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Outside of dirt and compression, could you make an all-stereo board?


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The only way to get a stereo pedal board is through a modulation pedal, where the effect pans left and right.

 

You would want two amp separated at a distance apart.

 

 

 

Personally I like reverb and Tremolo in amps, so that would be my pick.

 

Fulltone now has a stereo tremolo pedal that looks great, the Hall of Fame Reverb pedal that I have is already stereo, but I have never even tried it in a stereo situation.

 

Personally I'd rather layer different guitars and pan them as needed or for taste.

 

I also like mics on an amp, one close up and one in the room for natural reverb. Live that's not a great set up.

 

That switcher could go up front if need be, followed by the stereo reverb and a stereo trem.

 

More wiring, more mess.

 

There's a lot to be said about those all in one effects units like the Digitech and Boss pedals, which run in stereo.

 

You be surprised what I see on stage at festivals, where the change over needs to be rather quick, in between acts.

 

 

 

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For the price of a single pedal, this is pretty handy, which you can pre program before a gig.

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define all stereo board???

only my HoF, sdd3000 pedal and line 6 echopark have stereo out's AND in's, some other pedals have either stereo out's or wet/dry outputs (e.g. dmm)

 

i currentely run stereo with ->sdd3000 pedal->HoF last in the chain before the two amps (sovtek midget50h and BYOC tweed royal)

the pedals before get changed every now and then, currently i had no modulation pedal there only various dirts and the wah...

 

so beside dirts its a full stereo board *lol*

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The source needs to be stereo and most pickups configs are purely mono.

you can do the Rick O Sound and wire pickups to a stereo jack but other then the pick attack overtones being different in each pickup there is no stereo content there either.

 

What you need a split of Hex pickups where different strings are split into actual different channels. I been wanting to buy a hex pickup for awhile now and using 6 pan pots so I can pan the strings left and right. I found one manufacturer that makes them but they are pretty expensive. Teisco and others have made some three string pickups used for a stereo feed. I've never tried them before but there would be a hard cut between the 3rd and 4th strings when set for stereo.

 

Only with string outputs panned side to side would a true stereo pedal board make allot of sense. Everything else is simply pseudo stereo where you get a mono signal to either pan or delay getting to one speaker before the other. Chorus, Tremolo or Phase pedals use an LFO to auto pan. You can use a pan pedal and manually pan side to side too. Echo's and Reverbs can have different times set up so the reflection on one channels is different then the other.

 

I run dual amps and I can switch between a stereo chorus or stereo echo to get some separation on the two sides.

I've tried it with a split early in the chain so I had separate drives on each amp. I also used a stereo in, stereo out echo/chorus unit which did a good job creating various blends. I had more control over how the individual amps sounded, but I later went back to running a mono chain up to the stereo chorus or echo because the ability to control two amps became impractical.

 

Stepping on two drive boxes for leads or turning off two for chords requires three legs, (and my third leg wasn't quite getting the job done)

I could use some creative switching using loop pedals but when I compared the benefits vs the costs, I just couldn't justify it.

 

In a studio, you can be complex because you can simply multitrack the changes. Live its less practical. The two amps sound like one once you get a certain distance from them. You could argue micing two amps into a stereo PA system might sound good, but a Decent PA rig should have its own stereo chorus and echoes you can use to create a stereo spread so why go through the trouble of using two mics on two amps unless there is something really special worth capturing.

 

So I'm back to my Hex pickup point. Strumming across a set of string and have it move across the room from one PA cab to another might be very interesting. Many keyboards have this feature or at least a split key that can be hard panned left and right. I'd have a blast recording a guitar that way.

 

Live is still a tough call. If you use the upper three strings for playing leads and those strings are panned right, you only have half you're audience hearing that lead through a PA cab. Then when you hit the low strings the other half of the room is hearing you. Wouldn't it be better to just do it in mono and have both sides of the room hear you equally?

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The only way to get a stereo pedal board is through a modulation pedal, where the effect pans left and right.

 

You would want two amp separated at a distance apart.

 

You can get stereo from a modulation pedal (chorus, flanger, tremolo), but you can also get it from a delay or a reverb. :) And as far as using two amps, I do that semi-regularly. I LOVE stereo! :)

 

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The source needs to be stereo and most pickups configs are purely mono.

 

To clarify, I wasn't thinking about a true stereo source. When I said "outside of dirt and compression", what I meant was taking a mono source, and using mono effects for dirt and compression, could you make a board where the rest of the effects, after whatever initial mono in / stereo out pedal you wanted to put first in the chain, are all stereo in / stereo out?

 

For example:

 

Carl Martin Andy Timmons Compressor

Dunlop Fuzz Face

Fulltone OCD

MXR M134 Stereo Chorus

Source Audio Luna Phaser

EHX Super Pulsar

Strymon Timeline delay

DigiTech Polara reverb

 

The first three pedals are mono in/mono out. The MXR is mono in/stereo out, and everything following that is stereo in/out.

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My current guitar pedalboard chain starts in mono, but finishes out in stereo:

 

EHX Stereo Polyphase > EHX Super Pulsar > EHX Stereo Memory Man with Hazarai > EHX Cathedral >> 2 1977 Mike Matthews Dirt Road Special amps (each with it's own built-in Small Stone for more stereo phasing).

 

That's closer to what I had in mind. I was thinking along the lines of something that, once you get past the wah, fuzz, OD and compressors (which are nearly always mono I/O), is stereo and stays stereo for the rest of the signal path. IOW, mono dirt, then stereo modulation, delay and reverb pedals.

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Isn't that for the stereo effects loop? Pre mono and post stereo instead of all pre? I don't have stereo pedals nor have I contemplated chaining a bunch of stereo effects. You could just Y the signal after the last mono pedal but it makes more sense to have the whole thing on a switching system with optional dry signal direct to the stereo pedals and one post junction with all the mono, stereo, and dry options available.

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Which ones would you use, and in which order Travis? :)

 

 

 

Bonus points for naming the ones you'd want them to make, even if they don't already exist in Wazacraft form. :idea::wave:

 

Pretty sure I could get by with the Waza SD-1 (hell, even a regular SD-1) and the the Waza DM-2 and the new Waza CE-2!

 

As far as what I want them to do with the Waza line, Waza HM-2 would be rad, and a Waza Compressor.

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This isn't exactly what you asked for in the OP but it may be effectively similar.

 

I've been playing through a Yamaha DG80 Modeling amp which allows MIDI control of patch selection, individual effects on and off and volume. The location of the MIDI volume control in the signal path is programmable.

 

A friend of mine bought a DG80 a couple of years ago but doesn't use it much since he bought a Gretsch amp. I'm thinking about trying the two DG80s together and running them both with a single programmable MIDI Foot Controller (Yamaha MFC10). I could setup a series of patch pairs that compliment (or contrast) each other. The idea would be to think of setting up the amps as a work in progress where subtle changes can be made and saved along the way during gigs and rehearsals.

 

My plan is to run the guitar(s) through a Boss ME25 and use it to 'split' the guitar signal so it can drive both amps and provide some additional effects, some of which are in stereo.

 

I also have an old DigiTech RPM-1 Vacuum Tube Rotary Speaker Emulator which is Stereo in and out that I would consider putting in the effects loop of both amplifiers but I would need to evaluate that in terms of complexity verses added sonic benefit.

 

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