The autograph is on the bottom of the box. It’s a standard BMP box.

I’ll be pretty gutted if it’s a fake :angry:

But I paid as much for it as I would’ve paid for a wooden box without the autograph, so I’d get over it.

Those wooden boxes were such a nice touch. I’m bummed that they discontinued that practice, though it might not be as cost effective or environmentally friendly.

I hope the new cardboard boxes are made from recycled materials.

I thought you might get a kick out of this. I bought this Big Muff box on eBay a couple months back, and it has Mike Matthew’s autograph on it. Scott, can you verify its authenticity?

Now if I could just get Mike Matthews to sign my Soul Kiss

[img]http://i23.ebayimg.com/07/i/001/07/9e/7022_1.JPG[/img]

Great, now I’m having Soul Preacher G.A.S. I’d been eyeing them for a long time, but I ended up finding a great deal on a White Finger in its original wooden box, so I jumped on that instead. I don’t regret it, but now I want both

Speaking of Soul Preachers, I have a Deluxe Big Muff Pi (blend switch version), which has a Soul Preacher built into the circuit. The compression used in isolation (without the fuzz) doesn’t do a very good job of compressing the attack. The compression kicks in just after the attack, and it’s pretty noticeable in an unpleasant way.

Does anyone know the Dlx BMP well enough to know if it’s supposed to be that way, or if there’s a way to adjust it?

Looking good there, mate. Now that I see the Punkifier in context to the rest of the board, it does stand out quite a bit. Still, it always freaks me out to see people rehouse vintage pedals 😥 But I agree, somehow it seems out of place visually.

I spend a lot of time playing with pedal order. I have a general rule I setup by, but there are always exceptions to the rules, and those exceptions generally produce the most interesting results.

Compressors are tricky, because they also sound good at the start of the chain to help the tracking of the Pitch Shifters and the Filters. But I like how they smooth out the peaks in filter effects or deep modulation. They help with issues of overloading in The Worm, The Flanger Hoax, and the DMM. They also help with volume drop issues.

For standard, in-the-box functionality, I follow this chain:

Pitch shifting – HOG
Sustainer – vintage BlackFinger
Filters – Qtron+, Micro Synthesizer, Octave Multiplexer, PolyPhase, Tube Zipper, Zipper
Dirt – Big Muff Pi, Deluxe Big Muff Pi, Little Muff Pi, Hot Tubes, Germ OD
Wah – Muff Fuzz Crying Tone Wah
Compression – Black Finger (reissue), White Finger, Soul Preacher
Modulation – PolyChorus, PolyFlange, Electric Mistress, Deluxe Electric Mistress, Small Stone, Flanger Hoax
Tremelo/Vibrato – Wiggler, Pulsar, The Worm
Delay – Deluxe Memory Man, Stereo Memory Man (original)
Reverb – Holiest Grail, Holier Grail, Holy Grail
Equalizer – 10 Band Graphic EQ
Looper – Stereo Memory Man with Hazarai, 16 Second Digital Delay

The Lofi Loop Junky is extremely simple, but brilliant for its simplicity. Like the Stereo Memory Man with Hazarai, it allows you to determine your own loop time without any count in. The 16sDD works more like the BOSS RC20XL – there is a count in, and the loop time is predetermined by setting the tempo and number of measures.

The SMMH and the 16sDD allow you to pile on multiple layers, reverse the loop, speed up the loop, and change the pitch of the loop. The LFLJ does not. However, the LFLJ and the 16sDD allow you to modulate the loop after it is recorded. The SMMH allows you to filter (EQ) the loop after it is recorded.

All 3 of them have their own strengths and weaknesses.

Let’s just say I didn’t pay anywhere near full price for the LFLJ, which is over $300 USD. It was used, but in perfect condition with the original box, cloth wrap, manual, and the power plate. I am quite happy with the purchase.