From the Web B9 – Instructions here: https://www.ehx.com/products/b9/instructions

NOTES AND SPECIFICATIONS
• B9 has buffered bypass.
• Input impedance is 1MOhm.
• Output impedance for both output jacks is 500Ohm.
• Current draw of the B9 is 100mA.

I have the C9 with essentially the same buffered bypass circuitry, and I have no distortion or noise issues when it’s bypassed. I have it pretty close to the beginning of my effects chain. Remember when using it that the VOL pots for DRY and ORGAN are essentially a two channel mixer for the DRY and the ORGAN signals and that you can get distortion for one or both of those channels if you increase the output volume past unity.

If you’re having problems send a note to info@ehx.com. My personal experience is that they’re pretty quick to respond.

I have the Cock Fight Plus pedal, not the Cock Fight. I agree that if you don’t use the expression pedal with the Cock Fight you’re missing out. The Cock Fight with Expression Pedal has one nice feature that the Cock Fight Plus is missing. That is, you can change the Fuzz Off setting to a Fuzz Through with an internal DIP switch. That’s handy, but make sure that if you want to be able to use the Cock Fight without the internal fuzz that you have the switch set to “Off” instead of “Through”.

Selecting TALK on the CRY/TALK switch is all it takes, but it does take quite a bit of practice. To me it sounds like heel down is an “ooh”. Toe down is an “eee”. In the middle is an “aah”.

Ooh->Aah->Eee

The throw is very short. To go from “aah” to “eee” is a movement of about half an inch or so on my Cock Fight Plus. It’s very sensitive. Also, the intensity and timbre of the TALK setting is highly dependent on its relationship to the drive, distortion, or fuzz being used. I’ve noticed that the CRY works will before or after the fuzz. It sounds very different, but it’s useable in either position. It also changes its intensity and timbre depending on the OD/Dist/Fuzz being used. But, the TALK setting is practically unusable in some settings with the built in fuzz. With the built in fuzz in PRE, it works well. With the built in fuzz in POST, you can barely hear the formants in high gain settings. It’s the same for external fuzz, but different depending on the exact OD/Dist/fuzz.

You should experiment with the position of your pedal around any dirt.

I can’t think of a way to change this behavior. Tap tempo while the effect is engaged is exactly like you manually turning the Delay knob while playing, just that it sets it to the time your tapping, but programmatically they are identical.

I think you have no option but to bypass -> tap new tempo -> engage.

Are you sure you made absolutely no changes to your pedalboard? You didn’t change the order of any pedals? Or whether or not they start switched on?

Supplying power to modern digital pedals is just a bit more tricky than just supplying the proper voltage and wattage. All analogue pedals have to sort of “warm up” before they work. That’s why most all analogue pedals engage the battery when you plug in rather than when you press the footswitch. If they “turned on” when you pressed the footswitch there could be an unacceptable delay, so instead they “turn on” but in bypass mode when you plug your guitar in.

Digital circuits have to do a bit more. They are essentially little computers that have to boot up. Just like your mobile device takes some time to boot up if it has been shut down completely, a digital effects pedal takes some time to boot up. The more complex the circuit, the more time it takes to boot.

Power supplies have something called a ramp up time. That is, how long does it take for the power to reach maximum when it’s turned on or when something puts a load on it. If the power supply doesn’t reach the required levels fast enough for the pedal to do its boot sequence, then the pedal can “hang” just like a ‘puter when one of the many interacting chips fails to initialize in time.

Now, imagine a daisy chained power supply with each of those pedals putting a similar but different load on the system with different timings. It all happens very quickly, but it’s not instantaneous. Initially, there’s a very spiky, dirty, distorted power signal that could be seen differently depending on where you are in the chain. That’s one reason that isolated power supplies are nice. The ultimate in isolation is each effect having its own specialized power supply.

My largish pedalboard is almost exclusively EHX pedals. I also use some daisy chained power supplies, and I also have a couple of pedals that just don’t play nicely with others. They seem to generate a lot of noise when sharing a power supply with some other pedals. Moving them around helps, but I’ve just settled on having them use their own supplied adapters. It’s simple. I start by adding a pedal to a daisy chain. If it works, great. If it does anything weird, it gets its own power supply. I’m sure I could solve the problem with a really expensive, professional, isolated power supply, but those have their own problems, like what do you do if you need a 24v positive tip? What do you do if you need a 9v AC power supply? And they don’t help you with vintage effects with plugs built into the box. So, you still end up having to run separate power supplies anyway, or spend even bigger bucks to get a power supply that supports that ONE effect you have that isn’t 9V DC Negative Tip Cylinder.

They are clearly very different circuits. The MMD operates at 24 volts and uses newer BBDs that are easier to source. The TT operates at 9 volts and uses the original, rarer, and usually more desirable Panasonic BBDs. They clearly sound different, and most people prefer the sound of the Panasonics in the TTs.

But there are a couple of things you give up going with the TT. First, the MMD has a dry out so that you can send the dry signal and the delayed signal to different amps or channels on a mixer for delayed stereo separation. The TT has a loop output which is cool, but no dry out. Also, the TT seems to be noisier and more glitchy as you add delay. Even within its standard delay range of 550ms, you get more noise and lower fidelity as you increase delay time. When you go beyond 555ms using the tap tempo, the delays get really low fi and even start to go into ring modulation territory. Of course, you might like this. The MMD can’t go beyond its max delay time because it has no multiplier circuit, but it stays clean, at least as clean as an analog delay can stay, through its entire range.

It also seems like it’s easier to overdrive the front end of the TT. The MMD has a LEVEL control and the TT has a GAIN control that both allow you to adjust the level of the signal coming in. They also both show you when it’s clipping. It seems like the MMD has more headroom than the TT. It might be because of the newer chips. It might be because it operates at 24 volts. It might be both.

I’ve never had a chance to try them both next to each other, but I wouldn’t be surprised if after A/B-ing them, some people think the MMD “feels” better, or works better for them even though the TT has more bells and whistles.

If you do go with the MMD, don’t forget to brightly mark the 24V plug because it might fry your 9V devices if you accidently plug it into them.

I haven’t experienced this problem or seen anyone else talk about it in any of the forums I monitor. Try sending a note to info@ehx.com.