Guitar Effect Pedalphile Thread

[G650 14255]

Just now, CTC2 said:

Could someone explain why I need a compression pedal and of the two types (limiter or whatever the other one is). 
All the explanation videos I have watched don’t really translate audibly to me as being improved sound. I understand it’s not an effect per se.  

If you don't know why you need one, you don't need one is the most accurate answer I can give.

 

So a limiter is just a type of compressor, generally defined as anything over 20:1. For guitar I wouldn't worry about it.  As far as utility for you personally, a lot comes down what and how you play. If you play all distortion, I wouldn't think about it other than an effect to get some pumping going on, because the amp is already compressing from the distortion (you are maxing out the head room). If you play clean funk or country chicken pickin, something like a Dynacomp will give you that percussive sound. For stuff in the middle it really comes down to taste. I have a Boss CS-2 I've had since the 80s, I don't use it terribly much anymore, but it is good on things like a David Gilmour solo, where it will even out dynamics a bit for very lyrical stuff, or give some punch to rhythm parts.

 

There are newer compressors that have a lot of control over attack and sustain as well, which you can really dial in your pick attack and transients on if you wanted to really get in the weeds.

 

Compression in particular is a very personal thing as it is very influenced by you how play and your picking style.

[CTC2 2797]

1 hour ago, G650 said:

If you don't know why you need one, you don't need one is the most accurate answer I can give.

 

So a limiter is just a type of compressor, generally defined as anything over 20:1. For guitar I wouldn't worry about it.  As far as utility for you personally, a lot comes down what and how you play. If you play all distortion, I wouldn't think about it other than an effect to get some pumping going on, because the amp is already compressing from the distortion (you are maxing out the head room). If you play clean funk or country chicken pickin, something like a Dynacomp will give you that percussive sound. For stuff in the middle it really comes down to taste. I have a Boss CS-2 I've had since the 80s, I don't use it terribly much anymore, but it is good on things like a David Gilmour solo, where it will even out dynamics a bit for very lyrical stuff, or give some punch to rhythm parts.

 

There are newer compressors that have a lot of control over attack and sustain as well, which you can really dial in your pick attack and transients on if you wanted to really get in the weeds.

 

Compression in particular is a very personal thing as it is very influenced by you how play and your picking style.

Makes sense. Thanks for explaining. 

[sidis 9828]

2 hours ago, CTC2 said:

Could someone explain why I need a compression pedal and of the two types (limiter or whatever the other one is). 
All the explanation videos I have watched don’t really translate audibly to me as being improved sound. I understand it’s not an effect per se.  

most relevant use of a compression pedal is to keep things within a certain dynamic range at the end of the day (though it does have some more nuanced uses as well).  i think it adds the most value to mediocre to poor guitarists like myself that aren't the best in controlling their strum/picks in an even and consistent way.  if i am wailing away and i hit the strings with an attack of 30/127 (to borrow a midi term) on one and then 127/127 on the next, it will sound kind of shitty.  what the compressor does is take those and move them both to closer to 65/127 so it has a more even sound throughout regardless of my right arm's behavior...a cleaner, clearer sound if you will. 

however, if you are a very good guitarist, you probably don't need it so much for that purpose and if you want a really wide dynamic range in the playing, it will hamper your ability to achieve that.  i use the standard mxr dyna comp at the front of my old school signal chain probably 80% of the time.

[Deej 76772]

Use it for chicken pickin' and funk. Gotta have it. 

[G650 14255]

Speaking of Dynacomps, @CTC2 if you want to try one, I have an old 90s one I haven't used in god knows when. I'd be happy to send it to you to play with and see how they act.

[tbone_ 14121]

Use it for chicken pickin' and funk. Gotta have it. 

I have always heard this. But I have tried compressors many times and never have been able to dial one in to where I thought it helped. Always wished someone would give me a lesson because I feel like I’m missing out.

[Deej 76772]

 

[Deej 76772]

 

[G650 14255]

7 minutes ago, tbone_ said:

I have always heard this. But I have tried compressors many times and never have been able to dial one in to where I thought it helped. Always wished someone would give me a lesson because I feel like I’m missing out.

My suggestion would be get a Ross/Dynacomp type. The attack is fixed and will give you that sound. The two controls are the amount of compression amd the makeup gain, so just turn the compression up till you hear it, then adjust the gain to level match the dry signal.

 

A piece I always point people to is Richard Bennetts leads on Guitar Town. Played on a baritone guitar btw. But you can really hear the squish right after the attack

1 minute ago, Deej said:

 

God fucking dammit

[Deej 76772]

This is the one I use. I had the Dyna Comp, but this one is so much better. 

 

[G650 14255]

I mean there's definitely a lot more powerful compressors than ye olde Dynacomp, but it's a very simple tool to use to learn

[Goredho 17404]

5 hours ago, sidis said:

most relevant use of a compression pedal is to keep things within a certain dynamic range at the end of the day (though it does have some more nuanced uses as well).  i think it adds the most value to mediocre to poor guitarists like myself that aren't the best in controlling their strum/picks in an even and consistent way.  if i am wailing away and i hit the strings with an attack of 30/127 (to borrow a midi term) on one and then 127/127 on the next, it will sound kind of shitty.  what the compressor does is take those and move them both to closer to 65/127 so it has a more even sound throughout regardless of my right arm's behavior...a cleaner, clearer sound if you will. 

however, if you are a very good guitarist, you probably don't need it so much for that purpose and if you want a really wide dynamic range in the playing, it will hamper your ability to achieve that.  i use the standard mxr dyna comp at the front of my old school signal chain probably 80% of the time.

I like to think of compressors as giving you the ability to fine tune dynamics, and unless your doing chick’n pickin’, funk or EDM kick pumping, you want it subtle and to balance it between note clarity and having a dynamic range to allow your playing intensity to come across in what the listener hears.  Like who cares if you have the most beautiful melody if no one can hear it because your playing dynamics have it falling below everything else in the mix.  Likewise, you can play technically brilliantly and be heard distinctly and it can feel flat and lifeless because there is no audible change in intensity/dynamics.

For guitars specifically, a compressor at the front of your signal chain can significantly alter how your guitar’s signal hits the tubes and how saturated your final tone may be.  I’ve mostly found this to be not desirable, but some people talk about it like it’s a feature.

I like studio compressors added to a track after the fact as they don’t alter tone, just dynamics and I find studio compressors easier to dial in with a full set of controls and meters that give a visual cue as to how much compression is happening, when it’s engaging, when it’s dropping off.  The pedal compressors tend to have gimped sets of controls and I find them hard to dial in unless I’m going for something not so subtle in the styles Deej mentioned.

There are some less common uses of compressor pedals specific to guitars.  If it’s got a level control (used to make up gain cut by the compression), you can use it as a very clean boost.  If it’s got a decay control that controls how long compression affects your signal, it can be used to increase sustain without gain.  Think Gilmour’s “Another Brick In The Wall Pt 2” solo where his guitar is clean as a whistle but he has this amazing sustain.

Edited October 20, 2023 by Goredho

[Paul Wesley 3278]

If you're trying to do the Nile Rodgers 16th-note funk thing with lots of muted chukka-chukkas, it's better to hit the compressor on the way in.  He used bridge pickup of a Strat to an 1176 straight into the board (no amp) for most of those iconic parts.  I've never played the Corey Wong Wampler pedal, but he is quite the Rodgers disciple, so I'll bet it's great for that.   

I think compression also helps on a lot of 80's clean tone things... either before or after the chorus.  

[G650 14255]

8 hours ago, Goredho said:

There are some less common uses of compressor pedals specific to guitars.  If it’s got a level control (used to make up gain cut by the compression), you can use it as a very clean boost.  If it’s got a decay control that controls how long compression affects your signal, it can be used to increase sustain without gain.  Think Gilmour’s “Another Brick In The Wall Pt 2” solo where his guitar is clean as a whistle but he has this amazing sustain.

 

The Another Brick solo was actually done straight into the board at Britannia Row with a Les Paul with P90s. The same trick Paul mention Nile does. They had an old MCI board at the time which was pretty distinctive too I think. Then it was supposedly reamped to give it the ambience.

 

But one thing I think causes confusion is with a basic compressor, including studio compressors, the controls are amount of compression, and make up gain, and that's it, and they have names that have only the vaguest association to what the compressor is doing. The next level you add in things like attack, which is how quickly the compressor engages, and release, or how long it holds peak down. Then with say an 1176 you get into ratios and stuff. To take a Dynacomp for example, it's Sensitivity and Output. Output, ok, that makes sense. Sensitivity? Is it going to buy you flowers and wine? It's just the amount of compression, but then let's move over to my favorite compressor, the Boss CS-2, you get three controls, Sustain, Attack and Level. Again, Level is pretty straight forward. Attack, if you know what it means, is as well as it's pretty standard. Sustain? No, it's just the amount of compression again. It isn't giving you anymore sustain than you have naturally, it's giving the illusion of more sustain by compressing the dynamic range from the top down, which you adjust back with the level dial to match the dry signal, making the note decay seem shallower and increasing the relative volume of the tail of the note. It's a play on psychoacoustics. But the way companies label these things is a huge source of confusion for people trying to figure them out.

 

6 hours ago, Paul Wesley said:

I think compression also helps on a lot of 80's clean tone things...

 

I still have a dbx 166 to this day from that era.

 

6 hours ago, Paul Wesley said:

either before or after the chorus.  

[Goredho 17404]

1 hour ago, G650 said:

 

The Another Brick solo was actually done straight into the board at Britannia Row with a Les Paul with P90s. The same trick Paul mention Nile does. They had an old MCI board at the time which was pretty distinctive too I think. Then it was supposedly reamped to give it the ambience.

 

But one thing I think causes confusion is with a basic compressor, including studio compressors, the controls are amount of compression, and make up gain, and that's it, and they have names that have only the vaguest association to what the compressor is doing. The next level you add in things like attack, which is how quickly the compressor engages, and release, or how long it holds peak down. Then with say an 1176 you get into ratios and stuff. To take a Dynacomp for example, it's Sensitivity and Output. Output, ok, that makes sense. Sensitivity? Is it going to buy you flowers and wine? It's just the amount of compression, but then let's move over to my favorite compressor, the Boss CS-2, you get three controls, Sustain, Attack and Level. Again, Level is pretty straight forward. Attack, if you know what it means, is as well as it's pretty standard. Sustain? No, it's just the amount of compression again. It isn't giving you anymore sustain than you have naturally, it's giving the illusion of more sustain by compressing the dynamic range from the top down, which you adjust back with the level dial to match the dry signal, making the note decay seem shallower and increasing the relative volume of the tail of the note. It's a play on psychoacoustics. But the way companies label these things is a huge source of confusion for people trying to figure them out.

 

 

I still have a dbx 166 to this day from that era.

 

Yeah, not saying that’s how that song was recorded, just what I’ve done to be able to poor man replicate what is heard on the record.  You can use the release knob to drag out sustain without gain/overdrive.

Totally agree about the arbitrary names.  Like some of these compressors don’t have a ratio control, or it’s called something else, or level and ratio are combined in a single knob and called something else.  With the meters on a studio compressor, I can see what’s happening as I fiddle with the controls and it makes what they do so much more comprehensible.  I increase attack, I see compression happening faster on the meter.  I increase ratio, I see more db reduction on the loudest parts.  I increase threshold, I see the overall signal being compressed less as it’s just applying to peaks.  When you can see what your knob turning is doing, you know how each of them affect the signal and you can let your ears take it from there.

@AnotherUTFan needs to make a SurlyComp with a single knob labeled “Bevo Juice”.  It should help manage dynamics without altering the signal throughout its control spectrum.  Which is to say it’s just a no op pass through pedal with an unconnected pot.

Edited October 20, 2023 by Goredho

[dcbc 14482]

14 hours ago, G650 said:

I mean there's definitely a lot more powerful compressors than ye olde Dynacomp, but it's a very simple tool to use to learn

Simplicity in a compressor pedal, for those of us who don't like to fiddle with settings too much, is key.  I have an old Ross I picked up for $60 in the mid 90s.  I know it is based on the Dynacomp (if not nearly a copy), but, to me, it behaved just a bit differently than the Dynacomp it replaced.

[G650 14255]

6 minutes ago, Goredho said:

 

@AnotherUTFan needs to make a SurlyComp with a single knob labeled “Bevo Juice”.  It should help manage dynamics without altering the signal throughout its control spectrum.  Which is to say it’s just a no op pass through pedal with an unconnected pot

[dcbc 14482]

10 hours ago, Goredho said:

There are some less common uses of compressor pedals specific to guitars.  If it’s got a level control (used to make up gain cut by the compression), you can use it as a very clean boost.  If it’s got a decay control that controls how long compression affects your signal, it can be used to increase sustain without gain.  Think Gilmour’s “Another Brick In The Wall Pt 2” solo where his guitar is clean as a whistle but he has this amazing sustain.

Put a compressor after drive/dirt, and you can control the amount of drive/dirt with small adjustments to the guitars volume knob without losing overall volume, kind of like playing an old Tweed Deluxe.

Edited October 20, 2023 by dcbc

[Goredho 17404]

10 minutes ago, dcbc said:

Simplicity in a compressor pedal, for those of us who don't like to fiddle with settings too much, is key.  I have an old Ross I picked up for $60 in the mid 90s.  I know it is based on the Dynacomp (if not nearly a copy), but, to me, it behaved just a bit differently than the Dynacomp it replaced.

You can replace it with the SurlyComp!

I could see there being a useful single positional knob compressor that just has canned settings for styles.  1.  Chick’s Pick’n 2. Funk 3. Clean Sustain 4.  Hard 5. Soft.  Each position comes with some appropriate settings for things like ratio, threshold, attack, decay, knee, etc… given the context.

Bonus points for positions 6-12 to be user defined presets with an editor that gives full compressor controls and meters to see what they do.  Also allow tweaking of the stock presets.  I would put that on my board today.

Edited October 20, 2023 by Goredho

[hullabelew 3724]

I have the Keeley Compressor in the Sweetwater clip above.  I find I need one setting for single coils and a completely different one for humbuckers.  At least for me and my simple brain, they need to do two different things depending on the pickups.   For the single coils, I like the quack it gives me, but with the humbuckers, I seem to like it for for the sustain.  

Anyone have a pedal they like for a rotary speaker effect?  TC's Vibraclone seems to be the closest to what I want but it really seems to muddy up the tone.  Maybe that is just part of it, but I've never really tried a rotary pedal that does what I want.   

 

 

 

 

[G650 14255]

15 minutes ago, hullabelew said:

I have the Keeley Compressor in the Sweetwater clip above.  I find I need one setting for single coils and a completely different one for humbuckers.  At least for me and my simple brain, they need to do two different things depending on the pickups.   For the single coils, I like the quack it gives me, but with the humbuckers, I seem to like it for for the sustain.  

Anyone have a pedal they like for a rotary speaker effect?  TC's Vibraclone seems to be the closest to what I want but it really seems to muddy up the tone.  Maybe that is just part of it, but I've never really tried a rotary pedal that does what I want.   

 

 

 

 

There's one of the Gilmour influenced pedals that supposedly has a phenomenal rotary sim, but the name is escaping me right now.

[Goredho 17404]

7 minutes ago, hullabelew said:

I have the Keeley Compressor in the Sweetwater clip above.  I find I need one setting for single coils and a completely different one for humbuckers.  At least for me and my simple brain, they need to do two different things depending on the pickups.   For the single coils, I like the quack it gives me, but with the humbuckers, I seem to like it for for the sustain.  

Anyone have a pedal they like for a rotary speaker effect?  TC's Vibraclone seems to be the closest to what I want but it really seems to muddy up the tone.  Maybe that is just part of it, but I've never really tried a rotary pedal that does what I want.   

 

 

 

 

No help with the rotary pedal, sorry.

What you describe about pickups and compressors is why I tend to like stuff with presets, so I can have different presets for different guitars, amps, songs or scenarios.  I don't mind complexity if dealing with it is front loaded.  I can take all the time in the world to dial in what I need, store it and then just activate it later whenever I need that back.

Latest thing I am really enjoying in this regard is the TC Electronic Plethora X3.  Basically every TC electronic effect you would put in an amp's effect loops (reverbs, delays, phaser, flanger, etc...) are available and assignable to 3 stomp box switches with different settings in a group called a "board" which is just their term for a preset.  So you might make board/preset 1 for "country" and have a light reverb and slapback echo.  board/preset 2 might be for "psychedelic" and you have a vibe, long echo and wet reverb, etc...  Its pretty stinking cool.  Yeah, there's complexity, but once you have a few "boards" made for different contexts, you are just choosing the one you want for a context and playing.

 

[Chad Fuck 17677]

I have the Keeley Compressor in the Sweetwater clip above.  I find I need one setting for single coils and a completely different one for humbuckers.  At least for me and my simple brain, they need to do two different things depending on the pickups.   For the single coils, I like the quack it gives me, but with the humbuckers, I seem to like it for for the sustain.  
Anyone have a pedal they like for a rotary speaker effect?  TC's Vibraclone seems to be the closest to what I want but it really seems to muddy up the tone.  Maybe that is just part of it, but I've never really tried a rotary pedal that does what I want.   
 
 
 
 

I got the Fender Pinwheel and I really like it.

[hullabelew 3724]

Thanks @Chad Fuck Never considered that one.  I LOVE what I hear on the demos.  Exactly what I'm looking for, other than being close to $300 but my wife just bought a really expensive necklace in Israel....so I deserve this.  

[Chad Fuck 17677]

Thanks [mention=699]Chad Fuck[/mention] Never considered that one.  I LOVE what I hear on the demos.  Exactly what I'm looking for, other than being close to $300 but my wife just bought a really expensive necklace in Israel....so I deserve this.  

I got one used for a decent price on reverb. I’d been saving up for a while too for just the right Leslie simulator. This one does what I want and more. Well worth it. My theory on electronics is if it doesn’t flame out in 30 days, it’ll probably last forever so buying used it the only way to go.

[hullabelew 3724]

Reverb.  $200.  Done. 

[Paul Wesley 3278]

It's such a cool effect.  

Pinwheel looks cool.  I'd never heard of it.  

 

 

[Paul Wesley 3278]

6 hours ago, Goredho said:

No help with the rotary pedal, sorry.

What you describe about pickups and compressors is why I tend to like stuff with presets, so I can have different presets for different guitars, amps, songs or scenarios.  I don't mind complexity if dealing with it is front loaded.  I can take all the time in the world to dial in what I need, store it and then just activate it later whenever I need that back.

Latest thing I am really enjoying in this regard is the TC Electronic Plethora X3.  Basically every TC electronic effect you would put in an amp's effect loops (reverbs, delays, phaser, flanger, etc...) are available and assignable to 3 stomp box switches with different settings in a group called a "board" which is just their term for a preset.  So you might make board/preset 1 for "country" and have a light reverb and slapback echo.  board/preset 2 might be for "psychedelic" and you have a vibe, long echo and wet reverb, etc...  Its pretty stinking cool.  Yeah, there's complexity, but once you have a few "boards" made for different contexts, you are just choosing the one you want for a context and playing.

 

Damn.  

That's a crazy tool.  

I love my Mobius - but Mobius only does modulation and not time-based effects.

You could set up a pretty ferocious board with a really small footprint.  TC Electronics makes great stuff.  

[Goredho 17404]

7 hours ago, Paul Wesley said:

Damn.  

That's a crazy tool.  

I love my Mobius - but Mobius only does modulation and not time-based effects.

You could set up a pretty ferocious board with a really small footprint.  TC Electronics makes great stuff.  

Yeah, it’s a real nice most-in-one thing along the lines of those Zoom chorus/delay/reverbs, but its much easier to control and does not audibly suck. The sounds are great and I can’t perceive a sonic diff from their standalone versions of everything they threw in this. 

My pedal board isn’t small, but I’ve got a lot of stuff on it to enable the one man band thing. The guitar signal chain is just a Rat clone -> Tonex amp profiler -> the Plethora x3.  With those 3 pedals into a PA or similar FR/FR I can fit in with any musical style with any of electric guitar, acoustic guitar or electric bass plugged in to the front.   I have room for one more wildcard pedal and I’m thinking it’s gonna be an envelope filter/auto wah for funk and psychedelic jam band noodling.

Pic shows that signal chain footprint with a guitar pic for scale.

Edited October 24, 2023 by Goredho

[hullabelew 3724]

13 hours ago, Goredho said:

No help with the rotary pedal, sorry.

What you describe about pickups and compressors is why I tend to like stuff with presets, so I can have different presets for different guitars, amps, songs or scenarios.  I don't mind complexity if dealing with it is front loaded.  I can take all the time in the world to dial in what I need, store it and then just activate it later whenever I need that back.

Latest thing I am really enjoying in this regard is the TC Electronic Plethora X3.  Basically every TC electronic effect you would put in an amp's effect loops (reverbs, delays, phaser, flanger, etc...) are available and assignable to 3 stomp box switches with different settings in a group called a "board" which is just their term for a preset.  So you might make board/preset 1 for "country" and have a light reverb and slapback echo.  board/preset 2 might be for "psychedelic" and you have a vibe, long echo and wet reverb, etc...  Its pretty stinking cool.  Yeah, there's complexity, but once you have a few "boards" made for different contexts, you are just choosing the one you want for a context and playing.

 

I wish I had the patience to learn stuff like this.  I've had that on a Sweetwater wishlist forever and always chicken out.  

[Goredho 17404]

20 minutes ago, hullabelew said:

I wish I had the patience to learn stuff like this.  I've had that on a Sweetwater wishlist forever and always chicken out.  

Yeah, there is a learning curve that could be a barrier depending on one’s tolerance for such things.  But they’ve done a nice job making it to where the complexity is kept squarely front loaded from any performance.  It replaces 3+ pedals and during a gig, I’m only pressing up/down to switch between presets/boards or the 3 stompbox switches to turn the 3 fx on/off as needed.

For me, that’s much preferred over fiddling with knobs across 3+ pedals between songs or sets to dial things in to how I had them at a rehearsal for that song or set.  I would give my left nut for something similar for boost/OD/dist/fuzz and common gain/clipping circuitry patterns.  EP boost, blues breaker, tube screamer, Klon, Rat, etc… arrangeable in various ways.

[Goredho 17404]

This website is dangerous to your pocketbook.

https://delicious-audio.com/

[dcbc 14482]

The Vibroclone seems to be the cheapest way to scratch the Leslie itch. I've thought about picking one up. But ideally, I'd have it in a two amp setup with a dedicated amp.

I had a Neo Mini Vent. It was really good, but it was expensive and seemed to have, forgive me, a digital sheen that it laid across the signal when it was on. Sort a a sterile sound. At the time, it just causes me to want to play Cold Shot and Let It Loose all the time and, when I went to small board only, I sold it.

[jimmyjazz 45922]

I don't have it in me to search the thread -- any recs for an auto-wah box?  Does a good one exist?

[Goredho 17404]

27 minutes ago, jimmyjazz said:

I don't have it in me to search the thread -- any recs for an auto-wah box?  Does a good one exist?

I don’t have it yet, but this is on its way.  Can let you know how it goes.

 

[G650 14255]

5 hours ago, Goredho said:

I don’t have it yet, but this is on its way.  Can let you know how it goes.

 

I use something similar that my buddy up in NY was making.

 

 

 

[dcbc 14482]

Analogman has a good clone of the old MXR envelope filter.  I also like the old 80s Boss T-Way for the money. As far as auto-wah, that can be a different effect from the quacky envelope filter sound.

[Paul Wesley 3278]

On 10/27/2023 at 11:32 PM, jimmyjazz said:

I don't have it in me to search the thread -- any recs for an auto-wah box?  Does a good one exist?

I have this one.  Hit me up if you want to borrow it (it's pretty fun).

 

[dcbc 14482]

I guess if we're giving the big recommendations, the best envelope filter I've ever owned is the Mu-FX TruTron 3x (big box) Mike Beigel was making before he got the MuTron name back.  It's big and not exactly pedal board friendly.  But it does it all better than anything else I've heard.  They're a bit pricier these days than the $329 I paid.  Good grief.  People are nuts with the asking prices.

 

Edited October 30, 2023 by dcbc

[Paul Wesley 3278]

A good retirement portfolio would be real estate and pedals that don't fit on a board.

Rebalance as needed.

[dcbc 14482]

1 hour ago, Paul Wesley said:

A good retirement portfolio would be real estate and pedals that don't fit on a board.

Rebalance as needed.

To be fair, it fits.  But it makes it hard to fit too many additional pedals.

[Napoleon 8677]

This name is noice.

 

 

[hullabelew 3724]

Screwing with the pedal board planner. And that TS is actually a Shaggy Screamer. When I play in our shitty band for my wife's church, I have the volume at the end on a much smaller board (just the Flashback and Cloudburst).

I think for this I'm either going to run it first or after the second OD pedal. I'm still messing with the order of the two OD pedals and also using a Soul Food instead of the Mojo.

Thoughts on vol. pedal? Anything else you would move?  I'm also powering this with a Cioks DC10.  Thought I'd give them a try.  

Edited November 20, 2023 by hullabelew

[Chad Fuck 17677]

Screwing with the pedal board planner. And that TS is actually a Shaggy Screamer. When I play in our shitty band for my wife's church, I have the volume at the end on a much smaller board (just the Flashback and Cloudburst).

I think for this I'm either going to run it first or after the second OD pedal. I'm still messing with the order of the two OD pedals and also using a Soul Food instead of the Mojo.

Thoughts on vol. pedal? Anything else you would move?  I'm also powering this with a Cioks DC10.  Thought I'd give them a try.  

I’m using the Cioks and I really like the ability to switch the voltage. It’s pretty cool.

[Goredho 17404]

On 10/27/2023 at 11:02 PM, Goredho said:

I don’t have it yet, but this is on its way.  Can let you know how it goes.

 

You may have already gotten your auto-wah/envelope filter, @jimmyjazz, but I am pretty happy with this.  Relatively inexpensive and does what it does while taking up minimal space on a board.  I tried a DOD envelope filter first and didn't like it as it came with a lot of noise.  This doesn't have that problem.

[jimmyjazz 45922]

Thanks, haven't bought one yet.  It will be a Christmas present from my kids.  I'll check this one out.

[dcbc 14482]

1 hour ago, jimmyjazz said:

Thanks, haven't bought one yet.  It will be a Christmas present from my kids.  I'll check this one out.

I probably posted this before, but if you want a good quack/pop type envelope filter for not a lot of $, you could do a lot worse than an 80s Boss T-Wah.  Looks like you can get them for just a little over $100 still.  And, its being a Boss pedal, it will last forever.

 

 

 

Edited November 21, 2023 by dcbc

[hullabelew 3724]

Got it wired up.
Vol - compressor- subnuo-dist-SCREAMER-mojo/soulfood- pinwheel- trem- delay- reverb. See how this goes. Tuner out of pedal.

[Deej 76772]

[dcbc 14482]

2 hours ago, Deej said:

 

Well, you're not gonna like this one I put together for a show a few years back.