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What pedals have you got that were disappointing to the hype?
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#31
5th March 2012
Old 5th March 2012
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Right on!

I also think that Peter Stroud's demos for Electro-Harmonix are excellent. I probably wouldn't have discovered a pedal like the EH Graphic Fuzz without it. A pedal like that can easily sound like utter ASS in the wrong hands.

But there's another thing and that's the 'pedal shooutout dude' persona that has emerged over the last years, probably best exemplified by 'germandude'. Frankly, I have yet to hear a shootout from him that sound even remotely decent but of course his Jack Black persona is hugely entertaining - for a minute at least.

So IMO there's just way too much 'I'm on the net and gotta act cool' or 'My signal chain consists of a Lollar-equipped '57 reissue Strat feeding a modified ...'.

You know what? I don't care! Let me hear the gear you're testing and get to the point.

But then again, from a salesman perspective it's pretty clear that a lot of these shootouts are so over the top. Often the best way to use an effect is to use it in very subtle ways but of course without the 'Bang!' factor you might sell less of them because folks want 'their money's worth' and the 'ultimate distortion that blows away everything ever produced in the past'.
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#32
6th March 2012
Old 6th March 2012
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Certainly true. I have dealt w GMD in the past and often complained that his little amp and shoot outs were all midrange and tinny, and any sense of an overdrive was merely just a mild distortion box.

Youtube is a bit of joke, there are a few things I have seen that sounded decent, but few. I was surprised to run across Brett and the other guy who does some Wampler stuff for them, sounded pretty damn good. ProGuitarShop is pretty good.

The dumbass factor is off the scale in the teenage new player land and if you say anything at all good or bad you get all these private messages on what a know nothing ass you are. Really, you have to just laugh it off. I love to respond to them just to set them off.

I puzzle in amazement they think GMD is Jack Black, yeah and I am George Clooney. He is just a guy from Ms I think he said, and has done thousands of "demos", how he gets all the pedals is beyond me. He has convinced me I do not want a low watt single speaker amp that is the biggest informative issue I get from his demos. On the other hand Brett Kingman gets some tone out of his smaller amps.

I am not sure I would make it to next week if all that was the basis and center of my life. When I am looking up a new pedal I try not to let them keep from getting it as I know most of the time their sound is terrible.
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#33
10th March 2012
Old 10th March 2012
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"A pedal like that can easily sound like utter ASS in the wrong hands."

Oh God does that sum up my feelings after looking through comments and reviews of a new unit I've been sizing up. I think I have finally found a sophisticated pedal that is so far above the average players mental capacity as to be ludicrous.


Why is it the majority of guitar players are complete idiots? I mean seriously, some days, I can't take the stupid. One of the things I like about this site is many of the recording engineer types go over my head and that is a refreshing change of pace.
#34
11th March 2012
Old 11th March 2012
  #34
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Quote:
Originally Posted by darkhorse View Post
"Why is it the majority of guitar players are complete idiots? I mean seriously, some days, I can't take the stupid. One of the things I like about this site is many of the recording engineer types go over my head and that is a refreshing change of pace.
Or as I was once told at a practice: "It must be you out of tune, I tuned my bass yesterday!"

There's an overly simplified version of reality presented to most people by marketing. You know, Hendrix/Van Halen/Kurt Cobain used this guitar. Yup, that's it, nothing else makes him sound like himself. It's the classic marketing use of lying by omission. An SM7 will make you sound like Michael Jackson, tape delay will make you sound like Pink Floyd, tubes will make you sound like Santana.
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#35
12th March 2012
Old 12th March 2012
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Ain't that the truth.
I got into a tuning argument with my son in law about his bass. He tunes to E#/F which is so weird to me, who does that? His guitarist likes to detune a lot on the heavy strings. I tried to explain to him that compensating fret positions to match tuning pitch does not sound as good or heavy as having the bass hold the key bottom and be more in touch with the guitar unless you are going for some sort of harmony or chord build thing.

It's a bit like arguing a fretted string sounds just like an open. I play in Eb all the time so when he tried to jam with me it was problematic being 2 frets off, I cannot play openly and free trying to keep track of where he is and it does not sound as good.

Made me realize all the moments that pissed me off back with the band. They would not tune to Eb for my use as to me Strats sound better in Eb the tension and all that. They could not get that you just ignore the issue you are a half step low in pitch and just play as if you were not.

I really enjoy the moments I run into players who have some knowledge and experience verses these plug in and play guys who hate everything because it needs to be tweaked in.

I have to always remind myself that almost 50% of the people in this country are functionally re-tarded (why is that blanked out?) and some are guitar players. I get struck w that reality every election year.
#36
12th March 2012
Old 12th March 2012
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Quote:
Originally Posted by darkhorse View Post
Made me realize all the moments that pissed me off back with the band. They would not tune to Eb for my use as to me Strats sound better in Eb the tension and all that. They could not get that you just ignore the issue you are a half step low in pitch and just play as if you were not.
Well, that's o.k if you are running the show. But in situations with singers I think that vocals always come first.

I did a project a while ago where every single song was tried in almost every key just to find where it sounded best. Of course the best sound for the SONG might not be the easiest range for the SINGER to sing in.

But that's another issue (and I have my psychiarist white coat stored away at the moment with no immediate desire to fetch it. In other words, I'm glad not to work with 'attitude' singers at the moment.)

I think you need to look at the whole picture. I also prefer tuning down a 1/2 step for most anything but it's the song and the overall arrangement/performance that counts.


P.S and to stay on topic: The postman just brought an EH Q-Tron Plus that I actually forgot about after a shipping delay and attempted cancellation. Gonna try this baby out in a minute now!
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#37
13th March 2012
Old 13th March 2012
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I thought a half step flat was easier on a singer. I get what you are saying though, most of the stuff I listen to and play is instrumental. I've noticed guys just off set a fret to accommodate a singer when needed. I play heavier strings so its a mother for me to increase my tension to standard pitch these days. we did not have a great singer by any means and they never wrote anything from that perspective it was all what was the heaviest riffs I could muster.

I had a Q tron Plus, gave it to my son in law for Christmas. Not a bad unit, I love filters and weird things myself, I find I do not play aggressive bash enough to really get them to whack. Lately I dig harmonizer effects and want to get into some ring mod weirdness.
#38
13th March 2012
Old 13th March 2012
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OCD v4. Bought into the hype of a tubescreamer on steroids. Never dug the frizzy distortion. Took it off my main board and put it on my secondary board after three months. Took it off my secondary board about three months after that.
#39
13th March 2012
Old 13th March 2012
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Quote:
I thought a half step flat was easier on a singer.
Not if you're already at the bottom of your range.
#40
13th March 2012
Old 13th March 2012
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Tried out the Q-Tron Plus and really like it. I like the subtle way that you can use it, a bit like Jerry Garcia would bring out a Mu-Tron once in a while.

My big discovery lately is the Roland DC-20 Analog Delay that a friend gave me for free a few years ago. Totally amazing in a way no delay pedal ever was for me, it adds dimension to the sound but never gets in the way. It's warm sounding but not in the Lowpassed way that most delay pedals try to sound 'vintage'. Even though I only tested it through 2 Champs so far, it seems that the preamp works wonders too.
I got to figure out a way now how to operate it
live and add it to the Watkins Copicat that I use for slapback. Those old delay boxes rule!
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#41
15th March 2012
Old 15th March 2012
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Quote:
Originally Posted by Tapeworm View Post
OCD v4. Bought into the hype of a tubescreamer on steroids. Never dug the frizzy distortion. Took it off my main board and put it on my secondary board after three months. Took it off my secondary board about three months after that.
Same exact thing I experienced. I had a v2 long time back, sort of liked it because I was not that progressed in overdrives. After a time I thought I would check one out again, ended up with the v4. Was very different, too gainy, tried keeping the gain about 9;00 but the concept of this single tone control, 3 knob overdrive was just wearing thin on me. The Fulltone "tone" is just a treble roll off with no bass enhancement. Sounded OK with the gain down and sweet spotting the tone but takes off too much presence for me and adds no real bass substance. Tired a mod I got from a guy here, I think, and removed the germanium stage diode which added the more gainy final stage. Helped some, sort of sounded like a better v2 more what I like but frustrations with the "tone" led me to other units.

Ended up round and round with a Wampler Ecstasy Drive, been pretty happy w that one for a while now. Very wide ranging which can allow you to get pretty much any sort of drive you want. Very transparent in the "open" mode, and the gains are nice and musical sounding not that harsh clipping. No mid range bump or muddy bass but what I like is you can take it too far if you like. Bass injects before gain circuit I believe is how that goes. This OD Can get total clean boost or gains up if you want. The EQ enhances the tone rather than colors it too much. I prefer the "open" transparent setting or the dumble "smooth' mode. Very versatile drive and has very full range bass and treb controls. This is a 3 mode drive with 3 different diode configs into a primo op amp, not a clone or copy (Brian's circuits are all his approach) the "smooth" or Dumble mode sounds a lot like a Zendrive or a ZenKudo dumble type pedal. I will always keep one of these around as it is the most versatile drive I have owned.

I tried so hard to like Fulltone. The Fat Boost 3 was a pretty good pedal but hummed like a bitch above 9v, was there at 9 but low. With them it was always your power supply or your cables, could not be the pedal. Lost patience w it.
Love the fact Trower uses Fulltone and maybe that RTO is better than the OCD but still that one blasted tone control and no switch options. I almost convinced myself to try the RTO but I decided to try the Wampler for the same money. Had a GT500, hated the dist voice of that one, did not last the day. Fulldrive 2 was OK but really more a clean boost and the boost was not independent. Ecstasy kicks ass on it I think. Still like and recommend the DejaVibe, very good Vibe pedal, probably Fuller's finest effort to be sure.
#42
19th March 2012
Old 19th March 2012
  #42
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Shared pedals and I tend to blame myself for a pedal being underwelming

Quote:
Originally Posted by doorknocker View Post
BTW, have you tried the handwired Vox? VOX V846hw Wah Wah

I'm curious because I like the Vox sound but found the one I had to be a tone killer. I really love my Colorsound Wah too but again, it kills the sound when part of the chain so I only use it for recording.
Some pedals in common it seems as I too have a 70s Colorsound Wah (defnite tone sucker and mine is noisy so probably needs a resistor replacment) and also a 60s valve WEM Watkins Copicat that is surprisingly quiet except for the thub of the tape join) and sounds simply amazing.

Pedals I really rate are the Diamond Memory Lane 2 which is truly exceptional and the Roger Mayer Voodoo Vibe Plus which is quiet, very well engineered and hugely versatile if you have the patience to systematically tweak settings and mark the various knob setting combiations with coloured coded stickers. ISP Decimator G String and ST Turbo Tuner do what they claim with finesse and speed/accuracy respectively.

I tend to blame myself for a pedal being underwelming but I have yet to get great sounds out of the Red Witch Fuzz God 2 and the Pigtronix EP1 Envelope phaser using an EJ Strat into Fender Prosonic or Orange TTHW. I suspect Humbucers would produce markedly better results.

Anyone compared the new Dunlop Joe Bonamassa Sig Wah [and Germaium Fuzz] vs the Vox V846HW Handwired Wah Wah . I'll probably go with the Joe B in a couple of months but keep the Colorsound.
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#43
19th March 2012
Old 19th March 2012
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I like the MXR/CAE wah myself but all wahs are problematic to the rig. This one is dual real Fazal inductors, long life pot and true bypass. Also has a clean boost all switchable. Seems to be able to adapt to all sorts of uses and boards.
I never seem to find a wah I am 100% w the tone.

I have actually heard some of the modeler pedal wahs sound quite good, the trick being to lower their internal output from the typical 100% default to like 70-80%.

The basic thing with pedals is the chemistry interaction of the guitar, amp, rig and player, does not seem to be a golden egg, nor a consistent hearing ability among the users. One's touch of playing makes one pedal work for one and not for another, much less what you hear or like, all so objective. One player's Holy Grail is another's door stop.
#44
19th March 2012
Old 19th March 2012
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Quote:
Originally Posted by darkhorse View Post
I like the MXR/CAE wah myself but all wahs are problematic to the rig.
I guess that's true. I'm lucky in the sense that I don't really need a wah for live work so it's one thing less to worry about. But I must say that the Colorsound I have (these being originals that Macari's rebuilds) just NAILS Stephen Stills 'Season of the Witch' sound. Definitely sounds like a Colorsound to me. It's also just the ticket for 70s 'Shaft'-type funk.

Quote:
Originally Posted by darkhorse View Post
The basic thing with pedals is the chemistry interaction of the guitar, amp, rig and player, does not seem to be a golden egg, nor a consistent hearing ability among the users. One's touch of playing makes one pedal work for one and not for another, much less what you hear or like, all so objective. One player's Holy Grail is another's door stop.
Absolutely. At the moment i'm totally amazed by the Roland DC-20 I mentioned above. Not only is it a great organic delay sound but just adding a bit of a boost with it makes everything sound better in a way that none of the booster/buffers I've tried ever did.
#45
19th March 2012
Old 19th March 2012
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Quote:
Originally Posted by SeveBC View Post
Some pedals in common it seems as I too have a 70s Colorsound Wah (defnite tone sucker and mine is noisy so probably needs a resistor replacment) and also a 60s valve WEM Watkins Copicat that is surprisingly quiet except for the thub of the tape join) and sounds simply amazing.
Wow. I wonder what a tube Copicat sounds like as I absolutely love the Solid State version I have. These things are made to last forever and outside of an occasional tape change which is a matter of seconds really. What I learned over the last few months is that not one of the numerous delay pedals I've owned over the years could even remotely compare to the Copicat (and also the DC-20) in terms of dimension and fidelity. I say fidelity because there's nothing LoFi about these boxes even though they are very 'warm' sounding. I find that going through these boxes adds a nice sheen and extends the dynamic range as opposed to the pedals which are neutral at best but mostly suck out some tone.
#46
19th March 2012
Old 19th March 2012
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Once you go tape delay you never go back. No simulation really comes close. They're very musical!! I use the TTE on all my gigs.
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#47
20th March 2012
Old 20th March 2012
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A couple of the top of my head that have come and gone because they didn't live up to the hype.....

FullTone Ultimate Octave - The Octave was extremely nasally, and the fuzz just plain sucked.
Visual Sound H2O....the delay was definitely useable, but the chorus developed some weird oscillation noise
Boss OC-2.....been replaced with the much better Mini POG

I will say the Morley Bad Horsie Wah doesn't really sound as good as a Crybaby, but I love the action of it, and now I can't go back to the crybaby lol.
#48
20th March 2012
Old 20th March 2012
  #48
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Originally Posted by Granny Gremlin View Post
'subtle' is exactly the thing I am not looking for in a phaser personally (and I agree that's what the MXRs are). Which is why I like the comparatively crazy Japanese ones.
Ah, then you want one of those old Univox PHZ-1's from the 1970s:


When I was a kid I & my best friend had a PHZ-1 could never figure out why everyone else was using MXR phase shifters. "Are you kidding? That orange box sounds so subtle, you can barely hear it! Now this is a phase shifter!"

Now that I'm along in years, I think subtle phase shifting has its place...and probably more often.
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#49
21st March 2012
Old 21st March 2012
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Phasers may have fallen off it popularity but it is a cool effect for a change up tone now and then. Tends to turn heads. I am old school so I dig all types of effects.

I sort of like the Hardwire PH-7 I have at the moment, despite it's a digital platform does a really nice phase, has 2 to 10 stage phasers. Phasers are variable as to where you put them, from my experience they all do not sound good in front of dirt. Depends. Mine sounds good with some gains and ODs and not others. Tube gain tends to sound better w the phaser in front and its more a truer EVH type phase.

I think the MXR is popular because one tends to end up w a 4 stage phaser, even the Univibe is a 4 stage. Sometimes I like the "boutique" tone and sometimes I mess with the 10 stage models, sounds pretty good, a 10 stage tends to sweep so much you tend to lose control of the tone and feel, I expect adding phase in mixdown is much different.

It is hard to beat a cool analog phaser. I like those Homebrew ones. MXRs are an easy use pedal, just the one knob and it is tuned pretty well. I recommend the EVH MXR as it has both the block letter and script circuits of the Phase 90.
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#50
21st March 2012
Old 21st March 2012
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Quote:
Originally Posted by litepipe View Post
Once you go tape delay you never go back. No simulation really comes close. They're very musical!! I use the TTE on all my gigs.
Like $1400 plus tape supplies. Ouch.
Digital has its advantages in up time, no wearing of heads or that tape that decides to wrinkle to death.
Myself, I do not so much always like a lot of modulation on the repeats, that is where digital is great, that TC 2290 or DYN 2290 is really nice.

I sort of dig that Wampler Faux Tape unit all analog but does some really cool things very much like a moody tape machine. Brian has the modulation speed vary with play style and it does awesome delay modulations with the knob with oscillation on itself. Last time I heard anything like it was an old Echoplex.
#51
21st March 2012
Old 21st March 2012
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It ain't cheap that's for sure!! I like wampler pedals a lot. But that being said digital still isn't the same. It's more practical that's for sure!! It's not just the modulation... You can get a tape to be pretty clean. The difference I notice is in the way the repeats decay. I have yet I hear one pedal that emulates the repeat decays the same way a tape does. That's the most important thing to me... Plus I do like the modulation and also use the unit as a pre amp.
#52
21st March 2012
Old 21st March 2012
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4 knob keeley comp is the stand out for me. I really hated that thing. a close second is the morley bad horsie wah. I generally have been dissapointed by all MXR's other then the script phase and comp.
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#53
22nd March 2012
Old 22nd March 2012
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Quote:
Originally Posted by Igotsoul4u View Post
4 knob keeley comp is the stand out for me. I really hated that thing. a close second is the morley bad horsie wah. I generally have been dissapointed by all MXR's other then the script phase and comp.
Heh, yes the Bad Horsie was pathetic. I didn't like the MXR comp though.
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#54
24th March 2012
Old 24th March 2012
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Quote:
Originally Posted by litepipe View Post
It ain't cheap that's for sure!! I like wampler pedals a lot. But that being said digital still isn't the same. It's more practical that's for sure!! It's not just the modulation... You can get a tape to be pretty clean. The difference I notice is in the way the repeats decay. I have yet I hear one pedal that emulates the repeat decays the same way a tape does. That's the most important thing to me... Plus I do like the modulation and also use the unit as a pre amp.
The Wampler is all analog. The Faux Tape delay does things I have never heard in another solid state analog or digital pedal. It really sounds like the old echoplex with the wacky tape issues. If you did to the tape what this pedal does you would changing out tapes every session.

The only reason I never got one is because it really modulates the delays and Brian has it engineered to alter modulation speed variably as you play, it is supposed to mimic the tape effect instability. I am not so much with the modulation, a little goes a long way.

I just got a new HD500 POD to experiment with some of the cool models it has like the old Binson Echo Plate Pink Floyd used and both the EP1 and EP3, digital yes but they are different animals and one can use them to work quite well if you know how. Should be some major fun with panning and what not.
#55
25th March 2012
Old 25th March 2012
  #55
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I have had loads of pedals that have been disappointing. The tech21 gt2 just couldn't get a decent sound I liked out of it. The Boss dd20 not a patch on the dd3. The ds1. The modtone chorus pedal tone sucker.

There are also a lot of pedals that sound great at bedroom levels but crap at gig volumes and vice versa. Subdecay blackstar pretty useless quiet but get it up to gig levels and it rocks. Hardwire sc2 great at low volume flat and fizzy loud.

I've made plenty of mistakes letting things go without realising what I had but as they say you live and learn.

My advice is before you write anything off as rubbish try it quiet and loud through clean and overdriven amps. Sometimes it's the rest of your gear and how they interact with the pedals that makes the difference.
#56
27th March 2012
Old 27th March 2012
  #56
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I bought a MXR Bad Ass '78 or whatever and was really disappointed and returned it. I was taken in by some demos but I just couldn't get it to produce anything I really liked; I tried a bunch of guitars and amps but it went back.

On the other hand I've great experiences with ZVEX stuff, the only thing I've ever resold was a Lo Fi Loop Junky. There are a few i'd never even try but I think the SHO, fuzz factory and distortron are top notch. I won't use all of them always but the SHO does not leave my board.

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#57
9th July 2012
Old 9th July 2012
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Quote:
Originally Posted by Tapeworm View Post
OCD v4. Bought into the hype of a tubescreamer on steroids. Never dug the frizzy distortion. Took it off my main board and put it on my secondary board after three months. Took it off my secondary board about three months after that.
Yep, I had a v2 traded it off and thought I missed the tone, got a new v4 and the gain structure was just too fuzzy. I even did a mod on it to reduce the gain but around about that time I just got sick to death of 3 knobbie overdrives. I just hate one tone control and the Fulltone's are not really a tone control.

I ended up w a Wampler Ecstasy (now the Euphoria) Drive and quite like it, very versatile range of gain to clean plus 3 different diode config circuits which is like 3 overdrives in one, each mode is totally different. Very transparent drive as I do not like real gainy drives. If you keep the Bass level down the gain structure is not so fuzzy.

The only Fulltone pedals I really liked were the Fat Boost 3 (noise hum above 9v) nice boost at 9v, nothing extraordinary but a nice pedal. I still have my DejaVibe and I really love that pedal. I sort of moved away from Fulltone the last years.
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#58
9th July 2012
Old 9th July 2012
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Quote:
Originally Posted by doorknocker View Post
Right on!

I also think that Peter Stroud's demos for Electro-Harmonix are excellent. I probably wouldn't have discovered a pedal like the EH Graphic Fuzz without it. A pedal like that can easily sound like utter ASS in the wrong hands.

But there's another thing and that's the 'pedal shooutout dude' persona that has emerged over the last years, probably best exemplified by 'germandude'. Frankly, I have yet to hear a shootout from him that sound even remotely decent but of course his Jack Black persona is hugely entertaining - for a minute at least.

So IMO there's just way too much 'I'm on the net and gotta act cool' or 'My signal chain consists of a Lollar-equipped '57 reissue Strat feeding a modified ...'.

You know what? I don't care! Let me hear the gear you're testing and get to the point.

But then again, from a salesman perspective it's pretty clear that a lot of these shootouts are so over the top. Often the best way to use an effect is to use it in very subtle ways but of course without the 'Bang!' factor you might sell less of them because folks want 'their money's worth' and the 'ultimate distortion that blows away everything ever produced in the past'.
Most of the "demos" or "shootouts" are very midrange and thin, and my all time fav, shootouts. Sad to realize that no two identical boxes are going to sound alike with knobs on 12 due to variance in components. Much less does no one get that ones guitar and amp are infinitely different much less your hands?? I wish I had $1 for every idiot who thinks that GMD is actually Jack Black. No wonder they think all the youtube stuff sounds good, their hearing is impaired. I will say a few cats do get some good tones on the youtube thing, but they are like the 10% percentile.

I upset some dunder head when I said something, and he started sending me all these messages telling me to post something on yourtube doubting my rig or ability. As if I should waste my time proving what to whom? Refreshing to run into a few musicians w a brain, it is a rare thing from my experience.

Magic boxes, "you can't get there from here", if something is your grail pedal, someone else using on their rig might hate it. The is issue of technical ability and touch is also individual to ones tone. Been my experience a good player can make anything sound good and a poor one can make anything sound like crap. One just has to try out a lot of pedal to see which ones morph with your rig and style. Buying something listening to others play it seldom if ever works out for me.

I like threads like this one because if one starts seeing a consensus of crap rating, then odds are on there is probably something to it verses the constant, "I just bought it and it is the best" syndrome. And of course where would we be without "kicks ass" and "built like a tank" reviews.
#59
9th July 2012
Old 9th July 2012
  #59
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Quote:
Originally Posted by darkhorse View Post
Been my experience a good player can make anything sound good and a poor one can make anything sound like crap. One just has to try out a lot of pedal to see which ones morph with your rig and style. Buying something listening to others play it seldom if ever works out for me.
That's very true I think and also a major reason why I still get excited over the electric guitar per se even after decades of playing it.

In a way, pedals are like drugs in the way that they don't have a sound/'vision' of their own so much as they rearrange, enhance or cloud up what your brain/body/fingers are doing. With something like a germanium fuzz, the overtone structure totally changes just by pick variation and placement. And a great player can use this to his advantage.

It's ridiculous how say EVERY new distortion pedal is hailed as being 'the one finally preserving all the dynamics' (Well, are there any to begin with? ) and 'sounding like an overdriven vintage tube amp'.

You know what? NO pedal ever sounds like a 'overdriven vintage tube amp' and that's great because I want something else from a pedal: more control, more compression and less spikiness. If I want the sound of an overdriven tube amp then I use an overdriven tube amp, period.
#60
9th July 2012
Old 9th July 2012
  #60
Would-Be-Teaboy
 
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Gonna jump back on board and see if I get myself killed for this...

The Big Muff: Is it great? Really? I mean I LIKE it but I have an EHX Graphic Fuzz and 9 times out of 10 it's the better choice. And it's nothing to do with dynamics as I often turn the expander off - unless I want to use abuse the short release time on it and create nasty feedback effects! The Big Muff can be really flat, and with the Tone Wicker you can pull out the filter and that's cool but alot of it is really just down to the lack of clarity I find you get from it. The sustain thing is horsedoodle, too.

As for the Graphic Fuzz I've had it since I was 14 so I've probably more than exhausted it's possibilities, but it's just so useful! I even use it's crazy headroom to drive the input of my amp or boost the low end going into another distortion stage. As a kid I often bemoaned the gift fuzzbox my brother had gotten me - it certainly wasn't on Siamese Dream or Are You Experienced? - and now I'd probably cry if I lost it.

Another one - Fuzz Factory? My freind had one that was nothing short of a PITA. I've to replace the transistors in it now and I'm gonna build my own for kicks, but it's seriously just a curiosity. It's cool that it's a fuzzbox with all the flaws left in and it borders on weird synth-fuzz but it's also got a horrific feedback/oscillate tendency that makes it unusable for certain situations. Alot of fuzzboxes go even further left of these and I think many of them are a gimmick - a motorboating amplifier is not worth 300 dollars.
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