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danhappysaladParticipant
Well whaddayaknow, that morpheus thing does pretty much embody my original idea. I still think EHX would make an excellent tuning-drop pedal if they put their minds to it, smaller and simpler with less footswitches and lights!
I was recently thinking it could be called “The Dropper” and incorporate the image of a pipette into its graphic design.
danhappysaladParticipantI came across a pedal that sounds like it can do this today; the Eventide Pitchfactor. But it costs a fortune because it does a million other things as well – harmonies, delays, synth, you name it!
I’m not sure I’d want something so complicated on my board, I think there’s something to be said for Jack White’s philosophy of working within narrow constraints. He never went wrong with a whammy and a big muff did he?
Please can I just have a drop-tune pedal haha
danhappysaladParticipantAh, interesting, thanks!
danhappysaladParticipantI was wondering, can you put different kinds of valves in the Black Finger e.g. 12AU7s? How would this change the sound if it’s possible?
danhappysaladParticipantAnother thing is that tuning down often necessitates fitting thicker gauge strings, so even if you did spend the time retuning the whole guitar down a step your set of 9s might not be ideal anymore! With the drop tune pedal this is solved.
Also there’s no reason you couldn’t use it with alternate tunings; for example you could go from open A tuning to open G by using the pedal to drop 1 step.
danhappysaladParticipantI mainly use a setting I cribbed from the pro guitar shop preview video, but it works for me!
Lamp, Squash, Compression 1:30, Pre-gain Max, Post-gain 10:30.
This sounds great clean but if I add dirt there is too much noise so I turn the pre-gain down to about 2:00 which seems to be where the noise tails off best, and turn the post-gain up to 12:00 to compensate.
danhappysaladParticipantAdmittedly turning the low E down to D is easy, but turning every string down a semitone for example is a lot more annoying. Also one of my guitars has a floyd rose locking tremolo, and those really do make it annoying to retune! Shame cos they stay in tune really well. This pedal would fix all that.
Clearly a pedal that could do individual strings for all kinds of alternate tunings would be amazing, but I feel that would be a significantly more difficult engineering challenge to create. You’d probably need individual pickups for each string on the guitar and all that jazz. I reckon if this was feasible someone would have made it already (and it would be horrendously expensive). I hear there is software that can do this sort of thing in post production now though…
Anyway I was hoping my drop tune idea would be simple and within the realms of feasibility (and reasonable cost).
danhappysaladParticipantYeah it’s nice that the HOG can do it, good to know. But I think there is a case for this as a much simpler stand-alone pedal! Especially important to make it work with dirt. I think the POG works well with dirt but maybe it is easier to deal with when moving a whole octave since it is the same note? Anyway this is where the development work would have to go I guess.
Also it’s a bit of a pain using an expression pedal to find the middle point. This is what I was doing with my digitech whammy IV… I have put my tuner after the whammy in chain to help me do it but it’s not exactly something you can do like a flick of a switch.
I guess you could have an expression jack on this drop tune pedal so you could gliss between normal and de-tuned pitch, but primarily I was hoping for a very simple pedal that just worked without many features.
I think this pedal would inspire a lot of great riffs without requiring some ungainly 7 string guitar to discover them! Imagine… Kashmir and Moby Dick a stomp away…
danhappysaladParticipantWhat I’d like is a bit weird and based on what I have learned about analog delay (I haven’t owned one yet!)
I get the impression that part of the charm of analog delays is that the repeats get more and more degraded and “lo-fi” as the delay goes on as a result of the inherent limitations of the bucket-brigade circuitry. People describe this as “warm” and desirable now.
Back in the day the designers of these delays were of course trying to AVOID this degredation and get as clean repeats as possible. Presumeably when the Deluxe Memory Man was originally issued it was actually used by the Edge etc. because the repeats were pretty clean on the whole.
Then of course along comes digital delay with perfect repeats. So now people look at it all differently. If you look at the carbon copy now, that degrades really fast. I guess back before digital delays everyone would’ve thought it was crap compared to the DMM. Now its a bit more complicated!
Sooooo what I’d like on the Memory Boy is for it to have quite nice clean analog repeats like the DMM, but then the ability to make them more distorted and “analog” with a control. Not sure how this could be accomplished with a pot dial control.
I don’t know much about the design and stuff but I guess you could just have a switch that when thrown it would internally halve the delay time but then the first time through the brigade it sends it back to the input before outputting only after the second time through the brigade. This should give more degredation of the signal for the same delay time. Does that sound possible/cool?
Stop me if I’m totally mad haha
danhappysaladParticipantSo what do people think will be the advantages the Memory Boy might have over the MXR Carbon Copy? I guess having direct control over the modulation with a pot is better than the MXR’s switch with internal trimpots, but on the other hand it is a bigger case…
Perhaps the delay time will be longer although this wouldn’t really be a big advantage for me; I have the Stereo Memory Man with Hazarai if I want 3 seconds of delay!
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