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Posts posted by Fender&EHX4ever

  1. You've just gotta love those folks... not only do they release things from their illustrious past (like the Triangle Muff RI that just came out), but they don't exclusively live in the past - they also release groundbreaking new products too... They just keep knocking it out of the ballpark.


    Agreed, this really is something different than other effect pedal offerings, at as far as I am aware of. There are other advanced modulators like the Strymon Mobius, but completely different from what I can tell. I will be among the first in line for this.


    And I'm really stoked that they've allowed it to sync with a pulse clock as well as midi clock. I don't feel like modular synthesis is going away any time soon, and actually it's been around a really long time. It's too darn addictive.

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  2. Agreed that Bill's chops, video, and talent in general are awe-inspiring! Bravo!


    Something I would love to see, but is probably too late for, is a documentary on the story behind each BMP version, and the decisions and techniques that the engineer(s) and designer(s) used to create each version. For example, other than Billy Corgan, did they call anyone in particular and ask to borrow their pedal? And even if they were able to get their hands on the exact pedal that an artist used on a classic track, did they run into any issues regarding components aging, or tolerances changing, etc. We all know that analog components can change over time, thus making every single vintage pedal somewhat unique of its own. How much variance were they able to measure? Was it noticeably different to anyone's naked ear? Were scopes used to take measurements and get as close as possible?


    I would've loved to hear the stories. I'm sure there were moments where hairs were being split to the point of absurdity. But those stories would make these pedals all the more appealing for me. Maybe I'm alone there.

  3. My favorite envelope filter has probably been the Electro-Harmonix Q-Tron+ (original big box version, just because) which was designed by Mike Beigel, the designer who made the MuTron. But the EHX Riddle and Enigma are also fantastic for more flexible control and a smaller footprint.


    My favorite modulated wah has always been the Electro-Harmonix Worm (again, the original big box version, just because), though the reissue has expression control and a smaller footprint.


    But I find myself syncing everything to a clock these days... so I get more mileage lately using an Electro-Harmonix HOG2 in filter mode controlled by an Electro-Harmonix 8-step Sequencer.




    No NPD threads? No pics? No reviews?


    I'd love to hear what you think of both pedals. :)



    The Key9 is on its way. I haven't tried it yet, but really looking forward to it.


    I've mostly been using the BOSS SL-20 after the EHX Synth9. It's a mesmerizing combination. I haven't tried placing it in front of the Synth9 yet, but plan to soon. I'm curious how the Synth9 will respond to the attack of the Slicer - if it's more stable at slower rates and glitchy at faster rates, for example. The Mel9 also sounds great after the Slicer. When I get some time, I will experiment with combining the Slicer with a Digitech Space Station, a Digitech Synth Wah, and a Pigtronix Mothership. I anticipate some great things with all of those combos.


    SL-20 Pros:

    - wide variety of stereo options

    - MIDI clock sync

    - 50 fun preset patterns for instant gratification grooves

    - Patterns offer a nice variety of rhythms (techno, swing, triplets, etc.)

    - harmonic slicer with embedded filtering and pitch shifting on some patterns

    - variable control over attack and wavelength (duty)

    - nice light display around the encoder for keeping time

    - on-board looper


    SL-20 Cons:

    - no way to multiply or divide the clock sync on-board (would have been handy to not have to adjust the master clock)

    - no way to create your own rhythms beyond the 50 presets and harmonic slicer (odd, given the inclusion of a tap tempo switch that could have served a dual purpose)

    - on some patterns the wavelength is not long enough, over-emphasis on staccato patterns


    Overall, a really enjoyable and useful pedal for guys like me who love electronic music, and would rather play a guitar synth than a keyboard synth. I'm sure it can be used for more subtle duties as well, especially with the right blend of dry and effect signals.


    Compared to the EHX Super Pulsar, for example? I love that the Super Pulsar allows us to create our own rhythms and is generally more flexible with wave shaping; but the interface is not intuitive and usually forces me to pull out the manual every time. The Slicer UI is less flexible, but it is very intuitive without needing the manual.


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  5. I joined HCFX in 2007, so for me 2008 was sort of the "heyday" of the forum. Hard to believe the stock market crash was 10 years ago. It's really sobering to think that everyone is now 10 years older. Even the 16 year olds chiming in back then are now probably working full time jobs, getting married, having kids, and not really buying a lot of pedals. I was already an old man then, so things haven't changed much for me. I'm still buying pedals :-)


    In 2018 so far I've picked up a BOSS SL-20 Slicer and an EHX Key9.

    • Like 4
  6. This one seems to fill a gap between the simple small-footprint of the Holy Grail RI and the feature-set of the Epitome or Cathedral. The Canyon shared a similar strategy. I probably would've picked up both had they included stereo outputs, but these are clearly marketed toward guitarists who want to keep it compact and don't want to fuss about with a stereo rig (probably the majority of the guitar-centric market). The breadth and variety of offerings from EHX always blows my mind.

  7. The die-cast housing on mine literally crumbled into pieces one day as I was trying to engage the toe switch. Apparently the pedal wasn't made for anyone just over 200 lbs. I was really upset because I enjoyed the variety of effects from it. But I would never buy it again knowing how poorly-designed the housing is.

  8. I guess the price game, is more about being vigilant and striking fast.


    This has been my experience. I've been using eBay to buy pedals since 2007, and started using Reverb a couple of years ago. In both cases, being on top of new listings is the key. The best deals go fast. There are still good deals to be had. I run into them regularly, but only because I hit BIN as soon as the listing appears.


    As far as inflated prices, I saw as many inflated prices in 2007 as I see now. It comes and goes in waves.



    • Like 1
  9. This thread is 10 years old but still relevant. Boss pedals do not have true bypass. They have buffers which are always active and the bypass switch activates a set of transistors which bypass the effect. Problem is they default to an on condition when powering up and there isn't anything you can do about it besides redesign the circuitry and I'm sure the effect on condition was already thought through by engineers and thought to be the best option for that design.


    Best thing you can do to circumvent the issues is yo either buy a loop pedals and use its true bypass to remove the pedal from the circuit or simply get in the habit of turning the amp on last, with the volume off on the guitar amp amp like you should be anyway. This would allow you to set the pedal for bypass before you power the amp up.



    My PS-3s do this. I've always found it annoying, but not enough to stop using PS-3s. That pedal could poop on my foot every time I turned it on, and I would probably just live with it.

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  10. cuz the cheaper ones are good enough for me... about 100-150 dollars. pedals like boss and mxr. are what I like. but brands like strymon, wampler and red witch are much more pricey. I don't think they sound any better. why buy expensive when the more affordable ones sound just as good. :cool:


    In my opinion you are asking the wrong question.

    I choose gear based on what inspires me. If it only costs me $45, bonus! If it costs me $1000, then hopefully it brings me more joy, more music, and more good memories than a weekend at Disney World.

    But I'd rather spend $1000 on gear that feels great every time I engage it than spend $45 on gear that never gets used because I'm bored of it.

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  11. I tried a few other fuzz pedals since thie post below. Lately I've been loving the Cock Fight. Incredibly versatile. It would probably bump one of the 5 below to #6. Also, I would replace the EHX Muff Fuzz with the vintage EHX Muff Fuzz Crying Tone treadle. It's the same fuzz circuit, but includes the crying tone wah. Another incredibly versatile pedal.


    1. EHX Big Muff Pi (whatever version, Triangle, Ram's Head, OPamp, Deluxe, w/ Tone Wicker, it is still the quintessential fuzz...)

    2. ZVEX Fuzz Factory: more than a fuzz, it is truly an "effect"

    3. Fender Blender (original, not reissue): if you want chaos and savage noise, this is hard to beat

    4. Vox Tonebender (orignal): pure 60s

    5. EHX Muff Fuzz or Little Muff Pi (original): an incredibly useable, meat and potatoes fuzz tone, love it in front of wah



    I don't know many other fuzzes very well :idk:



  12. For some guitarists, an inspiring and engaging looking pedalboard actually matters, not just the sound or the functionality or the convenience or the reliability.


    I've been playing guitar for more than 35 years. I feel I'm a better singer and songwriter than I am a guitarist, but I believe I can hold my own with a guitar. My interest in guitar has more in common with artists like Kevin Shields and Robin Guthrie than Eric Clapton or Eddie Van Halen, just as a point of reference. I view my guitar as an interface to a larger realm of sonic possibilities. I've been a pedal enthusiast for a long time, but I recently dove into the world of Eurorack synthesizers. What I love about the culture surrounding Eurorack is the enthusiasm around innovating or customizing UI. It is common to hear a 'wiggler' talk about which arrangement of modules is most inspiring to interact with.


    I tend to dismiss anyone who would tell me to stop fiddling with my pedals and just play my guitar already. I love pedals as much as guitars (if not more), and I view them as an instrument unto themselves. And aesthetics are an important part of UI from my perspective.


    So, mbengs1, only you know if you are the kind of musician who wants to interact with a visually appealing pedalboard, or have a set-and-forget pedalboard. There are no rules.


    And being a fan of many BOSS pedals, I can think of at least one very intriguing ALL-BOSS pedalboard that would inspire me to interact with it like a Eurorack synth. It would definitely include a DSD-2, at least two PS-3s, a VB-2, and an SG-1... among others.



    • Like 1
  13. I have 3 Keymasters, and they are indispensable for dealing with impedance / balanced / unbalanced issues.

    I also have an original Mothership and an Attack Sustain. Great pedals for analog synthesis treatments, though I don't use them very often. I haven't tried other Pigtronix offerings, so I can't comment on them. But when I think of Pigtronix, I tend to think of their oddball offerings. They do the outlier gear quite nicely!

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    Stay safe. You in Florida? Matching levels can be tricky with line/instrument etc.


    Yes, hunkering down in Orlando. Whole state is all nerves, even inland.


    Agreed on level matching, though I've had great results with the ADDAC module. Got some really snarling sounds recently using the EHX Hot Tubes pedal (version with actual tubes).


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