Thanks for all of the responses. *I follow ProGuitarShop religiously*
Kind of my whole stance is, if I'm going to take a leap on any pedal, I want it to be the extreme of it's category (like if I wanted digital, I would get the DD-20; if I wanted analog, I would rather have the CC over an imitation). That said, my issue with the empress super delay (I've been eyeing it down for a loooooooong time) is that it would be a whole lotta bucks for a jack of all trades. I've heard a lot of people say even the vintage modified does a lackluster job at tape simulation (and if I wanted a tape delay, I should just sit it out for the fulltone SSTE - I'm masochistic that way). But back to the " I would rather have the CC over an imitation" comment I just made. I also just found out that the flashback does up to 6 seconds in each mode (including analog, but not slapback) which is a huge bonus. And you have all the people raving about it's tone - but I'm entirely skeptical of guitar center and musiciansfriends reviews.
BUT, one sick trick I just came up with to hold this all over me is that the summer NAMM is one month away, and maybe I could suppress my GAS that much longer (which is all I'm really looking for, excuses to not spend money).
From the demos I've heard, both the malekko 616 and the diamond delays have too, I don't wanna say crappy, but the modulation doesn't sound "right" for me.
One thing I'm really interested in is the live qualities of each delay type, like in person a analog delay should almost have a corporeal quality over a digital simulator, and a tape delay more so - hence my skepticism of compromise too.
a lot of people have phrased the concept I mainly want out of the pedal as an "padded ambient cloud-effect" that just lingers in the background. They all say on the MXR it always gets out of control, "you need to watch the volume or else your speakers / eardrums go. "
I feel like if the feedback was just slightly off maximum this would be solved, right? Do you have any experience with it stonyman?
Ah, sorry. Budget wise, I'm only looking to shell out > $400 for a real tape echo unit, and since I'm defaulting myself to the future Fulltone EP3 (probably will never come out, http://www.fulltone.com/cshframe.html been like 5 years since he first talked about it ). I know that long delay times would only come with a digital delay, but if the tone of a certain analogue pedal is really to die for, than I would be fine with a short delay. The only thing that really gets me if phony tape echo simulators that apply a chorus modulation to the repeats in an attempt to simulate wow & flutter. Real tape delays are (preferably) more subtle. I kinda stole my friends pitchfactor and was really disappointed with it, which turned me off from spending big on the timefactor.
I've been using a DD-7 for almost two years and only just a few days ago realized how much I love analogue delay when the feedback is cranked to that it provides a constant drone in the background without crowding out the dry signal. But the tone of the DD-7 isn't that great and I've been planning on replacing it for anything better.
Just a few months ago I was obsessing over real tape machines (almost bought an echoplex), but found out Fulltone is planning on making a (cheaper) new and improved version of the EP-3, so I kinda swore off the whole thing to wait.
So here's where all my wondering comes together: - Would a tape delay be able to provide that same disintegrated horizon line that analogue pedals do? Or does the feedback function lean closer to digital delays, where repeat signals don't lose their shape and so would crowd out the signal. If the answer would persuade me to look into other pedals... - Is anyone familiar with the tc electronic flashback delay, and is the analogue function any good on it? I'm kind of pitting that against the MXR Carbon Copy, which seems to be the most revered analogue delay atm. But the flashback has the advantage of versatility, and up to 6sec of delay (one feature I'm looking to upgrade over the DD-7's 3 seconds). The flashback has the whole toneprint bonus, and it uses stereo; even though the CC is mono, if the tone is really that much better than the TC electronic one, I would be interested.
So to boil it down, can anyone point me to an analogue delay they could recommend with possibly an upwards of 5-6sec delay time on some feature? Tap tempo or an external footswitch would also be nice.
How possible is it that the pedal is completely defunct from being powered while it was wired wrong? If every bit was put back in the right place properly could it still work? Wondering if I should even bother bringing it back out.
If a pedal, lets say a chorus pedal, runs mono in and stereo out, theoretically if you run one of the stereo outs into a Y adapter in the input, would turning the pedal on immediately make it self-oscillate?
So this all started with the devi ever Rocket fuzz pedal. It has a "dynamic pick sensitive tremolo" built in - the tremolo effect starts really fast if you hit really hard, but as the guitar sound gets softer / you let the note fade, the trem dies down. http://www.youtube.com/watch?v=sDkme3kCz_Q&feature=related @ 4:25 if anyone is interested Anyways, I thought it's a really cool effect and it got me wondering about what other companies were doing with such a traditional effect nowadays, if anyone was doing likewise cool takes on it.
I did some searching around and noticed there isn't a single tremolo pedal with an expression pedal capability, which seemed to me like it would be a no brainer.
Does anyone know of any similar or otherwise cool tremolo pedals?
Is there such thing as a 1/8 watt resistor? I put in a 1/4 watt as the replacement and it seems bigger than all the others that came on the board, but i didn't think they could get any smaller. Should I assume the ones on the board are 1/4 regardless? And could this be the cause of the problem?
So I tried just the emitter mod first, and it seems to have messed up my pedal. With the pedal off, no sound gets through to the amp. With the pedal on, the volume and the sustain need to be maxed out to get even a slight, splatty, really quiet fuzz.
Well that was yesterday, now the pedal won't even turn on and no sound gets through regardless.
The units R12, R16, R8, and R13: despite their drastically different locations on every different model schematic, doing the same thing would regardlessly have the same effect?
And the resistor mod increase was precisely the ambiguity that was pissing me off. No one would say how far to take it: one guy asked if 15k is a projected value and the response was "maybe"; another asked if a 22k would work, and the response was "maybe." And all these responses are from supposed experts who have done the mod themselves.
And how the hell is "basically the combination" a specific or reassuring instruction? Not that I'm attacking you, but it's just reading that line on the mods page pissed me off after an entire night of reading pretentious, unhelpful, and pointless forum posts.
EDIT: I think more-so the most misleading thing is people claiming to have done the mod when really they are just naming what they did after it. I'm rereading a couple comments flashing through my head saying stuff like "Creamy Dreamer - like mod" and "this is supposedly the creamy dreamer mod."
Can anyone PLEASE help me with a guide for this mod? All over the internet, it's just innocent people asking how to do it, and I swear to god if I find one more response that's: "Well it was made by a scrawny teenager . . . Smashing Pumpkins rip-off . . . blah blah blah" And then some douchebag will just give a dead link or send you off to a random forum without any specific post to look at
To everyone who has the Cathedral: -In Reverse mode (first person to say "Loveless" loses), is it possible to get a 100% reverse sound, not relying on any delay/echo, just straight up what you play is instead played in a single-shot reverse. All of the demos on YT have dbags using the predelay, but if i wanted that I could just use the reverse on my dd-7. The EHX site has a disclaimer saying real-time Reverse delay is impossible, but @4:00 http://www.youtube.com/watch?v=Vsxk1rJ4mWk and http://www.youtube.com/watch?v=cLawGcb4YHw&feature=related
basically, can you get something EXACTLY like that last link (in terms of instantaneous washyness)? I was thinking roll back the predelay to none, full blend, feedback down for just regular reverse, up for ambient drone, and the reverb time idk. The only reason I can't stop thinking about the Cathedral is that the Infinite feature is genius (plus its design it looks REALLY cool), but if it can't do reverse like the units I linked above, well then I'm still in the predicament im in right now. EDIT: Eh **** it, im buying it regardless.
I know that the 8track (its the Fostex mr-8) has the compatibility and function to have microphones connect to external preamps prior to reaching the mr8, and essentially thats all I want from my guitar amp - to use the preamp head piece of the combo as a preamp EQ for my guitar. The mr8 manual even has a diagram-picture of a guitar plugged into a preamp plugged into the multitrack, but it is only a small, one of those little soundboard, preamps. So there is a missing implications here somewhere...
No. The manual of the 8track was what had the impedance of 400kW. I'm looking at an online manual right now, for some reason its slightly different, but under the specifications it says: Input impedance: 1.5k Ohms (MIC/BAL) :40k Ohms or more (LINE/UNBAL) :500k Ohms or more (Guitar/ UNBAL)
those parenthetical notations being the mode in which the 8track is set to record in. So I would put it into the guitar mode, even though the 1/4" cable going into the UNBAL input is coming from my amp, not a live guitar.
My amplifier however, only asks that when using the external speaker output, "A total speaker impedance load of 4-ohms should be used to avoid damage to the amplifier."
So if anything the problem would not be too much power flowing from the amp to the 8track, but not enough to match the high impedance of the 8track. But I'm not even sure if that would be an issue threatening the health of each device rather than an unusually dim recording volume, that could be adjusted with the Trim setting on the digital 8track.
Is it possible to use the external speaker output of my combo amp to plug straight into a 8-track digital recorder, thereby benefiting from the EQ and forgoing the use of my shitty mics. The manual of my amp says that the external speaker used should have an impedance load of 4 ohms in order to avoid damage. I looked into the manual of my 8-track and couldn't find anything relevant. Is it safe? EDIT: OK, found out that my 8track should be able to take it (has "400kW or more" - the W was the ohm symbol). But would it be safe for the amp?
Anyone have/use it? I know it does the contemporary boring stuff well, but I was wondering if it would work for experimental sounds, like can you add chorus+reverb+delay+octave+double/unison+harmony effects all at once? I've read mixed clues as to whether or not one can.
I know it's not too rare to use electric strings on acoustics (or at least some people do it). But I was wondering if it's at all common to use acoustic strings on an electric. Would there be any trouble with the heavier gauges pulling on the truss rod, even if its just for a month or so?
The purpose of my question coincides with me posting this in the guitar thread not the bass - because that's where I'm confused. I know the intent of the VI was that it wasn't a bass, it wasn't a guitar, and it wasn't really a baritone (somehow - I'm pretty sure it is). I have found very mixed descriptions and hints as to how it works and hopefully someone here can clear it up. I know in the end it doesn't really matter what you call it, but I was wondering if it's safe to play through standard (not bass) guitar tube amplifiers ( i just saw a demo video on youtube of some jackass doing so, so it wasn't a comforting confirmation) , as baritones are. But I have also acquired confusion over playing basses through guitar amps regardless, and that its not really damaging to plug one through. . . and that's why I'm pleading for some assistance here.
I'm pretty clueless as to how expression pedals work when they are modding another pedal, but I know what they do and I'm interested in getting one for my boss DD-7. Are there specific expression pedals for this job or does any "expression" pedal work? Also if anyone can recommend one, it would be much appreciated. Thanks.
Some mainstream bands disappear fast or put out the same album again and again, but if you look there's been a lot of bands/artists that have put out multiple original albums. The Mars Volta/Omar Rodriguez Lopez, Mastodon, The White Stripes/Jack White, etc. have all released great albums, and the album they released next sounded nothing like the last. In fact Omar Rodriguez Lopez has "thrown away" albums that have sounded too much like the last Mars Volta album. You just have to look through to get to stuff you like.
Indie is also a type of genre which was named after the type of record label (if I got that the right way round) which had a quick explosion in popularity and evolved over the years into something quite different than it originally was. It's not because they think they're hip calling themselves indie.
Idk if your disagreeing with me? but i never said it was, regardless yes you have it the right way around, but the point is that since indie stands for independent, as in independent record labels which would omit leaving large impressions on its bands in favor of a more raw translation of the music to the fans, "indie" bands naturally have a sound more of each bands own, leaving any similarities in the music of the bands purely by the bands own will. so when some people hate Indie bands, they may be misjudging the term as in that the hate the sound one band managed to influence others with. And the only reason I brought this up is because i felt this thread would specifically refer to hip-hop, pop, and indie. seeing as the metal-devotion on this site is almost unanimous.
Ok here goes my rant: indies a dumb genre. even though every band I favor right now is called "indie" i dont buy it. "Indie" is a type of record label (or form lacking of), not a band. Take stuff like animal collective (indie) and compare it to grizzly bear (indie) and theres almost no similarities yet they are two of the pioneers of the current indie scene. Its a widespread term that poorly defines some of the greatest acts, and it gets a bad rep on top of the misconception.
the allusion of Judas is actually a great answer. But I was gunna use this to refer to a mindset for this essay im writing, obviously checked the thesaurus first, so thanks to whichever dickhead said that. The kind of scenario I was thinking of was Dean Moriarty in On the Road.
yeah i mean music hasnt gone downhill. in fact in the past year ive almost entirely switched from 60s 70s 80s to the 2000s music scenes. theres always the highs and lows. for example, we have the black eyed peas, but were graced with grizzly bear - so im happy
the whole thing with whammys, especially in modern music, is to use them unconventionally. i agree that the high end harmonies are completely useless in terms of shimmer sounds, but I always have the detune on but rocked back to create a phasing sound, or atleast have the pitch shift ready because it almost adds a whole other dimension to playing solos.
I think after that is when you should add your own touches.
I totally disagree with everything this guys been saying on this thread. You should never force the learning of others material, let it come purely as an interest aspect, which it always will. And learning the main themes of songs and improvising little details is pretty much the best way to learn and play material, so your For the Love of God example is key. However you should take the time to learn certain unique 'licks' just to familiarize and expose yourself to them.
this is a great question but i have no idea I would say try to do something humorous but with the intent of seriously getting them to leave. like get a long thing of meat and slice at it really brutally as a threat that they cant prove, but theyll get the idea.