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WatsonWoodMember
Yes, John, it is indeed incredible. I am lucky enough to still have the one I bought years ago and it has held up very well to years of use and also several years on the road. I wish you lots of fun and success experimenting with your loops!
WatsonWoodMemberThe “clunk” I referred to is electronic, i.e. the exact opposite to the Fender switch board for my Fender Studio 180 amp which is 100% electronically silent.
The electronic “clunk” (which is what it sounds like) races down the effect chain and, if I have the Metal Muff and Electric Mistress and #1 Echo all up and running, comes out in the amp as a very loud “kerrump” repeated several times. Most annoying. :facepalm:
I reckon the issue is with the passive set-up of the pedal and I intend to mod it by getting a circuit added to “silence” the electronic switching interference I am getting.
Having said this, I will also take a closer look at the foot switch itself, it could be that the solder is out of spec.WatsonWoodMemberOK, PabloEire, I get the message. No sub-par pedals! I like The Fridge, good name. How about The Freezer?
Julian, great ideas, as always! Inventive sounds lead the way to creativity, no doubt about that. I will try and work out if The Fridge / Freezer(?) is indeed a practical project for us mortals.WatsonWoodMemberJohn J, here is a photo of the TEAC 3440 four track sync tape recorder I mentioned before. I saw one for sale here in Bremen, Germany, a little while ago for 350 Euro.
WatsonWoodMemberTalking of SWs, my vintage Switch Blade used to go “clunk” when triggered. Considering the number of delays and sound-on-sound effects between it and the amp this could cause a myriad of unwanted “clunks” down the line. I solved the issue by inserting a volume pedal. All the same a bit of needless hassle.
I bought the new Switch Blade and started using it in the studio. …”clunk”!! I know it is a passive circuit, as opposed to some AB/Ys out there, still it seems a pity to be back to square one after over 30 years of (advanced) technology. Hmm!
Any ideas for de-clunking the Switch Blade before I get it modded?
All suggestions will be greatly appreciated.WatsonWoodMemberThe Octave Multiplexer is one of the basic pedals in my kit. One can set it nicely for a Fender Telecaster so that three / four note chords on the top strings do not trigger it but the bottom E and A strings do. This gives great bass lines for funk and reggae without any trouble with clean precise chords on top.
..and as for using the Octave Multiplexer for bass, I find it brilliant and have done several productions with the OM on a Fender Jazz Bass, and also Precision Bass. With a decent Ampeg bass system the result is powerful to say the least.
…and my top favourite is the Deluxe Octave Multiplexer with built-in muff unit. Fantastic sounds with both guitar and bass. Simply the best. :rawk:WatsonWoodMemberVery nice indeed! :thumb:
WatsonWoodMemberQuote:i have the bassballs and the steel leather and now im looking to get a distortion pedal to finish my setup, i know that EHX has the bass blogger and the big muff pi, i play in a punk band and do you think i would be better off with the extra sustain or fuzz?For a punk band I would choose the Germanium OD! It gives the bass player a good cutting edge. So in your case, xupxthepunxx, I would definitely try one out. It also has the “dying battery” feature which produces fantastic noises (!) which remain under full control of the player. The only other pedal I would recommend to do the job is the Ampeg Vintage Re-issue Scrambler however that pedal is way more expensive.
The EHX Germanium OD costs around 99 Euro in Germany (Thomann) and around 100 Quid in the UK (Dolphin Music) though I reckon it should be possible to get a better price than that in the UK!Here is a demo that shows the range of tones one can get from stuttering crackles to nasty distortion to cutting fuzz. All of which should sound extremely good on bass.
http://www.youtube.com/watch?v=qbdzwuKd4bM
… and I added a pic for good measure….
WatsonWoodMemberWell, Julian, No.1 of your points should not be too difficult using an expression pedal which is why I suggested integrating the “Icebox” into a Crying Tone housing format. The Crying Tone format gives one a treadle for foot control, room on each side of the pedal for set-up knobs and room at the front of the treadle for two foot switches for mode selection.
(I so wish that all the staff at EHX would jump to the idea of a Crying Tone format series …the possibilities seem almost endless….I mean, imagine having a selection of 6 effect pedals lined up one after the other, each offering the great EHX sound and each one fully foot controllable…wow!!)
As for your suggestion No.2 we seem to be moving into the realms of feedback/looper pedals or looping set-ups which are possible either in pedal form or through the use of mixing tables, as I am sure many of us have already done or at least experimented with.
And here is another example which I believe I suggested somewhere before, which is a Crying Tone format pedal (called the Eternal Circle?) dedicated to an effect loop set-up with the treadle controlling re-injection of the effect(s) signal from zero to maximum frenzy, one foot switch in front of the treadle turning the “Eternal Circle” on and off while the second foot switch placed beside it gives the momentary effect mode…this can go on …..)
The idea of a “simplified” pedal does somewhat restrict things to the freeze and the gliss / portamento modes (which would be controlled by the foot switches to the front of the treadle in the case of a Crying Tone format).
So far we do all appear to agree on the principle that two (or three) function pedals, as opposed to super multi-function ones, are an advantage to the player and I believe this philosophy is the core strength of EHX, viz. Big Muff, Small Stone, Slap Back, Small Clone, Doctor Q, Bass Balls, Frequency Analyzer, Knock Out Attack Equalizer, Octave Multiplexer, Memory Man etc.
WatsonWoodMemberQuote:That’s what the frequency analyzer is
and it’s wonderful
my favorite EHX pedalYup! I bought the first issue of the Frequency Analyzer, as I think it was called, and it blew my mind! Hooking it up with a Knock Out Attack Equalizer to my Deagan Electravibe resulted in about 10 days of really weird sounds. I went on to use a Maestro Ring Modulator with an Oberheim circuit, more staid and correct but nowhere near as crazy, for band work, and modded the KOAE and AE into a custom pedal along with a Small Stone for solo work. I used this custom pedal to produce gamelan and steel drum-type sounds on the Electravibe, which I coupled with an Octave Multiplexer, a Mole and a Crying Tone Wah in the low frequency setting.
WatsonWoodMemberI understand the cash aspect only too well! However, one must remember that an auto-wah of whichever ilk and however sensitive to playing dynamics it may be, is basically a non-starter in terms of truly individual wah expression which is offered by the Crying Tone. Believe me, by the time one finishes twiddling the buttons and checking out the dynamics, the input sensitivity and various other parameters necessary to get a decent sound from any wah filter (however cheap or expensive) the Crying Tone player has completed at least four numbers, all with completely different EQ, sounds and dynamics, and is moving on to the fifth and last number of the set. And the wah’s treadle is the “expression pedal”.
And if the vintage Crying Tones are too expensive it is sometimes possible to pick up a cheap three EQ Cry Baby. It is not the same but a good start….WatsonWoodMemberOnce again Dan Miller does a great demo! I love the way he always gets straight to the point and highlights the essential features of any EHX pedal he demonstrates.
…and I join nightraven and Dreamhunter in their request for a freeze pedal. Why not call it the Icebox? (The Freezer seems too obvious to be an EHX pedal name).
The Icebox would deliver the Hog’s freeze / gliss portamento as a unique feature of a simplified and less expensive pedal. And I cannot resist saying that a re-issue of the Crying Tone series would provide the perfect casing with integrated treadle for this effect!!!!
WatsonWoodMemberRight, I will do that. Thanks, Scott.
WatsonWoodMemberPedal re-issue suggestion to keep the sound engineers happy:-
After the Signal Pad, the Switchblade and the Hum Debugger it would be great to have a re-issue of the Silencer noise gate pedal…..and the Crying Tone Wah Pedal series!
WatsonWoodMemberThanks for the quick response!
Here is the address:Hoins Intermusik
Ostertorsteinweg 49
28203 Bremen
GermanyTe: +49 421 32 54 84 / 32 65 91
If by chance anyone wishes to call, ask for Oliver. He speaks good English.BTW, that is where I am ordering the Voice Box. I’ve added a pic so you know they have more than one guitar for sale.
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