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April 3, 2009 at 11:00 am #95189Stoner WizardParticipant
Mornin’ friends!
This is the first post I’m using to showcase my pedal boards. As a result of many years and lots of different stompboxes I’ve tested and/or owned.
The rule is quite simple for me: When I get a good-sounding set, I don’t make more changes (except those related to improve the wiring or powering system if necessary).
Now, I’m really busy with three bands, which has led me to create different pedal board settings. I choose the pedals in order to fit with the band’s mood (thus, some boards tend to be more straight-forward sounding, others have a retro-psychedelic style and other are more experimental/totally freaking out). But all of them share identical features:
– Effect Chain: I use the same pattern for every pedal board I’ve arranged: Guitar -> tuner -> wah (if used) -> fuzz and/or distortion -> overdrive -> booster (if used)-> voicing effects (octave, ring-mod and similar fx) -> modulation effects (tremolo, phaser…) -> first delay -> second delay – amplifier.
– Input/Output routing and Mono/Stereo connection: As I’ve shown above, my rig is the simplest possible due my amp of choice.
Yes!, My Sovteks look and sound like early 70’s monsters (MiG 100 models) so there’s no effects loop and I’m connected in mono, with all their pros and cons (mainly, stereo effects and delays — supposedly, they work better [sound more “crystal clear” when placed in the effects loop than through the input]).
– Double Delay: This a key feature in my signature sound. I always use two delay pedals.
The rule is that the first one needs to be a “simple” delay. For that purpose, I use analog delays or certain digital models (sometimes 80’s old-school, or any which have an “analog-like style”).
The second delay I put is always digital. I usually choose pedals with lots of features.Another key point is that all delays have to be completely different. In my case, I use 14 delay pedals (EH, of course, and many others from good manufacturers). The main idea is to pair them to expand their possibilities as much as I can.
– Wiring and power supply system: In order to have a “ready-steady-go” setup for studio, everyday rehearsal and especially for playing live. Everytime I use my boards, I only need to plug three wires: One to guitar, other to the amp and the pronged power cable. In the same way, all power supplies or adapters are fixed and connected so there’s nothing outside the board.
Depending on the pedals I have, I use power supply blocks for standard pedals — I mean, these which have the standard 9-volt and not too much current consumption [PCIOKS are my choice due they’re protected, they have a wide range of mA, enough to feed many pedals without overload risk (with LED’s for on/off and status) and easy to place in the board because they’re not huge (add. They have screws on bottom if repair is necessary].
Some pedals need their own adaptor, like most of my EH-favorites, and others (other huge delays, mainly).
– Casing: I always use aluminium pedal cases, of different measures depending on the pedal setting I want to use. Most of them are Rockcase model by Warwick with velcro-covering on the base. I use their three standard models (small, medium and large). When I play, I need only to remove the top.
I prefer them not only for easy carrying or storing (also they have the inside covered with foam lid for extra protection and avoiding ), they’re quite heavy-duty if you’re careful, also their light weight is a plus for me.
Well, let’s go to the first one:
This is the main board I use with the most “standard” group. Not many pedals, but they work superb!. Guitar -> Boss TU-2 -> MXR Doubleshot Distortion. -> MXR Phase 100 -> EH SMM/Hazarai -> TC Nova Delay – Amplifier.
The original rig was: TU-2 -> Proco RAT 2 -> Phase 100 -> Boss DD-6. The DD-6 (good sounding compact delay unit) was replaced by SMM/H and TC Nova Delay because I had not enough with a single delay (I’m a delay maniac, I guess). There’s only one EH but is THE CHOSEN ONE .
I replaced the RAT with the MXR DD because I needed a more standard-rock distortion. This one has two different channels (based on the Dist + and Dime Distortion with 3-band EQ plus “focus” controls (a mid-scoop and a bass response reducer depending on each channel you are), and very versatile. It’s easier to tame than the RAT 2 (Didm’t match with the MiG 100) and quite silent.
For modulation purposes, the Phase 100 (also, a great classic) still stands there.
The SMM/H is in first place, it has a relatively warm sound (despite it’s digital) and good quality. It has lots of amazing sounds inside to discover. The TC it’s a similar-range multi-function delay (without loop section) but placed after to take advantage of delay “trails” (when the repeats fade out gently instead of cutting when the effect is disengaged) — something the SMM/H lacks (unless someone tells me how to do). When I play and compose, I use the SMM/H to explore more psychedelic, ambiental or weird sounds. Loop function is great (30 seconds of looping time is a plus!) because there’s superb for sonic manipulations, and the advantage of echoed over a played-back loop if you wish.
In contrast, the TC ND allows me to achieve a “standard” delay or when I need to do subtle arrangements. Each one plays their role perfectly, but shine when combined.
Here it is:
[img]http://lh6.ggpht.com/_Ht0yViMDiGI/SScMzkpwsCI/AAAAAAAAAGw/oN0rSU7wkB8/s640/Pedal Board Small II 1.JPG[/img]
More for the next chapter:
Cheers from Spain.
Nacho
April 3, 2009 at 1:20 pm #95195PabloMemberHola Nacho,
What’s the Nova Delay like?
I’ve been thinking about getting one to replace an older ibanez delay.April 4, 2009 at 3:54 pm #95242Stoner WizardParticipantQuote:Hola Nacho,
What’s the Nova Delay like?
I’ve been thinking about getting one to replace an older ibanez delay.
Hola, Pablo:
The TC Nova Delay is supposedly based on an older TC delay rack unit (80’s as I can remember), the TC-2290 Dynamic Digital Delay, but I don’ think it’s a reissue. As I’ve tried, the sounds don’t try to mirror or emulate other manufacturer models.
You may get complex delay patterns as it’s capable of dual delay sounds besides the standard or reverse echoes. As the SMM/H and others in that price range, you can store your fav. sounds to presets.
Despite you can add modulation or color (mainly, the typical hi-freq cut of older tape/analog units), it has a “crystal clear” mood. It’s useful for studio or live situations when you need to match with an external metronome as you can set the tempo in milliseconds or BPM.
It’s not “better” or “worse” than an old delay – just another world. If yours it’s and old 80’s japanese, maybe would be a good idea to pair them to have a “twin attack delay”, at least I’d try this before getting rid of it.
Cheers!
Nacho
April 4, 2009 at 7:27 pm #95248PabloMemberQuote:Quote:Hola Nacho,
What’s the Nova Delay like?
I’ve been thinking about getting one to replace an older ibanez delay.
Hola, Pablo:
The TC Nova Delay is supposedly based on an older TC delay rack unit (80’s as I can remember), the TC-2290 Dynamic Digital Delay, but I don’ think it’s a reissue. As I’ve tried, the sounds don’t try to mirror or emulate other manufacturer models.
You may get complex delay patterns as it’s capable of dual delay sounds besides the standard or reverse echoes. As the SMM/H and others in that price range, you can store your fav. sounds to presets.
Despite you can add modulation or color (mainly, the typical hi-freq cut of older tape/analog units), it has a “crystal clear” mood. It’s useful for studio or live situations when you need to match with an external metronome as you can set the tempo in milliseconds or BPM.
It’s not “better” or “worse” than an old delay – just another world. If yours it’s and old 80’s japanese, maybe would be a good idea to pair them to have a “twin attack delay”, at least I’d try this before getting rid of it.
Cheers!
Nacho
I hadn’t even thought of the twin delay idea,
that sounds fantastic, sounds super convinient for the studio.
Thanks Nacho! :thumb:April 5, 2009 at 11:05 am #95293Stoner WizardParticipantGood morning again!
This message is the conclusion to the first I posted. Now, here’s another pedal board I built last year. This one is the secondary or auxiliar board to be used as a replacement or in conjuction with the first one (using AB boxes – not tested yet but coming soon).
What kind of stuff I play with this setting?. Well, I use this with a “pop-rock” band (sometimes ambiental), so all effects are used to get subtle arrangements or an eerie sound. If I want to rock, there’s enough to give the “extra-punch” I need in certain moments. Additionally, I use this pedal board when I play in a duo with a drummer (ambiental, jazz-like sometimes). In this case, I use exclusively this board and also I only play with finger-style technique.
Here’s a quick overwiew: Like the first one, this is another “only one one-EH pedal”, but another CHOSEN ONE.
Let’s describe the rig: Guitar -> Boss TU-2 -> MXR Distortion + -> MXR Micro Amp -> EH Stereo Pulsar Tremolo -> Maxon AD-999 Analog Delay -> Toadworks Redux Delay -> Amplifier.
The distortion is a “soft-clipping” class dist (another classic, too). It works better with huge amps (size and watts) than smaller ones – undoubtely, tube rather than solid state. The same goes for the booster. The Dist + is a reissue but the Micro Amp is an old-MXR one!
Another two-pedal delay section: Maxon is an analog “bucket brigade” device, in the vein of another classics (like Memory Man, older Ibanez/Maxon AD-9, Old Boss DM-2 and DM-3, the new MXR Carbon Copy…). Very elegant sound (quite Gilmour-esque style). After, and the last one: The Toadworks Redux, a complex digital one, with an “analog-style” kind of sound. You may have two different delay signals with adjustable offset time. All sounds I obtain are very subtle (I mean, not “percussive-type” repeats) – Both delays work nice when I combine together.
All placed inside a custom-made 40 x 40 cm. flight case
Well, let’s talk about the EH: The Stereo Pulsar Tremolo. When I wanted to buy another tremolo for this board I wanted to have another kind of sound. I already have a “Fender tube amp-like” tremolo pedal, which is nice for me, but for this time I needed something “beyond”. So that’s when I thought about EH – but too bad for me (I LOVE the big-boxed EH units) when I noticed the original big box Pulsar Tremolo was discontinued, so I had to buy instead the new XO stereo version – the best option, considering the available size to place the pedals.
I own this EH pedal since November’08 and I’ve managed to get ten different sounds from it (both triangle and square wave, five with each wave type). If you’re not used to tremolo, this one could be a little tricky because the “classic-type” tremolo it’s located on two settings and the rest are very experimental sounds ranging from “heart beat-like” pulse on-off sounds to fast-vibrato or even “quasi ring-mod territory”.
The depth pot does not act like standard trem (when the deepest treomolo effect it’s at max level) – it’s quite funny how it changes when you put if above 2 o’clock mark (like it’s said in the manual).
The shape pot allows you to get more sounds even than the symmetrical wave of most pedals. Nice!
The rate pot is the only one I wish it could work in a better way. I mean, once you go past noon, the tremolo speed is too much: I’d like the speed change was more gradual to make it more usable. That’s my only complaint.
However, I wouldn’t change it. Everything it’s in its right place…
A pic:
[img]http://giswua.blu.livefilestore.com/y1phOFiRABAqMjJ7bmfitFW-RebvwUiCLJXfgDMZZTkSP1pYviytoDO-JBJc_Is9aQX1lSQawTj6FipFOBT-SUL1w/Pedal Board Small 2.JPG[/img]
More boards on next chapters…
Cheers from Spain!
Nacho
April 6, 2009 at 11:06 am #95336Stoner WizardParticipantMornin’ again, friends!
Two previous posts had shown the board-setup (main and secondary) I use with one of the three bands I’m in.
Now, another band, very different style: From stoner/retro-metal, to progressive-experimental passages. The amp is again a MiG 100 (modded to 50-watt) with the original 4 x 12″ cab (the first one had a 2 x 12″ cab), but the sound changes because the use of down-tuned guitars (standard C and D — no drops) and heavy string gauges.
Intentionally, the bass keeps the standard tuning so we don’t look each other’s fretboard (B E A D G C for 6-string bass) and sometimes we exchange our roles (thus, the bass sounds trebly and lead, and I do the steady rhythm-heavy bass line). This is possible as both instruments sometimes share the similar frequency spectrum.
This is the main board I use to stoner rock forever (laughs!):
Guitar -> Boss TU-2 -> Crybaby GBC-95 Wah. -> EH Big Muff Pi NYC Reissue-> EH Metal Muff w/Top Boost -> MXR Dyna Comp -> Aramat Tubular Tremolo -> MXR Carbon Copy Analog Delay -> Boss DD-20 Giga Delay -> Amplifier.
The wah-wah, is perfect for my needs. Not much sweep, but warm sound. Nice!
Originally I had only my favorite king-size Big Muff Pi (bought in late 2.005 – still came packed in a pine box), but sometimes I needed “more”, so I began to look for a high gain distortion. When I first saw the Metal Muff I saw the EH-response to other manufacturers, but I knew that there was “something else” different from others (as EH-tradition). Despite I’ve managed to palm-mute with the Big Muff, the Metal Muff has added more sounds to the palette. With treble boost (at reasonable levels) gives me the “edge” I need for solos or complicated riffing (works nice for down-tuning to give clear but powerful sounds). It sounds like a high-gain quality amp (I think on good Mesa or Soldano instead the “standard” Marshall).
With the Big Muff, I get a greasy but nice fuzz sound like the very early Black Sabbath (first three albums), or great doom metal pioneers like St. Vitus, Pentagram and The Obsessed. Works nice with slide and compressor, too. And it’s great if you like some post-rock/shoegaze bands (like Bardo Pond or Mogwai). Very nice for drone and doom (think on Earth, Boris and Sunn O))) — great fan of them!).
The Metal Muff allows me to get the old-school thrash metal, but more important, the heavy, “in-your-face” sound of some stoner legends (think of Kyuss, Fu Manchu for example) or the Melvins’ full roar. But has also a good hard rock vibe (you can get some pretty leads like Porcupine Tree’s Steven Wilson does). With distortion at minimum values, it has a nice rhythm crunch.
When used at the same time, these two beasts turn into a behemoth:metal:. The fuzz and distortion cascades, feedback, chords sound more powerful even! and lead lines with modulation and/or delay fx give you a sonic ecstacy!. They work at their best (for my purposes) when Big Muff is placed first and Metal Muff after.
The compressor is another great classic, the MXR Dyna comp, if I want to give a bit more punch or sustain lead or slide lines.
The tremolo is a hand-made unit by Keith Van der Schaegen (Sadly deceased in August 2008 – RIP). One amazing tremolo if you like the classic Fender amp type tremolo. Another good feature is that you can use it as a clean booster (with depth at zero).
The twin delay section: One analog and one digital/programmable delay. The MXR CC is another “bucket brigade”, with a resemblance to the Memory Man (without the vibrato/chorus and its driven sound) – despite there’s nothing like the DMM, it has a modulation and a good delay time range (up to 600 ms.). Very nice!, if you like the DMM, you’ll find it familiar. It’s a new design and not a reissue of older MXR analog units.
Let’s finish with the Boss DD-20. In my opinion, this is the top Boss’ stompbox delay/looper, like SMM/H is to EH catalog today. Lots of sounds, and many possibilities. Sounds incredible to expand your limits and experiment.
The power system: A PCIOKS’ Big John for all pedals, except for the Boss DD-20, which has its own adaptor. Everything placed inside a 60 x 40 cm. space. The image is not the most up-dated since I replaced some cables with better quality ones (Neutrik-type connectors).
Here it is:
[img]http://giswua.blu.livefilestore.com/y1pjxR6m6q5vrlp1Q89ywAqn5wISlMysuPu-gXoB5T2aeAmgopp9TlhNTZrmLqBi8K3tAwsZXk2F34VaEiRX98wtw/Pedal Board Medium.JPG[/img]
UPDATED PEDAL BOARD 05/05/09:
The Big Muff Pi USA reissue has been replaced with an 1978’s OpAmp NYC Big Muff Pi with Tone Bypass and this pic shows the final setting. The removed Big Muff Pi will be relocated to my seventh and craziest pedal board which is in construction right now.
[img]http://giswua.blu.livefilestore.com/y1pidgWwNYdxrXwTfPvV8IchgzG_UWPrS5qDGGxxyaCvWAnu3C0ihp8MT9PB04O2DnXJrasNJ2shEDKzi80kEPga0F6vJUV1ORZ/Korvak I (Last).JPG[/img]
FINAL PEDAL BOARD SETTING 12/09/09:
After some time tweaking with my different Big Muff units, I’ve replaced the ’78 Opamp Big Muff (which will be used for other projects) using an Early 2000’s EH Big Muff Pi Reissue instead, which suits better with my Gibson Sonex, and of course, sounds killer with my Fender Jazzmasters. So here it is the final version:
[img]http://frprja.blu.livefilestore.com/y1p__Yd6IleZFUgF5eKr7Ns3pCCMBAGrYdPWb_Q3UE_BkSL6J5pxL9Xg-G56GIpoRFQubz4vpWsiipHq_6NathlaQ/Korvak I (FINAL).JPG[/img]
More freaky boards for the next chapter:
Cheers!
Nacho
April 6, 2009 at 6:26 pm #95357tentaclejoeMemberHi Guys,
An excuse for my first post. This is one of three boards but my main rock one. Nothing fancy — just a whole lot of boosting.
Other EH pedals I own that aren’t on this board are nano clone, 16 second delay, small stone, stereo memory man, muff fuzz.
April 7, 2009 at 11:28 am #95403Stoner WizardParticipantMornin’ again, friends!
If yesterday posted the “Stoner-rock forever!” main pedal board, now it’s time for the secondary one.
This is my latest design, and certainly the most wicked of all (evil laughs!).
When I conceived it at first, I have to admit it was not my intention giving a total freaked-out direction. But some pedals were discarded and then replaced with others, so that’s when I got the final result
Here’s the rig: UPDATED PEDAL SETTING 26/05/09
Guitar -> MXR Blue Box -> MXR Classic 108 Fuzz -> EH Deluxe Big Muff-> EH Frequency Analyzer -> EH Pulsar Tremolo -> Ibanez DDL-20 Delay III -> Boss DD-2 -> Amplifier.
There’s no tuner because this board shares the same one with the previous, so it’s not necessary to duplicate it.
For start, the MXR Blue Box is an old friend of mine. I had it in my first pedal board six years ago, but after three years of use (placed after distortion — not the best use, I know), and mainly because it didn’t fit with the band style I sold it.
But now, with much more experience and clearer ideas, I decided to give it a second chance and I put at first where it really shines. To compensate its limited output range (volume always at max — the only flaw it has), the next two pedals are both for standard fuzz use and to boost the Blue Box.
Like a DMM, there’s nothing like the Blue Box (think on Jimmy Page, Thurston Moore and Keiji Haino, for example). Fuzz, one or two random-octave down-synthy in a box. It has a built-in noise gate. Total madness!. The BB performs at its best when the preamp stage it’s quite saturated or full-driven (at least, I’ve checked it with my MiG 100).The MXR Classic Fuzz is a Fuzz Face type, but silicon transistors instead of germanium. The buffer switch is great to use when you have a wah to eliminate the high-freq oscillation. Besides this use, the buffer allows you to choose between a “Fuzz Face-like sound” (buffer OFF) or mode modern (buffer ON). It’s True-Bypass and has two full-bright blue status LEDs (on/off for effect and buffer).The fuzz-cleaning is quite effective when you roll down your guitar volume pot but not as superb like, for example with the Fulltone 70 (which I also own, and like it very much).
The Deluxe Big Muff is another old friend. Six years ago, the other guitarist in the band bought it. It’s a late 70’s IC (a Howard Davis design, I suppose) “Big-Muff & Soul Preacher Compressor in-a-box”. Originally it came with the built-in AC cord and the switching system. It sounded harsher than all Muffs I’ve listened before. Quite freak!. After one year, he sold it to another guy, and was sold again. According to the swtiching systmen, this is the late version because of the “Parallel/Series” instead of “Blend” which had the early version. Then, I found it again on a second-hand advertisement and purchased it back. I noticed it has been modded:
This EH Deluxe Big Muff is under repairing to restore its original sound as possible (mods have proved to be disastrous).
With these three pedals, I’ve got all psychedelic-stoner-doom-drone fuzz sounds I need. No matter I use one, or paired or three at the same time. They growl and make it very well!.
The EH Pulsar Tremolo was a must, since I own and like the new XO Stereo Pulsar, I wanted to have the king-sized mono version. I got it at last, and very nice. I don’t think it sounds EXACTLY like the new stereo brother, maybe the pots perform in a slightly different way. A must-have!
The EH Frequency Analyzer is the third big-boxed pedal. At this point, it’s obvious I LOVE the king-sized EH effects (I prefer them, if possible (despite there are lots of new XO series I like and own) to their XO or Nano equivalents). This is one of the wildest effects EH have made!. I found it very nice and useable, both for harmonizing or making harsh atonal sounds. Paired with EH Pulsar in “mod ring.” and the Blue Box it’s good to perform a low-budget horror movie soundtrack.
The filter activates a droning bass mayhem if combined with fuzz… hehehe!
The twin delay section as other boards have. For this time, two 80’s old-school japanese made boxes. First, an old Ibanez delay (manufactured by Maxon, like most 80’s Ibanez boxes). Digital, but with an eerie mood in its sound.
The last one, is an early 80’s Boss DD-2 (the “Blue Label” one, which were made in Japan), sounds and feels great!
I’m beginning to use it much in my “solo” recordings, which are based on long songs that involve layers of guitars making ambiental passages or very slowed-down tempo drones and feebacks (think of Earth and Lee Ranaldo’s solo work for example). This board could be very useful in studio for specific parts, too.
The power system: A PCIOKS’ Baby for all pedals, except for the Frequency Analyzer and the Pulsar Tremolo, which have their own adaptors. Again, a 60 x 40 cm. Space to place this insane device!
Here it is:
[img]http://giswua.blu.livefilestore.com/y1peQ6HJBBend4gkNgnzDESwcOf9vF14ptGbsDNgDVxvvj8TXbuwQTlG8Qzml8bm3TcSCP0dYfD-_whbu3hQrJNJKoR0DKHOF00/Korvak II (Last).JPG[/img]
FINAL PEDAL BOARD SETTING 12/09/09:
[img]http://frprja.blu.livefilestore.com/y1pCwmLcjobiWUuReaatNlNpKqDIDekqluZm4ysW0z7d5YW3pR9sOpZYgrTigWTG73AEJNSATmWJJvsJ_Ve71_ixw/Korvak II (FINAL).JPG[/img]
Guitar -> MXR Blue Box -> EH Double Muff -> Fulltone ’70 -> EH Frequency Analyzer -> EH Pulsar Tremolo -> Ibanez DDL-20 Delay III -> Boss DD-2 -> Amplifier.
The MXR Classic Fuzz went out because It suited better with Fender-style tube amps (as I checked it with a friend of mine), and the Deluxe Big Muff is being restored, so I put instead an EH Double Muff and a Fulltone ’70, which serve perfectly and have lots of possibilities (one by one, or both at the same time). Of course, in conjunction with the MXR Blue Box.
For the next chapter: The last two psychedelic boards!
Cheers from Spain!
Nacho
April 8, 2009 at 2:15 am #95433PumpkinPiecesMemberBlue Box into Big Muff is one of the coolest fuzz combos I’ve ever had. Instant Melvins.
April 8, 2009 at 4:51 am #95437julianModeratorfrequency analyzer
I approve
April 8, 2009 at 10:33 am #95438Stoner WizardParticipantGood mornin’ again, friends! and thanks a lot for your comments.
Like I said yesterday, let’s place between pop-rock (my first two boards) and the stoner-experimental roar (the lastest two). This is a wide space where rock, funk, psychedelic, progressive, jazz-like improvisation spots meet… and the result is unpredictable (laughs!).
Here’s the rig:
Guitar -> Peterson StroboStomp 2 (Tuner) -> Crybaby GBC-95 Wah -> Sovtek/EH “Green” Big Muff -> Aramat Green Machine Overdrive -> EH POG -> MXR Phase 90 -> EH Deluxe Memory Man -> Line 6 DL4 Delay Modeler -> Amplifier (Sovtek MiG 100 H).
Not too much about the tuner. It replaced a Boss TU-2 (which was relocated in another of the boards I’ve shown before). If TU-2 has a good chromatic mode, strobo is not as strong, and clearly Peterson is much better. You can use it as a D.I. if you need and has a lot of different tuning settings (drop, open-chord, for acoustic, etc.). I use the standard mode to play in Standard E and D. I set the internal trimmers to True-Bypass.
The wah-wah, exactly the same model that I use with another board. The simplest of Dunlop catalog. Don’t need nothing else!.
Here’s the first EH gizmo: The “Military Green” Sovtek Big Muff. Bought it second-hand. The only mods I did was to add a 9-volt socket for Boss-type connectors (so I got rid of batteries) and “re-reverse” the in/out jacks so they are placed like almost all pedals. It’s rather a distortion than a fuzz (like USA and Russian black reissues), sounds more defined (for example, palm muting is really audible) but still has a lot of … “balls” (if I have to use a word to describe). These monsters are getting priced by collectors and players (simple look to eBay), I was lucky (didn’t pay too much) because I bought it from a guy that was “terribly disappointed because it was too heavy”. Also, more than six years together and very happy with it. It’s a tank who looks and sound like it.
Aramat Green Machine Overdrive is another great pedal created and hand-made by Keith Van der Schaegen (Deceased August’08). Based on the original TS-808 with more gain and bass response. True-Bypass. It’s quite silent, and perfect for a single-channel tube amp to get the “punch” you need — when you turn the drive up, shines even more but still quiet. I put it after the Green Muff and additionally serves me as a boost for the Muff (drive at minimun and playing with the tone pot).
The EH POG is another must for me. I use it a lot for lead and rhythm lines. The octave tracking is the best I’ve tried. The great plus is that being polyphonic allows you to expand the typical octaver use (lead). Chords sound really good. You can also get 12 and 18-string gtr., and organ-like sounds. No matter you want to make music or noise. I don’t need more octavers in my life (except for the tiny Blue Box).
Phaser is one of my favorite modulation effects, and here it comes the Phase 90. Just one knob (and a trim pot inside to tweak — I kept at factory setting) and that’s all I need. It has also a UniVibe-esque sound when used in center (and around) position, which I love. More than six years together and very happy with it.
If I like phasers why there’s not a Small Stone?. I previously owned a Small Stone but this is the only one which didn’t “caught” me (as all EH pedals I own certainly did). The former second guitarist in the band (when we were a quartet) liked it much more than me, and the same happened to me with his Phase 90, so we made an exchange and both were happy. Very sorry, EH.
The EH Deluxe Memory Man is a 2.003 unit which replaced my previous and beloved (sadly destroyed in a fire) 2.002 version with pointer-knobs and Carling switch — still miss it. I keep the nice pine box. I chose Deluxe because I preferred a wider delay time range (550 ms. to Stereo’s 300) and more sonic possibilities.
I always liked the eerie vibe of this pedal. And also has a “secret weapon”, the Level knob. When pushed above 50 %, it gets more and more drive. Perfect for sonic delay blasts a-la Jesus & Mary Chain’s or Pink Floyd’s freak-outs (think of Syd Barrett’s “Astronomy Domine” or early 70’s David Gilmour explorations. If you like post-rock and shoegaze bands, DMM is a must have!.
To complete the “twin delay section”, there’s the Line 6’s DL4. Lot has been said (very good or very bad) about this pedal. I put this because I needed to expand my delay sounds where the DMM can’t reach (for example, reverse, loop, or storing presets) I always liked this pedal so I decided to pair them — I already own a SMM/H, but it’s paired with another one, so I don’t duplicate units.
DL4 sounds really good but in my opinion, the best way to work with it is trying to make it sound by itself. If you want to get the DMM sound, buy a DMM (the same I say if you want an old RE-201, DM-2 or AD-9 sound — get an original). Emulations work well but just “forget what they’re trying to sound like and go find your own way”.
Teaming with the DMM, both shine and sound nice!. Placed after DMM, I’m able to loop DMM’s echoes and play over them. I also to create complex patterns. I use it in True-Bypass mode although you can use it with “Delay Remain” so the repeats fade out instead of cutting (using buffers).
The power system: A PCIOKS’ Baby again for standard or low current consumption pedals, except for the POG, DMM and DL-4 which have their own adaptors. I needed a bigger case, this is 80 x 50 cm.
Here it is:
[img]http://giswua.blu.livefilestore.com/y1pm-px-Amf9XpYV9ZLe6fh8Ba6F6DDgZfKjuL6zRs7Tza25-JTrgqCIadsR3-KOA6VH-YtN65dY2Lxzah8XKg0rg/Pedal Board Big 1.JPG[/img]
UPDATED PEDAL BOARD 13/05/09:
[img]http://giswua.blu.livefilestore.com/y1pkzhPRVDJT0lVIn0AqOvbhc0kg8qSFz1KFBN8InZMp1jC1g0xsDOmWmVCX1jr1FvTuf6rf7mvoxZ5XHc-KX792VukgZCXNAS1/Lana Lee I (Latest Version).JPG[/img]April 8, 2009 at 3:55 pm #95444Stoner WizardParticipantGood afternoon’ again, friends!
Well, this is the final post I dedicate to explain my different pedal boards. This is the simplest and the only one who sets apart of my “rules” about sounds and settings.
I use this as the secondary or aux. board to the big one I posted this morning. The first time I used was on a cover festival with many bands (chaos!), where It was obvious I needed a “survival pedal board”.
Now, i’m preparing an AB switching to use two boards (not at the same time, but choosing between them — FREAKY!).
Here’s the rig:
Guitar -> [empty space for Peterson StroboStomp 2 (Tuner)] -> EH Hot Tubes Overdrive -> Voodoo Lab Sparkle Drive -> Dédalo FX Mñ¡quina del Tiempo Delay & Eco de cinta (Delay/Tape Echo simulator) -> Boss DD-7 -> Amplifier (Sovtek MiG 100 H).
The tuner is the Peterson S.Stomp 2, so both pedal boards share it. If I use this one, just relocate it. It has plenty of room to place it.
Next, the only EH-pedal, but another “CHOSEN ONE”, the Hot Tubes Overdrive (not the 70’s transistor unit in a Memory Man enclosure). This is the only tube-driven pedal I own, and of course it’s an EH.
It’s a saturation pedal with interactive controls for tone (filters rather than ordinary EQ controls), gain, drive (which is in fact a color ranging drive to distortion) and the master volume to set the output level. I haven’t tried it too much (at the moment, for recording uses). Sounds nice, very rock sound. Not the kind of sound to play death metal but very versatile instead. At extreme levels and depending the tone settings, may “muff”. But it has its own personality and that’s its plus, like any EH design.
This unit is a 2.002 catalog version, it still has the pointer knobs and the DPDT Carling switch. True-Bypass (accomplished by a mechanical relay). I tested a later version (cardboard box packed), but didn’t like it too much so I decided to wait for a better one until I get this beauty inside a pretty cool pine box.
The first tube-device I saw in my life seven years ago. Nowadays, there’s a myriad of tube-driven pedals of different manufacturers and sounds, but I consider the Hot Tubes one of the pioneers.
The Voodoo Lab Sparkle Drive is the second TS-808 type overdrive I own. Good sounding, very high quality components. Very similar to my Aramat Green Machine, but with the additional clean control, which adjust the balance between clean and overdrive signal, so it gives a very solid sound. True Bypass, nice housing and very affordable. As the Green Machine, is placed after the Hot Tubes if I want to boost it even more. Its own sound is a very musical overdrive, that shines when played through an already-driven amp, like the Sovtek MiG 100 H is.
Mñ¡quina del Tiempo it’s a delay unit made in Argentina by Dédalo FX, an effect pedal company which manufactures diverse models (mainly: distortion, phaser, tremolos, delay and so on). All their products are good quality-ones. They’re still hand-made and good sounding. True-Bypass. They have a retro-style (sound and image), very “psychedelic-stoner-and-so on”.
Despite it looks analog, it is a digital pedal. But it has an analog filtering device in its circuit that creates the hi-freq cut and repeat degradation of older analog devices. This feature gives an eerie mood, like a worn-tape unit. Good service and affordable pedals. The time range it’s divided in two modes: Single (up to 500 ms.) and Double (up to 1 sec.)
Let’s finish: The Boss DD-7, a surprisingly compact unit. Lots of sounds, modulation and analog simulation (old DM-2) modes, reverse, enough delay time range (more than 6 sec If I remember) and a 40-second looper. What else in a little box?.
I used DD-3 and DD-6 for many years, and they were (besides DMM) my “delay academy” (my first delay, was a japanese DD-3 I found in a pawn shop nine years ago — I still remember it). Last year, DD-6 was not enough to me, so I replaced it with the DD-7. And some days ago, I found an old DD-2 which sounds really cool!. Not the greatest, but what they do is well-done.
DD-7 is the last pedal in order to take advantage of “trails” if I want to fade out the repeats in a gently way.
The power system: EH Hot Tubes has it’s own AC adaptor (never seen a 1A wall-wart before!) and the usual PCIOKS Baby wiring for the rest. The case measures are 45 x 40 cm., and there’s plenty of room to have everything inside and ready to use.
Well, this is the last of my six boards. They are always ready to rock and allow me to create and develop myself as a guitarist, solo or with band.
They may change, but there’s one thing clear: At least there’s one EH box in my set-up.
The other keys are amps, guitar (I’ll speak of them later) and myself.
Here it is:
[img]http://giswua.blu.livefilestore.com/y1pM10UEjyb6QVjim6VpG7xbGrelBH937Mw-FyhUgu1MvCfEgoFwyg-9E0_KNYkuGjEyOXc1DcKtlo/Pedal Board Small III 2.JPG[/img]
UPDATED PEDAL BOARD 13/05/09:
[img]http://giswua.blu.livefilestore.com/y1pYIOPaKSuqRvDfXWMMVT6O0bXfr5tbM_69DtQNFob17INjzzuZTnZHBYqKD_MUnjFFg1Q5tnla3F01V1swjIXag/Lana Lee II (Latest Version).JPG[/img]
The changes are in the middle: Two 70’s EH units, a Doctor Q from 1.978 and a mid 70’s 2nd. generation Small Stone. Very groovy and funky, respectively.
Guitar -> [empty space for Peterson StroboStomp 2 (Tuner)] -> EH Hot Tubes Overdrive -> Voodoo Lab Sparkle Drive -> EH Doctor Q -> EH Small Stone -> Dédalo FX Mñ¡quina del Tiempo Delay & Eco de cinta (Delay/Tape Echo simulator) -> Boss DD-7 -> Amplifier (Sovtek MiG 100 H).
Cheers from Spain and thank you very much!
THE END.
Nacho.
April 13, 2009 at 5:22 pm #95601NBarnes21MemberQuote:But there has been in the past:
Smileys, how do you like that “Low Fi Junky Loop”? been thinking about getting one……[/quote]
Sorry for the late response, I really like it a lot. It can’t do overdubs which is a major drawback for lots of people, but you just can’t replicate the loop sound it produces with any other pedal. I’ve actually used it a lot for recording, it’s a really unique and fun pedal to mess with. It’s also teeny so I can stick it in my guitar case for looping on the go.
April 14, 2009 at 8:17 am #95625Stoner WizardParticipantQuote:Hola Nacho, que tal. Great posts and great collection. I have the same green Big Muff Pi from Sovtek, I don’t know who else on the forums has that kind but yours is the second I’ve ever seen, down to the backwards “input/output.” There is so much weirdness about it that it took me years to make sense of it, but after 14 years I really love that pedal. I put it through an EHX Graphic Fuzz, the combination is blistering!Hello, Sim Tut:
I’m fine. Thank you for your comments and sorry for my delayed reply. Yeah, the “Green Muff” is one of my favorite Muff sound. It’s huge, weird that has an unique distortion/fuzz sound.
Maybe if I was a left-handed player, I’d kept the original reverse in/out jacks. But the 9-volt socket mod is mandatory if you play a lot to get rid of batteries.I bought it as a replacement for my beloved 2.002’s NYC Big Muff reissue – died in a fire! (the one with “pointer knobs” and the Carling-type switch (no hex-nut)). I’ve been using it extensively since early 2.003.
Until early 2.008, I used to pair it with a Danelectro Fab Tone (one of my first pedals) in order to make a “jackhammer-like” grinding sound (lots of bass and sustain).
Now, I’ve refined the approach with Green Machine OD (replaced the FabTone) instead if I want to give the Muff “some more”, especially for solos.
When I need a “really heavy” roar, there’s nothing like the Green Muff and a king-size POG (“bass guitar” setting) — everything rumbles!… and I smile.
EH Graphic Fuzz seems to sound great. I haven’t played with one of these yet.
Cheers.
Nacho
April 18, 2009 at 5:14 pm #95791RayjaysonicMemberHere is mine, ju8st finished making the board this weekend. My old one was too small so made this with space for future purchases in mind.
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