Hi again Bill,

Thanks a lot for the feedback, really appreciate it.

I thought of using the volume pedal after all my pedals, just before the delay and reverb. I have only one amp right now – but would like to record in stereo – so what I thought of doing was to run things a bit differently:

(tuner) > soul preacher > wah > PREAMP (line out) > pog2 > big muff > small stone > stereo electric mistress (stereo path starts here) > stereo volume pedal > mm hazarai > mm hazarai > cathedral > L/R audio interface > computer

My first post in this forum was actually to ask if this was possible, and the feedback I got said it was (I hope it is). Even if the stereo chain won’t be there on a live situation, the volume pedal would pretty much remain where it is in the chain above, in the effects loop.

So I guess I would need a passive/low impedance stereo volume pedal…(?)

BTW, all the pedals I mentioned are still shipping to Norway, somewhere in between…

Cheers,
Wallace

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you could always run 2x.22 calibers into a 4×12 cab in stereo.

Holy crap. That never crossed my mind. Sweet.

That would make most sense to me. I’m still thinking if I should have a caliber on one channel just to have true stereo….

…AND, if we’re going to follow the caliber thing, the next thing would be 32 or 44…

CHOIR, human choirs!!!!

Put that together with the pipe organ sound made with the POG2, the “cathedralistic” reverb with the Cathedral and fallen angels may rise from hell to heaven… (I’d be the first).

…for instance…

We have been getting the same effects for decades, some of them being Phaser, Flanger, Chorus, Delay, Reverb, etc. Almost everything we get these days are derivatives or combinations of these effects, which were “created” (I’d rather say discovered) many, many years ago.

Why is it that no one come with a totally different effect? Something called “Tugger” for a change…

I’m following EHX closely lately, and that’s the reason behind me going nuts wanting to get almost their whole line-up. Can’t afford it, so I’m keeping it down to five for the time being.

I’ve read an extensive interview with EHX somewhere the other day (don’t remember where), an extensive interview that even went into the technicalities of sound engineering I don’t have much clue about, but it was very enlightening…

This issue with analog-digital was also addressed in this interview, extensively. I understood that EHX is as committed to analog pedals as it has ever been since its humble beginnings. But they made it clear that some of the components that used to be vital and widely used in vintage pedals are not easy to get anymore, in fact some of them have been completely replaced by newer and more efficient components – which were never designed exclusively for guitar pedals anyway. Some of these components became redundant as they were combined/integrated with others to do their job more efficiently (i.e. making slim flat screens possible). Unfortunately for us guitarists, the world has been spinning to fast and those invaluable pieces of electronics are gone forever.

So this is a sign that even though analog pedals will always exist, their circuitries are not going to be necessarily vintage or close to the ones our guitar heroes used to use.

I do feel a tendency towards digital pedals in the industry. After all, modernization takes over and that’s a good thing. It makes me think of photography. Every professional photographer knows that analog photography is still far superior to digital photography. But in digital photography convenience meets technology and more affordable prices in the long run, so every professional photographer has converted to digital. Limitations in pixel resolution are still there (which we could compare it to audio sample converters in the context of this thread), but the flexibility digital photography gives by not depending on films and easy data transfer is incomparable to that of the analog.

Not to mention that, in the case of a digital pedal, if you put a lot of effort to get one right, you’ll get 100.000 just as right (that was actually mentioned on the interview as well). That means you buy a Cathedral now and another in 20 years, they will both sound exactly the same (in the same rig) and I think that’s a very good thing.

My 2 cents.