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Stoner WizardParticipant
Phase shifting is one of my favorite modulation effects besides tremolo.
The first phaser I tried was from a friend’s Music Man tube combo… when I engaged, I got the sound of Thurston Moore’s guitar line for “The Diamond Sea”.
For the last six and a half years, I’ve become an avid phase user. The first phaser pedal I owned was a 2.002 catalog EH Small Stone USA reissue, but unfortunately I didn’t had much time to tweak with because an horrendous fire destroyed my rehearsal space.
When I get recovered, I got another SS reissue, but this was a later version (no Carling-type switch, no black pointer-knob), and I founded that did not sound exactly like the previous I owned.
My band mate liked it so much that we exchanged our phasers, I gave him the SS while I got an MXR Phase 90 which is my fav. phaser (it’s very close to Univibe at certain settings so you can play Hendrix or David Gilmour’s tunes from “Dark Side of the Moon” or “Wish you Were Here”).
I expanded my phaser army with an MXR Phase 100, more “modern sounding” but also a 70’s design.
Now… at last, I’m in peace with the SS because I’ve got two originals: A 1st and a 2nd generations from the mid 70’s… these two really do it fine!.
These four phasers allows me to cover lots of late 60’s/70’s classic rock and psychedelic, or the 70’s “Blaxploitation Films Dirty Funk” or late 70’s disco.
Today, phaser is still alive and can be found on many different styles.
And here’s a brief list of tricks to phase until dawn…!
* UniVibe-like: You can get this sound in a similar way just with setting the speed knob of your Phase 90 and/or Small Stone (color switch “Off”) between 11 and 1 o’clock.With this you can get it Hendrix and Gilmour territory.
* Phaser + Analog Delay: Plug your Phase 90/Small Stone and then, your after. Set the DMM with a long-delay with a slow and slight vibrato. Then, make an eight-note pattern (very “The Edge”) and once you’ve found your right delay time, tweak the “Speed” phaser knob until you can your fit your delay pattern into the phase cycle.
Once you’ve got it, try to add more blend so you have to vary your playing dynamics as you first hear almost silence and then delay… you’ll need to have a good timing but is nice!
PD: I suggest this trick with a DMM better to get a warm, driven sound.
* Vibrato-like: Just as easy as putting the speed knob to max. With a Phase 100, you can get many trippy sounds from Fu Manchu records. With a Phase 90/Small Stone, the sound is warmer. If you want to make it sound “watery”, switch the Color of your SS.
* Wah + Phaser: Set your phase speed to an interval between 9 o’clock and 12 o’clock as you like.
It’s better to start with a mid-tempo in order to be more easy to follow.Get a metronome and find the tempo that matches with the phase cycle. For an easy starting, match the tempo as a each phase sweep = 1 bar, so a complete 4 bar = 4 sweeps. Now, use wah rhytmically to combine the automatic phase sweep with your wah.
More difficult. Set the tempo as a complete phase in/out cycle = 4 bar, and then, play your melodic line with the wah making 1/4 note sweeps, 1/8 note, 1/16…
Regards and have fun!
Nacho
Stoner WizardParticipantThe only thing I need to complete my pedal setup is… a 4-knob Deluxe Memory Man with Squelch On/Off.
I recently tried to get one in pristine condition, I mean: No scratchs, no dents, no paint chips, no modded and with the pretty good working Carling switch (TBP or added chorus/vibrato)… but I lost. This one was an AC-cord powered with european type prong (very rare).
CAVEAT: A 4-knob DMM’s in good condition may go over 300 EUR, like the one I lost. The bid I lost went fucking mad. I reached the 300 EUR mark, but the winner got it for… 301 EUR (¡LOL!.
— By the way, I think the final price was too much. I hoped that it had a more acceptable price. That’s eBay rules!–
The only thing that really annoys me is the possibility of this DMM may have ended in the hands of a non-musician.
I hope some day in the future I’ll get my 4-knob DMM.
Other thing that would be nice: The 16 Second DD reissue, but since I looked at the 2880 Super Multitrack Looper I’ve considered it would serve much better to my uses (which supposedly is the evolution of 16 SDD), I’m going to save for the 2880 in the future… unless EH comes with a new and more powerful looper even!.
Regards.
Nacho
PD: If someone has a 4-knob DMM in good condition and does not use it… don’t hesitate!. Send me a private message and we may trade.
Stoner WizardParticipant“The Screamin’ Mole Muff”:
What would be a 2 Big Muff circuits cascaded in series, with two switches to activate a bass booster (Mole), a treble booster (Screaming Bird).
Chassis: A sheet metal DMM-size would be fantastic, but… a new DMM chassis to make it pedalboard-friendly and conquer “new generation” buyers.
Knobs (of course, black pointer-knob style for classic size, or the ones used with the Hot Tubes for new style chassis)
* Volume: Output Level
* Tone: The typical Muff control.
* Big Muff: Sustain and gain for 1st Big Muff
* Bigger Muff: Gain for 2nd Big Muff. It should have a switching device to activate the knob if you wanted to use one or two BM at the same time.
* Mole: Bass boost level.
* Scream: Treble boost level.Switches:
* Killer Tone: To emphasizing certain freqs, to be used in conjuntion with tone control. A three way-switch with: “Thud” (low-mids), “Attack” (mids) and “Screech” (hi-mids).
* Mole On/Off: For heavy bass boost (a built-in EH “Mole”).
* Scream On/Off: For treble boost (a built-in EH “Screamin’ Bird”)Volts: It depends, I suppose. If it’s a two-pedal in one (like the MXR Doubleshot), maybe 18 volts would be fine. If it was a single-pedal concept, a higher than 9 volt voltage (12 V or 18 V) would add more “room” to the sound.
That’s the “theory”, but I’d like to know how such a weird thing would sound.
Regards
Stoner WizardParticipantQuote:Quote:However… what I wanted to say is: With silicons, if your wah acts as a buffer, put it before and fuzz after. If the wah is true-bypassed, the MXR Classic Fuzz has a “buffer” switch to avoid the high-freq chaos so it can be kept at the same position, but is the only exception I know.As I’ve tried with other friends’ gear: With true-bypassed wah, silicon fuzzes act better if placed first and wah after. But I always like the wah first because my wahs are buffered (not TBP), and despite once I considered the idea of making them TBP, finally I’ve decided to keep the buffer. Most times I use wah without distortion or fuzz, so that’s another reason for me to keep the wah closer to guitar.
Different type of buffer AFAIK. The stock crybaby has a buffered bypass, but it won’t help with the impedance matching problem on the output. And a true bypass wah with an impedance buffer on output will work well with a Si or Ge fuzz. The MXR is different as you say because it is buffered itself.
Good info here
A Dunlop crybaby can be made to sound OK by true bypassing and ripping out that dreadful input buffer, then chucking in a decent inductor, and maybe vocal mod, changing that 33k resistor in parallel with the inductor for a higher value.Better forget what I said at the first post you quoted me (it’s a retreat of my initial post, obviously I’m “sub par” If I compare with your knowledge). I want to make it clear that I’m only talking about the way I’ve been using the wah (with or without fuzz) for years.
I wish I’d started the discussion in a different way.
I had two options: Before or after, I tried both when I first placed the effects. I liked the former but not the latter.
However, thanks for the info again.
Regards
Stoner WizardParticipantQuote:The hard and fast rule is always everything before everything else…at least that’s how it seems.
Rangemaster-type treble boosters always come first in the chain, as do fuzz, wah, and compressor. I have so many ‘must come first’ pedals it’s not funny. Wahs always seem to mess up everything too. Then of course you need a buffer between your wah and fuzz for impedance matching.
There are days when I think John Lee Hooker had the right approach to using pedals (i.e., don’t).Quote:* Wah before fuzz?: A fuzz + wah needs a buffer to work with better results. I only have the simplest Crybaby model, without any mod, so in this case, wah operates better placed before fuzz or distortion. If wah wis True Bypass, it should be put after instead.I don’t think that’strue at all. You run an unbuffered wah before a Si fuzz all you’ll get is a lot of squealing (listen to All Along the Watchtower on Jimi Hendrix Blue Wild Angel: Live at the Isle of Wight — that’s an unbuffered rybaby into a Si fuzz face). Before a Ge fuzz, you’ll probably not get much wah at all and a wimpy fuzz. The impedance loading is all wrong. If the wah is true bypass, it shouldn’t matter where it goes when it’s off, and when on it’s immaterial so I don’t understand the reasoning for that part above.
The Big Muff seems quite forgiving in this area though, certainly more than a fuzzface.And I like my tuner out of the chain, so it goes in one channel of an A/B box which doubles up as a mute switch (I used to use a switchblade for that, but i was too noisy).
Maybe I should have more specific about it. I was thinking on silicon fuzzes, not on germanium ones. I know germs are more “regarded” as being more musical while silicons sometimes are dismissed as “brute force” only.
I’ve tried some germs (Fulltone Soulbender, Dallas-Arbiter FuzzFace (Dunlop reissue) or listened to Fulltone ’69, but they didn’t hooked me too much. I’d rather use silicons, and most specifically Big Muff which is the one I use as an example and is my number one besides anything else. I own a MXR Classic 108 Fuzz and a Fulltone ’70, which are closer to silicon 2-transistor stage Fuzz Face rather than the 4-transistor stage Big Muff type.
EDITED:
However… what I wanted to say is: The wah acts as a buffer, so I put it before and fuzz (Big Muff) after. If the wah is true-bypassed, the MXR Classic Fuzz has a “buffer” switch to avoid the high-freq chaos so it can be kept at the same position, but is the only exception I know@.
The strongest reason to me to keep the wah as stock is that sounds me fine. I don’t need anything else. Maybe I’m a “freak” (or worse – laughs!) for saying this, but it’s what I think, sorry!
@ NOTE: I didn’t try the MXR Classic fuzz with wah, because it’s mounted on a board with no wahs. But I’ve noticed that this fuzz sounds “better” being placed at first or second place at chain. The “buffer” not only serves for wah, it’s just more modern sounding fuzz instead the Fuzz Face-type.
As I’ve tried with other friends’ gear: With true-bypassed wah, silicon fuzzes “act better”# if placed first and wah after. But I always like the wah first because my wahs are buffered (not TBP), and despite once I considered the idea of making them TBP, finally I’ve decided to keep the buffer##. Most times I use wah without distortion or fuzz, so that’s another reason for me to keep the wah closer to guitar.
#”Act better” = “We liked more the wah before than after”. Matter of tastes. Nothing else.
## = I didn’t like the sound with the True-Bypass mod. That’s all.Germ fuzzes are a different story, as you’ve said, you must consider the different impedance devices to place pedals properly to get the best performance. But I can’t tell anything about it
EDITED:
Big Muff + Wah?: Risky…perhaps a dangerous combination or “expressway to disaster”, but it’s the only I like.This beast is hard to tame but you can get good results.
Thanks for the remark!
Regards
Nacho
June 11, 2009 at 8:04 am in reply to: Wishlist for the next generation of digital pedals- HOG, 2880, and SMMH2 #97705Stoner WizardParticipantQuote:Quote:Quote:trails would ruleyou could mod an SMMH to do trails, but it would no longer be TB
Is it really True-Bypass?. I thought the SMM/Hazarai has buffers for bypass. Also I remember that Analog Man’s web site comments about the Hazarai, that being a true stereo device it’s impossible to make it True Bypass.
Here is the link: http://www.buyanalogman.com/product_p/eh stereo memory man hazarai.htm
However, what could be nice is that the Hazarai would perform as Line 6 DL4, where you can choose between True Bypass (no trails) and Delay Remain Bypass or buffers (trails).
I read the manual and I didn’t find any reference to True Bypass. Is it anywhere?.
Regards
Nacho
Hello:
In Bypass mode, the MONO/Left Input Jack is connected directly to the MONO/Left Output Jack. The Right Jack is connected directly to the Right Output Jack. If no plug is inserted into the Right Input Jack, then the MONO/Left Input Jack will also connect to the Right Output Jack.
I dunno if you wanna call that ‘true bypass’ or not, but it would seem that’s why you don’t get trails on the delays when you bypass it.
I only questioned because I was a bit confused about it, unlike most of today-EH pedals which are clearly stated as “True Bypass” or certain models like Metal Muff which are clearly labeled as “Buffered Bypass”. Similar to SMM/Hazarai is the XO Stereo Pulsar manual doesn’t specify as clear if it’s “True Bypass” or not.
The only thing I suggested is that I wish you could choose between “trails on/off” with a simple button or like DL4 does (just pressing two switches as you plug the input jack you can swap the bypass method).
The TC Nova Delay, which I use and pair with the SMM/Hazarai is a buffered bypass delay. But you can choose to have trails or not just by pressing a button.
Other buffered bypass delays like the newest Tech 21 Boost DLA, has a “trail on/off” option, while the early model has not trails, but it’s still “buffered”.
That’s what I meant, nothing else.
I’m not obsessed with TBP. If I like an effect and suits with my music style or tastes, I’ll get it.
As a conclusion: What Analog-Man page says about SMM/Hazarai is wrong, as it’s stated there that SMM/Hazarai is not TBP. But as you’ve said about in/out routing features, SMM/Hazarai is already TBP. What a mess!.
The only thing that matters to me is that SMM/Hazarai sounds, performs great and here’s the reason for me to use it!
Thanks for the info.
PD for EH Staff: Check it out the Analog-Man website to check if anything stated there with the SMM/Hazarai would be considered “misleading”.
Regards.
Nacho
June 10, 2009 at 4:11 pm in reply to: Wishlist for the next generation of digital pedals- HOG, 2880, and SMMH2 #97663Stoner WizardParticipantQuote:trails would ruleyou could mod an SMMH to do trails, but it would no longer be TB
Is it really True-Bypass?. I thought the SMM/Hazarai has buffers for bypass. Also I remember that Analog Man’s web site comments about the Hazarai, that being a true stereo device it’s impossible to make it True Bypass.
Here is the link: http://www.buyanalogman.com/product_p/eh stereo memory man hazarai.htm
However, what could be nice is that the Hazarai would perform as Line 6 DL4, where you can choose between True Bypass (no trails) and Delay Remain Bypass or buffers (trails).
I read the manual and I didn’t find any reference to True Bypass. Is it anywhere?.
Regards
Nacho
Stoner WizardParticipantQuote:Jazzblasters?You a Lee Ranaldo fan?
Yes!. I’m a great SY follower and also Thurston and Lee’s solo career. But Lee went a step further as he’s been more involved with guitar customizations.
He got one of the best ideas to improve easily the sound of a Jazzmaster… and that’s it. In fact, is putting a pair of medium-output humbuckers, so you can get more punch while still sounding warm and nicely, like a Jazzmaster is.
He’s always been a great Telecaster ’72 Deluxe player, so I suppose he wanted to get a similar sound in his Jazzmaster (he also used this customization for a Jaguar, too!), he noticed that Wide Range add “some more” to Jazzmaster but was very respectful with its sound.
Reissue FWR’s are not like original Seth Lover-designed Wide Range. Reissues are made of Al-Ni-Co, where originals have the Cu-Ni-Fe magnets. Reissue Fender with FWR’s use to mount 250 kOhm pots which makes them to sound muddy – great flaw!.
The best way to take advantage of FWR’s is to use at least 500 kOhm pots or even the 1 Meg Jazzmaster originals (log pots recommended!).The difference between Lee Ranaldo and me is that I can’t afford an original Wide Range so I had to use reissue FWR pickups (I suppose he has all original Wide Range), which are not the same of course, but still retain the original concept: “Feel like playing a Gibson in terms of output without losing the Fender touch”.
So I took Lee’s idea and did the same. In my case, the add. reason was that despite liking ’72 Tele Deluxe, I don’t like maple fretboards (I discarded the idea of buying one as I prefer rosewood fretboards), so I decided to apply the idea to Jazzmasters, which suit much better… and it really works. Thanks Lee!
Musically, I admit two kind of influences from Lee Ranaldo:
– The one from his SY guitar work as a melodic/ambiental counterpart to Thurston Moore’ style. As Lee’s not the lead singer he’s got more room for “lead guitar” (but not in the straight rock way).
– His solo career: He made me to be interested about feedback possibilities and building music from drones, or making layers of sound. But sometimes he tends to be a bit repetitive. Maybe sometimes, he focuses too much on feedback and noise, while I prefer to use layers for improvising melodic rhythms and leads.
Lee Ranaldo and Dylan Carlson (Earth) are my two drone guitar-masters, so you’re right!
My “solo” works is more guitar oriented, while I play with bands I usually tame this sort of influences unless I jam or play live.
Regards
Nacho.
June 10, 2009 at 3:07 pm in reply to: Wishlist for the next generation of digital pedals- HOG, 2880, and SMMH2 #97661Stoner WizardParticipantQuote:SMMH2
*controllable rate in modulation mode
*external controller box to use looping features more conveniently, and select presets
*undo function on loops
*have feedback control on loops make loops fade out naturally if not set to 100%, like on other loopers* An input for using expression pedal (despite I don’t use).
* “Trails on/off” option for repeats – I wish I’d choose if I want the repeats cut off abruptly or fade away gently when I disengage the effect. Other similar delay/loopers in its price range can do it.How about offering “upgrade” of the current SMM/Hazarai units to add this feature?. Would be an extremely difficult mod?. That’s the only thing that my SMM/H lacks to be 100 % perfect.
Regards.
Nacho.
June 10, 2009 at 12:00 pm in reply to: XO enclosures vs. Vintage enclosures — cast your vote. #97643Stoner WizardParticipantHello:
I’ve always preferred and will prefer the classic sheet metal boxes, from the trapezoid ones (DMM’s, Deluxe Big Muff, POG… etc) to medium (Big Muff, EH Pulsar…) and small (Double Muff, Small Clone, BassBalls, Small Stone). Maybe because, most of EH effects I like are available in big boxes so I don’t need to go find new ones.
I don’t find these boxes weak or flimsy, it’s just the way you take care of your gear to avoid scratches, dents, paint chips or whatever damages you can think of …
Of course, I own some XO boxes, because they are present-time effects not existing before like the EH Metal Muff (got it when I wanted a high-gain distortion), the SMM/Hazarai (bought when I needed a full-featured delay & looper) or the XO Stereo Pulsar (The original was discontinued and I wanted to get this sound, also, it fitted in my 40 x 40 cm pedalboard). Of course, I’m very happy with these and will never get rid of them. If I need a new effect and is a XO box type, I’ll get one sure because EH effects sound like “themselves in their own and unique style”.
I agree that EH must look toward the future in order to keep and expand its place in the market, but there are some things that were the distinctive trademark and hooked me to use (mostly) EH and not others (for example). They were the sound, and the image of course. Big boxed effects should not disappear completely in my opinion, I’d keep at least the Big Muff or the Double Muff (sorry, a XO enclosure is an antithesis for a Big Muff) or effects that don’t rely on limited stock components.
Maybe within 30 years, the present XO boxes will become “vintage” and some people will claim if XO’s are replaced by a new design it’s just a matter of time… history repeats again and again, don’t forget.
I own over 20 EH effects, but only three I described are XO series. My interest goes now to get some big boxed units I owned first, mainly pre-2.003 units (DMM’s, Hot Tubes.. etc), later big boxes (EH Pulsar, EH POG). Or getting vintage units (like most of my Big Muff “army” or Deluxe Big Muff, Small Stones, etc.).
My summary:
I vote for classic boxes, but XO’s are the future, so don’t miss them!. But please, keep the Big Muff still available with is Big box, EH!
Regards
Nacho
Stoner WizardParticipantI have a similar structure for all pedal boards I’ve set, which is:
Guitar -> Tuner -> Wah -> Fuzz and/or High Gain Distortions -> Overdrive -> Compressor or Booster (if used, never both at the same board) -> Voice effects (Octaver or Envelope Filters – if used, never both at the same board) -> Modulation (Phaser or Tremolo – never both at the same board, depends on the pedal set) -> Analog Delay -> Digital Delay (some with Trails feature, others not)/Looper -> Amp.
REUPDATED EXPLANATION 12/06/09:
* Tuner first?: Yes, I want the purest signal to get into the tuner in order to get the most accurate tuning. Also most tuners I have act as buffers, so can keep a good quality signal through the chain.
* Wah before fuzz?: Read the notes below
NOTES about fuzz and wah:
— Wah is the “simplest and poorest” Dunlop Crybaby, which is not True Bypass, and may be “horrendous” and with some flaws. Maybe it’s the “worst” wah or not. But sure it’s not the best.
— I don’t like “modern sounding” wahs, but I don’t like Vox and Clyde types too. They are great (light years away from “crappy wah” in terms of quality and performance) but definitely I don’t like their sound.Sorry!.
— The only Fuzzes I use with wahs are Big Muffs. I don’t refer to Germanium Fuzzes or any other Silicon Fuzz type.
— This is not “what you should do”, this is ONLY what I do and works best to me.END OF THE NOTES
* Overdrive after distortion?: Thus, I can use overdrive by itself or use the overdrive with vol more than unity gain and drive to minimun to act as a “boost” for the distortion.
* Booster after distortion and OD?: That’s the way to get extra “punch”. When used through the input amp, the booster adds more gain besides a volume boost. When used through an effects loop, it creates the volume boost.
* Compressor after distortion?: I don’t use compressor for it’s theoretical purpose (peak limiting and boosting weakest sounds), I use as a sustainer, so most times, the goal is to add more “life” to distortion and/or fuzz to control and modulate long feedback lines to make it sound musical (when chords or single notes ring nicely) avoiding crazy noises.
* Voicing after drive/dist or compressor: What I want with this is to change the desired clean or driven sound. As most of my use is to create different harmonies, this is the place for octavers, ring mods or envelope filters. They just replicate and or process the basics for guitar sounds (a clean or dirty chord progression or riffs).
* Modulation after?: Well, the wave has changed its shape (sine or square – distorted) or some voices have been added, but the performance is still intact. I mean, when phasing or tremolo effects are put into, we’re changing the dynamic performance (the on/off effect, or the volume drop/no drop typical of phase shifting…), the previous desired signal is tailored with these effects, which all they have speed and modulation depth, so it can be adjusted to the song tempo.
* Analog delay first and digital/loop last?: Yes, analog delays have more limited features (shorter delay time) but very organic sounds, so they can add a nice color to already-constructed patterns (solos or rhytmic lines).
* Digital/loopers?: Well, obviously, if they have the possibility of recording loops, you can build your favorite sound, which may even include echoed sounds into the loop, so I consider they should be place the last.
* If you had an external reverb unit, I think it should be placed the lastest, because I think you’d choose to apply reverb or not to the overall sound.
To avoid any misinterpretation, I remark again:
This is not “a guide”. Also it’s not a collection of “mine is good, while other is bad” statements. These are just my experiences, don’t pretend to be anything beyond.
Regards.
Nacho
Stoner WizardParticipantHello:
These are my “Six Pack” I use extensively to play with my three bands and for solo projects. I’m an “almost only Fender” player, except for the weird Gibson Sonex 180 from 1.981. I’m absolutelly in love with the Jazzmaster (I own some MIJ and CIJ models from 90’s and early 2.000’s) and with my more than weird Strat (Mex. Deluxe Series).
I work with three different tunings: C, D and E standard (no open or drop tunings). I usually set a pair of guitars for each tuning, so I always have a replacement guitar available. Having this set implies continuous use of all six, despite I have a “standard” pair for using with each band.
The tunings I use for each band are, respectivley: E & D, C & D and E & C.
As a heavy-custom work, I’ve rechristened all Fenders, but the Gibson keeps all original!
* Standard E guitars: Fender JazzSmasher and Fender StratoBlaster.
* Standard D guitars: Fender JazzBlaster and Gibson Sonex 180 Custom.
* Standard C guitars: Fender FatMaster and Fender FatBlaster.I use medium-output humbuckers, like FWR and SD Antiquity HB’s and SD Quarter Pound for Jazzmaster. The Gibson has its original pickups (high output Gotoh humbuckers).
Here they are:
[img]http://tm3lqq.blu.livefilestore.com/y1pKq8AQ51dgLY_GtmX1Nd2CCoOQMvC_L7CHSeZ3zgeW3VtAZuuAf1GG-gzFh4ggGnE9AkNUHHxeIEV5m-y4XvA6w/Six Pack.JPG[/img]
(from left to right): Fender FatMaster, Fender FatBlaster, Fender StratoBlaster, Fender JazzBlaster and Fender JazzSmasher.
(lying): Gibson Sonex 180 Custom.
Regards
Nacho
Stoner WizardParticipantQuote:I just bought this afternoon an original 1st generation Small stone Phase shifter off a guy on Craigslist…He had an add up last night Boss sd-1 MIJ and EHX Smallstone phase shifter 40 dollars..I was very surprised when handed me this vintage pedal i got home looked it up sure enough the 1st generation model..It was a good day…I also have a few questions maybe someone could answer…What is the value of this pedal..And also what power supply does it use ..Like an idiot after making sure the pedal worked at the guys house i walked out and left the power supply there…Can i use the same generic power supply for a big muff or does it need to be something special..I dont think there is a battery hook up on this pedal unless you take all the housing apart..Thanks for any help you may have…CCHello:
I own a second generation EH Small Stone, and also I’ve won a first generation yesterday on eBay. I think the standard 9-volt 100 mA power 1/8″ jack supply will work properly. In fact, I think the current consumption is not too much. I run the 2nd version Small Stone with a power supply block (PCIOKS Baby – 280 mA) with four more pedals (Sparkle Drive, vintage EH Doctor Q, and two delay – hybrid analog/digital and a Boss DD-7) without any problem. So I think the 1st version is the same.
About popping noises do you refer to “pop” listened at the end, that cuts abruptly the phase cycle?. My MXR Phase 90 used to pop when set at long phase cycles. When I first bought the MXR Phase 90 six years ago it did the “pop”, but suddenly one day disappeared. Now, it only does the typical cycle “swoosh”, quite driven but it’s part of its raw sound (which I like too much). The MXR Phase 90 has an internal trim pot which can be adjusted to tailor the phase sweep to get “the phase” sound, but I don’t know if there exists the same for the Small Stone, I suppose (as they’re a 70’s design but with a different concept).
About the Small Stone I own, I only noticed the phase sweep when it’s set to fast cycle and with color switch engaged, but no popping noises at all. I’ve heard the 1st generation is the “finest” of the Small Stone versions, so I think it’ll sound a bit more tamed than later versions and reissues.
Regards and enjoy this little monster.
Nacho
June 4, 2009 at 7:05 pm in reply to: Deluxe Memeory Man or Stereo Memory Man w/ Hazarai? Which would you rather have? #97343Stoner WizardParticipantQuote:What about a mxr carbon copy with the hazarai?Hello: Well, the MXR Carbon Copy is another alternative to DMM. It has a lower price, but the features are different, also the sound. Despite it’s a Bucket Brigade Device… It doesn’t have the organic drive of the DMM and the chorus/vibrato option.
I also own the MXR CC, but I pair it with the Boss DD-20 in another pedal board. Here’s a quick review:
MXR Carbon Copy:
* Three controls: Regen (or Feedback), Mix and Delay
* One button: Modulation On/Off – it adds an eerie mood to the delay, it’s like the chorus/vibrato of DMM but only a “chorus” for the Carbon Copy. In fact, it’s quite similar to Boss DD-20 modulation setting.
* Two internal trimmers to adjust speed and depth for modulation.
* Maximum Delay Time: 600 ms.
* Two full-bright blue leds for status and mod.
* True Hardwire Bypass – it’s a DPDT switch with Millennium wiring to make the True Bypass instead of 3PDT switching.This one, and the Maxon AD-999 Analog Delay are some of the finest BBD today which their sound can be compared to DMM – but they are still different. If your budget is lower, get the Carbon Copy, or try to buy a second hand DMM. If you have enough money, try them and choose the one you like the most… it’s hard to decide!. The AD-999 is more expensive than DMM, but is an excellent one because it has up to 900 ms. of delay which is a very good feature, the 4PDT switch is silent and sounds very nice.
If you like The Edge or David Gilmour delay work, EH DMM, MXR CC, or AD-999 will serve for you purposes (of course, there are more models but the price tag is higher). As a detail, I think DMM is more U2 while Carbon Copy and Maxon AD-999 are more Gilmour-esque.
Any of these will pair superb with the SMM/Hazarai for sure!, but remember place analog first, and Hazarai after so you can take advantage of looping echo patterns of the analog, besides the usual multi delay patterns, and self oscillation tricks.
Good luck!
Regards from Spain.
Nacho
Stoner WizardParticipantHello:
For extreme fuzz sounds I do the following:
I use a Metal Muff w/top Boost to push up the Big Muff. It’s quite simple: Put the Big Muff first and Metal Muff immediately after, so you can control the Big Muff while redefining the sound with the Metal Muff 3-EQ band, plus the Top Boost.
The range goes from chainsaw tones to a heavy bass grinder.
Even more: You can set the Metal Muff to minimum gain to act a simple boost for the Big Muff.
Good luck!
Regards from Spain.
Nacho
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