That is a great board. I could definitely enjoy playing that rig.
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Originally posted by Securb View PostThat is a great board. I could definitely enjoy playing that rig.
Originally posted by Aceman View PostStill needs some work.
"It is easier to fool people than to convince them they have been fooled" - Mark Twain
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I never had a chance to use those old Morleys, but I remember the ads. How do you like yours?Administrator of the SDUGF
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Originally posted by Mincer View PostI never had a chance to use those old Morleys, but I remember the ads. How do you like yours?
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Originally posted by Securb View Post
I just put it back on the board; I tried to retire it. I tried replacing it with a mini-Morley which was really good. But doing this studio gig, I could not get the mini or my Eventide Q-wah to replicate the sweep of the big clunky silver one. It has a vast sweep range and a very vocal quality to it. The top of the range is designed for bass, and as you step through, it moves into guitar range. This allows you to use the wah without it getting overly shrill and makes it easier to control the frequencies. It is the best wah I have ever used but very clunky.Administrator of the SDUGF
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Originally posted by Mincer View Post
Interesting. I wonder if it has been successfully modeled somewhere.
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Originally posted by Securb View PostOkay, Bob there have been lots of changes have at it.
I'll give two hints now:
+ Eventide
- Blue cord going into the Volume pedal.Originally posted by Bad City
He's got the crowd on his side and the blue jean lights in his eyes...
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Alrighty, Up, coffee, dog walked. Here we go!
So, to start with, and this should be no surprise - we have three types of completely mismatched carpet. As always, Have some pride in the presentation. A chef doesn't throw out the food on whatever plate bowl and random spoons, forks etc do they? You shouldn't either.
And of course, a mess of cables, wires, tubes etc on the left. AT least untangle those pedal intestines before they knot up and constipate your tone.
I really don't like that blue cable coming off the top right of the Morley. Get a 90 degree for that and run it under or something.
Hard to know the start stop here, But Talk/Volume/Wah (I believe) are on the left so I assume chain starts there.
Can't judge on the Talk Box, but I'm thinking of getting one. I'll wait for reviews, but that should be off the board.
So..On with the show:
1. I dig Morley, so a Vol/Wah out of the gate is cool.
2. Two, count'em, two Eventides, one big and one small right up front. That is a heap of tone crafting right there. I like them up front and I'm guessing they are used most often. I'll assume that is the expression pedal for one of the 'Tides.
Nice that both expressions are on the board!
3. On the backline I see a lot of noise makers. I'd guess that is actually the "front line and the white cable is a guitar in?
- Liverpool is one of Bruce's foundational sounds, and of cource, the Tech 21 is a stylish pedal. Kudos. Vox is kind my go to pop-rock tone too.
- Distortion+ is one of Bruces favorite old dirt sounds also. I note it is turned up pretty good! Not my bag, but that's a matter of taste. It's gotta sound though.
- Dracary's, a killer mega Distortion. Never met a Wampler pedal I didn't like.
- Blue Box, A classic. I would have put this first in the dirt line, but if it works there for you, cool. I'm not a fuzz guy.
* While this is not MY choice for a ultra flexible line of dirt...I'd go TS9, Marshal IAB, Suhr Riot, and maybe a Metal Muff, it is a super flexible set up. Really like the line up. And normally I'df want the dirt up front...but if you are really using the H9/90's, makes sense.
4. Moog Delay - Not sure where it is in the chain based on position, but I'll assume after the dirt. I like it. Can't have enough delays. Whether used for general fattening (on all the time), a tiny always on slap for ambience, or a "special effect" that is used one a show, or just something with knobs immediately accessible, nice addition. Again, I'm not a Moog guy, but can't dispute the awesome of their stuff.
I'm not gonna judge on the strip on the back, because a) it works and b) I've done it too. But get a real power source. I can imagine that mix of ancient to ultra modern having issues.
I'd like to point out that I really dig the range of vintage to newer to ultra modern pedals here. This says "I know who I am, and this is the sound I want. I am not a fan boi or a cork sniffer. I'll get what I want, and use it to what I need"
All in all great board. As Bruce says - "Could I rock this board?" Yes, Yes I could.Last edited by Aceman; 08-19-2023, 07:33 AM.Originally posted by Bad City
He's got the crowd on his side and the blue jean lights in his eyes...
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Thanks for the kind words. The cable mess is because pedals are rapidly coming on and off the board, as we try to nail down our sound and arrangements for the recording session. Yes, you are correct. The Talkbox is first in the chain. I do not want any of the other effects stacked on top of the talkbox sound. The gain is next in the signal. The order really doesn't matter, seeing they do not get stacked into each other; I only use the MOOG Delay for gain staging. The MOOG Delay is modeled after an Echoplex, so it has a built-in variable boost. I have a healthy boost set on it with an almost unnoticeable delay to thicken the signal. It is a lead boost for my classic rock stuff and an always-on-gain stage for my metal gig. The H9 and H90 are all of my modulation, delay, and reverb. The EXP pedal controls both Eventides. I can do things like add reverb as the tremolo rate increases or add more mids as I increase distortion in a lead. The one thing you were wrong about is the Wampler is my core tone, not the Liverpool, even with the classic rock gig.
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IS this an adaptation of the original bagged mess, or something new? Just for indoor recording use.Originally posted by Bad City
He's got the crowd on his side and the blue jean lights in his eyes...
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