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Please don't post your music in this forum.
Absolutely stunning. I love it.
Quote by telemetal
Done. Will likely bash off an email soon. Always love buying from Aussie builders.
He posts on ilovefuzz and seems very down to earth.

Quote by telemetal
All of you are the worst. Might get one around tax time, but I get the feeling it's over kill for me. It'd probably boot the MLJr off board anyway.
Diamond announced at NAMM that they're coming out with a new version of the Memory Lane Junior. I can't remember the details or the page I read it on. Or maybe this was announced way before NAMM and I'm only just hearing about it now... ???
Yeah, I saw those. I dig 'em all... a lot. I know they already have two PA-1 models with a Bigsby, but I love that Satin Violin Brown finish and would be keen on moving from GAS'ing for the Satin Black with P90s to the Satin Violin Brown with humbuckers if it had a Bigsby.

The new Grabels model is niiiiiiiiiiiiiiiiiiiiice.
Quote by telemetal
I'm looking at my Jr and doing it up for BOTB, and between the M9 and Twosome I can barely fit anything else Might end up with a different Fuzz down the road. Really want to grab a Pharaoh. If I want an HM-2, I could probably just get a W&C.
Anarchy Audio in Austrailia has an HM-2 clone for around $150AUS. I dig his stuff.

https://www.facebook.com/photo.php?fbid=638724076185121&set=a.597943240263205.1073741835.235159009874965&type=1&theater

edit:

Quote by MatrixClaw
Opinions on the Earthquaker Devices Dispatch Master?

Guy with the Cusack Tap-A-Delay says he has someone coming to check it out today ( ) and offered the Earthquaker in a straight trade for my Liquid Sunshine, instead. From the videos, it looks cool, but seems to be pretty spacey, which is cool, but I don't know that I'd use it for that much... The added reverb is a nice addition, but the whole pedals seems more like an ambient device than a general purpose delay (all of the demos have it running super wet), like the Cusack, Time Machine or Flashback I've had an eye on?

Thoughts?
It's fine as a 'set-and-forget' pedal if that's what you're looking for. It works, I found, with both dirt and clean, wet settings, dry settings. It's designed to be an all-round time-based pedal for those who only need the essentials and don't care for such precision as tap-tempo or subdivisions. They just need something to add dimension and 'wash'.
There is, yeah. I can't account for the entire price difference but Empress will have higher overheads, there was more R&D involved—though there is only so much you can do for a buffer—and the pedal functions as two buffers in one and has a tuner out, which to some is crucial. The Buffer+ has more features still.

The difference won't necessarily be sound; it'll be function and features. I imagine the Empress buffer is excellent because it's built by excellent engineers.
Quote by NakedInTheRain
just got this.


forgot all about it . don't even think i'll need it anymore now that i've got my xxx. what's toneczar flippage like?
I don't know what it's like in Australia but people are still paying upwards of $100 more than the list price on TGP. I thought the prices would have gone down by now but seemingly not. The only pedal I'm still dying to own is The Vault. The rest... I just lost interest. I'd like them all to try, but I can't imagine keeping a $550 tremolo. That's not to say I won't be blown away and want to keep it, but can I justify it? I don't feel like I should have to battle with these things when enjoying creative instruments. I should be able to just play and not worry about justifications.
Quote by Cathbard
The Pitchblack tracks plenty fast enough. More than a few times I've had to tune between standard and drop D while the drummer is counting in the next song and I do it easily enough with the Pitchblack. I mean, really, how fast does it have to be?
This is my thought, too. There are a bunch of threads all over the Internet of people complaining about tuners that aren't instantaneous in their tracking of the note, but I've never once shouted in frustration hurry up to my Pitchblack. It's almost immediate. No problems at all.

Quote by Wylde14
Hey people im working on re implementing my pedals, and im wondering about buffers and the best place to put them, heres my rig and the pedal chain ive been thinking:

Guitar>tuner>compressor>AMP---fxloop-->Moog MF101(buffered)>Crybaby>Delay

ive had problems in the past with my tone and too many pedals, and found putting a buffered pedal after my delay fixed it. should i use 2 buffers? just one at the end?
It depends on how many buffers you already have in your chain. You mentioned the Moog is buffered but what about your other pedals? How long are your cables and are they good quality? What amp do you have? Are you losing clarity when you roll the volume on your guitar down or is your tone suffering in general? If so, are you sure it's not your guitar?

Basically a buffer is a buffer, but there are different versions that will suit your sound better. Many amps are designed around the concept of cable length. For instance, Peter Diezel designs his amps with a particular model of cable in mind. Therefore one would argue you wouldn't need a buffer. So it depends.

Depending on your circumstances, I find having one at the start of the chain helps a lot, but also at the end of a long chain of pedals. Just make sure you don't use a pedal that requires a high impedance at the input like an old Fuzz Face or something like that, because it will impeach on its performance.

You can build two buffers yourself if you have a soldering iron. They're very easy. If you use a power supply that has isolated outputs, make sure you save one output for the buffer. Maybe it's the buffer I have, but it's a noisy bastard unless I run it at 12v and isolate it. The one I'm talking about was made by This1sMyne. It was small and cheap.

If you really want an excellent buffer, and believe you can hear the difference between them, Empress and Fryette make two of the best, IMO. The Fryette Valvulator is a tube buffer. It is the most natural sounding I know of. But it's expensive and huge. The Empress is transistor-based, like most, and is less expensive (though still pricey), is smaller and can be routed to buffer at the beginning and at the end of your chain.

A few companies that make buffers to consider:

ARC Effects
Lovepedal
Cmat Mods
JHS
Fryette
T1M
Empress
Analogman
Lehle
Cornish
Klon
MXR/CAE
MI Audio
Frederic
Visual Sound
TheGiGRig
Wampler
Barber
SolidGold FX
Tone Freak
Durham
There is plenty of 'Djentlemanly' discussion on UG. It's just not in Songwriting & Lyrics, a place for poetry and lyrics.

Check out these forums or do a search.

Metal
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Guitar Techniques
Quote by MatrixClaw
Think I know where I put my Planet Waves now. Forgot I took my ESP and 5150 to a friend's house a few months ago and took the tuner with me in the case. Usually I just plug into my computer and record, using a plugin for the tuner, or I use my Kemper's built in one, so I haven't really needed it for a while

I'll have to check to make sure... but if I DO have it - Still any reason to buy the Pitch Black? It looks much more simple, though I don't remember ever having issues with the Planet Waves. Reading up on the two, there seems to be a lot of noise on the PW unit for some people, but I don't remember that being the case for mine, though it's not like I had a pedalboard I used with it really, I'd just plug in and tune up before playing, unplug it and put it away I know it's not true-bypass... but since I believe it will be the only non-true-bypass pedal on my board, is there any merit for using it as a buffer for the signal chain, or does it matter with a smaller board (6-8 pedals)?

Thanks, dudes!
I have a Pitchblack and have had no problems at with it. It's been solid for three years. I love the soft-touch switch. It tracks well enough but supposedly not quite as good as the Turbo Tuner or Polytune. The Polytune 2 apparently tracks fine with lower tunings, but don't quote me on that.


we always said we’d go down in flames, didn't we Hil?
Written by: #1 synth

there were nights we lit candles
and sent them down the willamette river in brown porcelain boats

there were days we skipped rocks
into the mouth of the atlantic ocean
and bit our tongues until they bled

there were years we scrapped the barnacles off our hulls
with whiskey bottle shards
and cut our hair short
with the safety clasp stomped off our scissors

but there were also moments
in the dark
when your cold heel
brushed my calf
and God whispered
some song unintelligible
that soothed the wind
battering the aluminum siding

that broke our hearts open on the rocks
long enough
to light the candles
Quote by SimplyBen
**** saaaake. Today has been shitty.

Split up with the missus today, which was pretty awful. Then went to band practice, split my hand open on the TOM bridge on my LP, my pint jumped off the PA speaker and soaked our bassists power supply (which still worked thankfully) then my other guitarist's input jack fell into his Epi ES-335 which had to be fished back out. FFS.
Ahhh, man, that sucks. I'm sorry.

Quote by jakey333
I have had to have a rethink for variety of reasons, and wanted to build the most versatile board I could on one power supply.

Here it is. Very happy.

Those pedals are ****ing huge. Nice board!
Quote by MatrixClaw
Ok... so I need a good analog delay. Budget - $200 (used). Obvious choice lately seems to be the Carbon Copy... but what else should I be looking at?

Also - A looper sounds fun. Thoughts on that?


How much? How much?

One of the better 'analog' delay pedals to pair with dirt I've come across is the Skreddy Echo. They've somehow gone down in price considerably, which is kind of annoying because I paid a small fortune for mine, but you can find them for $200 if you waited patiently. But you'll probably need to increase your budget by a few bob, but it's worth it as it's a fabulous pedal. I don't use it now that I have the TimeLine, but the modulation and washy ambient repeats are just glorious. Nothing on the TimeLine can do that with such aplomb. It's pretty damn magical.

Quote by telemetal
Hnng. Offered a Pigtronix Echolution + cash for my tele from one of the Post Rock guys. Somewhat tempted.
The Echolution didn't really impress me that much, and I lost a bunch of money on it. It's only worth around $250 nowadays; sometimes even less. The new one looks pretty swish but the old version had a couple of 'quirks' that bothered me. The sound of the repeats... they made me think of a diluted, pretend version of a DMM. It's weird but I never felt like it was a serious pedal, both because the features seemed more like gimmicks than creative musical additives and because of the tone. I never felt inspired by it. I don't know how to describe it beyond that. The TimeLine is infinitely better, as is the SuperDelay, DMM 550TT, and from what I can tell as I haven't tried it, the Eventide Timefactor, too. The Line6 is better as well.
I know you're only trying to help but this forum has strict rules against advertising services, products or other websites. Also, this is the wrong forum.
It's been around six years since I've seen you post. It's good to have you and your work back.
...Like Clockwork was a lot of fun, and there are actually a few intense moments in there, too. I'm glad they released that instead of trying to rehash Rated R. It's a perfect 'return' album. Fun, memorable, with hints of deeper maturity.
This forum has always encouraged the critiquing of others, not just posting your own work to be critiqued. If you are finding your threads are being passed over, try to critiquing others in the way that you feel is right (you can also read the thread here that offers advice on how to critique others effectively), and then kindly ask for a return and post a link to your thread. Actually, give that entire thread I linked a quick once over. It'll explain a lot of things you may have missed.

And don't worry about deleting your post or anything else. It's all good.
Quote by samuraigoomba
I thought it was pretty cool how Fender came out with that little mini-Gretsch tele. I think they have a Squier and a Fender version of the Cabronita.

I've been in the poorhouse for the last few months, so I finally went back to look at Reverend prices and they are currently not good. Couldn't find anything on the 'bay or GC that was under about $700.
Yeah, the La Cabronita was a great idea. I don't think they were ever intended to be anything more than custom shop guitars, but the demand was so high they began introducing models at all price points.
Quote by ShameofaNation
Double new pedal day, POG2 and Malekko compressor.

I remember posting in here a while back inquiring about the Micro POG, and somebody told me once I tried the POG2 I'd lose all interest in the Micro, **** you were right. This thing is amazing.
The Malekko is probably one of the nicest compact compressors I've ever used as well.
Tiny compressors ftw.


No worries at all, man. We don't mind folks posting their content in this thread at all, it's just we usually make a thread all for ourselves.

Basically, go the main Songwriting & Lyrics forum, find the "new thread" tab on the left-hand side. Paste your work in the box, add a title (use Untitled if you don't have one) and then click the "Submit New Thread" button. Done!
Quote by Foofighter1992
What did you think? Did it flow?
Welcome to the forum! Give the rules a quick read and repost your piece in its own thread per the rules.
I imagine they will. Maybe they'll even release something like that at Winter NAMM in a few weeks. It would make sense to and would probably sell really well, especially if they change the pickguard configuration like the Fender Custom Shop did with the La Cabronita.
The first Reverend I tried was actually in Israel. I knew of Reverend but didn't see them as much more than another Korean-made guitar company with a boring website and 'quirky' looking designs. I was in Israel visiting Carmel, the admin here on UG, and one day while she was working, I went walking around Tel Aviv and visited a guitar shop. I met the bassist from a cool band called Dukatalon who worked there (he even gave me a CD of his band for free; it's good) and on the wall was a couple of Reverend Sensei HB guitars, plus a few others, in two finishes (the goldtop wasn't released yet). I tried my favourite, the Tobacco Burst and really liked it. The flat top was a little uncomfortable, but with the new arm contour that they came out with last year the guitar should be more formfitting. That was my starting point. Now I adore them and regularly GAS for a Tricky Gomez/Manta Ray, Reverend Sensei HB/RA, and the Pete Anderson PA-1.
I agree, those three pedals you're interested in don't match up to your bass. Pedal trade value is pretty similar to its cash value, while instruments hold higher trade value from my experience.
Keeley pedals usually sell well, but they're mostly just clones with tweaks. Voodoo Labs are not considered gold dust. They usually go for pretty cheap, simply because there are so many of them out there. Red Witch don't hold their value well. In fact, they have terrible resale value despite being very good designs. Analogman is the safest bet. They retain their value extremely well. They're also good pedals. The PT-2 will sell as long as you don't mind boxing it up. As will the PP+, but they're handy to have lying around I find. The Lovepedal stuff are OK. Seeing as you have an Eternity clone already, I don't see the point in taking that one unless you intend to sell it. Although your clone will be just as good, you might find you prefer the 'real deal', as real as Lovepedal can be, and then you'll have a spare clone that you won't sell as easily. The Tim/Timmy pedals sell all the time. The Tim is discontinued and will probably grab a nice sum. They're excellent pedals.
Quote by JustRooster
If they ship international, definitely! Especially if they have ray guns on them.
Yeah, I'm sure they will. Pickups are only tiny and it would be rather unwise to not ship abroad since that would be half their market.

So here are a few European/UK builders:

Bulldog (the man who runs this also works at Matamp and used to work at Bare Knuckle)
The Creamery
Shed Pickups
Oil City
Heavy Air Guitar Pickups
SP Custom Pickups
Jess Loureiro Pickups
Lundgren
Häussel (super expensive)
Duesenberg
Catswhiskers
Hepcat

Also, this thread might be helpful to you:

http://www.tdpri.com/forum/just-pickups/175561-pickup-maker-directory.html
There are a huge amount of pickups to choose from in the ~$300 range. Any one of them will no doubt build you a pickup you'll like. However your description is a little contrary. 'Hollow' and 'harmonically rich' are not usually synonymous. I would actually say they're a polar opposite. But I think I know what you mean. Bare Knuckle fit that description well, but they are expensive. They have a woody tone that's a little drier than most, but still with enough harmonics.

Here are a few companies I have in my bookmarks to look into that I hear are excellent and would for the most part trust to build me a pickup:

BG Pups
Lollar
Lindy Fralin
Rio Grande
Wolfetone
Motor City
D Allen
CurtisNovak
Klein
Porter
Manlius
Lace
Gemini

I have a few really affordable builders as well. And I've only listed US builders. I know a bunch of British and European winders, too, if that interests you.
I never jived with the look of any of those guitars personally. I'm not much for sparkle finishes and I've never liked zebra humbuckers.
Quote by SimplyBen
Currently suffering ES-339 GAS. Don't usually like a hollowbody but them's delish.
I wanted a ES-339 for a while because of its size, but it doesn't have the acoustic qualities I'm looking for. For a small bodied guitar with a woody and hollow sound, I'm going to pick up a Guild M-75 Aristocrat. I tried a G5442 and the Guild at the same time and couldn't decide which I liked more. However, the Guild is a little out of my budget at the moment and I'm craving that Gretsch sound more.
I'm dangerously close to buying one of these:



I must resist until at least February.
Please be mindful of thread post dates before posting, even if it's something constructive. This thread is over three years old.
I didn't even bother with the Harmony Central BOTBs this year. I didn't know it was still going.
The side by side footswitches would bother me as well, but you do have the tap input that means you'll only ever have to use the onboard tap switch to save presets. And yeah, the actual footswitches look like the ones Empress use that are raised higher than your average one, so the toggle switches, which look small and tough, should be protected. It's not ideal, but it's the sacrifice you have to make, I guess, if you want a pedal with so many different thingy-mo-bobs in such a small enclosure.
It's happening less and less as time goes on, but I finally found a builder doing something genuinely unique and exciting. It's a brand-new company from Minneapolis, MN with an awesome name called Chase Bliss Audio. The name, if you read their FAQ, is referencing and attributing the owners' brother who died a few years ago. I thought that was a lovely, heartwarming touch.

Anyway, they only have one pedal at the moment and it was released a few days ago. It's called the Warped Vinyl. It's an analog modulation pedal that is controlled digitally. They call it "Digital Brain - Analog Heart". Very poetic. The amount of control this pedal has for in such a small box, and with an analog circuit is amazing to me. You have presets, endless expression parameters assignable, midi clock synch, tap-tempo, subdivisions, and probably more. And it's just a lo-fi vibrato.

Well, when I say "just", that's awesome to me. I am 100% getting one, even if it costs $325. To be honest, though, that's actually a good price considering what you're getting. It's the same as the Cosmichorus V3, a very similar type of pedal, and that's definitely worth the money. There is nothing else out there on the market that does what it does. HEXE has the Mesuline and Strymon have the lo-fi generators in their pedals, but neither of them offer that kind of control in something so compact.

Awesome.




Gut shots below. How he managed to fit in a battery as well amazes me, but it might not be to the more engineering-minded folks here. To me it's astonishing! The boxes are wooden as well, another nice touch.



Not only that but they have an active Facebook page where they get involved with the community, AND their website is fully functional and designed well, to me at least. There are a number of new builders with neither of those.

https://www.facebook.com/chaseblissaudio?fref=ts
http://chaseblissaudio.com/

I highly doubt it actually takes 12 months of daily tweaking to perfect a Big Muff circuit. And if so... you're right and I take back my comment. I imagine it's 12 months of random tweaking here and there, when new ideas hit your brain, which for him might only be a few times a month.

But then again, not everyone is going to be as technically proficient as Dr. Scientist or Subdecay. My favourite builders are 100% the ones that do fresh and unique things, but I still appreciate the guys that can't do what smallsound/bigsound or EQD do.

Again, I don't agree with gooping or whatever else people do, but I understand why Matt in this case does it. If his pedals aren't actually clones, and did take a long time to finalize to his satisfaction, as much as I dislike it, I can understand it.
Quote by mmolteratx
lol

Who gives a shit about W&C anyways? All they build is clones and then sand off part numbers to give some sort of mystique. They even gooped part of the HM-2 clone.
To be honest, I think bashing clones is becoming a bit redundant. Someone has to be cloning, right? Everyone loves Skreddy because he was one of the early birds to bite the worm with clones, but just because Skreddy did it and did it well doesn't mean no one else can. W&C pedals are unique in at least visual flare, if that means anything to anyone, and it means something to me. You've bought and enjoyed loads of clones before, so why are Wren & Cuff disallowed a piece of the pie when others see their merits and worth? $250 is steep for a pedal that can be found for less, but that's not the point. Jimmy Behan can clone you an excellent Tone Bender MKI for $100, so why bother paying Pigdog to build you one for $350? The answer is obvious to most of us here, and I see little difference between guys like D*A*M and Wren & Cuff. You might see a better built pedal, but maybe Wren & Cuff have higher overheads, maybe they spend more on marketing, or maybe they spend more time in R&D?

As far as sanding off part values and gooping, I don't agree with it and never did. But Matt explained why he personally does it well enough in this thread. It's long but it's worth reading. I personally only liked Wren & Cuff before now because of their visual styling, but now I respect them on a more personal level. But that's just me.
Quote by NakedInTheRain
http://www.thegearpage.net/board/showpost.php?p=16892142&postcount=53

i wanna go and buy a bunch of W&C pedals now.
ilovefuzz were bitching as well. Then Wreny stepped in and challenged it all. He literally shut everyone up and went on to encourage the thread and said to keep it alive, he was that confident in his product, his name, and his business. I wanted to e-pat that guy on the back.

Quote by NakedInTheRain

aaaaaand board rewired. the dpc-5 has the same thing as the strymon where the effect is activated when you lift off the switch, but not too much of a hassle. other than that, it's ****ing great. was reading up on it and it's stupid versatile.
Me likey me likey.