1976fenderhead

[quote name='cheddatom' post='58796' date='Sep 11 2007, 04:50 PM']How much do you need to raise them by? Maybe you could just put a double layer of velcro down. Otherwise, wood has to be the way to go I think. You need a material that you can cut at home, that you can get thick enough, and that you can glue velcro to. Wood![/quote] I think 15mm thick is what I need...

Hello, there are a couple of pedals I want to have higher in my board due to problems with the jacks being too low. I'd need something like say a piece of wood 15mm thick cut to certain dimensions that I would velcro to the board and then velcro the pedal to it. Wood would be the obvious option, but do you have any suggestions of any other material I can buy at Wickes or B&Q or a place like that and easily cut to measure?

[quote name='BassManKev' post='56138' date='Sep 5 2007, 06:20 PM']thats a negative attitude, try them out first?? these days digitals can sound more and more like analogue....[/quote] Fair enough, but I love the MXR so I would only go for the SEM for being cheaper. If it's digital, well, it should be even cheaper!!! I don't think I'd manage without the Feedback and Manual controls anyway, it would have to sound PERFECT from the box...

Zoom Ultra Fuzz all the way. Discontinued so good luck finding one. Frantone are worth checking too, if you don't mind the prices...

You can use the Diago ones, and there are some bags in the Thomman website...

Hmmm, I read yesterday it seems the Stereo Electric Mistress is digital (along with the Holy Stain in these new releases), so not really interested anymore... I already have a chorus and I'll really want a Manual and a Feedback knobs...

Have you seen the new ones? [url="http://www.ehx.com/ehx2/Default.asp?q=f&f=%2FCatalog"]http://www.ehx.com/ehx2/Default.asp?q=f&f=%2FCatalog[/url] GAAAAASSSSSSSS :-/ Some very interesting and unexpected ones there such as the Micro POG, the Holy Stain and the Stereo MemoryMan with Hazarai!!! I'm very interested in the Stereo Electric Mistress... Just seems a bit pricey at more than £70... Has anyone had any experience with the Deluxe version? How well does it work with bass? How would you compare it to an MXR, for example?

What about the Arion Flanger? Are they digital or analogue? I'd like a flanger that sounded as good as the MXR, but stereo and not taking up much more space...

It usually goes in the end or in the beginning, and I think the main issue is if when you lower the volume with it, you want the keep the distortion as it is (after) or lower the distortion amount as well (before). I prefer before. I don't think it really makes much difference with any other type of effect but I'm not an expert on this...

The Gator and the Dunlop require you to use a wall wart, so you might as well just use a wall wart with daisy chain and no brick! The SoundLabs take too much space, are too heavy and the one I had was giving me shocks after a while! Metal case on a tramsformer = bad idea! I've had the Rocktron DC OnTap and now I have the GodLyke PowerAll. Both equally great, both with all the adaptors you'll need, the GodLyke has 2 of each kind but the DC OnTap as a couple more varieties I think, and longer lead (about 3.5m if I remember)... GodLyke about £5 more expensive. There's also the OnsSpot which is pretty much the same but I think you have to buy the adaptors separately, maybe I'm wrong... I'm sure you'll have all you need for your big Muff with the 1st two at least... There's also the Diago which is too expensive for me. And this great page to help you: [url="http://www.stinkfoot.se/andreas/diy/power/psu.htm"]http://www.stinkfoot.se/andreas/diy/power/psu.htm[/url]

[quote name='tayste_2000' post='46414' date='Aug 16 2007, 01:24 PM']Apparently you can still use your ears with the Visual Volume pedal. It will be wider than the EB[/quote] I know i could, that's why I might still get it Still is gay though... But have just checked reviews and it seems they're not that good anyway... And if it's wider, no chance...

[quote name='Toasted' post='46383' date='Aug 16 2007, 12:49 PM']This is a question that there seems to be so much smoke and mirrors about... I dont ever have a grip on it.[/quote] What do you mean? That Visual Volume pedal just looks so gay... I'm not looking down at lights when I'm playing, I'm going with my ears!!! I might buy it for the passive/active thing, but it looks a lot wider than an Ernie Ball so it wouldn't fit the space I have in my pedalboard... Anything wider than an EB Junior won't do... Does anyone have actual dimensions of the Visual Volume?

So he controls the stomp boxes with that Rocktron? How does that work?

I have an American Fender Jazz Deluxe. It's active, but I always end up using the passive jacks on amps because it's not hot enough to drive them on the active jacks... Same happens with the Punch Factory compressor, passive setting works best... So I think I should use the 250Kohm version for passive instruments, even though my bass is active but I'm not sure... Any advice? I should get an Ernie Ball pedal, any suggestions of different brands?

[quote name='EskimoBassist' post='44795' date='Aug 13 2007, 01:25 PM']Hey Ive got myself a Big Muff and of course it is AWESOME! However, i dont want to just use a single adaptor or the official EH supply to power it. I have a few other pedals and i am using a PowerBank to power them, you know like the Dunlop Bricks, but only with standard 9v outputs. I dont want to get it modded so that it has the same power supply system as persay BOSS pedals, but there MUST be an adaptor somewhere so that it would be compatible with standard power supplies as used with BOSS units. I could just use batteries, but that would be so expensive. As i said i love my Big Muff so im gonna be using it ALOT! Sorry i bet this was really confusing Thanks anyway for the continued support of other users, you guys have been giving me some great advice!! Many Thanks, Rich[/quote] The GodLyke PowerAll and the Rocktron DC OnTap come with a bunch of adaptors so I guess the one you need would be there... You can also buy many adaptors fom OneSpot I think. I suppose Diago might do it too, check their site, and maybe that guy here that makes cables, can't remember his name...

[quote name='Muse_Cubed' post='44720' date='Aug 13 2007, 09:56 AM']The Blowtorch is good for the killer-bees-attacking-the-man-with-the-chainsaw sound but I've not really found much else with it. It doesn't sustain enough for my liking. But it's good at what it does. I think it probably needs major fiddlage.[/quote] I agree with that... I hated it and I honestly can't understand how anyone can think that is a good or even usable bass distortion pedal, so I get quite surprised when some people here praise it... The samples on the MXR website are quite accurate and they're awful as well... Just like an 18v Boss to me...

[quote name='P-T-P' post='43257' date='Aug 9 2007, 01:40 PM']You can go through and program patches to your heart's content before you head off for the gig, but I've found that tweaking on the fly is not so easy. For some it will be, but I just don't have enough room in my head to remember exactly which series of button pushes I need to press before I can twiddle the depth on my chorus. I did a gig recently where simply because of the size and shape of the stage/room, two or three of my patches were wholly unusable because they had eq-ing which removed a little bit of the bottom end, but the venue was already taking a lot of that away. First song great, second song, "Where's all me bottom gone?"[/quote] That's the main reason why I moved away from multi-fx... However, I might be going back to it for a certain application, and if I have to, I'll get the Line 6 POD xt Live because I already have a Line 6 Toneport so I understand the philosophy behind Line 6 modelling, and with that knowledge alone I can just look at the pedalboard and pretty much guess how things will work and what I'll have to press. Seems 100 times more intuitive than the Boss GT6-B... The ME-50B though, is as easy as pedals, and the Korg seems fairly easy too. But having tried the former and played with a guitarist who used the latter, I just trust Line 6 better on the quality of models and general sound quality...

Sounds like his usual distortion + an octaver. Simple as that. And he's playing 3-note chords on top of that.

[quote name='synaesthesia' post='43049' date='Aug 8 2007, 09:02 PM']If you look at what happens to a signal you can decide whether you have a use for the audio consequence. You have amongst your efx: type a. signal dynamics limiting devices === compressor type b. tonal spectrum altering devices === wah wah, eq type c. signal waveform altering devices === distortion type. d. amplitude modulation devices ==== tremolo, phaser type e. time modulation === delay, chorus The conventional wisdom is that you put your type a before type c and these before type d & e if you are running your signals in series. Type e tends to run in parallel internally even if you do not choose to run time modulation in parallel - you will have a wet/dry mix control. Puttting type a AFTER type b, will mean that you end up with higher noise, Putting type d or e BEFORE type c, will mean you end up with increasing or decreasing levels or modulating levels of waveform alteration Putting type d AFTER type c, will mean that your amplitude fluctuation will be fluctuation of a consistently modified waveform shape. Putting type e AFTER type a,b or c will mean you end up with a time modulated compressed, eq'd or distorted signal. Putting type e BEFORE type a, will mean that you end up with less distinct levels of signal decay. A type b efx, will alter the tonal spectrum of your signal. If you place it after any other effect, it will alter the tonal spectrum after that effect's modification of the original signal. If you put it before, it alters the signal before it gets altered by another effect. viz. if you EQ before compression, you change the nature of the signal that will be compressed, and if you EQ after compression you change the tonal nature of the already compressed signal. A wah wah is a modulating bandpass tonal modification and is really a tonal effect. So a wah after distortion is like an EQ after distortion, and an wah before distortion is like an EQ before distortion, ie. distortion of an altered tonal spectrum. Effectively you can do what you want as long as the signal modification is something you want to achieve. If you are a novice, try various combinations and see if you can find a use for it.... but if you don't like the results stick to the conventional: type a into type c into type d or e, type b can fit anywhere in between.[/quote] +1 to all that. That said, exceptions happen every now and then. I prefer flanger after distortion, however, I'm now using fuzz as distortion and I want a jet flanger sound with it at times. I find with my BF-2B after the fuzz, even at very low resonance, the swoosh is so loud it overpowers the notes I'm actually playing. So I now have it before the fuzz, where the effect is less luscious but I can get only as much swoosh as I want. I'm getting an MXR Flanger soon and for what I tried I believe I'll be able to have it after the fuzz without the swoosh being too overbearing...

[quote name='Johnny Wishbone' post='42993' date='Aug 8 2007, 06:20 PM'](think along the lines of Tim Commerford & Chris Wolstenholme).[/quote] That would be wah before fuzz

[quote name='tayste_2000' post='42964' date='Aug 8 2007, 04:56 PM']Apart from your minimising the signal going into your fuzz and you lose a lot of touch response from a fuzz, it is all personaly preference at the end of the day I love dirt pedals and just have transparent limting from a decent rack compressor. Personally on the wah if it was me I'd have dist before and after it or stick it in a wobo loop so youi can reverse it and do both, then you get best of both worlds.[/quote] Well, you always lose touch response with a compressor, but you win clarity and punch, and to me a clear and punchy signal going into an effect provides a much better base for that effect to do its job properly with better results. A fuzz will deliver an effect that was applied to more of the signal than if it hadn't been compressed. The fuzziness itself, comes out in all its glory. If you apply compression after a fuzz, you're compressing all the fuzzyness and taking the life and brightness out of it and making it sound dull...

[quote name='tayste_2000' post='42920' date='Aug 8 2007, 03:23 PM']Bass - OC-2 - Digitech BSW - Big Muff - Bass Wah - CE-2 - Small Stone - TR-2 - Delay - CS-3 - DT-10(Though this could also go first but I like them last so I can mute any hum or setup some effects in silent mode before a song a starts) Reason for this is CS-3 last will give you all the limiting you need make sure you don't get any nasty peaks. Fuzz into Wah sounds best Chorus into Phaser will give you huge swooshy noises and isn't that great the other way around Octaver needs to be first to track as well as possibly BSW needs to be as close to beginning as possible as well also synth and octave in Fuzz, Phaser, Wah and Trem will give you the synthy sound where as other orders aren't that great. Delay last is the most useful but you can get some great sounds earlier but it is limiting.[/quote] I strongly disagree on 2 things: I'd never put the Fuzz before the 105q. That gives it a synthy effect that loses all the distortion when the wah is engaged and that's not what I want. I want the Timmy C effect, not the Cliff Burton one. Might be what some people want, but swaping those 2 around gives such different results that it's not a matter of what sounds better but what result suits you best. It's also so easy to spot the difference it's really worth to try and pick by yourself, you'd have to be deaf not to have a favourite... And I'd never use the compressor after all those effects either. I used to prefer it after the wah, then I decided I preferred it before. Not a big difference. But to me it definitely makes it all sound worse after chorus or fuzz. Not to mention that it maximizes any noise that goes into it, so a fuzz before it's pretty much the worse you could do regarding noise in the signal... Ultimately, try it all and chose with your own ears! Most of it is pretty easy to decide once you hear it.

[quote name='EskimoBassist' post='42692' date='Aug 7 2007, 11:26 PM']Hey! Im looking to get an EQ pedal for my bass, but i really wasn't sure what to be looking for. Can anyone help please? I was leaning towards getting a Boss GEB-7. Many thanks, Rich[/quote] I haven't tried it but if I was looking for one, the MXR M-108 (10 band EQ) would be the first one I'd look for... It works with 18v though, not 9v, so that might be a problem for some...

[quote name='dood' post='41248' date='Aug 4 2007, 12:59 PM']What don't you get mate? Yes, XLR DI outputs on amps are essentially the same as seperate DI boxes. Either will get the signal to the desk. I guess for an engineer an external box of his own is a known quantity.[/quote] Well, I guess I don't understand what a line out is, since my amps always had balanced DIs, which I used to call line outs as well, but I suppose I shouldn't because that name applies to unbalanced outs? So some amps have unbalanced outs? What's the point of that???

[quote name='Treeb' post='40884' date='Aug 3 2007, 01:12 PM']I actually ended up with an FL-9 ... the guy who was selling me his BF-3 'accidentally ran it over it with his Land Rover' and offered be an FL-9 instead! I'm quite impressed as it delivers a nice 'round' tone which is just what I'm after.[/quote] He's lying... a Boss pedal would easily come out unscathed from any type of road accident