Home › Forums › Ideas / Suggestions / Feedback › Can EHX please make us . . .
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May 17, 2009 at 7:49 pm #96798julianModeratorQuote:To tell you the truth, I got up till “The Freq Mod is like a Ring Mod, but…” before I back’d. Shouldn’t have been so hasty. However, a nano ring mod would be terrific, with just Frequency and Dry/Wet knobs.
People will tell you that it isn’t a ring mod because it uses an IC instead of an old school diode ring to do the adding and subtracting of frequencies.
It’s still analog and it has the same function. The sound might not be as dirty, but personally I prefer the crystal clearness of the FA.
June 5, 2009 at 2:06 pm #97382SirJackdeFuzzMemberQuote:Quote:. . . a dirt box that sounds ball park (but with far more tonal options) like a WOOLY MAMMOTH !!!I honestly think there is a market for such a beast !
Maybe in the same enclosure as the biggest Metal Muff, to have enough surface space for all the tonal knobs and toggles that will make it the ultimate tonal shaping Fuzz Monster !I know my collection is not complete without such a pedal . . .
PLEASE EHX !!!
I designed a pedal, and I will be selling them soon, that is woolly mammothXbig muffXfuzzface-esque. It has volume tone and midscoop knobs. Its very bassy but never boomy, it has nice definition of notes and the midscoop knob allows you dial in either mid hump of midscoop, scooped as low as the swollen pickle. I don’t like to yank my own chain but its a sick fuzz and it definitely my favorite. When I start selling them I will post on HCFX about it.
My influence for making such a pedal was the Big muff(it has a modified big muff tonestack) and the fuzzface and of course the band EARTH, I wanted to blend the two but have a unique sound as the result. I’d love nothing more than to see EHX making one of my pedals but I doubt they’d want to make one of MY pedals.
Thanx . . . can’t ait to see what come out of that creation !!!
June 22, 2009 at 8:46 pm #98239SynthMuffMemberCould you guys please at least think about a simpler bass synth? I mean about five dials at the most would be sweet. You know to get that chris wolstenholme tone where the notes kinda flow into each other? Thanks!
June 23, 2009 at 6:37 am #98269mattcaseyMemberso i’ve been captivated by the deluxe octave multiplexer since i found out about it, but i realize since i have an oct multiplexer and all sorts of fuzz and od that i basically have the same thing, plus it probably has tracking problems, right?
anyway, i’ve been thinking about the octavio and blue box and how EHX doesn’t have a tuner…yet. how about a glitch free (or whatev the pog 2 is) octave fuzz and tuner pedal? any thoughts on this?
June 26, 2009 at 9:29 pm #98460WatsonWoodMemberQuote:so i’ve been captivated by the deluxe octave multiplexer since i found out about it, but i realize since i have an oct multiplexer and all sorts of fuzz and od that i basically have the same thing, plus it probably has tracking problems, right?anyway, i’ve been thinking about the octavio and blue box and how EHX doesn’t have a tuner…yet. how about a glitch free (or whatev the pog 2 is) octave fuzz and tuner pedal? any thoughts on this?
I have two vintage Deluxe Octave Multiplexers with the yellow offset design, each having fuzz incorporated. With a Fender Jazz Bass, or Gibson Les Paul guitar I have never encountered tracking problems once the pedal and instrument are set up right, and the fuzz unit can sound seriously interesting on heavy sub-octave bass lines…and a new XO DOM would be great!!!
June 26, 2009 at 9:35 pm #98461mattcaseyMemberQuote:Quote:With a Fender Jazz Bass, or Gibson Les Paul guitar I have never encountered tracking problems once the pedal and instrument are set up rightSo I’m wondering if you could give me any info on how to adjust a regular octave multiplexer to be less fart-y on chords or if that’s possible. i’m playing a les paul studio into it and it sounds fine on notes, but i’d like to get more chords thru it.
thanks!
June 26, 2009 at 9:36 pm #98462mattcaseyMemberdon’t really know why my words are in the quote box up there…
June 27, 2009 at 1:32 am #98479LesPaulCustom79MemberThe old PNP and NPN transistor based BIG MUFFS were it [versions: 1st Knobs in triangle shape, 2nd Ram’s Head black logo (mids scooped), 3rd Pointed knobs in a row, red & black graphics w/tone bypass switch on the front (tons of bottom-end and midrange grind)]. All of these have sustain that last longer than it takes you to shave, shit, shower, and shampoo. When you play chords they are thick as cream of wheat but you can actually hear the notes unlike most fuzz boxes today. Can David Gilmour (used Ram’s Head 2nd ver.) and Pete Townsend (Used 3rd ver.) be wrong?
June 27, 2009 at 2:33 pm #98495WatsonWoodMemberQuote:With a Fender Jazz Bass, or Gibson Les Paul guitar I have never encountered tracking problems once the pedal and instrument are set up rightSo I’m wondering if you could give me any info on how to adjust a regular octave multiplexer to be less fart-y on chords or if that’s possible. i’m playing a les paul studio into it and it sounds fine on notes, but i’d like to get more chords thru it.
thanks!
Well, Matt, for a starter, the EHX OM/DOM is mono and analog. This basically means it can handle one note at a time, thus enhancing single-note riffs and bass lines etc. (For polyphonic octaving we have to look to the POG family.)
This does NOT mean, however, that one cannot play chords on a guitar while using the DOM.It is all a matter of set-up:-
Amp is ON with usual settings. EHX DOM/OM is OFF.
Now the best thing to do is to set up the Les Paul first using the neck PU only, with the volume control at about two-thirds and the tone control at about one half. This being done, WITHOUT the DOM on, check amp settings again to ensure a decent sound is being produced, i.e., presence, clarity and warm medium/bass tones.
Then, the DOM/OM is turned ON, and is set up to optimum response while playing an open A (5th string) striking the string half-way down the bridge PU position, but letting the A note resonate without dampening. Optimum response naturally means true octave and virtually zero or very little wobble. (Slinky light strings to be avoided!) Now completed, the DOM/OM set-up should not be changed.
The DOM/OM set-up done, one uses the guitar neck PU volume settings to compress the attack or lighten the attack, and the guitar neck PU tone settings to accentuate treble or accentuate deep bass, depending on the sound desired at any one time.
Also, the position at which the guitar string is struck (anywhere between bridge and string nut, in fact!) changes the parameters once more, giving a whole new palette of sounds. Position changes for this are principally between the bridge and mid-fingerboard.
Further to this, dampening the string played with the flat of the hand at the bridge while playing a line on the guitar changes the parameters again.
And, using the flat of the thumb on the string played to increase, decrease or select harmonics also adds new parameters to the DOM sound.
During all this playing and experimenting the original DOM set up, completed at the start, should not be changed, remember.
Once one feels all possible variations have been explored for the present, and the amp, still with its original set-up, is sounding good, then one flicks the selector switch on the Les Paul to Treble, the bridge PU volume is put to two-thirds, and the bridge PU tone control is set to two-thirds.
One starts out with a basic barré chord, mid-neck, let us say, a straight A minor. And let us start simple with a reggae-type groove, meaning striking the 6th string on the first beat of the 4/4 and, yes!, a chord on the top 4 strings of the guitar on the 2nd and 4th beat of the 4/4.
(All very basic for which I apologise, but we are setting the DOM plus Les Paul up at the moment and the real playing comes later)
One strikes the bass note firmly with a slight dampening of the string with the palm of the right hand at the same time, if you are a right-handed guitar player, and play a medium down-stroke or a light up-stroke on the 2nd and 4th beat chord.
After a certain amount of messing around, re-positioning of hand and fingers/plectrum, and adjusting of the Les Paul bridge PU volume and tone controls, one is amazed to discover that a bass line can be developed, while the three-note/four-note chords are clear and trail a beautifully light medium octave effect, in contrast to the round heavy bass tone from the bottom string.
Add the #1 Echo to the DOM/OM output and life gets even more interesting.
Insert the Metal Muff between the DOM/OM and #1 Echo, and using the same technique one finds that the DOM allows one to play monstrous bass lines, both simple and crazy ones as well as fast or slow, while at the same time letting one pump out screaming distortion and fuzz chords.
One number I have played a lot live features a clean guitar sound with delay, playing a classic-like theme with a deep bass counterpart on the bass strings of the guitar but none on the top three strings of the guitar, all done with the vintage Octave Multiplexer, no problem, and then later with the DOM, also no problem. I control which string(s) trigger(s) the DOM through the guitar set-up and the dynamics of my playing.
Believe me, Matt, once you get into it, the DOM/OM can produce amazingly powerful sounds.
And the set-up procedure described above can be applied to all the EHX octave multiplexers. And remember, it is not a description of how or what to play with the DOM/OM, just how to set everything up and a glance at the dynamics at one’s fingertips once the set-up is done.
One last point I mentioned before. If one uses an EHX OM/DOM adding a bass enclosure to your sound gear is extremely worthwhile.
I trust this post, if long, will be of some help to you…and long live the Deluxe Octave Multiplexer!
PS. I have added a picture of the basic FX pedals set-up I have just been using in the studio. (All EHX except for the Ampeg Scrambler).The DOM is featured in the chain.
June 27, 2009 at 8:40 pm #98516SirBlend12MemberThe EHX SmashCan – Bit and Sample Reducer
It could be a simple bitcrusher/sample rate reducer in either a Nano or XO box size.
Nano Version:
Volume Knob and Smash Knob- Volume is self-explanatory. The smash knob would be the reduction. It would reduce both the bit rate and sample rate equally.
Switch: Lo-FI – Could have off and on positions. Used to cut out highs and lows when engaged, leaving only the midrange to give it that telephone sound, making it Super Nintendo-tastic.
In/Out/Exp. In – just an exp. in to control the Smash Knob for realtime destruction of sound.
XO Version:
Volume/Blend/BitSmash/SampleSmash/Destroy
Volume and Blend are obvious. The BitSmash would control the bit rate, possibly from 6-bit (lowest) to 10-bit (highest) for a large range of video game sounds. The SampleSmash would control the sample rate reduction. Possible rate range could be 8, 16, 32, and 64 samples, giving anything from a nice Legend of Zelda style sound to an Atari with a failing circuit. Both knobs could be locking knobs for each mentioned interval or be continuous to give anything in the range. The two combined together would give any array of video game sounds.
The Destroy knob works with one of the switches…
Lo-Fi (same as on the nano), Exp. Select (controls what the exp. modulates, either sample or bit knob… or maybe even a third position for the Destroy function…) and the Destroy switch (Off/Saw/Square… used to employ a filter that distorts the signal by running it through a saw wave or square wave mod… effects the signal after the Bit/Sample knobs… the amount of filter is control with the Destroy knob.)
Could be one of the “bigger” XO-type boxes, like a SMM/H or Holy Stain.
Anybody diggin’ the idea?
June 27, 2009 at 10:17 pm #98523electro-melxModeratorQuote:but i’d like to get more chords thru it.that’s just not possible with an analogue monophonic octave pedal….believe me I’ve tried, big full chords just ain’t gonna happen.
June 27, 2009 at 10:47 pm #98524ghostMemberQuote:The EHX SmashCan – Bit and Sample ReducerIt could be a simple bitcrusher/sample rate reducer in either a Nano or XO box size.
This would sell. It seems like most Bitcrusher reducers out there are more just ring mods marketed as Bit Crushers. The frostwave and the ModFX are the only two I know that are true bit crushers.
June 28, 2009 at 7:10 am #98534SirBlend12MemberQuote:Quote:The EHX SmashCan – Bit and Sample ReducerIt could be a simple bitcrusher/sample rate reducer in either a Nano or XO box size.
This would sell. It seems like most Bitcrusher reducers out there are more just ring mods marketed as Bit Crushers. The frostwave and the ModFX are the only two I know that are true bit crushers.
My thoughts exactly. There are a few true crushers out there, but they are all hard to come by, or have to be made specially, or cost a ton for something that simple. The best I’ve seen is the HEXE BitCrusher (HEXE Guitar Electronics… check it out… definitely a legit crusher).
I guess we can hope, can’t we?
June 28, 2009 at 2:06 pm #98544WatsonWoodMemberQuote:Quote:but i’d like to get more chords thru it.that’s just not possible with an analogue monophonic octave pedal….believe me I’ve tried, big full chords just ain’t gonna happen.
The answer is, yes and no, depending on set-up, and which chords are being played. Check out the post I did for Matt above. And having listened to your music, electro-melx, which I find seriously interesting and cool, I am sure you can integrate a DOM to your chord style since I have often used and still do use the DOM for heavy fuzz/delay chord patterns.
July 13, 2009 at 8:45 pm #99354Mr.BigMuffMemberI’m loving these ideas about a Big Muff with presets. But in addition, i would like to see a Nano sized Big Muff. The new Memory Toy has 3 knobs, so i think i would be cool to see them put out a Nano Big Muff with the classic red and black paint scheme. To me it just makes sense. Much like the XO Little Big Muff, but in a more pedalboard friendly enclosure. Is this just me, or would anyone else like to see this happen?
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