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lefort_1

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  • Biography
    former :
    - HW/SW engineer...12 years at Mentor Graphics
    - worked on the very first AED to get FDA approval
    - worked on 100K$ pipe organs for Rodgers organ

    current:
    Just a dentist

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    PNW, Oregon

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  1. I would go for one of the first 3 from Aceman. We could do a engineering breakdown of the mechanical aspects of the 5-n-dime pedals, but that's probably been done to death already.... just not very robust. To me, the savings isn't worth the intermittent problems and inconvenient (e.g. gig-time) failures.
  2. With all due respect, the CE1 uses a Panasonic MN3002 512-stage single bucket brigade chip, not a discrete, transistor-implemented bucket-brigade. Granted, the internals of any BBD is basically a chain of clocked transistors passing the sampled voltage level along from one capacitor to another (the chip-implementation/definition of a bucket brigade). That's the same be it an old Panasonic chip, one of the Reticon SAD series, or the current runs of Cool Audio chips. RE the internal power supply : another reason they could sound better with an internal transformer/rectifier/filter (aka power supply) is that the inductance of the long, stringy power-cable between an external PSU's filter-section and the power input to a given pedal is eliminated. While we don't usually have to consider power-distribution inductance in an 'analog' pedal, the MN3002 is chugging along at 30-40 kHz and is charging/discharging 500+ small capacitors at each clock cycle... that results in a fairly noticeable 'instantaneous' current spike on power/ground and the onboard power supply is better positioned to handle it than a supply that's down an 18 inch bit of 22 AWG spaghetti... the current spikes how as a voltage spike across that inductance. Of course, the whole thing could be handled even better if they'd add a little decoupling cap across power/ground right next to that BBD chip and it's clock-gen counterpart... but hey, it's their design, not mine. Another thing to look at is the post-BBD filtering they do. The topology of the filters and how well they are tuned to the frequency/artifacts generated by the BBD clocks/activity. I personally believe the first BBD-based devices (the CE-1, the early EHX BBD boxes) probably received a lot more in-depth attention on this filtering than most (they had to, they were the first) and many of the follow-on boxes kind of re-used the same parts/values even tho they might be running a different clock frequency, or maybe had a different loading on the BBD's output... anyway, it's an area that is pretty easy to get sloppy in, and it seems like there are so many BBD-based devices we like to slam because of noise or difficulty in calibration, when it might really be due to some other aspect of the design. ... and so ends my monthly contribution to HC.
  3. chicken salad ...Chi-cken Salad CHICKEN Salad !!! ... this was a test, amiright? ....OCD = diagnosed.
  4. I'm going to go out on a limb and recommend the Spiral FX Black pedal. "Out on a Limb" because it too has lots of variability in it's controls, so can get out into some splatty/glitch stuff, but there is a huge range in which it's warm, rich and tone-comes-thru tones as well. It's up to the player to chose where to go with it. It's made by Tom Cram, who was THE guy behind the DOD revival of the 2000's, and the designer of the new-classic Carcosa fuzz. On many forums, he went by "DigiTech Rep", and was universally known as helpful and intelligent. From what I've read, The Black uses the basically circuit topology of the Maestro FZ-1 as a starting point (as did the Carcosa) but has a HUGE range of Gain. It also has a direct Bias control for the clipping elements, and a Detail control that can dial in/out some of the 'finer points of fuzz'. There are 3 (THREE) clipping options : Silicon, Germanium, and the N2 Nanolog molecular junction (aka 'Quantum Tunneling' ) carbon-based device.** To re-state, Tom's pedals are made with a WIDE range of playing in mind. With that, the upper third of the Gain area is probably not for the OP. But it is there if you ever want to explore new soundscapes... soundscapes that harken to pterodactyls, swooping, screeching and attacking between every note you play. Some of the grittier settings can sound a bit odd in isolation, but they can REALLY help in cutting through the mix.If you've played a Muff-variant for long, you know what 'getting lost in the mix' is all about. The Black gives you the OPTION to not get lost in the mix. BTW, Tom has also created a distortion pedal called Yellow ... Take a look at it, as well. It can reach out to Fuzz-range, but it might actually be something a stoner-rock person could be interested in. The Girth control on the Yellow is amazing. There are 6 separate EQ settings which are detent-selectable. One more aspect.... the enclosures look amazing. Stunning. Unlike anything else I can think of. Each is the result of a custom etch/oxidation process which Tom is constantly evolving/experimenting/trying to kill himself by doing. Bunch of demos here (link below)... 3 more on 'PAGE TWO' https://www.spiralelectricfx.com/blo...al-demo-guitar There are Lots of different playing styles in there, with lots of different sounds... don't stop after listening to just one clip!! ** info on the N2 device is here https://www.nanologaudio.com/devices.html https://www.nanologaudio.com/carbon-benefits.html https://www.nanologaudio.com/nanolog...e-science.html Finally, a Caveat : I am not an employee or an endorser of Spiral FX... hell, I don't play out any more and I don't have a good recording capability. I HAVE eTalked with Tom on some aspects of his pedals....oddly enough, not so much about the electronics as the enclosures. I'd like to think it was 'inspiration', but luckily, he knows better than to listen to the ramblings of a geographically-isolated madman and former engineer/current dentist. I also sent him a couple items/tools that I have access to, which make the process of building things easier/safer. In return, he built me a special one-off box. I guess this qualifies as 'receiving an item of value'... so maybe I AM a paid endorser? I dunno. I just get a kick out of bending his ear and he was kind enough to send me something in return. I've also bought a number of his pedals at regular price... no special treatment there.
  5. I've said my peace about this on other forums. All I can do now if express my condolences to Tom and his cow-orkers, and hope that they all land on their feet and don't miss a mortgage payment. While I would LOVE to see the creative talent and manufacturing/support staff stay together and continue on with musical equipment endeavors, I can completely understand why some might want to move on to a more stable end of the electronics world. The musical-market is anything but stable, and cost factors make 100% MIA a difficult challenge. I just hope Tom checks in somewhere (here, TGP, somewhere) and lets us know what they'll be doing in the future. Even If folks move on to other fields, at least there is some closure.
  6. A power supply would have a difficult if not impossible time anticipating if an arbitrary pedal can handle 18 volts or not. There's no device identification/arbitration buss involved here... the PSU simply supplies a voltage to a pedal, up to the current limit of that PSU.... the pedal's functionality (literally, it's operational input voltage impedance) is what determines the current. If the pedal starts to fry (goes into overcurrent scenario), the PSU may have a crowbar circuit that stops output on that line, but it is only a response to the immolation of the pedal and is there only to prevent the PSU from going up in smoke as well. In that case, the pedal is probably toast. If the pedal's normal operation demands a current level over/above that which the PSU can output, a couple things could happen. A decent PSU should have an over-current sensor with a shut-off circuit built in. In some cases/designs, the PSU might attempt to provide the current demand, but at a lower (saggy) voltage. The PSU might reach an over-temp condition and hopefully there's a sensor and shut-down for that.... otherwise expect smoke from the PSU. The bottom line is: The PSU will not typically 'protect the pedal'. It cannot sense if the supplied current or voltage is damaging the pedal vs whether the pedal is a high-current-demand device (think : a big Strymon). There are more scenarios that can play out, but rarely in the pedal's failure. As Phil pointed out, it is incumbent upon the Player to have checked with the pedal manufacturer and make sure that a proper voltage at the proper current-capability is provided to the pedal. You wouldn't want to put 18 volts on a Klon...the vast majority of Klon/klones use a step-up DC/Dc convertor that will go up in smoke if given more than 11 volts... here again, there are devices that can handle 18 volts, but they are more expensive and pedals need to economize on parts to have an acceptable price. ...besides, if all pedals were made to be safe up to 18 volts, then someone would complain that they fried one at 24 v.
  7. Hey Travis, I just stopped by for a second. ...like, for the first time in about 2 years. Your results look really nice and I love the sound of the second clip... it has that edge. I can definitely see the benefits of the first guitar as well... so nice for clean passages. When did you pick up the rattle can? Looks pretty good. I half-expected to see an old Teisco silver-topped pickup shoehorned in there somewhere.
  8. Since the thread has progressed from the review of (currently available and common-on-the-used-market) to (our favorite old pedals) I thought I'd toss in a couple more old gems. The Mutron Biphase: If you really want luscious swirl, try a Mutron Biphase... there are a few clones out there as well. I'm not sure if it is due to the judicious use of LDRs in the circuitry, the well-designed power supply, or the large component spacing afforded by the half-acre footprint, but the Biphase is the smoothest/least-noisy phasers I have played. My BiPhase came used and mod'd by a university lab in Hawaii which used it to study whale vocalizations. (honest to god, that's what they said) The mods eliminated the need for the little two button foot-pedal, (all controls exist on the big box now) and placed a CV line in for the LFO shape....I understand these mods are on the net, somewhere. The Jet Phaser Originally made by Roland, and copied in very short order by Aria, this pedal sounds GREAT either with the phase alone of when modified by the distortion. I have the Aria unit and it is noticeably smaller than the Roland, but still has the same type of heavy cast-metal housing. When I opened up the article, I was really hoping for a review that included characterizing the different forms of filter circuitry used (FET, LDR, OPA) by sound. Likewise, I was hoping someone would discuss the impact of the 'all pass' filters, and how their non-ideal characteristics actually contribute to the overall soundscape of a phaser. I guess I'll just have to wait (or write it myself?).
  9. These are the drones I've been looking for. Loved this sound since early Genesis (The Lamb, Foxtrot) Just like the other 9-series, having a good walking base technique to accompany your chording/melodies will help immensely. Not for everyone, but definitely for me.
  10. Travis, this is good stuff. Thanks for putting your music out there.
  11. Had to DL...too many delays on the online playing. Sorry about the $$ Travis
  12. I used to know someone who played orchestral harp for folks in hospice. ...but she died. Tru story bro
  13. Have you seen the gut shots you mentioned? What's the gripe with these switches? They are a totally different beast from the M-series. (Capacitive touch-sensitive switching) Or are you just chumming the waters?
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