tag:blogger.com,1999:blog-79548391138694092962024-03-13T10:04:42.485+00:00Effect ExtraUnknownnoreply@blogger.comBlogger54125tag:blogger.com,1999:blog-7954839113869409296.post-32854681286005449082013-11-08T12:00:00.000+00:002017-07-01T08:40:00.400+01:00Picture Index<style>
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<p>
<a href="http://effectextra.blogspot.co.uk/2010/07/sacred-arias.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgScsNNF3C8uRqtxVNhHyYNDEw_OHHjAL5MLoj18rUgbvDYNfWbgtyxA7-bAtdSTHEvoajUh10wq5A6kWn8Y1qyaRhD3Dx1JHW_n3I2zmLAKfzn4xnsKFjtLEYEZWygWg5-n8UkhPtlgxs/s1600/AriaCH-5+%25281%2529.JPG" /><br>
Aria CH-5 Chorus</a><br /></p><p>
<a href="http://effectextra.blogspot.com/2010/08/aria-mp-5-metal-pedal.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONHOrk0M3pqzTja6JpE-hu6_6cs3R5zh1hKq31SyZ5oA7O4trXeC3OUJurVetGS6O5ns_b8_DL93TrBQ9u2zs23QJiKTvY-vR-xMKyZxBGs3_NdSODnzTtaJCDliiadhgXCB19WZO840/s200/Aria+MP-5.jpg" /><br>
Aria MP-5<br />Metal Pedal<br /><span style="font-size: x-small; font-weight: normal;">(Distortion)</span></a><br /></p><p>
<a href="http://effectextra.blogspot.com/2010/07/arion-sod-1-stereo-overdrive.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiJoZZfBaCPGeyZnMaNpXIrmVB2IUEvRnoSTiMzSmDY15iRGdk4NZfs2N_bFgT0iFLvG_4vjdHZBqm7OKsFSHZwQQwVgiSneGlk5nlk7P7daghFelICLrtrFfPwD2pKX0NY2UQ3K7xh1A/s200/Arion+SOD-1.jpg" />
Arion SOD-1<br />Stereo Overdrive</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/11/award-mb10-matchbox-shadows-version.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_1JOnaEGK-IpkKgHpP3EOUplD3OIDdAS48_jecz0NMlcy3ozNMAvHJl2Kia7jektX7hHV06ZN0R3WmrqyK0ssvUMsQ0qkyAzVzT111tGJzNnLXkbkkMTQioLw-CnWeh-O7rJdFimvFQ/s200/100_2732-1.jpg" />
Award MB10 Matchbox: <span style="font-weight: normal;">Shadows Version</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/08/award-session-jd10.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm8qiOBSFlZXoeSiHOq_Fdq-U8VjZxIRm8ajl_APkvGKLVakXeBmXIKtM3rr2T0Q7iD4bC-IqFOI4grPhxpz7_gkm4gF9s55we0-lA2Q-w-YFXay0sClTkqrygkeHaih0nPP-BGNZFWKE/s200/Award-SessionJD10mk2+%25281%2529index.jpg" />
Award-Session JD10</a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/03/biyang-rv-10.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN5t0gYG2Q24XtI28HZu89YQdt3bbEWcB04WR6cioHwKn098yqENQZelPaNVBJoWDH4lSlK20SPAdxZ6SIj5IW3dt1LZ1pIEC3GlMCOZGq5Qk_g_GmNcFriiQU7QeupQkRVsSW5yAhQJc/s200/biyang+RV-10.jpg" />
Biyang RV-10<br />Tri Reverb</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/04/boss-mz-2-digital-metalizer.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR8JAVbGYomUyBnqZ7lMlh2646GAbRKtdotZl-RNIRfkP5Vw79NSg8S3BRXNp-zeUEQDLKL71zMJ2hxwAItmK_ZlhJQ-yJiHut5pog9hAGlUY2HLSEXx6XQxDPScx0B0VIyh4aMDC3wz8/s200/BOSS+MZ-2.jpg" />
Boss MZ-2<br />Digital Metalizer</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2013/05/boss-pn-2.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RVJFbSc1DTdFdc6_W7lKOnU-mf-LeBQ-03cunrWfgRMzazL3oZ4jephqWWAOD5GkFz13kAoWgDVgXrR5BUxfZYSwmpCSnGkxiuyIO1KqU_w-HEtJIcnlPD-rzSxt8ph-cX8KXetU8NM/s200/BossPN-2400.jpg" />
Boss PN-2<br />Tremolo/Pan</a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/03/danelectro-cool-cat-and-tuna-melt.html"><img class="HoverBorderInd" data-original-height="500" data-original-width="460" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja5VnsXNzXwn5uaV-idYGnaBUuAiAOoC_S7djka2zD4zl-bacaxbTwxd-5VWIo_ePgQtFXNlXbD0qpESmOkd0u6P2OYc-g5-ED1xLE0PyEjk3-GUGmf4xiOGGQeSpFwO7NzQAOxNoZ9LA/s200/DJ5.gif" width="180" />
Danelectro DJ-5<br />Tuna Melt</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/07/absolutely-fabulous.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPWmU46Wj6XCrV8WI6u1geoM8l0mr8V_zJWzJ-JFFn4STZFw7p-m3Ou1UKYhNTjWk9pzE23NIZrUQHA5EF_Fj2fxPktD3gC_FCZI0KpulNRb92o18iJPIuWqkT0qQeJ2YPgcT6POUfAcI/s200/FAB+Echo.jpg" />
Danelectro D-4<br />FAB Echo</a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/03/danelectro-cool-cat-and-tuna-melt.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tnRAF5K1gG0l1L3WxacGVPYI72kSQNJtbEYw0hPS9AtJfQFtdFHBI4wp5ft1tlfkKgdmW95Ys2TwI4dvtCFQK7B2h-v1JkxJsSeUJqLoVWl1mGAyQm4humLBebvOWGIBbONASRevSFQ/s200/danelectro-coolcat_ct-1_001.jpg" />
Danelectro CT-1<br />Cool Cat Tremolo</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/04/dod-fx22-vibrothang.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmj_C793dFDH1t8moBLLuslYEY78DZLRQEuIF42qKBLhlk4U3I3WjNTpbx5yF_ZawfsBg-G5u5YVZCVR1qyEX6ZbI-SEArsnnXgFveiJf5H85DsI_9RMq71Gkb9ATD5z6ROcCJCJVes90/s200/DODFX22.jpg" />
DOD FX22<br />Vibrothang</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/10/guyatone-flip-ad-x-analog-delay-with.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh04Dxgwyy1wYsDiGTH6Ohib8g1mSVY4UO1cdH__1lAtki2FiVhALw20wW7xtycrPD8L_KqTRNoZe33DYtPAJ5vI-HD3VwSm_iD_WmOaYDr1tIbRlNRIXFPG-o1WTOA0CIxRQiBMux5J4/s200/Guyatone+AD-X+delay.jpg" />Guyatone Flip<br />AD-X<span style="font-weight: normal;"> Analog Delay</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/05/guyatone-mcm5.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFwtljI6EhK3oHNRqHsZ00vUJnQRPTHgtq-xcF4l1Gtdhq6AW0KNB2BUxx0Z84YIgUbtZxZ1bYo7Uhf0ty9EYMUOd5dX_m1J234eDKOKK-C4TbPDj0mEP2h_xJE3o-gq-WG1wDlHKlfH8/s200/Guyatone+MCm5.jpg" />
Guyatone MCm5<br />Micro Chorus</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2011/03/guyatone-mo3-micro-octaver.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0jGpKkO3aX7PQA1Hf7_oABiBaf3xBGSEq1BfNPgqM0-bgPNILKHLDXT3ZBSE57BNCPFFXwMEXlpHiy5ve4SYPG_Omy8BHAV9ktai9z5ar5dGk7zTj4dc75-t6QNwwsdCr8iKyrVLMJLk/s200/guyatone+mo3.jpg" />
Guyatone MO3<br />Micro Octaver</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/03/guyatone-ps-003-compressor.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtXkF3sdj0WtgetNAAuOUFUs6jlGZJJxYPmZKdEbSjUa_gqZ35ob2b3P9TIbSa1fi6IKBGB8w0WBVR1j3p9vSVOpMuBSipP5Eavy2JV-mGsln_cvpLsMt_3sjF0qQjNRw5UWgXvve69xc/s200/Guyatone+PS-003.jpg" />
Guyatone PS-003<br />Compressor</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/03/echoes-nobody-hears.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4XTFZM9KGLKU7ITK3EVXUIyDjroqZby2T1RHjTci_ocEFlvHlySXc6YsWkjdEKjIoc-WaX4oBpFK5xMJR8kuugwgc05-9taiMjLvJ5hQCW9wNY1tvH4ZLe_FA_F1WxGl1C6surfN6LQk/s200/Ps-014tr.jpg" />
Guyatone PS-014<br />Dual Time Delay</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/05/superfuzz-pt2-guyatone-ps-030-fuzz.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfSUDU59SVZSauCpITnrHnTfHdrvi_tVR0b28C9_bogNjv6lqZFOIAFmzgDZ8MiETcVf_ElDf2vfP8GWLrGCCVQ2fAjdLnWeGCidfR4XMJMGyR6P8IU5Pn4GrpnsX_oYF6sWk5t1kjkg/s200/Guyatone+PS-030+Fuzz.JPG" />
Guyatone PS-030<br />Fuzz Distortion</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/08/guyatone-crossover-box-auto-wah-filter.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jc2ELcOmjNW71NaxIp3lt-qpFEW0l08JaqUwsbFpjngs8T1uAdEPcHl0Nvz6tXz1FcvcZRZQBr41tAehlJaKUlfnyomQJ1ogoNhIEv3xVRILB6mUYS9SFLbIbr4xg8sGov3VTWMA3Ls/s200/Guyatone+CrossOverBox.jpg" />
Guyatone PS-104<br />Crossover Box<br /><span style="font-size: x-small; font-weight: normal;">Auto Wah | Filter</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/10/superfuzz-pt3-guyatone-tzm5-torrid-fuzz.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzUlfXNOzZ7T98w46Qsm1HVB2n1_CzJssT6fnUbZ3m2fmiIN1TFyoLrV9njFNFNbh2__yn2q5DJ4b5W0q7eyqrwfsxpSxMVAtd68MEDuftJlB1bkqxAvr0vTRHPdvnxWMa93A9Uvgh_k/s200/Guyatone+TZm5.jpg" />
Guyatone TZm5<br />Torrid Fuzz</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/05/superfuzz-pt1-guyatone-tz2-fuzz.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd9JvvRdPYYyli1c4JoLVG6gNwbgOgNpFvc-cS0cLon0UZYaWrHZLTISuYshiv9dkcZn4fpAWMB_2ZwVDXKqLOxRbv-nwbkVpdYqf0eU6jr21kSyUsmmfs3vqpY8PWGGaDJhCuPQvACek/s200/Guyatone+TZ2.jpg" />
Guyatone TZ2<br /><em>'The Fuzz'</em></a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2010/03/korg-oct-1-octaver.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2erlMRPxKnvQVsXoI0Dtf41QkejMbwiq0UdQkGoM8tTskbyfRG6Ms6_Nmvyja00selidrWsaS78oqmfoc95hn_R9ZnjWe96BvPPVi4QKiehuiYyeuee4h3eGoJI1Q6Vwc_gKji67VGtI/s200/Korg+OCT-1+%25282%2529.jpg" />
Korg OCT-1<br />Octaver</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2012/02/and-now-for-something-completely.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmRVohTD3GbahSS5fNRp73UuEnybYMXiBrJqOKE9GXTP7bJ-gvhzUI4GYR7hqG_WAzjFUdK5pTd43ZF3wTRrdV9YmsiKiE3SZJ-c6tveIQiwQJ-vNo3cx-nXcKwWzdTcEOtZYZZqbzGuw/s200/line6_m5.jpg" />
Line 6 M5<br /><span style="font-size: x-small; font-weight: normal;">Stompbox Modeler</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2012/02/loco-box-mysto-dysto.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxmTIGxDBdgtc2_CVGzkJPP6IGUqfBxOO5DZ1eGo3hVh4ZmvwDjzA0WZ3iOxocbzJ_wLfqhdS8L1gQ0Y1MoHHhAyICsWI-wkAFhyphenhyphenv8weItSNHu1nGdC0u_gg-m1EK_3IvhAZBZ0ezYYkY/s200/Loco+Box+Mysto-Dysto+%25282%2529.JPG" />
Loco Box<br />Mysto-Dysto</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/10/nobels-tr-x-tremolo-video.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXo_vnJFkvLKYscsQvVP5maCQzYewn1JSilFEYgr0_CLNnDSLr-SOMN1_OlPyEE5XNuwGhrImxCZm8zM58WRqQcYXQct8my6-efP8h8RJmlqrGWyFN70oaNzakiV6tqrk-2EOGFdqfeTI/s200/nobels_tremolo_trx_16.jpg" />Nobels TR-X<br /><span style="font-weight: normal;">Tremolo</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/12/omnifex-700d-distortionoverdrive.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipPqTfDp3N4zRDwRuAhe3GtclLF2MKkqyzpLgFhVWJfQY6sydZ0E5ITi7IRpeBjcA0chzPYn6_wXVDzUWW995FuXRTUaILWRAXN474FnhIFPIu9mYfnlaCX__DNoOgBM2AE71oHbwl5yk/s200/Omnifex+700D+%25285.JPG" />
Omnifex 700D<br /><span style="font-size: 8pt; font-weight: normal;">Distortion/Overdrive</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/03/echoes-nobody-hears.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRu9I4bEgjgL7HK27Mz2j86zrqCrt5IOdnYi1S0qXNB3G-sLUjfSo0T1r2I154FA5HCW-rB5JcfzKQmJbjtFa-kzQBUZqf0Sa2D4X6eG6uJxffaFqf7dcnz_PXNvmXoeHpfHlCu9DXtI/s200/Pearl+AD-08tr2.jpg" />
Pearl AD-08<br />Analog Delay</a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2010/11/peavey-bac-2-bi-amp-bass-chorus.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFFWWpimVE1X7_BAATBsaH1BP7o1uRVAFZ_D4zWwrEjXZOUdJupZEaJ-dMjIT2fQrpzTANNRv_wXnhyphenhyphenYTLSCcmsHSOZRmoQD_uyjKB6PMk82XKVfIXCtQL4F-TdPxP-IEJbuU6wDwysZE/s200/Peavey+BAC-2.jpg" />
Peavey BAC-2<br /><span style="font-size: x-small; font-weight: normal;">Bi-Amp Bass Chorus</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2013/05/red-witch-pentavocal-trem.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVx_pPFRrnR1AOhNkJQAP0Z34okKDkE23E5ulsTfGTH0INLbsOczcqJKDWv0PdGwOXFuoey61VJoEmWj0jcTkh2Wb3bSwDZuxqtvqfaZU_c2d1Qsxtg9aC4CTjaynsuCKyhjhKjaiA9t8/s200/RedWitchPentavocalTrem.jpg" />
Red Witch<br />Penatvocal Trem</a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/10/roland-cube-20.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCRnTsV0TnFH8KYUoacS1O0HNnlIJd-DyfSAw7Y23MJpzqQOScXlP4uN7hStK4tFW7q4PyE6kNH-azRxaJOLS-QdJlHbfGblk9pPdMK09taAJrjZlGkUoKwWMGv8dTsMquTwoUvx3_gU/s200/Roland+Cube+20.jpg" />
Roland Cube 20<br /><span style="font-size: x-small; font-weight: normal;">20w amp</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/06/vox-1901-distortion.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGDc9AKNJbIRARl4OcLo9zKX3NIs4Iqc7ye4XKZVTHnNoVAMYn2IAIb2myCxjXgy4cJ0aSt3nxLCyLzFeZkdRv9WFq1A9UUOOZIpWKYc6M9NDscdu_-UpokTgQ7y9ebS5QjAjO21gcqAk/s200/Vox+1901.jpg" />
Vox 1901<br /><span style="font-weight: normal;">Distortion</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.co.uk/2010/11/vox-1905-chorus.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgktBbm6VZrX8r_r1K7a2VPumJC8zS_MwSK5xFmEy8uw9my3LcDzzR4VoYDpcBGPYf_6QvTiHmi62JDZhPce1NS35TNj2_ay4iV2BeI7LjYWrBFdXgbahVwyifneG1K6c7bvFDNBGytBrs/s200/Vox+1905.jpg" />
Vox 1905<br /><span style="font-weight: normal;">Chorus</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/03/yamaha-mbd-20m-multi-band-distortion.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoQFCbe4umiuXRU6JDCQt6KL8tRLzy6LRtGz2VKA8byWsf1pnj5bIV3pJv0MyLBM0oVlOs4dHx2faG81mZBNz99lLo4DesCWcmx0ASNdG0WWrmIgjfGGEIe6qsYmJy0e4Dq-re4ECn7SY/s200/Yamaha+MBD-20M.jpg" />
Yamaha MBD-20M<br /><span style="font-weight: normal;">Multi-Band Distortion</span></a><br />
</p><p>
<a href="http://effectextra.blogspot.com/2010/12/zoom-uf-01-ultra-fuzz.html"><img class="HoverBorderInd" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO6uMHa1WwKVXjCufWNwIWkM8F-kKULuksFW7l2QghBO3rWPjB4hpLZ90q5KqGqYBBYqe3ZzEmu1nvKfIsWST70B7gsMhG557aJ7Ar3SrNBhaVuKtEX0TgDX_6ZPVgdyWVzEBd7kTple8/s200/Zoom+UF-01.jpg" />
Zoom UF-01<br />Ultra Fuzz</a></p></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-29081681171248814142013-08-28T12:31:00.000+01:002017-06-30T12:53:43.951+01:00Award-Session JD10<style>
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<span class="Apple-style-span" style="font-size: 42pt;font-weight:bold;">Award-Session JD10</span></p>
<ul><span style="font-size: x-small;">
<li>Overdrive/Distortion</li>
<li>Direct Recording Guitar Amp Emulator</li>
<li><a href="http://www.effectsdatabase.com/model/awardsession/jd10" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul><br />
<span style="font-size: large;font-weight:bold;">Award-Session's JD10 is not <em>just</em> an amp emulator. Whether you do indeed use it for direct recording or live playing through a PA system, or as a stompbox in front of a <em>real</em> amp to make use of its overdrive, distortion and EQ functions, Award-Session's flagship pedal has something to offer for everyone.</span>
<div>
<p style="text-align:center;">
<img alt="jd10mk2_pedal" width="580px" align="center" style="padding:0px;margin:20px 0px 0px;background-color:#1a1a1a;border:3px double grey;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguHoSJv5qr8gJg-6LAclkib1WWQM5dG0q2_Bl0H82HXqRl6Tagqt5ZVyV_EKLAKTXyy3kZy0d_3sv_vfxgyIltPz37_LjMHQwW4YjaNL_zeFVtfncHbj8vUEcUYXYlcmhHIK8_Ju9o5qQ/s1600/Award-SessionJD10mk1ampmk2_zpsa6073c5f.jpg">
</p>
<p style="font-size:x-small;text-align:center;">Left to right: Award-Session JD10mk2 and original Sessionmaster.</p>
</div>
</br>
<span style="font-weight:bold;">Primarily designed to function as a preamp, whether for direct studio recording or live performances (through a PA system), the JD10 was a God-send for many. Home-recordists in particular would sing the virtues of this little box, and gigging guitarists could tuck a JD10 away in their kit bag ready for those situations where a back up amp is needed... Or even use it in <em>preference</em> to an amp.</span><br /><br />
<span style="font-weight:bold;">It was surely a compromise though, as a little pedal <em>couldn't</em> sound as good as a real amp, speaker and mic combination... </span><br /><br />
<span style="font-weight:bold;"><em>Could it</em>?</span><br /><br />
If you approach the controls of a JD10 as if it were an amp, trusting your ears rather than setting the controls where you <em>think</em> you should, it will reward you with very authentic amplifier tones. You don't need to crank everything up to 10 to get the best out of it. In fact, if you do that you'll probably be very disappointed.<br /><br />
<p style="text-align:center;">* * *</p><br />
The first thing you'll notice about the JD10 in comparison to most modern stompboxes is its size; it is similar in proportion to two Boss pedals placed size by side. After that, you will see that the footswitch is the <em>only</em> top mounted control. All of the tone-shaping controls are on the front of the pedal enclosure, well out of the way of stray feet* - the base and sides of the casing protrude to offer some protection - with the audio connections and power input on the rear panel. Considering the current trend towards miniaturization, where many companies try to use the smallest cases possible for their pedals, this is all quite unusual.
<blockquote>
* The front-mounted controls are also more comfortable for desktop use, which is how it would often be used in a studio.<br />
</blockquote>
Also noteworthy is that the audio input is on the left, with the output on the right. Again, these days that is somewhat unusual but, back when the JD10 was designed no-one was that bothered and it was by no means out of the ordinary. If anything, it follows in the tradition set out by the likes of Sola Sound/Colorsound and even the early Boss pedals.<br /><br />
The original JD10 pedals featured just a single input and output, whereas on later versions Award-Session added a buffered clean output (labelled as a tuner output) and later on a balanced XLR output was added (duplicating the main output). These additions meant that the easy access battery door*** of the original had to make way. Instead, if you wanted to use a battery to power your JD10, battery changes involved removing the four screws which hold the casing together.
<blockquote>*** I don't know how early on in production the battery door was added; I have seen original JD10s with and without it - I suspect it would have been added pretty soon after initial release in response to requests from customers.</blockquote>
<p style="font-size:x-small;text-align:center;padding:0px 0px 10px;">
Never wanting to miss a marketing opportunity(!), Award-Session devised trademarked names for each element of the JD10. These include FlexiDrive distortion, G12T speaker simulation, Super-T Classic EQ and TrueTone bypass.<br /><br />
Looking at the controls from left to right, the first section is comprised of the FlexiDrive gain (Depth) control, which is followed by a push-switch to select 'Classic' or 'Rock' modes then, to the right of that is a second push-switch which engages the G12T speaker simulation.
<blockquote>'Classic' mode takes you from crystal clear clean tones up to medium gain (think classic rock levels of gain), whereas 'Rock' mode engages a gain boost circuit which picks up from where 'Classic' finishes and extends <em>far beyond</em> sensible levels of drive to insane amounts of distortion.</blockquote>
The next section finds the treble, middle and bass controls that make up the Super-T Classic EQ; a passive EQ network inspired by that found in vintage amplifier designs but modified to allow for much more midrange boost. Being a passive EQ network, it is very powerful and highly interactive.<br /><br />
The final control on the front panel, on the far right, is the master level to set your overall volume. Lastly, the footswitch on top activates the pedal. Award-Session use a TrueTone bypass circuit: this is not true bypass (mechanical bypass) but it is a high quality buffered bypass, which Award-Session say is suitable for driving cables up to 100m long without any loss - which is something to remember for your next stadium gig!
</br></br>
<div id="jd10mk1sec">
<span style="font-size: 36pt;font-weight:bold;">Sessionmaster </span><span style="font-size: 20pt;font-weight:bold;">Compact JD10</span></p>
<p style="font-size:large;font-weight:bold;">While all versions of the JD10 were based on designs inspired by 'American 4x10" combos of the 50s and 60s' (<em>Award-Session mention no names!</em>), the original JD10 has a distinct British-ness about it.</p></br>
While I wouldn't say the JD10 can <em><b>exactly</b></em> mimic any trademark amplifier sounds, it can approximate certain traits of amps such as a Vox AC30TB or a Bluesbreaker quite well, but it's perhaps better to think of the JD10 as having its own unique voice. Or you could just think of it as an extension of your existing amp. That said, if you were to imagine a blend of Vox and early Marshall with a bit of Fender Bassman thrown in to the mix, you'd certainly be in the general sonic area for the overdrive that is produced.<br /><br />
Used as a stompbox in front of an amplifier and with careful balancing of the EQ controls, the JD10 <em>can</em> sound fairly transparent - especially in its lower gain range - where it will dirty up your amp without changing the voicing too much. This trait can be useful in many situations: perhaps you want a cranked up overdriven sound at home but aren't able to turn your amp up loud enough at home to achieve that (without annoying your neighbours), or you want to add a 'drive channel' to a single channel amp for more felxibility. The JD10 is perfect for such situations, providing natural overdrive or distortion to compliment your base tone.<br /><br />
The Classic mode of the JD10 is without any doubt its shining light. For on the edge overdrive to retro crunch (think Vox or early Marshall levels of distortion), this version of the JD10 is simply superb. It reacts so dynamically to pick attack, transitioning from clean to dirty and back again in a very pleasing, <b>tube</b> amp-like fashion - perfect for blues or classic rock tones. <br /><br />
I hate to resort to using the T-word there and I apologise for doing so, but it's the easiest way to convey in words just how responsive it is. <em>This</em> is what Award-Session mean when they talk about <b>FlexiDrive</b>.<br /><br />
Switching to Rock mode engages a massive distortion boost and a jump in volume in relation to the Classic mode. I recommend turning the gain almost all the way down before switching to Rock mode and then dialling in the amount of distortion you need from there. I think you'll be surprised at just how low on the dial you will set it - it very quickly gets over-saturated and compressed, and less natural or <em>musical</em>. <br /><br />
Whereas the JD10 Sessionmaster's Classic mode is something special, it loses much of its magic in Rock mode to the point where it almost becomes <em>just another distortion pedal</em>. That doesn't necessarily mean it is bad, just that <b>the Classic mode is <em>so</em> good</b> (and incidentally has enough distortion on tap for most uses).<br /><br />
Going back to the Classic mode, I haven't found many pedals that are better for low-to-mid gain, dynamic overdrive. Actually, it's all a matter of taste of course, but I can't think of a single pedal right now that I'd want to replace my original JD10 with.<br /><br />
<span style="font-weight:bold;">The Sessionmaster Compact JD10: classic rock in a box.</span>
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<p style="text-align:left;">
<span style="font-size: 32pt;font-weight:bold;">JD10mkII </span><span style="font-size: 14pt;font-weight:bold;"> - Direct Recording Guitar Amp Emulator</span>
</p>
<p style="font-size:large;font-weight:bold;">The revised version of the JD10 is a very different animal; tweaks to the circuit mean it has transformed and developed an American accent. Tweed, anyone?</p></br>
While it somehow manages to sound more aggressive or modern than the original version, the JD10mk2 is arguably closer to the original 'American 4x10" combos of the 50s and 60s' design concept. The circuit revisions were in part implemented to create a version of the JD10 that would work better when used as a dirt pedal in front of an amplifier (some users felt the original could be a little too bright with certain amps).<br /><br />
Unfortunately, the Classic mode suffers slightly in comparison to the original JD10. Still more than capable of a nice vintage overdrive, the gorgeously smooth clean-to-dirty transition of the earlier JD10 has been compromised. The transition is a little grittier and harder to control. Although, truth be told, it is not unlike the response from a tweed amp so for that reason it's difficult - and maybe even a little harsh - to criticise the Mk2 in this regard.<br /><br />
Whereas the original JD10 had a strong top end (it's not harsh, but has a chime and presence), the Mk2 lacks the same clarity and allows for more in the way of high frequency attenuation - it can even sound dark. Instead, there is a strong, throaty midrange reminiscent of tweed Fenders. This <em>can</em> be dialled out but fine adjustment of the mid control is required; it goes from heavily scooped through flat and on to boosted midrange in the first quarter of the control's range. It's not really a problem and isn't difficult to use: just trust your ears and set the controls where they sound right.<br /><br />
The Rock mode of the Mk2 is much more successful than that of its predecessor; it still over-saturates if you turn the gain up too high, but is comfortably capable of challenging an EHX Big Muff if you want a high gain, fuzzy distortion. With the 3-band EQ network you can scoop out the mids if you desire for <em>that</em> fuzz tone, dial them in for a big sound that won't disappear in a mix, or beef them up for a gnarly, aggressive, exploding tweed amp style of drive.<br /><br />
The Mk2's overdrive/distortion has a loose, raggedness about it which may not work well for all styles of playing. Palm mutes on the low strings for example lack the tightness and definition of the original JD10, instead sharing qualities with the way some fuzzes may sound a little splatty.<br /><br />
While I consider the original JD10 to have a Brit-tinged, classic rock voice, being at its best in its mid-gain-crunch range, the Mk2 excels when set very clean, or for mid-to-high gain distortion. The clean settings of the Mk2 work extremely well where you may need an extra set of EQ controls, while I find myself using the mid-to-high gain region where I may want a fuzz tone. <br />
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<br /><br />
<div id="jd10G12Tbox"><span class="Apple-style-span" style="font-size: large;font-weight:bold;">G12T Speaker Simulation</span><br /><br />
The weakest feature of the JD10 is, in my opinion, the G12T speaker simulation. It is by no means <em>bad</em>, but having used various direct recording devices over the last 15-20 years, I have found much better solutions elsewhere.<br /><br />
The G12T feature is perfectly usable of course, but I'd say it has a very specific speaker sound that not everyone will like. For several years, my own choice for a compact, direct recording set up was a JD10 paired with a Palmer PDI-09. The PDI-09 is a small speaker simulator/DI box with 3 presets - mellow (dark), normal and bright - that doesn't really model any particular speaker, it just sounds quite generic but <em>right</em>.<br /><br />
With the way computer based recording has taken over, there is an almost endless selection of guitar amp emulators and speaker simulators to choose from - there are some very good free plugins as well as some impressive, more costly options.<br /><br />
While I mostly record the old-fashioned way, placing a mic or two in front of an actual speaker, I often take an extra, direct feed from the amp and process it using software such as Native Instruments Guitar Rig or Kazrog's Recabinet to provide the speaker cabinet colouration.<br /><br />
I use the same method with the JD10 too - leave the G12T turned off and use a plugin instead. It's a perfect combination: the excellent tones and response of the JD10 paired with superb cabinet emulation, with practically any speaker type or size I'd ever want.
</div>
</br></br>
Both versions of the JD10 are of excellent quality and it's such a shame that Award-Session felt compelled to end production of them. They won't get any criticism from me though as, from a business perspective I completely understand why they took that decision.<br /><br />
The market has changed so much since the JD10 was introduced to the point where the effect pedal market is so congested (from budget to boutique prices, with many high quality budget or lower-priced pedals now available), and guitar recording technology has advanced so far (to the point where so many people are happy to use digital modelling - whether that is a standalone unit or plugins). There is now so much competition that it became increasingly difficult to compete on various levels.<br /><br />
The good news is that the JD10 is still fairly common on the second hand market, and while they do occasionally fetch a high price, there are often bargains to be had. And, if you have any need for a guitar preamp, overdrive or distortion effect, or think your amp could use an extra set of EQ controls, you should at least try a JD10 at some point.<br /><br />
When used as a guitar effect pedal for overdrive or distortion, I really do prefer the original version. While it can at first appear like it is too bright sounding, even with the treble control rolled all the way down, you'll soon find that the EQ controls are so interactive that this brightness can be tamed - turning up the midrange for instance has the side-effect of darkening the tone somewhat. It is an exceptional pedal for classic, mid-to-high gain distortion - for anything from classic rock and blues to punk and modern guitar music.<br /><br />
The updated Mk2 version is still a fine pedal in its own right, but is perhaps a little more ragged in its approach to distortion making it better suited to more aggressive, fuzzy guitar playing.<br /><br />
<span style="font-size: large;font-weight:bold;">If I were to conjure up the <em>perfect</em> overdriven tone in my mind, I am sure I could quickly get the same tone using the original JD10 Sessionmaster pedal through just about any decent amplifier. My advice is to try both versions of the JD10 to see which one you like best. However, don't be surprised if, like me, you end up keeping both of them!</span></br></br>
<div id="jd10historybox">
<span class="Apple-style-span" style="font-size: large;font-weight:bold;">The Session Master</span><br /><br />
The humble Award-Session JD10 can be traced back to the Sessionmaster rack preamp (later known as AW10). This unit is very easy to use, with a control set that all guitarists should be able to find there way around in minutes - if not seconds.
<p style="text-align:center;padding:15px 0px 15px;"><img alt="aw10_original" width="560px" style="padding:0px;padding:0px;background-color:#1a1a1a;border:3px double grey;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCC3eWFcXa_IBbFa5Da3-kL9ScBdMZtf9t8EsDbKyRnYVOxiTKWOp35aBez94kyU5pMsPMlgngCOckyV1eG0TH0hC1mLbfVv9nvHan-mChxbzye7eg9I6OrLZUEoqED-skKpPp7Kixy6s/s1600/AS_AW10.jpg"></p>
On the front panel you will find an input socket, controls for gain, EQ (individual controls for treble, middle and bass) and a master volume, plus three push-switches to boost gain, bass and mid frequencies respectively. On the rear of the unit were a power input jack and two outputs - one giving the true sound ready for connection to a power amp and speaker cabinet, the other filtered to simulate the effect of a guitar speaker for direct recording (or plugging in to a PA system).<br /><br />
Having used the rack-mounted preamp for recording purposes, Jerry Donahue (from the band, The Hellecasters) requested a smaller version which he could take around the world as part of his live rig. Award-Session designer Stewart Ward took the best bits from the AW10 rack preamp, refined the circuitry, then put it in a more accessible, portable stompbox format. Jerry Donahue was credited for his 'contribution' with the use of his initials in the model number, and name appearing on the early versions.
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-49037082155006019802013-05-07T11:32:00.000+01:002017-07-03T10:01:55.950+01:00Red Witch Pentavocal Trem<style>
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<span class="Apple-style-span" style="font-size: 32pt; font-weight: bold;">Red Witch Pentavocal Trem</span>
<br />
<ul><span style="font-size: x-small;">
<li>Made in New Zealand</li>
<li><a href="http://www.effectsdatabase.com/model/redwitch/pentavocal" target="_blank">(Discofreq’s Effects Database page.)</a></li>
</span>
</ul>
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<img align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9-cknISHChi43_Vwg7JUMVCn0awtJxsxpJ9s-_9h39lnH_OJrTDTDtgGuP4Olcu1fn2tK4sVybUWjJDxY3IV7HNsgxB9AAVV2DCwktB-rRXAO4nWVXao5zuGGuNnYIQ1ooOanYWfqPg/s1600/red-witch-pentavocal-trem-182652.jpg" style="background-color: black; border: 1px solid; margin: 5px 0px 5px 10px; padding: 2px;" width="360px" />
<span style="font-size: large;">Red Witch's Pentavocal Trem represents something of a fresh take on the traditional tremolo effect.</span><br />
<br />
Many modern tremolo pedals fall into one of two camps, they either try to model a specific amplifier's tremolo circuit, or they throw as many features as possible at the user (e.g. tap tempo, multiple waveforms, step sequencers etc.). The Pentavocal Trem approaches things from a different angle. From the <em>bottom</em>.<br />
<br />
Red Witch have taken this simple amplitude modulation effect we all love so much, and added tone shaping options to it. The major feature, the inspiration for the pedal's name, is controlled by the 5-way rotary switch which sits above the right-hand (on/off) footswitch. This switches between - if you haven't guessed yet - five voicings for the circuit.<br />
<br />
<b>Voicings?</b><br />
<br />
Voice 5 is the fullest sounding; the neutral setting. As you turn the rotary switch to the left, the emphasis changes with a loss of low end and a bias creeping towards that of the treble frequencies; it gradually thins out until you get to the bright and shimmery tones of Voice 1. <br />
<br />
The other four controls (going from left to right) are Velocity (rate/speed), Depth, Volume and Bottom. The first three are familiar enough with no need for further discussion, except to say that the volume control is an absolute necessity - depending on which 'voice' you're using and how the Bottom control is set, the output level can vary greatly so the volume control is there to compensate. The Bottom control however, that definitely requires a little explanation.<br />
<br />
With Bottom set to the centre it is 'off'. The Pentavocal will operate as we'd expect a tremolo pedal to function.<br />
<br />
Turning the Bottom control down, according to the manual, will reduce the low end; turn it all the way down and as the volume decreases in the tremolo cycle the low end will disappear. Away from the written manual, the real-life audible effect is that turning the Bottom control down allows more and more of the high end to pass through the pedal untouched by the tremolo; the lower frequencies will be pulsing away while the higher frequencies sit on top. Subtle use of this feature can give the tremolo a lovely treble sheen, which is especially pleasing while playing clean arpeggiated chords.<br />
<br />
<blockquote style="margin: 0px; padding: 0px 25px;">
This effect is the same as what is achieved by the tone control on the Nobels TR-X <em>(see Alternatives box below)</em>, although I would say that the Pentavocal Trem processes your signal in a more elegant, refined manner. With the Red Witch pedal, the output sounds more natural with the modulated signal blending in seamlessly whereas with the TR-X, (while it is still a lovely effect) the signals combine in a more obviously-layered way - there is a slight separation in the two signals which the Pentavocal doesn't have.</blockquote>
<br />
You may expect that turning the Bottom control up will produce the exact opposite, allowing the low end through and modulating the high and mid frequencies only. But that is not the case. As you turn the Bottom <em>up</em>, more and more of the treble and midrange frequency content is removed lending the overall effect a completely different feel - I suppose "warm" or "vintage" would be the buzzwords some might use to describe the resultant tone.<br />
<br />
The feature set is rounded off with the expected input, output and 9v DC jacks, a too-bright LED which flashes in time with the tempo and two footswitches; one for bypass and one to switch between soft and hard tremolo.
<br />
<div style="text-align: center;">
* * *</div>
It took me a while to <i>get</i> the Pentavocal Trem as I was initially put off by the voicings you were forced to use. Nine times out of ten I <b><i>don't</i></b> want my modulation effects to alter my tone too much. I just thought the voice options were completely unnecessary.<br />
<br />
Once I got over that, I discovered that there is a lot of fun to be had and the Pentavocal Trem can almost be considered to be as much an EQ/tone-shaper as it is a tremolo pedal. You can even use it as a clean boost pedal!<br />
<br />
While there is still the restriction of <i>just</i> five presets rather than continuous control of the voicing, the combination of the voice options and the Bottom control gives the user so many possibilities for tonal tweaking. Forgetting for a moment that this is primarily a tremolo pedal: if your guitar tone is just a little short of how you want it to sound, then the Pentavocal Trem could quite conceivably be the final piece of your sonic jigsaw.<br />
<br />
<b>But this <em>is</em> a tremolo pedal</b><br />
<br />
As mentioned earlier, the soft or hard tremolo modes are footswitchable. This is quite useful from a performance perspective, but it's perhaps a little unhelpful that there is no visual indication of which mode you're in. An LED indicator would have been much appreciated and surely not too difficult to have incorporated.<br />
<br />
The soft tremolo mode is exactly what you expect; lovely. The hard tremolo setting however is a bit of a let-down by comparison. It will not satisfy those of you who like a good square wave stutter; it's just not choppy enough and can't compete with the likes of a Boss PN-2 or Empress Tremolo in this regard.<br />
<br />
<div style="text-align: center;">
* * *</div>
I should also mention that there is a bonus feature of the Pentavocal Trem which reveals itself in certain situations. With the Bottom control turned up and with a lower numbered voice position selected (voice option one is the best for this), the tremolo gets a bit wobbly. And I mean wobbly from a pitch perspective. It's quite reserved and subtle, but it's a beautiful sound - if there was a pedal that <em>only</em> did this, I'd buy it!<br />
<br />
I'm very picky about tremolo pedals and have only a couple minor gripes with the Pentavocal Trem, minor niggles that don't <em>really</em> matter in the grand scheme of things. It could be choppier (to suit modern tastes) and there could be an LED mode indicator, but otherwise there's little in the way of room for improvement.
<br />
<br />
<span class="Apple-style-span" style="font-size: large;">
The soft-yet-characterful tremolo effects that can be coaxed from this little box are simply gorgeous - crank the Bottom control up and you could easily mistake the most modern of amps for a vintage treasure.<br /><br />
The Pentavocal Trem is close to perfect and would also make an ideal studio pedal, owing to its tone shaping functions - especially if you have a limited number of amps available to you.</span>
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<div id="pvsidebox">
<span class="Apple-style-span" style="font-size: large;"><b><u>Alternatives</u></b></span>
<br />
<br />
While I am not familiar with any other tremolo pedal that does everything the Pentavocal Trem can do, there are quite a few that share elements.<br />
<br />
<br />
<b>DOD FX22 Vibrothang</b><br />
<a href="http://www.effectsdatabase.com/model/dod/fx/fx22" target="_blank"><span style="font-size: x-small;">(Discofreq’s Effects Database page.)</span></a><br />
Good substitute for the Pentavocal's dark tremolo and can also do a gentle flutter with a touch of wobble.
<br />
<div style="text-align: right;">
<a href="http://effectextra.blogspot.com/2010/04/dod-fx22-vibrothang.html">More >>></a></div>
<br />
<b>Nobels TR-X Tremolo</b><br />
<a href="http://www.effectsdatabase.com/model/nobels/trx" target="_blank"><span style="font-size: x-small;">(Discofreq’s Effects Database page.)</span></a><br />
The TR-X has it's own tone 'trick' up its sleeve, matching <em>half</em> of the Pentavocal's <em>Bottom</em> control function: want a low-end tremolo with the highs ringing true? The TR-X's tone control lets you have just that.
<br />
<div style="text-align: right;">
<a href="http://effectextra.blogspot.com/2010/10/nobels-tr-x-tremolo-video.html">More >>></a></div>
<br />
<b>Guyatone VTm5 Veri-Trem</b><br />
<a href="http://www.effectsdatabase.com/model/guyatone/mighty/vt" target="_blank"><span style="font-size: x-small;">(Discofreq’s Effects Database page.)</span></a><br />
The Veri-Trem has a low-pass filter control which competes with the darkening options of the Pentavocal Trem's Bottom control; superb for swampy tremolo effects (when used in moderation - it can get much murkier than the Red Witch allows). The Veri-Trem features three waveforms: a subtle sine, an authentic triangle and a square wave which, while not the choppiest, is much stronger than the Pentavocal is capable of.
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<br />
<b>Lovetone Wobulator</b><br />
<a href="http://www.effectsdatabase.com/model/lovetone/wobulator" target="_blank"><span style="font-size: x-small;">(Discofreq’s Effects Database page.)</span></a><br />
Smooth and subtle with a hint of something more. Using the split frequency options, where a high-pass filtered signal and low-pass filtered signal can each be assigned their own tremolo depth, it can match the treble-pass-through options offered by the Pentavocal Trem (and Nobels TR-X), but it can work both ways - you can have the low end pulse with shimmering treble, or you can leave the low end intact and modulate the top.<br />
<br /></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-74337242367652798502013-05-06T12:32:00.000+01:002017-06-30T15:32:13.865+01:00Boss PN-2 Tremolo/Pan<style>
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<span style="font-size: 42pt;font-weight:bold;">Boss PN-2 </span><span style="font-size: 30pt;font-weight:bold;">Tremolo/Pan</span>
<ul><span style="font-size: x-small;">
<li>Made in Taiwan</li>
<li>
<a href="http://www.effectsdatabase.com/model/boss/compact/pn2" target="_blank">(Discofreq’s Effects Database page.)</a></li></span></ul>
<span style="font-size: large;font-weight:bold;">Although it has since become one of their most highly regarded pedals, gathering a dedicated following along the way (including several famous names), the PN-2 wasn’t the success Boss had hoped for when it was launched.</span>
<br /><br />
<p style="text-align:center;">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAf65nps2kYzwA2AXN_96FFvNKdrakMzn52YGi6ifRbIEIbcIX69JpYx-iTHQcUkspxTEFjjN0c05dL3R3_F6FFNp4hDP8zgChszNFQnrNCFQoJRM86pvVw0qH3Z4TeFyCEbBfpoXKBt4/s1600/BossPN-2a_zps840bdff7.jpg" width="555px" align="center" style="float:center;padding: 2px;margin:0px 0px 5px 2px;border: 3px double grey;"/></p></br></br>
According to sources, manufacturing lasted only 10 months during 1990, with only around 16000 units made. Perhaps its failure to meet expectations was due to the time period; the tail-end of the rack dominated years and the shift to floor-based multieffect units?<br /><br />
<p style="text-align: center;">* * *</p><br />
Right away, I should say that the PN-2 is a personal favourite of mine and has been for many years. In my eyes - and to my <em>ears</em> - its reputation is well deserved.
Housed in Boss' familar compact case, one of the first things you'll notice when plugging it in is that - unlike many stereo pedals - it has two inputs <em>as well</em> as outputs; it can actually be used in a stereo rig without compromising on placement. Thank you, Boss!<br /><br />
The PN-2 is a simple pedal. It only offers a choice of two waveforms, yet there is enough variety available to keep most trem-fans happy.<br /><br />
From a tonal point of view, the PN-2 is very neutral - it neither attempts to sound 'warm' (or dull!) like some other pedals do, nor does it thin out your tone like other pedals can.
<br /><br />
<div id="pn2bomb">
<span style="font-size: large;font-weight:bold;line-height:90%;">Is that a bomb?</span><br /><br />
Boss PN-2s are prone to clock noise problems - when the pedal is bypassed, you can hear a constant ticking noise at the rate at which the effect is set.<br /><br />
However - and this is the important bit, this problem <b>only</b> arises if you don't have any active circuitry before it in your signal chain - that could be a buffered pedal (such as another Boss pedal or a tuner) or any activated pedal (maybe you have an always-on boost, EQ or compressor) - <span style="font-weight:bold;">so many PN-2 users will never experience this issue.</span><br /><br />
The other common complaint about PN-2s is in relation to the sweep of the rate control; it goes from very slow to very fast, but most of the more useful settings are bunched up towards the top end of the control's sweep. It's not a major problem though - I've been using PN-2s for many years now, and this particular issue has never<i> really</i> bothered me.</div>
</br></br>
<span style="font-size: large;font-weight:bold;line-height:90%;">The King of Chop</span><br /><br />
The triangle setting takes you from gentle fluctuations up to throbbing, amplifier tremolo-like effects, while the square setting is there for when you want a harder edged tremolo or on-off stutters.<br /><br />
The PN-2's square wave setting is particularly noteworthy; few other tremolo pedals are as hard-edged and many have square wave modes that don't <em>completely</em> cut to silence. The PN-2 does.<br /><br />
So far, I've focused on the PN-2 as a tremolo and, while many guitarists will use it as such in a mono set up <em>most</em> of the time, its name <em>is</em> PN-2 Tremolo/<span style="font-weight:bold;">Pan</span> after all...<br /><br />
<p style="text-align: center;padding:15px 0px;">
<img border="0" alt="PN-2 controls" align="center" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ynQRhsTVZy8pUmAJniz-a2Xt220KI9dKwO1_DogRX0Ed-CHUl7Vi85VkNGaSME7EqGXbBT08KHI6IlxjtLiIYasvNJQ9BOsGW2RUkIK0S4Owh2VtrEuLXt8ZrZgx8RXuSFq9wwyqkc8/s1600/BossPN-2+%2528b.jpg" style="padding:0px;border: 3px double grey;margin:0px 5px;" /> <img border="0" alt="reverse" align="center" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1f27Dek_H8g0GwDq1ZMekAfg2FXFYf7MWolZznAA4iHZMFdEDhqo-hWzA_KEnCvBsOlFxJHs9oFQzD5rEKGfhkh-5kjXexgPHiawiVuqYxbQBmLEcuN-KA2wsxHdXXjsu2omzkXj7lEU/s320/BossPN-2+%2528c.jpg" style="padding:0px;border: 3px double grey;margin:0px 5px;" /></p>
<span style="font-size: large;font-weight:bold;">I feel dizzy</span><br /><br />
Certain other 'stereo tremolo' pedals (for e.g. Electro-Harmonix Stereo Pulsar) automatically switch from tremolo to panning effects when you use both outputs - and I just hate that. If I'm playing through two amps, I still want my tremolo to be a tremolo. The PN-2 differs in that it offers its two panning modes (triangle and square) in <em>addition</em> to the tremolo modes.<br /><br />
Some stunning effects can be attained using autopanning; trippy, spinning, swirling goodness. Once you experience a good stereo effect, it's hard to go back to mono.<br /><br />
<span style="font-size: x-large;font-weight:bold;line-height:90%;">
The Boss PN-2 is a classic. Simple as that.</span><br /><br />
<br />
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-30502490934129327532013-05-06T11:38:00.000+01:002017-06-30T12:37:30.087+01:00Guyatone MCm5<style>
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<span style="font-size: 32pt;font-weight:bold;">Guyatone MCm5 </span><span style="font-size: 24pt;font-weight:bold;">Micro Chorus</span>
<br />
<ul><span style="font-size: x-small;">
<li>(Mighty Micro Series)</li>
<li>Made in Japan</li>
<li><a href="http://www.effectsdatabase.com/model/guyatone/mighty/mc" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul>
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglbqePzBvmp4LPllCTYMyBumlwceUq7zluVeBUBYIhdebUSx8TxXHGpMwSapQgIuZzm1kAXI0NEWugeJ-ubQneJsqMSbyJo64_pwYWEjQTHMGEOpgkfmX1jHuJIP9gghRrj5e-mf5n7lA/s320/GuyatoneMCm5.jpg" width="330px" style="float:right;border: 3px double grey;padding:0px;margin:5px 0px 5px 10px;" />
Very compact size but packed with features; unusually, there is even a master Level control so the MCm5 is not afflicted by any kind of volume boost/drop which can be very common with effects of this type.<br /><br />
It of course has standard Depth and Rate controls - the range of speeds is huge and the modulation can go a lot faster than I'd usually have any use for, which is both a good and bad thing. Good as it provides a wider palette of effects but bad as it makes fine adjustments slightly more difficult.<br /><br />
As with all of the Mighty Micro pedals, there is a mini trim (external) control which, in this case controls the dry:wet blend. Mix controls are something that I'd like to see on all chorus pedals as it opens up so many more possibilities; from very subtle, through very pronounced chorusing to 100% vibrato.<br /><br />
The final control - I saved the best for last - is a three position waveform switch. This is pretty much unheard of in compact, mass-produced chorus pedals. It essentially gives you three pedals in one as each waveform is very distinctive.<br /><br />
The three waveforms are:
<ul style="padding:0px;margin:0px;">
<li>Sine - fairly standard and traditional chorus/vibrato</li>
<li>Triangle - can be very deep, (and especially at faster rates) seasick and wobbly</li>
<li>Square - very unusual; it's more of a rhythmic effect and has a touch of tremolo about it</li>
</ul>
<br />
Sonically, the MCm5 leans towards a sparkly, shimmering effect which can sound very pretty BUT, while I am a big fan of this pedal, I have to point out that it isn't perfect as, in some circumstances there are noise issues...<br /><br />
When used in front of an amp there is a noticeable amount of hiss (while the effect is engaged); this doesn't really bother me but I know a lot of people are very touchy about any kind of noise in their effect chains. HOWEVER, I've found that it is almost silent when used in an amp's effects loop or when I've used it with line level signals in a recording/mixing environment.<br /><br />
The second issue, is that when in bypass (Guyatone use a true-bypass method) you can hear an LFO tick through your amp which is in tempo with the effect. I have experienced this problem with the two MCm5s that I've used (including the one from my own collection) - and it is also an issue which afflicts other pedals such as the Boss PN-2 - but the good news is that this issue is easily eradicated... As long as there is some kind of active circuitry* between your guitar and the pedal, the ticking goes away completely.
<br /><br />
* <span style="font-size: x-small;">This active circuitry can include a variety of things such as the preamp in an active guitar/bass, a buffered pedal or a true-bypass pedal that is left on (e.g. clean boost), and of course an amp's preamp if you're running this pedal in an effects loop.</span><br /><br />
<span style="font-size:large;font-weight:bold;">If you can live with, or find solutions for its noise issues, the MCm5 should be able to cover <i>all</i> of your chorus and vibrato needs. And then some.</span><br /><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-80773138863035140942013-05-06T10:08:00.000+01:002013-06-01T11:13:08.371+01:00Vox1905<style>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-29156044168517643942013-03-22T19:34:00.001+00:002015-02-26T12:22:11.931+00:00Review Index<style>
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<a href="http://effectextra.blogspot.co.uk/2013/05/picture-index.html">Go to Picture Index >>></a>
</p>
</br>
<ul style="line-height:100%;">
<li><a href="http://effectextra.blogspot.co.uk/2010/07/sacred-arias.html">Aria CH-5 Chorus</a></li>
<li><a href="http://effectextra.blogspot.com/2010/08/aria-mp-5-metal-pedal.html">Aria MP-5 Metal Pedal (Distortion)</a></li>
<li><a href="http://effectextra.blogspot.com/2010/07/arion-sod-1-stereo-overdrive.html">Arion SOD-1 Stereo Overdrive</a></li>
<li><a href="http://effectextra.blogspot.com/2010/11/award-mb10-matchbox-shadows-version.html">Award MB10 Matchbox: Shadows Version</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2013/08/award-session-jd10.html">Award-Session JD10</a></li>
<br />
<li><a href="http://effectextra.blogspot.co.uk/2013/03/biyang-rv-10.html">Biyang RV-10 Tri Reverb</a></li>
<li><a href="http://effectextra.blogspot.com/2010/04/boss-mz-2-digital-metalizer.html">Boss MZ-2 Digital Metalizer</a></li>
<li><a href="http://effectextra.blogspot.com/2013/05/boss-pn-2.html">Boss PN-2 Tremolo/Pan</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2013/03/danelectro-cool-cat-and-tuna-melt.html">Danelectro CT-1 Cool Cat Tremolo</a></li>
<li><a href="http://effectextra.blogspot.com/2010/07/absolutely-fabulous.html">Danelectro D-4 FAB Echo</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2013/03/danelectro-cool-cat-and-tuna-melt.html">Danelectro DJ-5 Tuna Melt Tremolo</a></li>
<li><a href="http://effectextra.blogspot.com/2010/04/dod-fx22-vibrothang.html">DOD FX22 Vibrothang</a></li>
<br />
<li><a href="http://effectextra.blogspot.com/2010/10/guyatone-flip-ad-x-analog-delay-with.html">Guyatone Flip AD-X Analog Delay (Tube Powered)</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2013/05/guyatone-mcm5.html">Guyatone Mighty Micro MCm5 Micro Chorus</a></li>
<li><a href="http://effectextra.blogspot.com/2010/10/superfuzz-pt3-guyatone-tzm5-torrid-fuzz.html">Guyatone Mighty Micro TZm5 Torrid Fuzz</a></li>
<li><a href="http://effectextra.blogspot.com/2011/03/guyatone-mo3-micro-octaver.html">Guyatone MO3 Micro Octaver</a></li>
<li><a href="http://effectextra.blogspot.com/2010/03/guyatone-ps-003-compressor.html">Guyatone PS-003 Compressor</a></li>
<li><a href="http://effectextra.blogspot.com/2010/03/echoes-nobody-hears.html">Guyatone PS-014 Dual Time Delay</a></li>
<li><a href="http://effectextra.blogspot.com/2010/05/superfuzz-pt2-guyatone-ps-030-fuzz.html">Guyatone PS-030 Fuzz Distortion</a></li>
<li><a href="http://effectextra.blogspot.com/2010/08/guyatone-crossover-box-auto-wah-filter.html">Guyatone PS-104 Crossover Box Auto Wah | Filter</a></li>
<li><a href="http://effectextra.blogspot.com/2010/05/superfuzz-pt1-guyatone-tz2-fuzz.html">Guyatone TZ2 'The Fuzz'</a></li>
<br />
<li><a href="http://effectextra.blogspot.co.uk/2010/03/korg-oct-1-octaver.html">Korg OCT-1 Octaver</a></li>
<li><a href="http://effectextra.blogspot.com/2012/02/and-now-for-something-completely.html">Line 6 M5</a></li>
<li><a href="http://effectextra.blogspot.com/2013/05/lovetone-wobulator-pics.html">Lovetone Wobulator - <em>pics</em></a></li>
<li><a href="http://effectextra.blogspot.com/2012/02/loco-box-mysto-dysto.html">Loco Box Mysto-Dysto</a></li>
<li><a href="http://effectextra.blogspot.com/2010/10/nobels-tr-x-tremolo-video.html">Nobels TR-X Tremolo</a></li>
<li><a href="http://effectextra.blogspot.com/2010/12/omnifex-700d-distortionoverdrive.html">Omnifex 700D Distortion/Overdrive</a></li>
<br />
<li><a href="http://effectextra.blogspot.com/2010/03/echoes-nobody-hears.html">Pearl AD-08 Analog Delay</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2010/11/peavey-bac-2-bi-amp-bass-chorus.html">Peavey BAC-2 Bi-Amp Bass Chorus</a></li>
<li><a href="http://effectextra.blogspot.co.uk/2013/05/red-witch-pentavocal-trem.html">Red Witch Pentavocal Trem</a></li>
<li><a href="http://effectextra.blogspot.com/2010/10/roland-cube-20.html">Roland Cube 20</a><span style="font-size: x-small;"> - amp</span></li>
<br />
<li><a href="http://effectextra.blogspot.com/2010/06/vox-1901-distortion.html">Vox 1901 Distortion</a> </li>
<li><a href="http://effectextra.blogspot.co.uk/2010/11/vox-1905-chorus.html">Vox 1905 Chorus</a> </li>
<li><a href="http://effectextra.blogspot.com/2010/03/yamaha-mbd-20m-multi-band-distortion.html">Yamaha MBD-20M Multi-Band Distortion</a> </li>
<li><a href="http://effectextra.blogspot.com/2010/12/zoom-uf-01-ultra-fuzz.html">Zoom UF-01 Ultra Fuzz</a></li>
</ul>
</br></br></br>
<p style="text-align: left;line-height:100%;">
<a href="http://thechoruspage.blogspot.co.uk/"><img border="0" width="350px" style="padding:20px 0px 1px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3oVYScKuQYP_9zPAekcGXfEIC04k4lVbWNZF7gIK4m7646_JpBNc9Lxjk-gW0Ia1bVzuLC7yEUufDzpfhvV7uYB1wjW3zQjE1D14vLxyWbxOU-4DZQ07mAEfWCJelwlghbdchyphenhyphenvHb2k/s928/TITLE+banner+sqishd+THIS.jpg"><br />Chorus Pedal Round-Up</a>
<br /><br />
<a href="http://thetremolopage.blogspot.co.uk/"><img border="0" width="350px" style="padding:0px 0px 1px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwHsNbqDfhPIX3XUVWQNZ6UR1TQI1t4Hd-6556ETYA7fKF91gK16xHhuKkUShC01xXIXYX_MOqIxrfcv-lsa9fQARhV1z_yanUeLqNrhRzYPbPGZFXH1bzBHQ3GlIj2htUfOPfXaj-Qho/s928/trem+banner+ed+THIS+ONE+sqshd+TEXT.jpg"><br />Tremolo Pedal Round-Up</a>
</p>
<br /><br />
<div style="text-align: justify;"><blockquote>
<span class="Apple-style-span" style="font-size: 10pt;">Other Articles</span></blockquote></div>
<div style="text-align: justify;">
<ul><span class="Apple-style-span" style="font-size: normal;">
<li><span class="Apple-style-span" style="font-size: 10pt;"><a href="http://effectextra.blogspot.co.uk/2010/08/GreatExpectations.html" target="_blank">Great Expectations</a></span><br />Price vs Performance<br /></li>
<li><span class="Apple-style-span" style="font-size: 10pt;"><a href="http://effectextra.blogspot.co.uk/2010/03/hung-on-line-like-poison-spider.html" target="_blank">Hung on line like a poison spider</a></span><br />Effect pedal order<br /></li>
<li><span class="Apple-style-span" style="font-size: 10pt;"><a href="http://effectextra.blogspot.co.uk/2010/04/lights-will-guide-you-home.html" target="_blank">Lights will guide you home</a></span><br />Your lovely vintage pedal doesn't work... Who can you turn to?<br /></li>
</span></ul></div>
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-75663709417996392462013-03-21T19:55:00.000+00:002015-02-13T12:25:53.442+00:00Biyang RV-10<style>
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<p style="text-align:left;"><span style="font-size: 42pt;font-weight:bold;">Biyang RV-10 </span><span class="Apple-style-span" style="font-size: 28pt;font-weight:bold;">Tri Reverb</span>
<ul><span style="font-size: x-small;">
<li style="text-align: left;">Baby Boom! Series</li>
<li style="text-align: left;">Made in China</li>
<li style="text-align: left;"><a href="http://www.effectsdatabase.com/model/biyang/babyboom/rv10" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul>
<img align="center" style="float:right;padding:5px;margin:0px 0px 5px 10px;background-color:white;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfpYQ83oPk0CmDzuOMb2puJ4oUyLJ2ma2DUNR4YgjWGx1nPoxPrdNdzyOIctonOKVb1FFlRU2f-QdsD4E8Xss6RLX41vm56fDGoV45SZTazA02J5K8YbftriArLFdFMZArFcKggWtBJo/s400/biyang_tri_reverb_rv10__55683_zoom-1.jpg" width="250px" />
<span class="Apple-style-span" style="font-size: large;">I have to admit that, having been disappointed with - or underwhelmed by - practically every guitar reverb pedal I've ever used, which includes several expensive/boutique pedals, I really didn't expect much from The Biyang RV-10. My preconceptions turned out to be well wide of the mark.</span><br /><br />
The Tri Reverb has a very basic feature set: three modes (Hall, Spring and Room), with two variations for each (A and B) and finally, blend and time controls. The build quality seems fine - although only time will tell on that score.<br /><br />
How does it sound?<br /><br />
In a word: excellent. <br /><br />
The sounds from the Tri Reverb are on a par with those from many rack processors and plugins I've used. It's really - and I mean <i>really</i> - quiet; I haven't noticed any extra noise whatsoever.<br />
<br />
True, the <em>Spring</em> mode is hardly authentic or believable, but it's still a good sound in its own right. The longest settings (in Hall mode) maybe aren't quite long enough for those of you who make ambient music, but they do verge on being cavernous as far as I'm concerned. <br /><br />
What I really like, is that it actually sounds good when combined with distortion/fuzz: it neither changes the tonality of the distortion,nor does it swamp your distorted tones; I can quite happily have a nice wet reverb sound for cleans, kick on a fuzz and it still sounds 'right'. I often find reverb can wash out fuzz and distortion, or seem like too much so I always have to make compromises on settings. Not with the RV-10.
</br></br>
<span class="Apple-style-span" style="font-size: large;">For what these pedals cost and how good they sound, you'd be silly to ignore it if you're in the market for a simple reverb pedal.</span>
<br /><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-47533982204868421832013-03-19T15:35:00.000+00:002013-05-30T17:23:54.177+01:00ColorsoundTremolo-wide<style>
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<span class="Apple-style-span" style="font-size: large;"><b>Colorsound Tremolo pedal from 1977</b>:</span></div>
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<img align="center" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB0f2cRLfPW5OCB34lpT9y6DLllt0UwYRRRZjwc73D2-iH41FE6qjaUsVkQ5FFjIgKsmSyOY036UT7SvlC_5H6ZAluYMvyeEmjvaxVVrHWm7_hgh3_EJCDrvJQMwlHkvCfhiwwzl3pmNM/s1600/Colorsound+Tremolo+77.jpg" style="padding: 10px;" height="600" /></div>
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They're very rarely seen in the wide-case format.<br />
In typically quirky style, note the use of both "Tremolo" and "Tremelo" spellings!</div>
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<img border="0" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFYCZfdmUDWWuqCW6KmTWRyKiAt88yQjsW1HxEpxFJ3m5fA2n7wuS3cXyKf8eQTBmY43Vo5XrfCyDLuLNXFTL_9MH6mnMZvLlu9ttC1MWWFbHnpXlCqsj2KJZws7paQKJ7lnjE7_uQ4bM/s200/danelectro-coolcat_ct-1_001.jpg" style="float:right;padding:5px;background-color:white;margin:10px 0px 5px 20px;" />
<span style="font-size: 24pt;font-weight:bold;">Danelectro CT-1</span>
<span style="font-size: 12pt;font-weight:bold;">Cool Cat Tremolo</span><br />
<a href="http://www.effectsdatabase.com/model/danelectro/coolcat/ct1" target="_blank"><span class="Apple-style-span" style="font-size: small;">(</span><span style="font-size: x-small;">Discofreq’s Effects Database page.)</span></a><br /></br>
Very simple and straightforward.<br /><br />
The Cool Cat Tremolo goes about its business in a very workmanlike way, offering a choice of two waveforms (hard or soft), with a decent range across its settings. Worth noting is that the Depth control is disabled (and fixed at 100%) in the (hard) square wave mode.<br /><br />
If you're only an occasional tremolo user, the CT-1 is still worth a look and it is very hard to beat on price.<br /><br />
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Some people don't like the aesthetics of the Cool Cat pedals, but I happen to think they're OK - they definitely look better in person than in pictures. Besides, the way a pedal looks <i>should</i> be way down your list of priorities!</div>
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<img border="0" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9T4vQn50bar1tvYqYrdQr4H9lZRe2Tqs78yoJF3UmPG-rHpTKZs6nrRCdvMus8L4zlGUwEY2F9-7FbAuvDiEwJKgIwj0IyuMnfQ3ryIRpVKjNw5ExqAeOMP7ZkoSYlNpz_g0xPuLGr0k/s200/DJ5.gif" style="float:right;padding:5px;background-color:white;margin:10px 0px 5px 20px;" />
<span style="font-size: 24pt;font-weight:bold;">Danelectro DJ-5</span>
<span style="font-size: 12pt;font-weight:bold;">Tuna Melt Tremolo</span><br />
<a href="http://www.effectsdatabase.com/model/danelectro/mini/tunamelt" target="_blank"><span style="font-size: x-small;">(Discofreq’s Effects Database page.)</span></a><br /><br />
Essentially the same in features and performance as the Cool Cat Tremolo. Some people complain about the small, fiddly controls, and that it's hard to see where the controls are set; neither are complaints that I share.<br /><br />
So, like the Cool Cat - and reliability worries aside (see below) - this remains a good choice for those with occasional tremolo needs, or who don't need a feature-laden pedal. The low price makes it an even more attractive proposition.
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Reliability worries?<br /><br />
Detractors often comment upon the plastic (part of the) casing, but, in my experience, these pedals should hold up just fine so long as they are treated with respect. <br /><br />
My main concern (long-term) would be with regards to the PCB-mounted jacks. Over time - for a variety of reasons - it is possible that the jacks will develop problems. These problems are easily fixed, but will still be an unwelcome inconvenience for many guitarists.
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<br /><br />
<span style="font-weight:bold;">
While I would say there is very little between the Cool Cat and Tuna Melt pedals, I would perhaps lean towards the Cool Cat as the better option if given a straight choice. Just because the extra ruggedness afforded by the all-metal enclosure and chassis-mounted jacks would give me more confidence in its longevity.</span>
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-27743677126950479302012-06-04T15:25:00.003+01:002013-06-04T11:57:42.664+01:00Pedalboard pictures...<br />
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<span style="text-align: -webkit-auto;">Due to various factors I won't go into right now, this blog has fallen by the wayside somewhat. </span><span style="text-align: -webkit-auto;">Just to show that Effect Extra is still around</span><span style="text-align: -webkit-auto;">, I'm posting a small collection of my photos - some of these have been posted on certain guitar/effect-related forums in the past, but this is the first time many of these pedals have been seen/mentioned here.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkiS3eAEp-6ZEtwK0JGS2L19Wzw3dKv5Ie0g72uwRGly4pjjMVLYzDzGT3YYIgB-FK57zI6pwl2mxN5aU4X0CtjNdrHUpFR0B15REufTSEENsdCii7gQ8dOseuUGolcRWdLxnds_TAlo/s1600/June2012.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="5" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkiS3eAEp-6ZEtwK0JGS2L19Wzw3dKv5Ie0g72uwRGly4pjjMVLYzDzGT3YYIgB-FK57zI6pwl2mxN5aU4X0CtjNdrHUpFR0B15REufTSEENsdCii7gQ8dOseuUGolcRWdLxnds_TAlo/s400/June2012.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhef_Q4CJb2RO78L0lCo42vNZ5mEKqtNH2v6-8m7vgF6Qe3z_0aw1eyfIlT2Itr8sVDHp1zv7nN8IvUWMpJvEzK1CKF8anlwgtgTDOgSzfsXqXt3P4YvGMKY7-auLO72P4N84OzM8Yf16A/s1600/939_0440.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhef_Q4CJb2RO78L0lCo42vNZ5mEKqtNH2v6-8m7vgF6Qe3z_0aw1eyfIlT2Itr8sVDHp1zv7nN8IvUWMpJvEzK1CKF8anlwgtgTDOgSzfsXqXt3P4YvGMKY7-auLO72P4N84OzM8Yf16A/s200/939_0440.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1zSDTzVunCfL6oax2U8UY2EJbjmE65heHl8zGVX_OARvU0222zuiHkUbYNnz7YmcAcBGikaj57xdsEj1-wq9fHl67MtsU4EHtgWFfwH3q4N2qzIOh2OIoxeVQ0D1EIBLFZRZwQJpJIqg/s1600/Board+Dec+2009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1zSDTzVunCfL6oax2U8UY2EJbjmE65heHl8zGVX_OARvU0222zuiHkUbYNnz7YmcAcBGikaj57xdsEj1-wq9fHl67MtsU4EHtgWFfwH3q4N2qzIOh2OIoxeVQ0D1EIBLFZRZwQJpJIqg/s200/Board+Dec+2009.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCbZkuGiM5ey3-hVUvkQK41S-f7ykRdfib-bO85laawiUc7lDpd4Jyw9yfyjZt_o-efKWqFtae_KV2mPHO3-T7U-8KOi7iPoWaur9sC4YyEzQZe8DwH4OG2pu4Pa5WAKC1k27BU0yXt7g/s1600/Supa+Charged+Wob.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCbZkuGiM5ey3-hVUvkQK41S-f7ykRdfib-bO85laawiUc7lDpd4Jyw9yfyjZt_o-efKWqFtae_KV2mPHO3-T7U-8KOi7iPoWaur9sC4YyEzQZe8DwH4OG2pu4Pa5WAKC1k27BU0yXt7g/s320/Supa+Charged+Wob.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZ1RoctunWuruy7fquu7lH0CRc8uVwNC-tBCkwTrhFeRG1sJ51jjpns-1aJp_VXY-LiKz-362A4sRAduaOAMfsDvyo1YwwfWlUADqXQXR14Ja85m90rCLpPQWDJyZdUzEzxBy27zHfB0/s1600/board_NOV2007_angle.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhZ1RoctunWuruy7fquu7lH0CRc8uVwNC-tBCkwTrhFeRG1sJ51jjpns-1aJp_VXY-LiKz-362A4sRAduaOAMfsDvyo1YwwfWlUADqXQXR14Ja85m90rCLpPQWDJyZdUzEzxBy27zHfB0/s320/board_NOV2007_angle.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHGNY3PNrgYOhXmMbiaOKyj8mw8yPXAFZ4QNdtx4UXIQSVvqakxwmXtgSZGdyAgWImnt4N2WG1_ZGHR-Phpet_krF-Wnz-P2JSgC_66QUP3a2vLY2QYGw4cd8Ou-rEtnzjOn2URqMqeBs/s1600/Board+April+1st+2010+600w+_2.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHGNY3PNrgYOhXmMbiaOKyj8mw8yPXAFZ4QNdtx4UXIQSVvqakxwmXtgSZGdyAgWImnt4N2WG1_ZGHR-Phpet_krF-Wnz-P2JSgC_66QUP3a2vLY2QYGw4cd8Ou-rEtnzjOn2URqMqeBs/s400/Board+April+1st+2010+600w+_2.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56zaJFcK_xfl1VqReoPTRoKZQNCjVuqx-WqIoTdK-LRQ0-DMJyB0-ReSFE5VFBpaZJCVdEbOU3DOLOZKxuLYDsZlT67t0p51PI-xfNqwuW8BGm4Td7bYF4B40LyVd-4vM652FsoEzfyw/s1600/Muff+QSB.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh56zaJFcK_xfl1VqReoPTRoKZQNCjVuqx-WqIoTdK-LRQ0-DMJyB0-ReSFE5VFBpaZJCVdEbOU3DOLOZKxuLYDsZlT67t0p51PI-xfNqwuW8BGm4Td7bYF4B40LyVd-4vM652FsoEzfyw/s200/Muff+QSB.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmgwVZxIkHb4H3v863zSETPs6WdDCnB4kL9J6BJU-CLostRwQHksFF-f6E-2ekz2OSCBT33lw-S9p9iCQIePIKVo7t8KCbpV9sZWrMiG4U4O-Oys1-LUO04YO_4s0zyhDSI4AJMY8vSAw/s1600/DOD_DigitechBrd600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmgwVZxIkHb4H3v863zSETPs6WdDCnB4kL9J6BJU-CLostRwQHksFF-f6E-2ekz2OSCBT33lw-S9p9iCQIePIKVo7t8KCbpV9sZWrMiG4U4O-Oys1-LUO04YO_4s0zyhDSI4AJMY8vSAw/s320/DOD_DigitechBrd600.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijw5wzOOtU4oQY9bX9qwn2IAqD-iznW6hoIhaPLmEuDG7Cyk5XfZnYzIgE8krCmq7atr6KkVx6CiBN7ecsl6ks0MycOpAFkeE5dULiBO7H4ZJhTLC-rB_zqsKD-MaMPWna0rINCKj6hpU/s1600/pedalboardsdec08_1b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijw5wzOOtU4oQY9bX9qwn2IAqD-iznW6hoIhaPLmEuDG7Cyk5XfZnYzIgE8krCmq7atr6KkVx6CiBN7ecsl6ks0MycOpAFkeE5dULiBO7H4ZJhTLC-rB_zqsKD-MaMPWna0rINCKj6hpU/s400/pedalboardsdec08_1b.jpg" /></a></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-74602375386505182752012-02-12T11:46:00.005+00:002017-07-03T09:58:19.027+01:00And now for something completely different...<style>
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<span class="Apple-style-span" style="font-size: 44pt; font-weight: bold;">Line 6 M5 </span><span class="Apple-style-span" style="font-size: 24pt; font-weight: bold;">Stompbox Modeler</span></div>
<ul><span style="font-size: x-small;">
<li>Multi-effect</li>
<li>Designed in the USA, made in China</li>
<li><a href="http://www.effectsdatabase.com/model/line6/m5" target="_blank">(Discofreq’s Effects Database page.)</a></li>
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<img align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkDTOWbLh3kiy5U0nn_r7JXpN134b7DIVnmj2rXWwTXTI4gzfWsixXGUrwVVNU7DPcpwJAxgCawWG8qkw7HJj2FcW2SOyCNP-OtDYCW3CS4FBNRqStCcX-tBX2-ErdKCN0iksSE9ak3uw/s1600/line6_m5_001.jpg" style="background-color: white; border: 1px solid; float: right; margin: 5px 0px 5px 15px; padding: 10px;" width="400" />
<span class="Apple-style-span" style="font-size: large;">The M5 is the most compact member of Line 6's "M" family of floor-based multi-effect processors.</span><br />
<br />
These processors collect together the effects from Line 6's MM4 Modulation, DL4 Delay, FM4 Filter and DM4 Distortion modelling pedals, along with the 11 reverb types from the Verbzilla pedal (from Line 6's compact ToneCore series) AND there are several new additions too.<br />
<br />
The <a href="http://line6.com/m5/index.html" target="_blank">M5</a>, <a href="http://line6.com/m9/index.html" target="_blank">M9</a> and <a href="http://line6.com/m13/index.html" target="_blank">M13</a> differ in several ways (e.g. number of presets), but the primary <i>practical</i> difference is in the number of effects that can be used simultaneously; the M5 allows only one effect at a time, the M9 allows three and the M13 allows four. As such, the larger M9 and M13 could potentially become the basis of a pedalboard for many musicians - I have seen plenty of guitarists using an M9/13 for ALL of their modulation, delay and reverb effects for instance, and just adding one or two standalone overdrive/distortion/fuzz pedals to complete their sonic arsenal.<br />
<br />
The M5 on the other hand, is more likely to be used as a 'gap filler'. For someone that already has their main effects established, only occasionally needing to use a certain type effect but not wanting to buy dedicated pedals, the M5 is, on paper, a great solution.<br />
The quality of effects on offer is very wide; some are terrible while others are very, very good.<br />
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<img align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGj9lbDoRrUWP2TJO4H5JdxdQkdQLUTJukGMMHjO2a5gU-0obgIxJn0XW5MIWZj7walazjuRNPAbKf3qftSSJN1VW1pi5ow7sGH1wJ-vErzvWuQ5bl4bXH_vEMjebrpoe2LiOcU8aNZAE/s1600/LINE6M5MODELER_01.jpg" style="background-color: white; border: 1px solid; float: right; margin: 5px 0px 5px 15px; padding: 10px;" width="340" />
<span style="font-size: large; font-weight: bold;">DISTORTION & FILTERS</span><br />
<br />
There has long been a mass perception that digital distortion is bad and should be avoided at all costs. I don't necessarily agree, as I have used some excellent digital distortion effects (inc. racks and plugins) in my time. I will always argue that there are good and bad digital distortion units, just as there are with their analogue counterparts. However, Line 6 are not going to change many minds here as this is the weakest area of the M-series - by a distance.<br />
<br />
In order to make full use of the 5 control knobs, Line 6 have added extra controls to the pedals that are being modelled. My opinion is that this is to the detriment of the authenticity of many of the models. A big part of the sound of an Electro-Harmonix Big Muff or ProCo RAT for instance, is in the way their single tone (or filter) control affects the overall voicing. So, by replacing this with a 3-band EQ section, some of the original character is lost. While the RAT distortion is still recognisable, it takes a bit of tweaking (and it takes even more work with the Big Muff model) to make it <i>really </i>sound like the genuine article. But even then, it is still just a pale imitation of the real thing. Shame.<br />
<br />
The one saving grace is the Line 6 Drive patch, which was inspired by the Colorsound Tonebender. It actually sounds pretty good!<br />
<br />
<b>While Line 6 chose to add mix controls to many of the patches that don't benefit from it (e.g. tremolo), I think the fact that they <i>didn't</i> add mix controls to any of the distortion or compressor patches is an opportunity missed.</b><br />
<br />
The wah patches are generally good and perfectly usable, but I am largely underwhelmed by most of the envelope filters. This goes against what I had heard previously from other users, but perhaps I have been spoiled by using excellent 'real' filter pedals - such as an Ibanez AF9 Auto Filter and Electro-Harmonix Micro Synthesizer- so am expecting too much. The synth effects on offer <i>are</i> of a high standard, are loads of fun to mess around with, but may have limited appeal depending on the style of music you play.<br />
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<img align="center" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1P1Vq_P7TQMnI0PCqB_Q9FxaPV35H9a_14E8i1rkmYg371YddWaS3m3v9UpZ3UvLMmQGB1m_aFSqwbmIUnS46bySPRa71Iwfmq5TAH-JSYnH7-UjU_NkcaS4Q_fe9H3AsCk1EZAushWw/s1600/Line6M52-660-80-1.jpg" style="background-color: white; border: 1px solid; float: right; margin: 5px 0px 5px 15px; padding: 0px;" width="380px" />
<span style="font-size: large; font-weight: bold;">MODULATION</span><br />
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This is the strongest area of the M5 for me: there are no real let downs* in the patches in this section; all are adequate at the very least, and some of them are truly excellent. Highlights are the Opto and Sequenced Tremolo patches, the Panner, Pitch Vibrato (based on the Boss VB-2) and Dimension (based on the Roland Dimension D rack unit, which was the predecessor of the DC-2 pedal).<br />
<br />
<blockquote>
* The Analog Chorus patch, based on the legendary Boss CE-1 Chorus Ensemble is almost an exception. It is by no means a weak effect, but it is a long way from emulating a CE-1's chorusing - the vibrato mode is much closer. Actually, it wasn't until I consulted the model list that I even knew it was supposed to be a CE-1 emulation!</blockquote>
<br />
Some of the more out there patches, such as the Ring Modulator are really good too. It's no match for a Moog Ring Modulator, but it gets the job done and lets face it, for many people ring modulation is something that is used sparingly (if at all!) so you may not want to invest in a dedicated pedal.<br />
<br />
<div cellpadding="10" id="sideboxes">
The Sequenced Tremolo patch (inspired by the <a href="http://www.effectsdatabase.com/model/lightfootlabs/goatkeeper" target="_blank">Lightfoot Labs Goatkeeper</a>) is a lot of fun to use. Regular readers will be aware that I am a big tremolo fan, so it won't come as a surprise that I choose this as one of the stand-out patches. My only reservation is down to the limited control set.<br />
<br />
<img align="center" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOjODkORwHubBwAB3SxrsRFtbd-l8d8JDOx2w7oDPJPLozSVMGdMni6izO0bg8UtBheGLiqkJrjYxtk1d0xH0pBTu-TUSb8W-jYlFuT81VeLx6391P2_Y2ymtDlA5Ug1LQi0uyu3pv64/s200/Goatkeeper.JPG" style="background-color: white; border: 3px double; float: right; margin: 5px 0px 5px 15px; padding: 0px;" width="250px" />
Whereas many of the distortion models suffer by <i>gaining</i> extra controls, Line 6's developers had to strip some of the options in this case, so you are stuck with a square wave tremolo only, which is fixed at its maximum depth. This produces the most dramatic effect (so will sound the most impressive when auditioning effects) but I have a nagging feeling that it could get <i>old</i> fast. It could be the kind of thing you can only get away with using in one song - any more than that and it will become repetitive and maybe even gimmicky.</div>
<br />
<span style="font-size: large; font-weight: bold;">REVERB & DELAY</span><br />
<br />
This is another area where the M-series performs well. Considering the price of many multi-mode delay and reverb pedals, I wouldn't be surprised to see people using an M5 and dedicating it to one of those tasks. While I'm not a big user of delay effects, I'd say that there are enough options here to satisfy all but the most fussy of people - the kind of person that won't even entertain the <i>thought </i>of using anything less than an Echoplex or Space Echo, for instance!<br />
<br />
The reverbs too are of a good quality; they are (as I mentioned earlier) taken from the Verbzilla pedal - which has been held in high regard since its release - so there are no surprises here. While I still prefer the Tech 21 Boost RVB for everyday use (it is the 'best' reverb pedal I've used to date, for my taste), I believe that the M-reverbs have much to offer and will please many.<br />
<br />
<div id="sideboxes">
<span style="font-size: large; font-weight: bold;">Express yourself</span><br />
<br />
<img align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgefkleJMcC5rSmFp-9sr5TMhtxmXg5DztOrJW-4izoKWxWkk3ldpqoQxm3TU0SGo2Get25HYc2UHK5bgGSnSod_HGAhGMwymKoeD48lkghX5Rt1P80iSsh07txLmEDz8SF0YdsbdZjWyw/s1600/8324_l.jpg" style="background-color: white; border: 1px solid; float: right; margin: 5px 0px 5px 15px; padding: 0px;" width="300" />
For anyone purchasing an M-series effect unit, I wholeheartedly recommend the acquisition of an expression pedal to squeeze all of the performance potential out of many of the unit. It is obviously a necessity if you want to use any of the wah patches in the traditional way, but any - or ALL - of the parameters from <i>any</i> patch can be mapped to the expression pedal; allowing as much real-time control of an effect as you want...<br />
<br />
From simple things like allowing foot control of a vibrato's depth, to more complex set ups where the expression pedal adjusts the relationship of multiple parameters at once. Imagine having a chorus patch that transitions from slow and deep to fast and shallow... Or having a soft, shallow, slow tremolo, which gets faster, deeper and transforms into a stuttering square wave trem when you push the expression pedal forward... Or having one of the modulated delay patches set so it is a subtle chorus with the expression pedal rocked back, but the delay time, feedback and modulation rate all increase as you rock the pedal forwards - creating a swirling mass of sound...<br />
<br />
The combinations are endless.</div>
<br />
<span style="font-size: large; font-weight: bold;">CONCLUSION, OR CONFUSION?</span><br />
<br />
While the Line 6 M5 has plenty of good sounding effects - most of which are perfectly usable - and some which are excellent, there is no way it is going to replace the likes of a real Boss CE-1. If anything, the best effect models make me want to go out and buy the originals!<br />
<br />
<span style="font-size: large;">I can definitely appreciate what people like about the M-series and why it is a <em>sensible</em> choice for many. I would also expect nearly everyone who uses an M5 - even the most ardent of digital sceptics - to find at least a handful of patches that they like. And that would more than justify the rather modest outlay.</span><br />
<br />
<br />
<div id="sideboxes">
On a cautionary note, if the M5 seems like an attractive proposition to you, I'd suggest that you think very carefully about it... Not because you will regret buying it, but because it is very possible that you may wish you had bought an M9/M13 instead. The ability to run multiple simultaneous effects (which can even be synchronised in the case of time based effects) could be a big advantage over the M5 (depending on your needs).</div>
</div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-75907844349889917492012-02-10T13:26:00.000+00:002015-02-19T12:20:04.849+00:00locoBox<style>
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<a href="http://effectextra.blogspot.co.uk/2012/02/locobox.html"><img align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Gba-l9OmmT_ZL555W3ogD8FLMgJnR7xkOprfCJYVFtozR7GIDiMS6XW4iS0CYre1u2sAfrhCRWtL4295cJwX2ZqVQeAf85Y_RK9lLmqSvnrTuDWcFaXFdE6YWoDNAb_Xq_g9cB12lq4/s1600/81_page7.jpg" border="0" width="50" style="padding: 0px 5px;"></a>
<span class="Apple-style-span" style="font-size: 36pt;font-weight:bold;">Loco Box Mysto-Dysto</span>
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li>Made in Japan</li>
<li><a href="http://www.effectsdatabase.com/model/locobox/70s/mystodysto" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul><br />
<div style="text-align:center;width:100%;margin: 10px;">
<img style="float:center;padding: 10px; border: 0px double grey;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh2GYy_o800zsBedDWUI-pvMBPhzRUR6tAL_zoEvwpMMxRVfBTEvE00xZrSpOkD9J5G5rOv22ip8p5xcVVuV9BMTPapPKw6DllSacpUO6nO-hyqfXtD8zKyGeaDz9TqO6SxNNpp9oXQq8/s1600/LocoBoxMysto-Dysto_1-2_zps227009c8.jpg" width="370px" align="right" alt="Loco MD photo LocoBoxMysto-Dysto_1-1.jpg"/> </div></br>
From Loco Box's range of pedals from the 1970s, the Mysto-Dysto 'distortion unit' is a simple, primitive distortion; no frills, just an aggressive, slightly fuzzy, retro distortion which would be a good choice for a variety of styles, including classic, punk and old-school metal.<br /><br />
Just as with many other distortion pedals, especially older ones, the Mysto-Dysto sounds at its best (in my opinion) when it is cranked up with the Intensity (gain) at - or near to - its maximum.<br /><br />
Even at this setting, the Mysto-Dysto remains very responsive to playing dynamics, due to the uncompressed nature of its distortion. At lower gain levels, this lack of compression translates as a lack of sustain, but yields a nice vintage overdriven tone - especially for playing single note lines - where your pick attack determines the level of distortion, and held notes smoothly make the transition back to a clean tone.<br /><br />
One notable asset of the Mysto-Dysto is the freakishly wide sweep of its tone control; from soft and very muffled at one end, to harsh, biting treble at the other. While the range around the middle of the tone control's sweep is going to be the most useable in most situations, this wide range could be very useful at times, for special effects for example, or if you like to stack different distortion pedals or want to use it boost an overdriven amp (in a similar fashion to how you'd use a treble booster).<br /><br />
<blockquote>
When comparing vintage overdrive or distortion pedals to their modern counterparts, one of the big differences I notice is that modern pedals tend to have a lot more output on tap, allowing an overdrive pedal to be used as a clean boost. While the Mysto-Dysto will produce a totally clean signal with the gain turned right down, the output has to be turned right up (with my set up) to remain at unity volume. This setting still has its uses though, thanks to the sweep of the tone control - turn it down a touch for an instant jazz tone, or up for extra jangle.
</blockquote>
<br />
<span class="Apple-style-span" style="font-size: large;font-weight:bold;">
But, this is a distortion pedal after all and it just begs to be cranked up. Turn up the gain, set the volume and tone to taste and it's hard to resist bashing out some power chords or <i>epic riffs</i>.<br /><br />
The Mysto-Dysto is a simple pedal but it has loads of character and is well worth seeking out if you want something a little bit different.</span>
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-69147813451395756292011-07-19T18:59:00.001+01:002013-06-04T12:38:41.020+01:00FUZZ OFF!<style>
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<img border="0" width="700px" style="padding:5px 0px 0px;" src="http://i167.photobucket.com/albums/u130/kpd78/BLOG%20PICS/Fuzzoff__zps9c46e424.jpg" /></p>
<div style="width:865px;float:left;padding:5px 15px;text-align: left;">
<span style="font-size:large;font-weight:bold;">Electro-Harmonix Big Muff Pi: </span>(L-R)
<ul>
<li>V5 op-amp version, w/tone-bypass</li>
<li>V5 op-amp version, w/tone-bypass</li>
<li>V6 w/tone-bypass</li>
</ul>
</div>
<p style="text-align: left;width:380px;float:left;padding:5px 15px;">
Needless to say, they all sound great; the op-amp models instantly recall early Smashing Pumpkins tones, and the V6 is filthy - easily the fuzziest Big Muff I've heard to date.</p>
<p style="text-align: left;width:380px;float:right;padding:5px 15px;">
The amplifier pictured is my mid-1980s Session Rockette 30; an excellent, solid state British amp with a couple of nifty tricks up its sleeve. This amp is worthy of a full article of its own...</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-47947883108075422612011-06-17T12:58:00.007+01:002011-07-07T17:50:37.941+01:00Pumpkins pedals<div style="text-align: justify;">I just watched this and thought it may be of interest to some of you:</div><div style="text-align: justify;"><br />
</div><div><br />
</div><div style="text-align: center;"><object height="400" width="500"><embed src="http://www.youtube.com/v/YZemTcTyJKs?version=3&hl=en_GB&rel=0" type="application/x-shockwave-flash" width="500" height="400" allowscriptaccess="always" allowfullscreen="true"></embed></object></div><br />
<div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Hands up who else was looking for pedals that they own too!</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-28755257398650351992011-04-02T11:52:00.003+01:002013-07-02T12:17:54.413+01:00Chorus Round-up (Part.3)<style>
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<p style="text-align:center;">If you are not redirected automatically within 5 seconds, please click <a href="http://effectextra.blogspot.co.uk/p/choruspage.html">here</a>.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-14663958328417429572011-03-08T16:54:00.011+00:002015-02-12T16:22:18.204+00:00Guyatone MO3 Micro Octaver<style>
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<span class="Apple-style-span" style="font-size: 36pt;font-weight:bold;text-align:left;">Guyatone MO3 </span>
<span class="Apple-style-span" style="font-size: 24pt;font-weight:bold;">Micro Octaver</span></br>
<img style="float:right;padding:5px 0px;margin:10px 0px 5px 20px;background-color:white;border:3px double grey;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqo6VZcdcbsmoRxpDPVovJsONYX-Z3z6pxP6hHPZRoYLhPRqHUIRf5uxfB4f1QfsGyNR9GuN3rPOGpTX76xct7PuSNyEnzkiAIo0_lmSyEKb-E4AWR8k70d369fX8AqZarRbEm1yuZ9XU/s320/DV020_Jpg_Jumbo_150337_top.jpg" width="350" />
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li style="text-align: left;">Micro Effect Series</li>
<li style="text-align: left;">Made in Japan</li>
<li style="text-align: left;"><a href="http://www.effectsdatabase.com/model/guyatone/micro/mo3" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul>
</br>
<span style="font-size:12pt;">
The MO3 was something of a surprise to me. I have used other analogue octave-down effects - such as the <a href="http://effectextra.blogspot.com/2010/03/korg-oct-1-octaver.html" target="_blank">Korg OCT-1</a> - and had always presumed the Guyatone octavers were the same kind of thing. I was wrong.</span><br /><br /><br />
<blockquote style="font-style:italic;font-size:14px;">
"The MO-3 Micro Octaver is a 100% analogue octave divider based on a vintage 1970’s Guyatone circuit. The MO-3’s operation will vary greatly depending on input signal and playing dynamics. Featuring One Octave Down, Two Octaves Down, and Dry Blend, the MO-3 can create a wide variety of effects, from standard “doubling effects” to more bizarre synth-like tones reminiscent of such desirable vintage pedals as the MXR Blue Box and Mutron Octave Divider. If you are an experimental musician looking for a unique effect with tons of personality and a highly unpredictable nature, then the MO-3 is the pedal for you!"
<p style="text-align: right;">
<br />
<span class="Apple-style-span">- Guyatone description</span></p></blockquote><br /><br />
Whereas something like the Korg OCT-1 can be used to simulate bass tones using an electric guitar (admittedly with limited success), you can forget about that with the MO3. Unless, of course, your idea of a bass is a distorted, glitchy mess.<br /><br />
<span style="font-size:large;font-weight:bold;">It doesn't sound too promising, does it?</span><br />
<br />
Well, here's the thing, while it can sometimes - initially at least - be a little unpredictable (<i>as promised by Guyatone</i>), and it glitches, wobbles and generally destroys your carefully crafted tone, it is a lot of fun to use and very usable. For subtle thickening of riffs and lead lines, the MO3 works a treat. But where the fun really starts is when you push the controls to the point where your guitar sounds like a broken synth.<br />
<br />
It takes a little getting used to but pretty quickly, the once 'unpredictable' nature will actually be accepted as part of the effect; you'll work out that where and how you play your notes influences the overall effect, and even the glitches will become somewhat controllable.<br />
<br />
<span style="font-size:large;font-weight:bold;">Controls:</span><br />
<br />
There are three level controls to set the volume of each octave respectively (normal/dry, -1 and -2). In addition there is a mini gain trim control which, as you'd expect, sets the signal level going through the effect circuitry. A lower input will result in less distortion but significantly improved tracking of notes, whereas a stronger input will result in more distortion but less accurate tracking. There is also a 3-way 'Filter' switch which also affects the overall amount of distortion and quality of tracking; with the filter switch turned off, the maximum amount of distortion is available. The remaining two filter options tame the distortion (and improve the tracking) to varying degrees. <br />
<br />
Playing technique is also very important in getting different sounds out of this pedal; your control of dynamics can be seriously tested.<br />
<br />
For simpler doubling effects, it is best to just use one of the lower octaves in combination with the direct sound. This will produce the cleanest, smoothest sound with the best tracking of notes. It isn't really going to sound as accurate or natural as you'd get with one of Electro-Harmonix's pitch shifters (<i>either the HOG, or one of the POG series</i>), but that's not really the point. <br />
<br />
It is worth pointing out at this moment <i>(better late than never!)</i> that the MO3 is monophonic, so it is unfair of me to even mention the EHX HOG/POGs as they are very different things. Playing power chords through the MO3 <i>can</i> sound OK, but playing chords will usually result in the octaves jumping around.<br />
<br />
I notice that the MO3 lacks sustain <i>(running a compressor before the Micro Octaver doesn't even seem to help)</i>. It seems as though once the signal level falls below a certain threshold, the octave signal sputters out in a fashion reminiscent of how a gated fuzz strangles the life out of your notes.<br />
<br />
It is when you start to blend the two lower octaves that some of the more interesting effects occur. The two octaves - one and two octaves down - will at times fight with each other for dominance. This can result in 'evolving' synth-type sounds which, when combined with other effects (e.g. filters, phasers, chorus, distortion etc.) can produce some <b>very</b> un-guitar-like textures. <br />
<br />
<span style="font-size:large;font-weight:bold;">The Guyatone MO3 Micro Octaver is certainly a niche product, but one I'm sure most guitarists would get a kick out of using. Just as I do. Whether you can work it into the music you play is another matter entirely, though.</span>
<br /><br /><br />
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<p style="text-align: center;padding:5px 0px;">
<object style="padding:5px 10px 5px 0px;" height="180" width="250"><param name="movie" value="http://www.youtube.com/v/aJ_VCARCEFA?fs=1&hl=en_GB&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/aJ_VCARCEFA?fs=1&hl=en_GB&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="250" height="180"></embed></object>
<object style="padding:5px 0px 5px 10px;" height="180" width="250"><param name="movie" value="http://www.youtube.com/v/QcwuykN6UFE?fs=1&hl=en_GB&rel=0"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/QcwuykN6UFE?fs=1&hl=en_GB&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="250" height="180"></embed></object>
</p>
<p style="text-align: center;">
</p>
<br />
Gear used:
<ul>
<li>Guitar - Epiphone Casino</li>
<li>Amp - 1980s <a href="http://effectextra.blogspot.com/2010/10/roland-cube-20.html" target="_blank">Roland Cube 20</a></li>
<li>Recording set-up - amplifier direct output via Palmer PDI-09 Speaker Sim/DI, to Adobe Audition on PC (via MOTU audio interface) with no additional processing.</li>
</ul>
</div>
</div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-85088035243563394112011-03-07T15:22:00.015+00:002012-10-20T16:18:46.893+01:00"Call that a demo?"<div style="text-align: justify;">Well, no, actually.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I have received several messages through YouTube from people complaining about the lack of <i>thoroughness</i> in my 'demos'. The specific complaint is that I don't (always) make a point of methodically sweeping each control through its entire range to show everything it can do.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Personally, I find those kind of 'demos' a bit boring and not always representative of how a pedal would sound, or be used in a real life situation. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">When making the videos I tend to play around with the pedal and try to find sounds that I like. After recording between 5 and 10 minutes of material (depending on the complexity and versatility of the pedal), I'll edit the video (I try to keep the videos fairly short), picking out what I think are the best sounds OR a selection of sounds which I think best show the range of the pedal. That's it. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><div><table border="1" width="100%" style="text-align: left;"><colgroup><col width="100%"></col></colgroup><tbody>
<tr><td><blockquote><div style="text-align: justify;"><span class="Apple-style-span">Some of the much-appreciated constructive criticism I've received has included such insights as <b>"Call that a demo?" </b>and<b> "Why did you even bother?"</b> about one of my DOD Vibrothang videos. </span></div><div style="text-align: justify;"><span class="Apple-style-span"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span">Helpfully, in response to my video for the Boss MZ-2 Digital Metalizer, I was called a <b>"stupid guitarist"</b> for recording the pedal in mono. Given that 96.3% of guitarists* play in mono, I thought it was sensible to record it that way. </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-size: x-small;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span"></span><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; font-size: x-small;">*<span class="Apple-style-span">64.7% of statistics are made up on the spot.</span></span></div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px;"></span><br />
<blockquote><div style="text-align: justify;"></div></blockquote></blockquote></td></tr>
</tbody></table></div></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Anyway, with regards to my videos, I don't think of them as "demos" as much as I think of them as companion pieces to this blog. And they're not so much full demonstrations as they are teasers, like a trailer for a film. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In other words, watching my videos will show just <b>some</b> of what the pedal is capable of. Hopefully my videos include enough to help you decide whether you want to try the pedal for yourself, but you can rest assured that if you do, there is usually plenty more to be discovered.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-11550971689917426332011-02-12T17:41:00.032+00:002012-10-20T16:18:13.088+01:00More and more pedals...<div style="text-align: justify;">
Despite the fact that I haven't had a lot of time on my hands recently (see <a href="http://effectextra.blogspot.com/2011/02/back-soon.html" target="_blank">last post</a>), and the fact that I haven't intentionally been looking for pedals, I have still managed to pick up a handful of new (old) effects over the last couple of weeks... and best of all: there were some real bargains among them!</div>
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<br /></div>
<div style="text-align: center;">
* * *</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The story started when I saw an "effects pedal" listed on eBay (UK)... </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This un-named pedal was in fact a <a href="http://www.effectsdatabase.com/model/guyatone/micro/mo3" target="_blank"><b>Guyatone MO3 Micro Octaver</b></a> - regular readers (and those of you that know me) will know I have a soft spot for Guyatone pedals. Fortunately, for me, it was a Buy It Now listing for a <i>very</i> reasonable price; far cheaper than I'd ever seen one before so I couldn't resist buying it there and then.</div>
<div style="text-align: justify;">
<blockquote>
The MO3 is a crazy pedal - there's no other way to describe it. This is a pedal I've been having a lot of fun using and I am looking forward to reviewing (and making a video for) very soon.</blockquote>
</div>
<div style="text-align: justify;">
Then, a few days ago, I was walking past a second-hand goods store in the city I live and happened to spot a <a href="http://www.effectsdatabase.com/model/zoom/pd01" target="_blank"><b>Zoom PD-01 Power Drive</b></a> sitting in the window. I have had one of these before and had mixed feelings about it, but having recently rediscovered the <a href="http://www.effectsdatabase.com/model/zoom/uf01" target="_blank">Zoom UF-01 Ultra Fuzz</a> (which I <a href="http://effectextra.blogspot.com/2010/12/zoom-uf-01-ultra-fuzz.html" target="_blank">reviewed recently</a>), I was keen to give it another go...</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I couldn't believe how little they were selling it for, especially considering that pretty much every other pedal in the window display was wildly over-priced, so I went in immediately to buy it and see if they had anything else interesting...</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
And they did! Although I didn't see it until I was about to pay for the Zoom and leave, I spied a <a href="http://www.effectsdatabase.com/model/vox/v829" target="_blank"><b>Vox V829 Tone Bender Fuzz</b></a> behind the counter; the V829 is a pedal I had always kept an eye out for. I bought both and rushed home to try them out.</div>
<div style="text-align: justify;">
<blockquote>
I haven't spent much time with the Zoom Power Drive yet, but the Vox Fuzz is <i>a lot</i> of fun. While it can be a bit abrasive on its own, it blossoms when ran through another source of overdrive/distortion (whether that's a pedal or an amp). I'm really happy with it - and it looks<i> so</i> cool!</blockquote>
</div>
<div style="text-align: center;">
* * *</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<a href="http://www.effectsdatabase.com/model/vox/v829" target="_blank"></a>Lastly, I saw a <a href="http://www.effectsdatabase.com/model/dinosaural/tubebender" target="_blank"><b>Dinosaural Tube Bender</b></a> pop up on eBay for a great Buy It No price - so I bought it without hesitation. Funnily enough, there was another one of these which I made an (unsuccessful) offer for recently... which I am now delighted about, as that one, which didn't look in the best cosmetic condition, sold for over 60% more than the one I ended up buying - which, while it is a bit grubby (but cleanable) is complete with the box and instruction booklet. The only issue with it is that the status LED doesn't work, but that doesn't bother me in the slightest - I am used to using old, LED-less pedals... or I could just take a few minutes and replace the LED...</div>
<div style="text-align: justify;">
<table border="0" cellpadding="10" style="width: 100%px;"><colgroup><col width="60%"></col><col width="40%"></col></colgroup><tbody>
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<div style="text-align: justify;">
<span class="Apple-style-span">Initially, just as with the <a href="http://www.effectsdatabase.com/model/lovetone/brownsource" target="_blank">Lovetone Brown Source</a> overdrive, I was a little underwhelmed by the Tube Bender. However, the more I use it, the more I like it. The Tube Bender is a slightly unusual design in that its whole character changes as the gain is increased; it makes an excellent clean boost, and the low-mid gain settings are very authentically 'tube-like' in sound and feel. Increase the drive further and it becomes </span>blatantly <span class="Apple-style-span">apparent that the Tube Bender is a fuzz. There is also a 'Tone Shift' switch on the side which adds even further to the versatility of this pedal. </span><span class="Apple-style-span">Actually, describing the Tube Bender as merely 'versatile' is an understatement.</span></div>
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</td><td><br />
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<a href="http://www.dinosaural.com/home.asp" target="_blank">Dinosaural</a> is/was a company set up by Dan Coggins, the <a href="http://www.lovetone.com/pedals.html" target="_blank">Lovetone</a> co-founder and circuit designer. I've read (on the ever-informative but not always accurate or reliable internet) that only 100 Tube Benders were made.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTLS2qLUU96Rw3rmsvmuWCxhDPyN3c2DPjB2gC3WrsCVFCIv6xrTlWoaDtgwUuP5dUTWbsvqOMLyB5kIyc7HcN9-JjCp_EDnzUTAKe9QwV2IHFIM3WTlKs_HefQ7hAjpXV1qjNcWyM3Q/s1600/Pedalgroupshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTLS2qLUU96Rw3rmsvmuWCxhDPyN3c2DPjB2gC3WrsCVFCIv6xrTlWoaDtgwUuP5dUTWbsvqOMLyB5kIyc7HcN9-JjCp_EDnzUTAKe9QwV2IHFIM3WTlKs_HefQ7hAjpXV1qjNcWyM3Q/s400/Pedalgroupshot.jpg" width="400" /></a></div>
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I haven't given any exact prices for the individual buys, as I don't want it to come across as though I'm bragging about my skills as a bargain-pedal finder (which I guess I am, really!), but I will say that the total cost was a few pence short of £150 - so that's roughly £37.50 per pedal. Not a bad haul in my opinion.<br />
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<br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-65774100210644849952010-12-15T18:24:00.038+00:002017-07-01T11:45:39.182+01:00Zoom UF-01 Ultra Fuzz<style>
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<span class="Apple-style-span" style="font-size: 42pt; font-weight:bold;">Zoom UF-01 </span><span class="Apple-style-span" style="font-size: 36pt; font-weight:bold;">Ultra Fuzz</span></p>
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li>Made in Japan</li>
<li><a href="http://www.effectsdatabase.com/model/zoom/uf01" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul>
</br>
<img border="0" width="300" style="float:right;padding:0px;margin:5px 0px 5px 10px;border: double 3px grey; background-color: white;" align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRakfTjFGnUFChYkapbQ9omX7TYQzbI5r4kF5luBI7kPhwaQgPGTFuvnJqDcY-X9qGDu4zhfyceKgkysOiDfre6h7ROLJachEpcbHUUd0w8rzTHqZSIDKSa88YRAJhvQFvwZtTkJEO14o/s1600/35a2kac_zpsdb13d345.jpg" />
<span class="Apple-style-span" style="font-size: large; font-weight:bold;">
When thinking of Zoom effects, no doubt the first things that will come to mind are their multi-effect units - either rackmount or floor-based. It comes as a surprise to some people that they also produced a range of 100% analogue pedals. This range included the UF-01 Ultra Fuzz.</span><br /><br />
Many people these days consider the Ultra Fuzz to be a 'poor man's <a href="http://zvex.com/" target="_blank">Zvex</a> <a href="http://www.effectsdatabase.com/model/zvex/fuzzfactory" target="_blank">Fuzz Factory</a>'. They do certainly have a lot in common but, if anything, the UF-01 has slightly more up its sleeve.<br /><br />
Whereas the Fuzz Factory is solely derived from a classic fuzz circuit, the Ultra Fuzz offers two different fuzz voicings and (with its 'Color' control) allows the user to blend between the two to create new tones and textures.<br /><br />
<span class="Apple-style-span" style="font-size: large; font-weight:bold;">Fuzz Voicings:</span><br /><br />
Zoom refer to the two different fuzz voicings as 'tight' and 'boomy' but they are generally regarded as Fuzz Face and Big Muff Pi voicings.<br /><br />
They're not that authentic in my opinion, if that is indeed what they're supposed to be. Personally though, I prefer to judge the UF-01 in its own right.</br></br>
<span class="Apple-style-span" style="font-size: large; font-weight:bold;">A factory of fuzz?</span><br /><br />
Like the Fuzz Factory, the Ultra Fuzz is very tweakable - as you'd expect from a pedal with six controls - and is capable of some very extreme effects. A slight adjustment of the controls (particularly the Gate and Reso (resonance) controls) can take you from 'normal' fuzz tones, through gated effects, to harsh ripping sounds and velcro fuzz. And that's before you get into the realms of oscillations and glitches.<br /><br />
<object style="float:right;padding:10px;margin:5px 0px 5px 20px;background-color:black;border:1px solid grey;" height="225" width="300"><param name="movie" value="http://www.youtube.com/v/eXU_cXtVgiQ?fs=1&hl=en_GB&rel=0&color1=0x2b405b&color2=0x6b8ab6"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/eXU_cXtVgiQ?fs=1&hl=en_GB&rel=0&color1=0x2b405b&color2=0x6b8ab6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="300" height="225"></embed></object>
As is common with many other fuzz pedals, the UF-01 is very responsive to changes to your guitar's controls; adjusting the volume and/or tone controls on your guitar can 'tune' the resonance and feedback of the Ultra Fuzz. To make the most of this pedal-guitar interaction, the Ultra Fuzz needs to be connected directly to your guitar - i.e. it should be the first effect in your chain and should definitely not have any buffers in front of it.<br /><br />
The Ultra Fuzz, particularly when you take the two fuzz voicings into consideration, has a very wide gain range - from clean to high gain. It doesn't have as much gain on tap as a Big Muff, but it should have enough to satisfy most people.<br /><br />
<span class="Apple-style-span" style="font-size: large; font-weight:bold;">
The UF-01 is a great pedal for experimentalists. In combination with some other effects and with a little imagination, a wide range of tones can be produced; from distortion to aggressive fuzz and from searing, synth-like sounds to more textural noises and sound effects. In addition, it should also be able to keep all but the most ardent fuzz traditionalists happy.<br /><br />
While the Zoom name may have negative connotations in some circles, you should not let it put you off. Keep an open mind and take a chance - you may like it!</span>
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Other pedals in the series:</p>
<p style="text-align: center;">
<a href="http://www.effectsdatabase.com/model/zoom/pd01" target="_blank"><img border="0" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN8-w_-wWio8Wtej9wpTGeqImhH7nRHgwIpLpsyiZXBY0WWlFTXlECD1ra0ARoz5IGOWSVtpFtLvSJdNjvg2zcxrTdVkpxPkYa7LZjErA_tWW1G7JaEKnG0D9OJgqFk-AYx38u94AYL0Y/s200/pd01.jpg" style="padding:0px 5px 0px 0px;" /></a>
<a href="http://www.effectsdatabase.com/model/zoom/hl01"><img border="0" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKPLSmO1hKEmhp4Dq6gXTrlGbfqSSKhOZwY9viU2RHPS3qa_zZBIXp5Ovbdtcy0ClhcR9KMPXPiX8WG3tpeR2GC5D-C_NbNmxixMCPSPJVcNPzn8gSLmY8jl4mxytLndAub7_rFjmbsRA/s200/hl01.jpg" style="padding:0px 5px;" /></a>
<a href="http://www.effectsdatabase.com/model/zoom/tm01" ><img border="0" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVn0GfvfCMNsecpFfdZcnpmSg0s4-j69Kpb2wuV39ebKinnwaIgykcbkaIzkvNtxusnjbAedXllDmElkfEzLq_xXEP4qhyphenhyphenx6UTsoMSlyRPx6YG3HNt22FZ6gx2GBsjp6YPH4rk2iYasDc/s200/tm01.jpg" style="padding:0px 0px 0px 5px;" /></a>
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<p style="text-align: center;">
</p><br /><br />
<p style="text-align: center;">* * * Notes about the video * * *</p>
Gear used:
<ul>
<li>Guitar - Epiphone Casino</li>
<li>Recording set-up - 1980s <a href="http://effectextra.blogspot.com/2010/10/roland-cube-20.html" target="_blank">Roland Cube 20</a> amp (DI'd through a Palmer PDI-09), to Cubase 5 (via a MOTU audio interface) with no additional processing.</li>
</ul></div>
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-38229326015369385772010-12-10T14:16:00.013+00:002013-04-14T12:07:56.836+01:00EFFECT EXTRA Presents: Guyatone PS-007 Phaser, Omnifex 700D Distortion/Overdrive & Yamaha DDS-20M Digital Delay
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Moved to <a href="http://effectextra.blogspot.co.uk/2010/12/omnifex-700d-distortionoverdrive.html" target="_blank">Omnifex 700D review</a> page.</div><br /><br /><br /><br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-5436862834027376572010-12-01T18:35:00.022+00:002017-07-01T08:48:12.394+01:00Omnifex 700D Distortion/Overdrive<style>
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<span class="Apple-style-span" style="font-size: 56pt;font-weight:bold;">Omnifex 700D </span></br>
<span class="Apple-style-span" style="font-size: 36pt;font-weight:bold;">Distortion/Overdrive</span>
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li>700 Series</li>
<li>Made in Taiwan (PCB stamped with 'Japan')</li>
<li><a href="http://www.effectsdatabase.com/model/omnifex/700/700d" target="_blank">(Discofreq’s Effects Database page.)</a></li></span>
</ul></br>
<img style="float:right;padding:2px;border: 1px solid grey;margin:5px 0px 5px 10px;" width="400px" align="center" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsfgC5QZ_UVXbReIkjG6lgZ-Qr5wdIqoY6DeNMBDMyAxNW2rYJ6B0HFtIGCPllGwveoMs8iK3NwtuvYjH5Sz57Kd2rcWQAPFQmMHfPSY2YgV6bu0yYAtEFNnyZS6dpHacUB8eYuviP6Gc/s1600/Omnifex+700D+%25284%2529.JPG" />
While the Omnifex 700D is billed as a distortion and/or overdrive, that doesn't really tell the whole story; nor does it present a very accurate picture. There's no need for me to delay in saying that the 700D is - more often than not - a nasty sounding effect.<br /><br />
The tones from this box are generally harsh, messy and aggressive, as opposed to being smooth and fluid; the overdrive could also - at times - be described as brittle. I know that isn't a very promising collection of words but please read on anyway.<br /><br />
<p style="font-size: 12pt;font-weight:bold;text-align:left;">Distortion or Overdrive?<br />
Both? Or neither?</p><br />
It sounds to me as though switching to the Overdrive mode merely removes the clipping diodes from the circuit; thereby reducing the level of distortion but raising the overall volume. A cursory glance inside seems to support this theory, although I could be wrong; there is a mass of wiring inside, which is bundled tightly together and I didn't have the patience to trace things out thoroughly. [EDIT: I've since found a schematic for the Electra 600D (See <em>Related</em> box) which supports this.]<br /><br />
On its own, the 'overdrive' (with the gain turned up) is aggressive, dry and brittle; it has a 'vintage' sound to it and the way it breaks up begs for you to really bash out some chords - the decay is messy so sustained notes and chords are less well served. The overdrive (with a clean amp) is not pretty - it is not a tubescreamer by any stretch of the imagination (which is how I've seen it described on ebay!) - but its tone and texture could have uses in a band/mix setting.
<b>However</b>... if you think of the overdrive mode as an overdriv<b><em>er </em></b>- like the Colorsound Overdriver for example - and use it to boost an already driven amp or another pedal, the 700D becomes much more powerful, flexible and usable. In this role, the Omnifex 700D really can perform well.<br /><br />
<div id="sideboxes700d" style="font-size: x-small;text-align:left;">
Controls and features:
<img style="float:right;margin:5px 0px 5px 15px;padding:2px;border: 1px solid grey;" width="320" align="right" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX0lg6l3Hyr7svfh79L4QZZcERfPz0C6zSlpHT_jf9Wtqs9rDhov6rjoi_DWsJIkultOKsFz5m22W_MLnYcmoqbWQxIjUfQOYfm1FVCv-5Uj6GnWCXIgX8airQZ_JWesCqLZd7tO1HYxU/s1600/Omnifex+700D+%25285%2529.JPG" />
<ul>
<li>Distortion/Overdrive toggle switch</li>
<li>Level</li>
<li>Depth - gain/distortion</li>
<li>Equalizer</li>
<li>Input jack</li>
<li>Two output jacks; 'Stereo' is a direct, dry output.</li>
<li>Check (status) LED</li>
</ul>
</div>
<br />
Flip the switch to 'Distortion' and the 700D greets you with a boost in gain/distortion and a change in overall tone. Whereas the overdrive mode is warmer (requiring the tone control to be turned up for definition), the distortion is brighter and verges on being a fuzz tone.<br /><br />
The tone control has a wide range, going from soft, muffled and mellow (when turned down) to abrasive, harsh and rasping (when turned up). Adjustments to the tone control can bring out and highlight certain overtones and, at times, I can almost hear a superimposed 'screech'. <br /><br />
The 700D can be very picky about the amp it's paired with - I prefer it with a darker voiced-amp - but, if you want a dirty boost, a harsh distortion or a lo-fi overdrive, it could fit the bill.<br />
<blockquote>
One quick mention re: the 700D's bypass... There is a very clearly audible effect bleed through (when the gain is turned up) which is very annoying and would make this pedal difficult to use in a live setting - unless you put it in a true bypass loop or use some other kind of switching system.</blockquote>
<br />
<span style="font-size: 20pt;font-weight:bold;">Should I stay or should I go?</span><br /><br />
<span style="font-size: 12pt;font-weight:bold;">The Omnifex 700D is one of those pedals that I don't always <i>like</i>, yet it has a certain quality and roughness that is sometimes desirable; sometimes a trashy guitar sound is exactly what is required.<br /><br />
Failing that, it could find its niche as a boost where it is capable of everything from adding focus and refinement to your nice overdriven tone, to twisting and mangling it into a wall of noise.</span>
<br /><br />
<div id="sideboxes700d"><p style="text-align: justify;"><span class="Apple-style-span" style="font-size: small;">
<b>Pedal evaluations:</b><br /><br />
When evaluating a pedal, it is important to remember where, when and how you will be using it. Pedals that may sound great on their own (e.g. Electro-Harmonix Big Muff Pi) don't always sound good live or on a recording, whereas other pedals (e.g. tubescreamers and suchlike) that may sound nasal or thin on their own, are perfect when you need to cut through in a band/mix.</span></p>
</div><br />
<div id="darkboxes700d">
<p style="text-align: center;">
<object style="float:center;padding:5px;" height="200" width="280"><param name="movie" value="http://www.youtube.com/v/xlSW9g34rfc?fs=1&hl=en_GB&rel=0&color1=0x2b405b&color2=0x6b8ab6"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/xlSW9g34rfc?fs=1&hl=en_GB&rel=0&color1=0x2b405b&color2=0x6b8ab6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="200" width="280" style="border:0px double grey;"></embed></object>
<object style="float:center;padding:5px;" height="200" width="280"><embed src="http://www.youtube.com/v/xoO7wiu2wLw?fs=1&hl=en_GB&rel=0&color1=0x2b405b&color2=0x6b8ab6" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="200" width="280" style="border:0px double grey;"></embed></object>
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<p>
<blockquote style="padding:0px;margin:5px 20px;"><span class="Apple-style-span" style="font-size: x-small;">
0:00-2:54 Distortion mode<br />
2:44-6:42 Overdrive mode<br />
6:43-end Overdrive mode as a boost (with Barber LTD Silver overdrive)</span></blockquote></p>
<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-86447367790653445452010-11-25T18:31:00.016+00:002017-06-30T12:44:00.476+01:00Vox 1905 Chorus<style>
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<span class="Apple-style-span" style="font-size: 52pt; font-weight: bold;">Vox 1905 </span><span class="Apple-style-span" style="font-size: 46pt; font-weight: bold;">Chorus</span>
<br />
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li>1900 Series</li>
<li>Made in Japan 'to Vox specifications'</li>
<li><a href="http://www.effectsdatabase.com/model/vox/vshaped/1905" target="_blank">(Discofreq’s Effects Database page.)</a></li>
</span>
</ul>
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<img align="right" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh410r79G8BgYznRAH2DLINJZib4KiH02kM_dYpM58G4H02dnc8i22gEno_AhSEQwjvax_mb_LVVroybo_Zi3ZZGhD93SWRhDrn1BKnbK5WwtnjnlmNYbdcuH4oX1xM9WbLyV2qCfz0wu0/s1600/Vox190Chorusb.jpg" style="border: 2px solid; margin: 5px 0px 5px 10px; padding: 1px;" width="410" />
The Vox 1905 Chorus is very straightforward to use. There are three controls; the usual Intensity (depth) and Speed, and also an 'Input' control. The Input control is a gain control for the chorus circuit but almost acts more like an effect level control.<br />
<br />
The instructions state that the Input should set so that the peak LED lights up occasionally, but I find that its setting is also linked to the effect depth and prominence. Lower Input level settings (even with the Intensity dialled right up) will produce a fairly mild chorus; around halfway sounds right to me for most things; or by turning it up further the modulated signal will become louder and stronger with a very vibrato-esque effect the result. [It's not quite a vibrato as the direct signal can still be heard - although not always very easily.]<br />
<br />
<blockquote>
Even with the Input level turned up (so the peak LED is almost constantly lit), I don't really hear any negative artefacts in the output. [Although, if your guitar has very high output pick-ups, your experience could differ from mine.]</blockquote>
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Unlike most modern chorus pedals, the 1905 Chorus runs at 18v and, being a 1970s-designed effect, the sound produced is warmer, softer and more subtle than the shimmering chorusing we're more used to hearing today. <br />
<br />
While the 1905 Chorus is excellent at subtle thickening effects, it is also capable of more prominent sounds with extreme settings. The waveform is nice and wobbly; not too precise and has a bit of a spring and bounce to it.<br />
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<div style="font-size: large; font-weight: bold;">
If you are in the market for a chorus pedal but don't want one that is too bright or cheesy sounding, the Vox 1905 is one that is well worth investigating.</div>
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<div style="font-size: large; font-weight: bold; margin: 0px 0px 50px; padding: 0px;">
It is one of the best I've used for subtle movement and thickening but it can also be pushed for more out-there sounds. And it looks super-cool!</div>
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<span class="Apple-style-span" style="font-weight: bold; text-decoration: underline;">Related:</span><br />
<br />
<span class="Apple-style-span" style="font-size: large; font-weight: bold;">Guyatone PS-110 Chorus Machine Box</span><br />
<ul><span class="Apple-style-span" style="font-size: x-small;">
<li>Effect Box Series</li>
<li>Made in Japan</li>
<li><a href="http://www.effectsdatabase.com/model/guyatone/box/ps110" target="_blank">(Discofreq’s Effects Database page.)</a></li>
</span>
</ul>
<br />
As I mentioned in my review of the <a href="http://effectextra.blogspot.com/2010/06/vox-1901-distortion.html" target="_blank">Vox 1901 Distortion</a>, the six pedals that made up Vox's <a href="http://www.effectsdatabase.com/model/vox/vshaped" target="_blank">1900 Series</a> of effects pedals were largely just re-housings of selected <a href="http://www.effectsdatabase.com/model/guyatone/box" target="_blank">1970s Guyatone effects</a>.<br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7954839113869409296.post-59486002651970386092010-11-24T14:55:00.014+00:002013-07-02T12:18:27.354+01:00Chorus Round-up (Part.2): Guyatone Edition<style>
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