The earliest models used a two-prong plug.

There are, however, a few different versions of the two-prong plug models as well.

There’s the blue-face 4-knob that uses the Reticon ICs, and has no modulation.

There’s a blue-face 5-knob with point-to-point soldering.

And there’s the black-face 5 knob which we all know and love.

The Polychorus is unique in my opinion. The chorus is in stereo, for starters. You won’t be able to accomplish that with the 3 pedals you have. Chorus, in particular, is an effect that I prefer in stereo; and for that reason, I have the PolyChorus instead of the Small Clone.

Also, the Small Clone only has continuous adjustment over rate, and 2 preset depth settings. The Deluxe Electric Mistress only has continuous adjustment over rate, depth, and feedback. The Polychorus has continuous adjustment over 4 different parameters- rate, depth, feedback, and tune/delay. The tune/delay is particularly useful, because it allows you to adjust the amount of delay time of the modulated signal. The delay time is preset for you on the SC and the DEM.

.02

Awesome! I recently picked up a vintage yellow Stereo Memory Man. It sounds incredible. I used to own a reissue SMM, and it didn’t compare to the yellow one at all. Not even close. The repeats on it are crystal clear and punchy, even at the tail end of longer feedback settings. The stereo chorus sounds great too.

I haven’t tried the Doctor Q yet. I imagine it’s very similar, but in a smaller enclosure, and less flexibility than the Zipper.
I will say that I’ve been able to approximate the tones of the Zipper with a Q-Tron+, which is really EHX’s most flexible env filter pedal; but it’s also one that requires a bit of tweaking and experimenting to get the right settings. The Zipper is almost plug & play, so it’s convenient.

I never thought I’d love a solid state amp until I bought my Mike Matthew’s Dirt Road Special. That amp sounds amazing! I’ve thrown all prejudice about amps out the window.

That said, I’m a huge fan of many EHX tube pedals: The Wiggler, The Tube Zipper, The Black Finger, and the Hot Tubes. I really can’t say if the tubes are what makes them sound great, or not. What I can say is that I haven’t used any other pedal that can get the same sound as those.

Awesome score! I have the pedal version of the Muff Fuzz called the Little Muff Pi:

I love this thing. It sounds great in front of my Crying Tone Wah and my Small Stone.
Not sure if the noise you’re hearing is normal or not. Noise is a relative concept.

I just purchased one of these last week:

[img]http://i15.ebayimg.com/05/i/001/39/77/dda3_1.JPG[/img]

The unit arrived non-working. The problem was that ground wire. I had to re-strip the end of it, and then I secured it between the slide switch and the enclosure so I don’t have to see it externally. It works great now. Amazingly, the pot isn’t even scratchy after all of these years.

I’m considering modifying it to so that the output is a jack, like with your unit. The plug is novel-looking, but not very practical.

Ming, do you have a good looper? My recommendation would be to record a short loop (representative of your playing style of course, and include some dynamics for variation), then feed the loop into the Micro Synth at the same gain level you recorded at. Adjust the trimpot as you listen to the playback though the Micro Synth and optimize it with the Trigger slider set to about 75%.

Agreed.

Another tip:

The Micro Synth often boosts the signal when using extreme settings. I usually place a compressor after it. If you place compression before it, it messes with the envelope sensitivity.

However, the Attack Delay feature seems to like compression in front. It helps to even out the triggering of that feature.

So the Micro Synthesizer benefits from having a compressor both before and after it, though not simultaneously, and depending on how you’re using it.