Date is a pretty good site to help you plan out your board. Just make sure that when you measure you take into account all the pedal inputs, including power ones. Also, just because you can arrange it on the ground doesn't mean they'll fit because of the slab placements.

Btw, I've got a PT-Pro with over 20 pedals in it and never had a problem with the Velcro. Sooo...

Yes and no. Essentially, using a volume pedal on passive pickups when it was designed for active will make your guitar sound mushy. Doing the opposite gives you a different effect sweep than intended. You end up with a more linear control rather than a logarithmic one, which is something that doesn't sound that well to us because of how we perceive sound. Well, at least the general consensus is that it's not as pleasing. Anyway, just keep in mind that if you go this route the sweep on the pedal will sound different depending on your pickups, meaning less consistent between guitars.

So yeah, a passive pedal would be more useful if you can only have one. I personally think that'd be pointless for TS if he wants to use it for both consisting there ARE pedals capable of handling both.
Mission Engineering VM-pro is capable of working for passive and active pickups. I have one of their expression pedals and they're quality products. A little pricy but worth every cent.
It's like if you had to go from one side of town to the other. You can either spend a lot of money by getting a cab to drive you or look at the bus routes and taking 2 or 3 connecting ones. Sure, the taxi gets you there faster but you'll save so much money by sharing the pre scheduled routes of the bus instead.

EDIT: I've never had something shipped in-store but have always been told it takes about a week to get stuff from the warehouse. Doubling that time sounds reasonable for it to get to and from it. If it's been a week already then the 12th sounds about right.
Cost. I'm assuming it's cheaper for them to move their merchandise themselves through the pre scheduled routes by their own carriers. Also, its 4th of July weekend, hence extra delays.
None of those guys use fuzz except for EJ. Not to be rude, but do you know what fuzz is?

If you go with a muff circuit you'll get that mushy Smashing Pumpkins sound. The fuzz face will give you that ripping, velcro distorted Hendrix sound. Fuzz faces are difficult to use though. You need a tube amp on the verge of breakup and the settings on your pedal almost completely opened for it to sound decent.

I can't recommend either since I don't know what sound you're going for. The only thing I can suggest is the Wampler Velvet Fuzz since it's the only pedal that can create both sounds.
Nothing wrong with it. The problem arises when it comes to gain pedals, as they might become pointless when you upgrade to a different amp depending on how you use them. Also, the way they interact with solid state amps isn't particularly great. This doesn't mean they won't sound ok or aren't useful, particularly if your amp doesn't have a foot switch to change channels. A cheap distortion can go a long way in that scenario, especially if you can't upgrade your amp. I must warn you though, no matter what gain pedal you throw in there, it won't sound amazing but can get you by.

Modulation, delays, etc... any other kind of pedals will be ok. They're not as dependant on the amp.
Haven't tried the Tweaker but 15w is normally loud enough to keep up with a quiet drummer. The main problem with that amp (your cab is god enough) is the amount of headroom that's available before your sound breaks up. Have you considered stepping up to a Rebel 30? The tone is right up your alley and can be had for around $350.
Welcome to band practice, where the only thing that matters is what the band needs.

There are usually 4 things that are the culprit for these situations. The first is improper eq settings. Guitars thrive in the mids section. A common mistake is setting your levels on your own without the band. This usually leads to lower tones you compensate for the lack of bassist.

The second is amp/player placement. Most of us set the amp right behind us, attenuating some of the sound and making us perceive more bass. The singer is usually farther up front which allows him to get a clearer image of what the crowd hears which is why they are sometimes the first ones to complain about sound. You could solve this by using a stand or angling up your amp to get close to what they hear. You'll loose some perceived thump but gain a more transparent idea of how you sound. Also, you might be too far from your amp.

Third is actual volume. Your speakers or cab may be too small to really compete at a fuller frequency or everyone else is too loud. Best thing is to have someone hear you from a couple feet away in front of you. Also, eq and volume settings require adjustments depending on the room, its materials, and crowd size. One thing you can do is use your amp as a monitor for yourself and mic it to a pa for the actual projection.

Last one... that's just asshole people that want to be too loud.
Personally, I'd out the volume pedal after the tuner and phaser before the OCD. I don't like using volume pedals as a master volume (effects loop) and find it more useful pre gain. Also, to me it sounds more musical since swells get dirtier as you open it up instead of just adjusting the loudness. Modulations are also less gimmicky and more of a texture before, plus it prevents harsh high frequency peaks.

I think the change in tone is the buffer in the DD-7.
What sound are you going for? If you just want something to fill up your sound I would NOT go for a Dynacomp. Something with a blend control would be better suited for that. Maybe a Pigtronix Philosopher's Tone Micro?
The biggest problem I'm seeing is that we don't know what type of cleans TS wants. He mentioned he wants more bottom end. What kind of guitar, amp, and genre are we talking? The first thing I'd look at is gain, compression, and eq. Those are the fundamental elements that go into a clean sound and encompass playing dynamics, pickup selection, picking technique, type of picks/strings, amp settings, volume, etc... most clean sounds aren't actually vey clean (just like distorted ones don't have as much gain as people perceive).

The reason I bring that up is that I personally don't think modulation is the answer. It's a nice texture,
but it won't fix your actual problem. To me that's just polishing a turd. Plus, it's really easy to over use those effects and end up sounding gimmicky. Delay and reverb are more effective at sweetening what you do have.

I guess what I'm ting to say is: is your dry clean tone good? If not, have you tried changing pickups, strings, amp settings, where you pick? If it is good but just not enough, try adding a compressor, eq, and/or gain. THAT should give you good cleans. Now, just to make them less dry, add some reverb and/or delay to make it sound more alive. That's your salt and pepper. Want to make it interesting and different for a particular song? That's where I'd go to modulation. To me that's where you start crossing over into composition itself. Subtlety is usually best unless a wet effected sound is what the song calls for.

Build up from the ground up so you can enhance your tone with each step rather than trying to mask or fix a problem that's not gonna go away.

YMMV but that's the approach that works for me.
Quote by FlawlessSubZero
...I was thinking of getting a lofi pedal like a zvex instant lofi junkie. Even just having that on a very low setting will add a little something i think.

There are no subtle settings on the Lo-Fi Junkie. On one side it's heavy compression and the other vibrato on top of the compressed signal. Anything in between results in chorusing over a heavily compressed signal.

Very slight breakup and picking dynamics are your best bet. Anything else is pure texture.
The biggest mistake I see when people play clean is that their sound is too clean, making it anemic. Personally, I'd turn up the gain on the amp or use an od to where I get some breakup if I strum hard. You can then turn the guitar volume down to around 7 if need be. This will give you a fatter, punchier sound with more dynamics. A little delay or reverb will give you more space and fill out in between notes and a very slight chorus can give you more movement. Slight compression will also make your sound more alive.
Dunlop sells variety packs. Get one of those and try them out to see what you like.
The only DAW I had used previously was Reaper and the last time was about 6 years ago. I found it really easy to get a grip of n-Track. I dig the layout and navigating is pretty simple (unlike what I remember from back then and the one included with my Steinberg interface). Definitely very user friendly and don't feel like I'm in a constant battle with the software or having to look up tutorials. Haven't tried the songtree yet but it's a cool idea.
Got the Rat today! I had never tried one but was immediately surprised with the sound. No wonder they're so popular. I was surprised I liked it as much as my Dr. Scientist The Elements. It's incredibly easy to get a good sound of of it.
I've got a Nirvana chorus, Euphoria od, and Velvet fuzz. Definitely quality products. My fuzz was broken when I bought it (probably an internal component crapped out after leaving their warehouse or at guitar center since it was a solid build) but emailed them and received great help from them. Stuff like that is bound to happen so I don't hold it against them, but their customer service was top notch. Definitely appreciate their business ethics. Their YouTube content is also very instructional and entertaining btw...

A big part of their market is amp in a box gain pedals so the Bravado amp makes prefect sense. Yes, their products are expensive but I honestly do think you get what you pay for with Wampler.
They're meant to be used as pedal platform amps. That means flat eq and lots of headroom. They seem to do that job very well.
Quote by trashedlostfdup
anything going on? did the picks ship?

I actually got my picks this week. Haven't gotten to try them cuz I've been busy with work. They seem like quality products but will take me some time to get used to them since they're thicker than what I normally use (.75 Dunlop Tortex).
Damn... any way to include his board but without being a voting option? For recognition at least.
Quote by nicholasproff
evening_crow I like that idea a lot. What do you mean by sending part of the signal to ground first, though?

By sending some of the signal to ground it acts like a volume.
I'm not sure why this is even a question. Just need enough for 3-5 wraps. No reason to over think it.

Personally I just cut the string at the next tuning peg on 3+3 guitars out of habit. Haven't played my G&L or Fender lately so can't say specifics on those. Just eyeball it, its not rocket science.
Mooer Pure Octave but it seems to get mixed reviews. I recommend just looking out for a used Micro or Nano Pog. This is a case where you get what you pay for.
Smaller cab and less efficient speakers combined with your attenuator might be a good option, especially if your amp does give you the sound you want. Going to a smaller wattage isn't bad but take the amount of headroom into account. You don't want to end up with a loud enough amp that has no cleans

Anyway, what kind of sound are you looking for?
This is a good article that might explain things since I feel there's quite a bit of misinformation in this thread. Some of the advice given here can actually harm instruments.
The different products are to keep your instrument at its best playability, physical condition, and looks. You're ok with just a rag to clean off sweat and dirt, but it's easier if you have dedicated products. This works wonders for all that. I highly recommend it as it includes everything you need.

Think of it as a car. If it gets you from Point A to Point B it's ok. But wouldn't you rather have working ac, wipers, sun visors, and windshield that's not cracked? Why spend hundreds of dollars on a guitar only to get its bare minimum?

EDIT: I recommend getting one more extra cloth so you can have one to clean the fingerboard, one to clean the body, and another to wipe/polish it.

True... but chances are they'll let it through. They tend to leave guitars alone so don't check it in with your main bags. If it doesn't fit in the overhead once you're in the plane that's when they might offer to store it in a different location (special compartments the staff uses, I'm guessing). Another scenario, they'll ask if they can store it with the luggage in the bottom at no charge. That's pretty common for extra carry on that doesn't fit due to crowded flights. None of my cases are that small, to be honest, and I've had a good success rate. One time I did let them put my LP underneath but wasn't charged even though it ended up tagged as "oversized" due to the length.

That's worst case scenario though, which is why I recommend a hardshell case. Worth a shot, right?
The potentiometer in that spot will mix the signals between fuzz/wah and wah since the switch completes the circuit for either depending on its position. What might work is a potentiometer in the fuzz/wah circuit sending part of the signal to ground right before the output jack. You could use this as a volume pot like in a guitar. Along with that, a treble bleed might come in handy if the effects becomes too dark when you lower the volume.

Have you opened up the pedal to see if there's a trim pot on the inside by any chance to adjust the volume?
My best advice is to get in the plane as soon as you can so you can beat other people for storage. You're allowed to take your guitar with you by law.

I've flown my Les Paul and acoustic multiple times (including from Japan to the States). Get a case though. Baggage are prone to shift in the overhead compartments and the flight attendants might end up handling your instrument. One time they offered to place mine in the cockpit since there was a shortage of space which I was very thankful for.

EDIT: You're on the right track with everything else. I just made sure the humidifier was good to go, loosened the strings just a little bit (half a turn or so), and stuffed some shirts for padding since my case is a little too big for my acoustic model.
Quote by Dave_Mc
assuming the bugera is a clone of the blackstar ht20, while it'll be a lot more tube than the micro terror/dark, it'll stil be a hybrid amp and not genuinely all-tube.

I was actually gonna recommend the HT-5. I've had one for years and it's a pretty decent amp at home. It's a lot more versatile than the HT-1 and a little easier to control volume-wise (can get almost loud enough for a quiet drummer) than the other ones listed. Can't go wrong with the Orange ones IF you like their sound. For some people they're too fizzy.
That's actually a very genetic tone. I'd say start with a Marshall setting with a decent amount of gain, some kind of od for compression/mids, and a delay at the end.
Might be possible to do a bias mod in theory, though I'm not sure how effective it would be, particularly depending on what your "ideal" is. I'm assuming you're looking into running it at a higher voltage, which is what would be problematic due to the original power requirements. Around 9V and below might be feasible though.

Granted, I'm just speculating here.
Quote by lichbane1401
I just bought and put on a dunlop 10-46+52 KFK signature set strings and they feel quite tight on C# tuning about as tight as 9s on standard and tight enough to drop the 46 gauge to B without it being floppy like a 46 gauge should at B. Is this set one of the Heavy Core sets and it's not stated anywhere or am I just going crazy?

C# standard? Cuz unless you mean dropped C# it sounds like you're playing with noodles. I'm with ^^^ on this one. 52 is even pushing it for me at C since I do 10-52 (EB Skinny Top Heavy Bottom) on dropped C# to E standard.
The same page I sent you will link you to the abrasive cord you'll need too.

As far as how much? That's up to you. One thing you can do is look at the height of the string on the second fret while you hold the string down on the first. Try to match that measurement at the first fret while the string is open.

EDIT: That's for the nut btw. For the bridge, only do enough for the string to fit.
Quote by lon6505
Ok thanks. Was hoping i didnt have to fool with truss rod

Though adjusting the relief on your guitar ultimately affects your action to a degree, it should never be your go to for that purpose. The heavy set should do the trick. That, or take it to a tech.

Depends if your multieffects has an effects loop built into it. If so:

Quote by gongas2001
T00DEEPBLUE I See what you mean... Btw i have amorrrr question, i'm aware that some effects sound terribly diferent if used before ou after the effects loop, so when using a multi effects as individual pedals should i run them all in front of the amp or all in the effects loop?

Rule of thumb is time-based effects (delay/reverb) go in the loop so you don't distort the repeats when playing with gain. Modulation (chorus/flanger/phaser/vibrato/vibe) is common in the effects loop before the time-based ones.
However, this is usually more of a preference as a lot of people prefer them prior to gain (me personally). Most people will generally agree with something similar to this this:

Wah - Compressor - Pitch Shifter - Filter (wah) - Modulation - Gain (od/dist/fuzz) - Modulation - Delay - Reverb

Your amp will fall in the Gain category if it's breaking up. If it's clean and you're getting your gain from pedals, then you can plug everything directly into it. Keep in mind that these aren't set rules and it's all up to what you prefer.
What power adapter did you get? Are you only powering your distortion with it or multiple pedals? What other pedals are in your complete chain? Have you made sure it's not the guitar cables acting up?

Also, there's no reason that you should be going through a battery that quick. Drive pedals use very small amounts of electricity and should last you at least a couple weeks on average. Unplug your guitar cable from it when you're not using it, otherwise the battery will keep getting drained.