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MrMunky

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  1. Sounds great if you ask me. http://www.inrerocknroll.com/tunes/HD5001.mp3
  2. I approve this statement :phil: http://www.soundclick.com/bands/page_songInfo.cfm?bandID=630564&songID=8371954 Superb.
  3. Let's see if we can restore this trend: http://chat.aim.com/chats/music/hcfx- Goat!
  4. http://chat.aim.com/chats/music/hcfx- Sub Zero Wins.
  5. Analogman Sunface BC108. It also has a led. But it also even has a tick switch on the gain/fuzz side that if you turn it all the way off it kills any electricity in the circuit completely. That's a good pedal. I have one just like it, although I don't think mine has an LED. An ordinary Alkaline battery should be fine with that machine. I'm not sure Analogman disagrees; the clip on his site compares different batteries in a germanium sunface.
  6. all i noticed is that it didn't sound as loud as it did before. everything is max'd. led is still green. not that bright though. i'm trying to find out where the local "mass " electronics store is. What make and model of pedal do you have?
  7. An ordinary germanium fuzz face uses an extraordinarily low amount of current, around 1 ma. An ordinarily Duracell Alkaline battery is rated at 580 ma/Hour. If that rating is reasonably accurate you can expect at least 500 hours from an alkaline battery in a Fuzz Face. Carbon zinc batteries are ordinarily cheaply made and have a shorter shelf life, so they vary considerably. But at their best they are probably around 200-250 ma/Hour. So you should be able to get a couple hundred hours out of them. An LED can use more current than a dozen fuzz faces, so if you add one to the circuit you decrease the battery life. If the battery starts dying you'll experience a sputtery attack and you'll need to hit your strings harder and feed the fuzz face more output from your guitar to get it to make noise. But I wouldn't ordinarily expect it to lose output volume before the fuzz sound dramatically changes.
  8. The conventional internet wisdom is: in a germanium FuzzFace, batteries sound better than a transformer-based power supply, and carbon zinc batteries sound better than alkaline batteries. Most folks say this wisdom doesn't apply to silicon fuzz faces. My experience has been that this rule is not generally applicable. I have owned a bunch of fuzz faces and clones and used them with both kinds of batteries and power supplies. The battery type makes no significant difference in most of them - germanium or silicon. In a few it has made a small difference, but it would be hard for me to say whether the alkaline or germanium was "better". In two or three that I've had, the battery type made an enormous difference that anyone could hear. The Fuzz Face in which the battery type made the most difference was an original 1969 silicon Fuzz Face with BC108 transistors. With an alkaline battery, it had a tight and focused upper harmonic, and sounded almost like an octave fuzz. With a carbon zinc battery it sounded the way a good silicon fuzz should sound.
  9. Thanks guys. I thought it sounded pretty average..? killer playing, though. edit: about halfway through the clip way more overdrive was put on and that sounded great. huh. before that, though, eh. But that one sound was super good. That sound is the "distortion" mode of the KOT, one of the features that makes the KOT stand out from a lot of similar dirtboxes. You can set each of the two sides of the KOT independently, in one of three modes: 1) clean boost; 2) overdrive; 3) distortion. Oddly, Analogman's instructions kind of poo-poo the distortion mode as offering more gain but not sounding as good as the ordinary drive mode. I tend to think some of the best tones this machine can produce come from the distortion mode. If I could only have the ordinary OD sound of the KOT, I could easily see myself foregoing it in favor of one of the four overdrives that I keep rotating through on my board. But it's tough to think of a substitute for the distortion side that wouldn't sound like it was missing something.
  10. 1) How does the MJM two-knob Britbender compare to the D*A*M MkII Professional. I have owned both a two-knob MJM Britbender and a D*A*M MkII professional in the past. Although they are both based on the same circuit, I found them to behave differently. The attack of the MJM was quite sputtery and, when hit with a strong signal, would produce harmonics with a rather unmusical relationship, not unlike the attack of an octavia. In contrast, the attack of the D*A*M was musical and crunchy. That said, MJM fuzzes, in my experience, have been inconsistent and MJM recently redesigned its trade dress and some of its pedals. So a one might perform differently. 2) Which contemporary pedal produces the best Tonebender tone. I don't have a good answer to this question for you, but the SoulBender is basedon an entirely different circuit from the D*A*M MkII, and the two pedals sound quite different. Even if the D*A*M were an objectively superior copy of the pedal that it attempts to copy when compared to the SoulBender, you might not prefer it. A wrinkle to any attempt to identify the best contemporary recreation of a "Tonebender" is that the term "Tonebender" is ambiguous; it refers to a class of several fuzz boxes developed and sold from 1965 through the early 1970s that sound as different from one another as dirt boxes can sound and still be called "fuzz". A helpful description of the first generations of Tonebenders, complete with awesome photographs, is available here: http://www.stompboxes.co.uk/History.html But that history is only the beginning; in 1968 or so Sola Sound introduced a "MkIII" Tonebender. The MkIII featured a circuit that sounds entirely different from the earlier Tonebender models and was marketed through several channels under different house names---Vox, Jen, Colorsound, etc. Most versions of the MkIII feature three knobs, and there were a few variations on the MkIII design. Contemporary clones are based on different kinds of Tonebenders. The Soulbender, Yardbox, and 3 knob MJM Britbender, for example, are based on the MkIII Tonebender. The JMI MkII Professional, D*A*M MkII Professional, Sweet Sound MrkII Pro, and MJM 2-knob Britbender are all examples of contemporary circuits based on the MkII Professional circuit. A second wrinkle relates the limited information available about classic records and Tonebenders. Most people on this side of the pond were introduced to the "Tonebender" not through personal experience, but from records of British bands of the 1960s. A host of sources state that Jeff Beck, Jimmy Page, Mick Ronson and the Beatles used some kind of "Tonebender" on recordings. Fewer sources identify specific recordings and associate with those recordings specific Tonebender models. And almost no sources can back up their specific information with a reliable basis for it. In the light of this limited information, quite a few manufacturers associate their tonebender clones with classic recordings. They may well all be right. I suspect if you listen through the entire Beatles, Yardbirds and Led Zeppelin catalogues, you'll hear every kind of Tonebender at one point or another. But one accurate reproduction "the classic Tonebender" might sound entirely different from another accurate reproduction of "the classic Tonebender".
  11. I know from experience that the KOT sounds magnificent with a Super Reverb. By inference from that experience, I am quite confident it would also sound magnificent with a Princeton and excellent with a Bassman.
  12. I was going to tell you to repeat to yourself "I'm a Highway Star" over and over again until the notes that you play begin with the attack of an organ. But your question isn't what I expected.
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