Thanks. I already have a big box EH POG, which I use extensively for add different voicings to the guitar sounds, sometimes to bass octave, others to upper octaves (+1 and or +2 octave with or without modulation), etc… that’s clear to me. The basic octave voicing is easy to use for different arrangements. As you’ve said, any of these modes suit well.

I comment my first impressions with the FA. My purpose is to go beyond making “sci-fi” and noise sounds. I noticed it when I started to re-write some lead/solo guitar parts of the band… very interesting. The FA gives the touch of weirdness to a “standard” guitar solo.

Another wild thing I discovered is when I set it to get chimy/bell sounds… you can freak out just by pushing the blend all the way up (or almost) and strumming chords (works well with open-stringed chords) or natural harmonics (frets 5th, 7th, 12th…). I also spent some time playing other non natural harmonics (pressing a note in a certain fret while pushing the string with the finger at upper octave position: for example 1 -> 13).

The bass note helps to get a boomy sound. I remember a practice session where I used B flat note with my guitar (Standard C tuning – which has the B flat at open 4th string). First I “tuned” to B flat, and then I recorded it at my EH 16 SDD.

To continue, I looked for a lower B flat note, and “re-tuned” it with the FA. Once I got it, I overdubbed into the first loop. Once I got a low and a mid B flat, I prepared another B flat one octave above the first (two above the second), retuned it and overdubbing one more time again.

When I obtained that droning B flat with multiple octave voices, I pushed the preamp volume of my Sovtek MiG 100 to max while I left the guitar with the 4th string natural harmonic at 12th fret (B flat again) with the Fulltone ’70 and the MXR Blue Box (with random octave almos all the way up) on.

I went out of my rehearsal room and the heavy drone rumbled like a behemoth (LOL!). After I went back with a coffee, the drone was at full-throttle. I took the headphones and sat on the drum kit and began to make a steady beat at first. After a few moments, I started to improvise with the lower floor toms (16″ x 16″ and 18″ x 16″).

Once I finished with drums, I took a bass, added an overdrive and started to improvise some grooves and scales (mainly pentatonic with variations)… amazing!, and for finish, I got the guitar again and I went to the final freak out.

Maybe I spent about half an hour only but was quite an experience… the bad thing was I didn’t recorded it, but I’ll do it the next time.

My next-to-door mates were rehearsing Coldplay-like songs… we met after I made a break and told me: “What the hell was that…?”

… I only smiled thinking on that pretty B flat drone.

Regards again.

Nacho

I purchased an EH Frequency Analyzer, about March’09. I was lucky to get a big box version (one of latest) as I decided to get into heavy experimental sounds.

My first attempt was to get an early reissue (2002 catalog – with pointer knobs… etc, or earlier) but I didn’t find one so I got a brand new.

Before this, I spent some days watching both official EH demos and other videos to get a first approach to what this pedal could do.

Of course, you can get atonal or “theremin-like” sounds (these ones are incredible when used in conjunction with delay pedals – even more Sci-Fi!). Now, I’m trying to go beyond the freaky/atonal uses.

These latest months I’ve been trying to use it as a harmonizer. Lets go: You set an appropriate mix between dry & effect. OK, then, I play a note while tweaking with “Shift” knob to get the note I want to harmonize. And then, the “Fine” to achieve more precision.

As I’ve understood: If I play a G, I can set the harmony to a certain interval note (fourth relative:G ->C, fifth: G -> D, octave … etc), also with the “Filter” switch I can choose If I want to keep or remove the bass harmonized note).

Taking an example: If I harmonize a G with a C (fourth interval), I’ll hear a higher pitched C and a lower pitched C (depending of the filter swithc). So, once I play a G, I’ll hear a C as I’ve harmonized… but if I change the note playing an A, I’ll still keepm hearing the prevoiously harmonized C note over the present note (an A instead a G), am I right?.

If this is correct, I’ll have to set the “Shift” if I wanted to set the new harmony over the dry note (A in this case) to a new interval. So this could be the reason why you get dissonances when you use the FA to play an scale or melodic line.

I usually combine the FA with old school digital delays (japanese 80’s) and/or with overdrive (Couble Muff) or classic fuzz sounds (Fulltone ’70)… amazaing!.

It’s also ideal for droning guitar compositions.

If I’m mistaken, could anybody tell me how it performs?

The sound is killer, lots of headroom and could be very extreme if you wish.

By the way: Has anybody noticed differences among early and later big boxed reissue versions?

Thank you.

Regards from Spain.

Nacho

Hi again everybody!

After summer holidays, we (my tech and me – as a support only) have come back again to end with the mess!

As I comment on previous threads, my EH Deluxe Big Muff “Parallel/Series” sounds OK, but with a noticeable lack of output volume (barely reaches unity gain in parallel, can’t reach it in series).

I’ve identified my version (looking at the # carved at th board) as EH-3054.

I couldn’t find the schematics or circuit diagram for this. But I managed to get the EH-3053, which seems to be quite similar. Our work is to restore the pedal as close as original (reverting all the mods which were done to it), but I only have this info.

Does anybody have a picture of EH-3054 circuit board and components?, or at least, a link to any website?.

If finally I can’t get it, we’ll proceed to follow the EH-3053 schematics.

Thanks in advance!

Nacho

Hello again:

As I suspected initially, the power supply I mentioned at my previous post is not accurate for the 16SDD. After exchanging some e-mails with the seller, he noticed the mistake and will send me an additional 9V DC/500 mA for free (same as Holy Grail) for the 16 SDD.

The pedal is on the way with the “wrong” 18V DC/500 mA, which will be useful as a replacement for my other EH big boxes like POG and Holier Grail.

In my case, I’ll have to use a plug adapter (USA -> European standard) plus the voltage transformer (USA -> European), but that’s okay to me…

… if I became lucky and go touring to USA, … just take my bunch of USA power supplies (most of my recent EH army came from USA eBayers) and hit the road!

Regards to everybody!

Nacho

Ibanez TS-9, Big Muff Pi, Boss Digital Delay, Q Tron +, LPB-1, Boss Compression, Dunlop Crybaby

I suggest some possiblities:

* If you’re using the Q-Tron + without its effect loop:

a) Dunlop Crybaby -> Big Muff Pi -> Ibanez TS-9 (with gain at minimum)> Boss Compressor -> LPB-1 (boost for fuzz & OD section for solos) -> Q-Tron + -> Boss Digital Delay.

b) LPB-1 (always engaged) -> Dunlop Crybaby -> Ibanez TS-9 (with gain at minimum)-> Boss Compressor -> Q-Tron + -> Boss Digital Delay.

c) Dunlop Crybaby -> Big Muff Pi -> Ibanez TS-9 (with gain at minimum) -> Boss Compressor -> Q-Tron + -> Boss Digital Delay -> LPB-1 (general boost for certain moments).

I don’t have experience using effects loop but sure other people may give you more suggestions using this additional feature of the Q-Tron +.

Good luck!

Nacho

Hello again:

Whicho one would be the best option for the 16 Sec DD?, the HOG’s FC or the 2880’s FC?.

I know they’re six-way switches and as you comment here, both models could serve, but is there any noticeable difference or ease of use between them when using the 16 Sec DD?.

I’m still wondering what to do and I’d like to have more specific opinions based in your experience.

Thanks and regards.

Nacho

Hello again:

After making some more sound tests, I’ve found the final rig for my pedalboard using the Double Muff, which is:

Guitar -> MXR Blue Box -> EH Double Muff -> Fulltone ’70 -> EH Frequency Analyzer (big box) -> EH Pulsar Tremolo (big box) -> Ibanez DDL-20 Delay III -> Boss DD-2 -> Amp (Sovtek “regular” MiG 100).

Here’s where Double Muff shines, no matter you use single or double modes. Most important, the sound remains intact and doesn’t lose solidness. Also, it gives you a wide range of gain and output volume.

With this setting, I’ve managed to “boost” the MXR Blue Box with Double Muff or Fulltone’70, even getting more boost using the three at the same time. Also, If I engage distortion first and Blue Box after, Blue Box also gives more “doom” thanks its two octave down without causing volume drops.

The rest of the boxes also gives their particular “boost”. The EH Frequency Analyzer, especially when used with the bass filter engaged makes a sonic mayhem. EH Pulsar Tremolo, gives its touch too, but performs at best when the playing dynamics match the tremolo pattern to get the best results, so the raise and fall of the wave is fully emphasized.

Delays also, increase the volume amount. Despite being digital, early 80’s digital delays have a different taste than today models. In particular, the earliest version of Boss DD-2, the Made in Japan “Blue Label” with the huge delay chip its a transition among DM’2 & 3 and DD-3.

Long live to Double Muff!

Regards.

Nacho

Hello again:

Last night I was at rehearsal space with my two Deluxe Big Muff versions (Blend On/Off vs. Paralle/Series).

As I commented on previous posts, the “Parallel/Series” which was modded, for some reason, can’t match the sound and performance of the original “Blend On/Off” version.

Well, after making A/B for some hours and comparing… the differences between them were like night vs. day.

Now, I’m convinced that there’s something “wrong” with the modded one.

As my tech commented to me, the unit splits the incoming voltage into positive and negative. We took readings of the original “Blend On/Off” version and the results were about +18 volts and -18 volts respectively. While the modded Big Muff runs only with 9 volts… so the first thing clear to me is that standard 9 volts are not enough to run this beast and we have to “re-build” the symmetrical voltage split device.

But we’ll have to keep the modded switching system, so there is a switch for distortion/fuzz and another for compressor, each one with their independent status LED. As the chassis has been drilled, we can’t leave a single switch unless I wanted to keep an empty hole (which I don’t want).

Additionally, we’ll check any wiring or component, and replacing the stomp switches for new ones. Also, fixing the power on/off switch.

I wish we could achieve a symmetrical + 20 volts/-20 volts (or closest to this – considering the +18/-18 volts of the original one), if so, I could use a 40 volt/100 mA power supply that would provide enough room to make it sound as it should.

Why a 40 volt?. Well… the EH Frequency Analyzer runs with this kind of voltage and it could serve for the purpose. If this could be possible, we’ll change also the socket to a positive barrel connection so the EH power supply would be compatible.

I hope we’re on the way to resurrect the sleeping beast!

I’ll give more fresh news within next days.

Regards.

Nacho