much of a Metal player, so I won't claim it's great for Metal, but the tones were there. I rolled the gain all the way back and there was still no sign of letting up. There was no sign of my original sound either. The tone and dynamics were completely hijacked. Like a dog with a bone, this pedal was carried away.
The Ugly: Not Transparent, Little Gain Control
The Pro: True Bypass, Solid Construction
The Conclusion: The Pedal doesn't share. The tend in pedal have been to mix clean signal in a mix with dirt, but this pedal didn't get the memo. If you want the Rottweiler to keep some of your guitar's tone in the mix, then you'll probably get bit.
My set-up was a Fender Tele Deluxe, into the Rottweiler, to a Peavey Classic 50. The Deluxe and the Peavey tube amp was a great combo. Great American sounds came chiming out. Que the record scratch because when the Rottweiler was turned on, everything changed. Before engaging the pedal I tried to achieve the "on the edge" sound with the amp. No go. If I wanted to sit in front of the amp and not have my ears bleed that is. (even with a master volume) So on came the pedal. Distortion is an understatement. I'm not much of a Metal player, so I won't claim it's great for Metal, but the tones were there. I rolled the gain all the way back and there was still no sign of letting up. There was no sign of my original sound either. The tone and dynamics were completely hijacked. Like a dog with a bone, this pedal was carried away.
The Ugly: Not Transparent, Little Gain Control
The Pro: True Bypass, Solid Construction
The Conclusion: The Pedal doesn't share. The tend in pedal have been to mix clean signal in a mix with dirt, but this pedal didn't get the memo. If you want the Rottweiler to keep some of your guitar's tone in the mix, then you'll probably get bit.
Friday, June 12, 2015
The Ugly Truth About Big Tone Music Brewery
The other day I was on the Twitter, and I noticed the Big Tone Music Brewery has just announced a new line of pedals. If BTMB is a new name to you, you are not alone. They have been operating in obscurity for some time creating unique, feature laden pedals that are impressive to behold. The guy behind the Build You Own Clone site, Keith Vonderhulls, has created a line of creative pedals. Their most prominent pedal being their MOSFET overdrive and boost. More than just a Fulltone clone, this pedal offers panametric EQ and knobies and switches everywhere. Another standout in their line is the Royal Beaver. This combines every Big Muff variation and combination imaginable. In short, this is the beaver to end all beavers. These pedals are flexible and well designed. So when I heard that they are putting out more pedals, I got excited. I couldn't wait to see what designs they came up with next.
There New Line Is Heavy On The Dirt
Obviously BTMB is committed to making the best, and most flexible OD, distortion, and fuzz pedal. They also have come up with a boost and vibrato. Many people have several dirt pedals. If you are like me, I am always looking for pedals that add something to my sound. Once you have your sound with the right amount on dirt, then you can look at making that sound just a little sweeter. Delay, Reverb, and chorus are tryed and true effect that help make "that sound" that much better. Many people see the pool of gain pedal to be over-saturated. So when I learned that BTMB was offering nothing but dirt, my excitement was squelched a bit.
Their Clones
Let me be clear hear. These are no exact copies of other pedals. They take successful circuits and modify them to make them more desirable and flexible. So lets take a look at the line up:
Classic Overdrive=Tube Screamer (?)
Grey Box Overdrive=DOD 250 (Grey Version)
Ram and Triangle Fuzz=Big Muffs
Silicone and Germanium Fuzz=Fuzz Faces
They have applied their now-signature flexible EQ. Yes they might have familiar beginings, but they offer many options that aren't found on the originals. Not to mention that they are made with top quality NOS parts and construction. So the idea behind these pedals are not trying to copy the old pedals, but rather improve upon the old circuits.
They've Lost A Little Magic
Many of us have looked for that magic bullet to produced the sound that is in our heads, the one pedal that will rule them all. Some have claimed to find it, and they very well may have. Sometimes that sound is a slippery fish. It may sound completely different from day to day, making BTMB's flexible pedals great choices. However, the pedals in this new line fit a little more snugly into their original roles. They are more flexible then their counterparts, but they stop short of the exotic pedals they have previously built. Speaking of which, The original pedal had top mounted jacks. As everyone knows, if you want a super sexy pedal board then you have to have your pedals with top mounted jacks. That way you can put your pedals close together and have a solid mass of sonic goodness at your feet with little to no pedal board showing. Side jacks just down allow those pedal to get super close.
In Conclusion
Now we have a line of pedals that pretty much anyone can admire. They taken familiar designs and increased there tonal range, and given them modern features that today's players want. On top of everything, these pedals are handbuilt in America and under $200. That might be serious cash, but these are serious pedals. In a world where there are tons of dirt pedals to choose form, these pedal standout, but aren't too obscure that you won't be able to tell which pedal is right for you. These are very smart designs from the guys that have been building and modding circuits for years. Well worth a try!
There New Line Is Heavy On The Dirt
Obviously BTMB is committed to making the best, and most flexible OD, distortion, and fuzz pedal. They also have come up with a boost and vibrato. Many people have several dirt pedals. If you are like me, I am always looking for pedals that add something to my sound. Once you have your sound with the right amount on dirt, then you can look at making that sound just a little sweeter. Delay, Reverb, and chorus are tryed and true effect that help make "that sound" that much better. Many people see the pool of gain pedal to be over-saturated. So when I learned that BTMB was offering nothing but dirt, my excitement was squelched a bit.
Their Clones
Let me be clear hear. These are no exact copies of other pedals. They take successful circuits and modify them to make them more desirable and flexible. So lets take a look at the line up:
Classic Overdrive=Tube Screamer (?)
Grey Box Overdrive=DOD 250 (Grey Version)
Ram and Triangle Fuzz=Big Muffs
Silicone and Germanium Fuzz=Fuzz Faces
They have applied their now-signature flexible EQ. Yes they might have familiar beginings, but they offer many options that aren't found on the originals. Not to mention that they are made with top quality NOS parts and construction. So the idea behind these pedals are not trying to copy the old pedals, but rather improve upon the old circuits.
They've Lost A Little Magic
Many of us have looked for that magic bullet to produced the sound that is in our heads, the one pedal that will rule them all. Some have claimed to find it, and they very well may have. Sometimes that sound is a slippery fish. It may sound completely different from day to day, making BTMB's flexible pedals great choices. However, the pedals in this new line fit a little more snugly into their original roles. They are more flexible then their counterparts, but they stop short of the exotic pedals they have previously built. Speaking of which, The original pedal had top mounted jacks. As everyone knows, if you want a super sexy pedal board then you have to have your pedals with top mounted jacks. That way you can put your pedals close together and have a solid mass of sonic goodness at your feet with little to no pedal board showing. Side jacks just down allow those pedal to get super close.
In Conclusion
Now we have a line of pedals that pretty much anyone can admire. They taken familiar designs and increased there tonal range, and given them modern features that today's players want. On top of everything, these pedals are handbuilt in America and under $200. That might be serious cash, but these are serious pedals. In a world where there are tons of dirt pedals to choose form, these pedal standout, but aren't too obscure that you won't be able to tell which pedal is right for you. These are very smart designs from the guys that have been building and modding circuits for years. Well worth a try!
Labels:
Big Tone Music Brewery,
Distortion,
Fuzz,
New Gear,
New Pedals,
Overdrive
Tuesday, June 9, 2015
Backorders Still Suck
Recently I received an email stating that my pedal is still on backorder. I have no idea what is holding it up anymore. Perhaps there is some issue with their manufacturing process. I've also noticed that they are heavily pushing their Toneprint pedals via the social medias. So I thought that TC Electronics might be retooling their Dark Matter distortion to be a part of their Toneprint series
I sent a Tweet out stating my theory on a Toneprint Dark Matter, and I was quickly replied to by TC Electronics. They informed me that they are not producing a Toneprint distortion. One could hope. I did see this on the twitter this morning. So something is coming.
I sent a Tweet out stating my theory on a Toneprint Dark Matter, and I was quickly replied to by TC Electronics. They informed me that they are not producing a Toneprint distortion. One could hope. I did see this on the twitter this morning. So something is coming.
Labels:
Dark Matter,
Distortion,
Guitar Effects,
New Pedals,
TC electonics,
Toneprint
Tuesday, May 26, 2015
Building A Pedal Board Under $300
Recently I've been putting together a large pedal board that hold the majority of my pedal collection. After all, what the point of having great pedals if you can't play with them. So I decided to have "all" my pedals at my disposal when playing. Have all my pedal in one location got me to thinking though. What if something happened to my board? Stolen, caught in a fire, run-a-way elephant stampede. I've been collecting these pedal for years. Below, I've included a list of just about everything in that rig. It's not what I pay for some of this (I bought a lot of these second hand), but its what I would take to replace it on a functional level. So I laid out a short board that covered the basics for me to play. Drive, Distortion, Boost, Delay and Tuner. With price in mind this is the outcome of my search. There is a couple Donner pedals that I have no experience with, but I'll explain my choices below.
Donner Black Arts Delay - $60
Donner Compact Tuner - $22
Outlaw Effects Boilmaker Boost - $50
(alternative Donner Boost Killer - $30)
Visual Sound Drivetrain - $60
MXR Distortion III - $80
Total= $272 (252)
Donner Black Arts Delay - $60
Donner Compact Tuner - $22
Outlaw Effects Boilmaker Boost - $50
(alternative Donner Boost Killer - $30)
Visual Sound Drivetrain - $60
MXR Distortion III - $80
Total= $272 (252)
Delay - $200
Tuner - $100
EQ - $218
Soul Food $78
Glove - $60
TS - $60
MXR Bad@ss Distortion - $100
Metal Muff - $90
Bypass Box - $12
Tap pedal - $10
Fuzz - $50
MXR Distortion III - $70
Volume - $75
Wah - $90
Total= $1213
Donner Black Arts Delay: Why this delay? If you start looking for a delay you'll notice that they are one of the most expensive effects to buy. My DD-20 set my back $200. I've had it for years and it works great. What I couldn't do is replace it at the drop of a hat. So what am I to do? Get the closest thing without spending big bucks. The Black Arts Delay has many of the same features, simply controls and tap built in. That covers 90% of what I need a delay to do. For less than half the price, it's a win.
Donner Tuner: This is simple decision, What fulfill the function for the lest amount of money. Reviews have been pretty positive for this little tuner. I love my Boss TU-2, but when you have funner stuff to spend your money on, you have to make choices.
Outlaw Boilermaker Boost: I like Outlaw Effects. Their boost very well may be Donner's Boost Killer pedal, but the features are the same. It is a volume boost with EQ (Low, Mid, and High) Not quite a GE-7, but it'll get the job done for the most part. Bring the total down by going to Donner again. But this boost fits the bill.
Visual Sound Drivetrain: This pedal has gotten a lot of love. It offer a wide range of sounds and costs less than many pedals with the same features. It is so loved that Visual Sound included it in their VS-XO pedal. With cost in mind this pedal tends to shine.
MXR Classic Distortion (III): This pedal is what comes to mind when you think "distortion". It has lot of power behind it. It is also the only pedal on this list that I would directly replace. The Super Bad@ss pedal is more flexible and more expensive. The EHX pedals on my board are a little too narrow as far as range, so the one flexible and affordable enough is the Classic.
You may have noticed that I am relying pretty heavily on the Donner brand. No, I am no being paid to promote them (I wish I was). They import pedals from china and sell them pretty cheap. I could have saved I little more with just going with the cheapest options in each category, but I tried to pick the pedals that would give me the best result for the least investment. The Delay was really what got my attention, and the tuner and boost just made to much sense. That left the dirt. That being the most used and expressive part of the signal path I decided to splurge instead of trying to find cheaper sound-a-like pedals.
All this is ignoring the other solution:
Multi effects.
So here are some of those:
DigiTech RP360XP Guitar Multi-Effects Pedal ($200)
DigiTech's latest face lift on its RP series. Hopefully improving on its last line up of these effects. It offers three metal switches and an expression pedal. There are tons of features listed for these. They've even gotten to use the actual product names that they emulate now. So there is that.
Its Features:
FEATURES
- 126 effects (32 amps, 18 cabinets, 74 stompboxes)
- 198 presets (99 factory, 99 user)
- Expression pedal
- Power supply included
- 40-second looper
- 60 High-quality drum patterns
- Durable metal chassis and footswitches
- 2 x 2 USB audio streaming
- Built-in chromatic tuner
- External control input for a 3-button footswitch
- Configurable footswitch modes (Stompbox, Preset, Bank)
- Up to 5 seconds of delay time
- USB editing via DigiTech Nexus
- Stereo 1/4" Output
- Stereo 1/8" headphone output
- Stereo 1/8" Aux Input
- Amp / Mixer mode optimizes 1/4" outputs for amps and mixers
- 24-bit/44.1kHz sample rate
- 9.125" x 15.188" x 2.625"
Add to your tone collection with this special pedal.
SPECIFICATIONS
RP360XP Guitar Multi-Effects Pedal
- Volume/Wah Models inspired by:
- Volume Pedal
- DigiTech Full Range
- Dunlop Cry Baby Wah
- Vox Clyde McCoy Wah
- Compressor/Limiter Models inspired by:
- DigiTech Compressor
- Boss CS-2
- MXR DynaComp
- Pickup Simulators:
- Single Coil > Humbucker
- Humbucker > Single Coil
- Acoustic Simulators inspired by:
- Dreadnaught Acoustic
- Jumbo Acoustic
- Noise Gate/Auto Swells:
- DigiTech Noise Gate
- DigiTech Auto Swell
- Chorus Effects inspired by:
- Boss CE-2 Chorus
- TC Electronic Chorus
- DigiTech Dual Chorus
- DigiTech Multi Chorus
- Flanger Effects inspired by:
- DigiTech Flanger
- DigiTech Triggered Flanger
- MXR Flanger
- Electro Harmonix Electric Mistress
- Phaser Effects inspired by:
- DigiTech Phaser
- DigiTech Triggered Phaser
- MXR Phase 100
- Electro Harmonix Small Stone
- Pitch Effects inspired by:
- DigiTech Whammy
- DigiTech Pitch Shift
- DigiTech Detune
- DigiTech IPS
- Boss OC-2 Octaver
- Vibrato/Rotary Effects inspired by:
- DigiTech Vibrato
- DigiTech Rotary
- DigiTech Vibro/Pan
- Uncord Univibe
- Tremolo Effects inspired by:
- DigiTech Tremolo
- DigiTech Panner
- Fender Opto Tremolo
- Vox Bias Tremolo
- Envelope/Special Effects inspired by:
- DigiTech Envelope Filter
- DigiTech Auto Ya
- DigiTech YaYa
- DigiTech Synth Talk
- DigiTech Step Filter
- DOD FX25
- Equalization
- 4-band EQ
- Delays inspired by:
- DigiTech Analog Delay
- Boss DM-2 Analog Delay
- DigiTech Digital Delay
- DigiTech Modulated Delay
- DigiTech Pong Delay
- DigiTech Tape Delay
- Maestro EP-2
- Echoplex Tape Echo
- Reverbs inspired by:
- Fender Twin Reverb
- Lexicon Ambience
- Lexicon Studio
- Lexicon Room
- Lexicon Hall
- EMT 240 Plate
- Amps inspired by:
- '57 FenderTweed Champ
- '57 Fender Tweed Deluxe
- '59 FenderTweed Bassman
- '65 Fender Blackface Twin Reverb
- '65 Fender BlackfaceDeluxe Reverb
- '65 Marshall "JTM-45
- '68 Marshall 100 Watt Super Lead (plexi)
- '68 Marshall Jump Panel
- '77 Marshall Master Volume
- '83 Marshall JCM800
- '93 Marshall JCM900
- '62 Vox AC15
- '63 Vox AC30 Top Boost
- '69 HiwattCustom 100 DR103
- '81 Mesa/Boogie Mark II C
- '01 Mesa/Boogie Dual Rectifier
- '96 Matchless HC30
- '88 Soldano SLO-100
- DigiTech BlackBass
- DigiTech Bright Clean
- DigiTech Brownsound
- DigiTech Chunk
- DigiTech Clean Tube
- DigiTech Dark Metal
- DigiTech High Gain
- DigiTech Metal
- DigiTech Monster
- DigiTech Solo
- DigiTech Stoner Rock
- DigiTech Tweedface
- DigiTech 2101 Clean Tube
- DigiTech 2101 Saturated Tube
- Distortion Stompboxes inspired by:
- Arbiter Fuzz Face
- Boss DS-1 Distortion
- Boss MT-2 Metal Zone
- Demeter Fuzzulator
- DigiTech Death Metal
- DigiTech Grunge
- DigiTech Redline Overdrive
- DOD 250 Overdrive/Preamp
- DOD Classic Fuzz
- DOD Gonkulator Ring Modulator
- Electro-Harmonix Big Muff Ï
- Guyatone Overdrive OD-2
- Ibanez TS-9 Tube Screamer
- Ibanez TS-808 Tube Screamer
- MXR Distortion+
- ProCo Rat
- Roger Mayer Octavia
- Voodoo Labs Sparkle Drive
- Cabinet Types inspired by:
- '57 Fender Tweed Champ 1x8"
- '57 Fender Tweed Deluxe Reverb 1x12"
- '65 Fender Blackface Deluxe Reverb 1x12"
- '57 Fender Blonde Bassman 2x12"
- '65 Fender Blackface Twin Reverb 2x12"
- '63 Vox AC30 Top Boost withJensen Blue Backs 2x12"
- '59 Fender Tweed Bassman 4x10"
- Marshall 1969 Straight withCelestion G12-T70 4x12"
- Marshall 1969 Slant withCelestion 25W Greenbacks 4x12"
- Hiwatt Custom withFane Speakers 4x12"
- Johnson Straight withCelestion Vintage 30's 4x12"
- '96 VHT Slant withCelestion Vintage 30's 4x12"
- DigiTech Solo 4x12
- DigiTech Bright 2x12
- DigiTech Metal 4x12
- DigiTech Rock 4x12
- DigiTech Alt 4x12DigiTech Vintage 4x12
DigiTech RP500 Guitar Multi-Effects Switching System & USB Recording Interface ($200)
The RP 500 tries to feel like a pedal board with its switchable effect. While this is nice, the idea have been improved upon elsewhere. Boast many of the same effects and features as the RP360 it looks like this is more about the interface. The menu editing seem like the old style that harkens back to the 90's.
FEATURES
- Exclusive Pedalboard mode changes the RP500 into 5 individual stompboxes and effects
- Amp/Cabinet Bypass turns the RP500 into a true effects processor that works with your amp's tone
- Heavy-duty vacuum switches for program changes, effect on/off changes, bank up and down, tap tempo and tuner
- Bright LEDs display program status and effect on/off
- Large 8 character LED display for program name, bank name, and tuner
- Large 2 character display for program number and tuning reference
- Built-in expression pedal controls the RP500's internal wahs, volume, Whammy, and other parameters
Get everything you need to rule stage or studio. Call or click today to order.
SPECIFICATIONS
RP500 Guitar Multi-Effects Switching System & USB Recording Interface
- Stompboxes based on:
- Compressor / Sustainers:
- Boss CS-2Compressor / Sustainer
- DigiTech Main Squeeze Compressor
- MXR Dynacomp
- Wah / Volume: Dunlop Cry Baby Wah
- DigiTech Full Range Wah
- Vox Clyde McCoy Wah
- Volume Pedal
- Distortions & Overdrives:
- SCREAMER (Based on an Ibanez TS-9)
- TS 808 (Based on an Ibanez TS-808 Tube Screamer)
- SPARKDRIVE (Based on a Voodoo Lab Sparkle Drive)
- OD OVERDRIVE (Based on a Guyatone Overdrive OD-2)
- DOD 250 (Based on a DOD 250 Overdrive/Preamp)
- RODENT (Based on a Pro Co RAT)
- MX DISTORTION (Based on an MXR Distortion +)
- DS (Based on a Boss DS-1 Distortion)
- GRUNGE (DigiTech Grunge)
- ZONE (Based on a Boss MT-2 Metal Zone)
- DEATH METAL (DigiTech Death Metal)
- GONKULATOR (Based on a DOD Gonkulator Ring Modulator)
- 8TAVIA (Based on a Roger Mayer Octavia)
- FUZZLATOR (Based on a Demeter Fuzzulator)
- CLASSIC FUZZ (Based on a DOD Classic Fuzz)
- FUZZY FACE (Based on an Arbiter Fuzz Face)
- BIG PI (Based on an Electro-Harmonix Big Muff Pi)
- DigiTech Redline Overdrive
- Amplifiers & Acoustics:
- 57 CHAMP Based on a '57 Fender Tweed Champ
- 57 DELUXE Based on a '57 Fender Tweed Deluxe
- 59 BASSMAN Based on a '59 Fender Tweed Bassman
- 62 BROWN BASSMAN Based on a '62 Fender Brownface Bassman
- 65 TWIN REVERB Based on a '65 Fender Blackface Twin Reverb
- 65 REVERB(Based on a '65 Fender Blackface Deluxe Reverb
- 65 JTM-45(Based on a '65 Marshall JTM-45
- 68 SUPER LEAD PLEXI Based on a '68 Marshall 100 Watt Super Lead (plexi)
- 68 JUMP PANEL Based on a '68 Marshall Jump Panel
- 77 MASTER VOLUME Based on a '77 Marshall Master Volume
- 83 JCM800 Based on an '83 Marshall JCM800
- 93 JCM900 Based on a '93 Marshall JCM900
- 01 JCM2000 Based on an '01 Marshall JCM2000 (Solo Channel)
- 62 AC15 Based on a '62 Vox AC15
- 63 AC30 TOP BOOST Based on a '63 Vox AC30 Top Boost
- 69 HIGH WATTAGE Based on a '69 Hiwatt Custom 100 DR103
- 81 MARK IIC Based on an '81 Mesa Boogie Mark II C
- 01 DUAL RECTIFIED Based on an '01 Mesa Boogie Dual Rectifier
- 99 LEGACY VL-100 Based on a Carvin Legacy VL-100
- 96 MATCH HC-30 Based on a '96 Matchless HC30
- 88 SLO-100 Based on an '88 Soldano SLO-100
- Gibson GA-40
- Peavey 5150 II
- Roland JC-120
- Sunn 100S
- Randall HT-100
- DIGITECH SOLO DigiTech Solo
- DIGITECH METAL DigiTech Metal
- DIGITECH BRIGHT CLEAN DigiTech Bright Clean
- DIGITECH CHUNK DigiTech Chunk
- DIGITECH CLEAN TUBE DigiTech 2101 Clean Tube
- DIGITECH CRUNCH DigiTech Crunch
- DIGITECH BLUES DigiTech Blues
- DIGITECH FUZZ DigiTech Fuzz
- DIGITECH SPANK DigiTech Spank
- DIGITECH HIGH GAIN DigiTech High Gain
- DIGITECH MONSTER - Maxed out gain
- DIGITECH "TWEEDFACE" — Tweed preamp w/Blackface power amp
- DIGITECH "65 Blackface Bassman" — '65 Blackface preamp with Bassman power amp
- DIGITECH STONERROCK — Thick, sludgy distorted amp tone
- DIGITECH DARKMETAL — Responsive, tight metal tone
- DIGITECH TRANSISTOR — Solid state transistor amp sound
- DIGITECH BROWNSOUND — Hot rodded '80s stack tone
- DIGITECH MOSH — Chunky metal tone with just the right amount of sizzle
- 2101 CLEAN TUBE DigiTech GSP2101TM Artist Clean Tube
- 2101 SATURATED TUBE DigiTech GSP2101 Artist Saturated Tube
- DIRECT No amp model
- DREADAUGHT ACOUSTIC
- JUMBO ACOUSTIC
- Cabinets:
- CHAMP 1X8 Based on a 1x8 '57 Fender Tweed Champ
- DELUXE 1X12 Based on a 1x12 '57 Fender Tweed Deluxe
- DELUXE REVERB 1X12 Based on a 1x12 '65 Fender Blackface Deluxe Reverb
- BRITISH 1X12 Based on a 1x12 '62 Vox AC15 w/20W Vox Speaker
- BLONDE 2X12 Based on a 2x12 '57 Fender Blonde Bassman
- TWIN 2X12 Based on a 2x12 '65 Fender Blackface Twin Reverb
- BRITISH 2X12 Based on a 2x12 '63 Vox AC0 Top Boost w/ Jensen Blue Backs
- BASSMAN 4X10 Based on a 4x10 '59 Fender Tweed Bassman
- BRITISH 4X12 Based on a 4x12 Marshall 1969 Straight w/ Celestion G12-T70
- GREENBACK 4X12 Based on a 4x12 Marshall 1969 Slant w/ Celestion 25W Green backs
- FANE 4X12 Based on a 4x12 Hiwatt Custom w/ Fane Speakers
- BOUTIQUE 4X12 Based on a 4x12 '96 VHT Slant w/ Celestion Vintage 30's
- VINTAGE 4X12 Based on a 4x12 Johnson Straight w/ Celestion Vintage 30's
- DIGITECH SOLO 4X12 4x12 DigiTech Solo
- DIGITECH BRIGHT 2X12 2x12 DigiTech Bright
- DIGITECH METAL 4X12 4x12 DigiTech Metal
- DIGITECH ROCK 4X12 4x12 DigiTech Rock
- DIGITECH ALT 4X12 4x12 DigiTech Alt Rock
- DIGITECH VINTAGE 4X12 4x12 DigiTech Vintage
- DIGITECH CHUNK 4X12 4x12 DigiTech Chunk
- DIGITECH SPANK 4X12 4x12 DigiTech Spank
- DIGITECH SPEAKER COMP 4x12 DigiTech Speaker Compensation
- DIRECT No cabinet model
- FX Models:
- Chorus Stompbox Models based on:
- Boss CE-2 Chorus
- DigiTech Dual Chorus
- DigiTech Multi-Chorus
- TC Electronics Chorus
- DIGITECH GLISTENING Chorus
- Flanger Models based on:
- MXR Flanger
- DigiTech Triggered Flanger
- Electro Harmonix Electric Mistress
- ADA Flanger
- Phaser Models based on:
- MXR Phase 100
- DigiTech Phaser
- Electro Harmonix Small Stone
- Pitch Models based on:
- DigiTech Whammy
- DigiTech Pitch Shift
- DigiTech Detune
- DigiTech IPS
- Boss OC-2 Octaver
- Vibrato/Rotary Models based on:
- DigiTech Vibrato
- DigiTech Rotary
- DigiTech Vibro/Pan
- Unicord UniVibe
- Tremolo Models based on:
- DigiTech Tremolo
- DigiTech Panner
- Fender Opto Tremolo
- Vox Bias Tremolo
- DIGITECH SCATTERTREM — Dual tremolo effect
- Envelope/Special Models based on:
- DOD FX25 Envelope Filter
- DigiTech Auto Yah
- DigiTech YaYa
- DigiTech Synth Talk
- DigiTech Step Filter
- DigiTech Sample & Hold
- Delays:
- Digital Delay
- Analog Delay
- Pong Delay
- Modulated Delay
- Tape Delay
- Reverse Delay
- DM Analog Delay - based on Boss DM2 Analog Delay
- Echo Plex - based on Maestro EP-1 Tube Echoplex
- Reverbs based on:
- Lexicon Ambience
- Lexicon Hall
- Lexicon Room
- Lexicon Studio
- EMT Plate - based on EMT 240 Plate Reverb
- Spring - based on Fender Twin Reverb
Zoom G3X Guitar Effects & Amp Simulator Pedal ($200)
Zoom has offered a lot of bang for the buck in their effect for years. Finally rising to the level of DigiTech and Boss (yay?). This processor even gives you little screens to look at the facsimile of the pedal that its supposed to sound like. That's neat.
FEATURES
- Three large LCD displays with intuitive amp and stompbox interface
- 22 amp or 94 stompbox models can be used in any combination
- Over 100 built-in ZFX-IV DSP effects
- Create and store up to 100 original tones
- Looper function with 40 seconds of phrase recording and overdubbing
- Integrated drum machine and auto-chromatic tuner
- USB audio interface for DAW recording
- Balanced XLR output and selectable modes for DI use
- Over six hours of operation using four AA batteries/USB bus power (AC adapter included)
The most expencive option here, but just over the cost of my low-cost replacement rig, is the Line6 AMPLIFI FX100. As most fun as that is to say, this seems to be the brains of the AMPLIFI amps series. Note: The 150 watt AMPLIFI amp is only $200 over the cost of this unit. Meaning the actual amplifier adds less than half of the cost of the unit. Take that for what it's worth.
FEATURES
- AMPLIFi FX100 multi-effects pedal
- Over 200 amps, effects and speaker cabinets
- Access 100 onboard presets—and unlimited presets via AMPLIFi app*
- Change presets and switch banks using 4 pro-quality, backlit footswitches
- Bluetooth streaming audio for playing along with your music library (compatible with iOS, Android, Mac and PC)*
- Rugged construction with bent metal chassis
- 1/4" Guitar input
- 1/4" Headphone output, 1/4" stereo full-range balanced outputs and 1/4" Amp output
- Tap tempo/tuner
AMPLIFi Remote app for iOS*
- 8 simultaneous effects
- Remotely control amp and effects parameters to dial in the perfect tone
- Automatic tone matching instantly provides the perfect tones for jamming with songs in your music library
- Access thousands of tones online
- Share and rate tones in the cloud
- Backup and store unlimited presets in the cloud
- Compatible with iPhone 5s, iPhone 5c, iPhone 5, iPhone 4s, iPhone 4, iPad (3rd and 4th generation), iPad 2, iPad mini and iPod touch (5th generation)
Tech 21 Fly Rig 5 Multi Effects Pedal ($250)
The only thing that I would consider buying on this list is the Tech 21 PUTITALLINONEBOX thing. Having said that, I'd most likely not use the middle button. If it had a tuner then it would be a homerun. You could add the Donner Tuner and still come very close to the same money. There is also an artist version of this for a little extra.
Five pedals, including a SansAmp, reverb, delay, boost, and and Plexi distortion.
Free yourself from the signal chains of bondage. Emancipate yourself from the oppression of evil backline loaners. Liberate yourself from the tyrannies of over-loaded flight cases and stress of airport security. It is time. For you. To rock. In a free World.
Sleek, compact, and simply awesome, the gunmetal-finish Fly Rig 5 is a tiny tonal titan, a thoroughbred professional unit armed with sweet analog tones. Weighing in at just over 18 oz. and under 12 inches in length, you can rule the road, rehearsal or recording gig. No stinkin' van, no heavy flight cases, no cable spaghetti, no dead weight.
With the Fly Rig 5, no arena is too large and no stage is too small. Just grab your guitar and tap into five must-have pedals in Tech 21's award-winning arsenal: a genuine SansAmp, a reverb, a delay, a powerful boost and the incredible Plexi distortion. All of this in a streamlined, rugged metal housing that will easily fit in your guitar case. There are illuminated mini-controls to show active status, an included power supply and studio-grade, metal footswitches and jacks. It's everything you need and nothing you don't.
With the functionality of a full pedalboard, minus the crackling patch cables, dying batteries and ground loops, the Fly Rig 5 is a simple step to the rich, expressive combinations you can use for any session. Even when you want to use the latest digital supercomputer or a vintage tube amp, the Fly Rig 5 covers your ass like yoga pants. It's the perfect instant back-up rig when your boutique gear goes down exactly when you need it most.
At its heart is the omnipotent, all-analog SansAmp - a ground-breaking amp emulator, speaker and mic simulator - that will dial-in your favorite sounds for consistent tone every time. This version has been optimized for lush, chiming clean tones and has a Drive control to add just the right amount of gain from warm break-up to snarling grind, with an incredibly flexible 3-band EQ. The adjustable Reverb is also found in this section, voiced to create the rich ambiance of a vintage spring reverb without clattery pings, canyons of doom, or other annoying artifacts.
The roaring Plexi tone is the stuff of legend, with its muscular crunch, detailed mids and mule-kick low end. Providing the dirty side of the Fly Rig, the Plexi section produces exquisite, ripped-ab rock tones that can be kicked into Hot mode with up to 21dB of pre-amp gain. The Hot footswitch operates independently to boost any of the Fly Rig sections whenever you feel the urge to punch it up.
An inspiring delay section completes the Fly Rig 5. Voiced to emulate vintage tape echo, the DLA features a separate tap-tempo footswitch and adjustable tape drift-style modulation for authentic textures. From thickening slap-backs to deep cascading repeats, the DLA adds space and attitude.
Get the Fly Rig 5 and arrive at your next gig as easily as a happy, magical fairy - with face-melting guitar tones.
⢠SansAmp tube amplifier emulator, is pre-voiced for clean tones. It includes 3-band active EQ, Level,
and Drive to adjust the overall amount of gain and overdrive.
⢠Reverb, within the SansAmp section, is based upon the Boost RVB pedal. It emulates the rich ambiances of a vintage spring reverb without clattery pings, canyons of doom, or other annoying artifacts.
⢠Plexi, based upon the Hot-Rod Plexi pedal, brings in the organic distortion of a stock â68 Plexi and includes Level, Tone and Drive controls.
⢠Hot, within the Plexi section, kicks in up to 21dB of pre-amp gain. It can be used independently to
boost the SansAmp and/or DLA functions, as well as on its own to boost the gain of your amp.
⢠DLA is based upon the Boost DLA pedal. It is voiced to give you the sounds of a vintage tape echo
and features Level, Time, Repeats, and Drift, which adds a random element to the modulation for authentic textures. A dedicated Tap Tempo switch makes it super simple to just tap in the delay tempo you want during your performance.
Sleek, compact, and simply awesome, the gunmetal-finish Fly Rig 5 is a tiny tonal titan, a thoroughbred professional unit armed with sweet analog tones. Weighing in at just over 18 oz. and under 12 inches in length, you can rule the road, rehearsal or recording gig. No stinkin' van, no heavy flight cases, no cable spaghetti, no dead weight.
With the Fly Rig 5, no arena is too large and no stage is too small. Just grab your guitar and tap into five must-have pedals in Tech 21's award-winning arsenal: a genuine SansAmp, a reverb, a delay, a powerful boost and the incredible Plexi distortion. All of this in a streamlined, rugged metal housing that will easily fit in your guitar case. There are illuminated mini-controls to show active status, an included power supply and studio-grade, metal footswitches and jacks. It's everything you need and nothing you don't.
With the functionality of a full pedalboard, minus the crackling patch cables, dying batteries and ground loops, the Fly Rig 5 is a simple step to the rich, expressive combinations you can use for any session. Even when you want to use the latest digital supercomputer or a vintage tube amp, the Fly Rig 5 covers your ass like yoga pants. It's the perfect instant back-up rig when your boutique gear goes down exactly when you need it most.
At its heart is the omnipotent, all-analog SansAmp - a ground-breaking amp emulator, speaker and mic simulator - that will dial-in your favorite sounds for consistent tone every time. This version has been optimized for lush, chiming clean tones and has a Drive control to add just the right amount of gain from warm break-up to snarling grind, with an incredibly flexible 3-band EQ. The adjustable Reverb is also found in this section, voiced to create the rich ambiance of a vintage spring reverb without clattery pings, canyons of doom, or other annoying artifacts.
The roaring Plexi tone is the stuff of legend, with its muscular crunch, detailed mids and mule-kick low end. Providing the dirty side of the Fly Rig, the Plexi section produces exquisite, ripped-ab rock tones that can be kicked into Hot mode with up to 21dB of pre-amp gain. The Hot footswitch operates independently to boost any of the Fly Rig sections whenever you feel the urge to punch it up.
An inspiring delay section completes the Fly Rig 5. Voiced to emulate vintage tape echo, the DLA features a separate tap-tempo footswitch and adjustable tape drift-style modulation for authentic textures. From thickening slap-backs to deep cascading repeats, the DLA adds space and attitude.
Get the Fly Rig 5 and arrive at your next gig as easily as a happy, magical fairy - with face-melting guitar tones.
⢠SansAmp tube amplifier emulator, is pre-voiced for clean tones. It includes 3-band active EQ, Level,
and Drive to adjust the overall amount of gain and overdrive.
⢠Reverb, within the SansAmp section, is based upon the Boost RVB pedal. It emulates the rich ambiances of a vintage spring reverb without clattery pings, canyons of doom, or other annoying artifacts.
⢠Plexi, based upon the Hot-Rod Plexi pedal, brings in the organic distortion of a stock â68 Plexi and includes Level, Tone and Drive controls.
⢠Hot, within the Plexi section, kicks in up to 21dB of pre-amp gain. It can be used independently to
boost the SansAmp and/or DLA functions, as well as on its own to boost the gain of your amp.
⢠DLA is based upon the Boost DLA pedal. It is voiced to give you the sounds of a vintage tape echo
and features Level, Time, Repeats, and Drift, which adds a random element to the modulation for authentic textures. A dedicated Tap Tempo switch makes it super simple to just tap in the delay tempo you want during your performance.
Labels:
Delay,
Digitech,
Distortion,
Donner Pedals,
Drive,
Guitar Effects,
Line6,
Multi Effects,
Overdrive,
Pedal Board,
Tech 21,
Tuner,
Under $300
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