Let's REVIEW those pedal boards you are using right now.

Demanic said:
Seeing as you have been raving about your POD Go, I figured that I'd pull this one out for a bit. It's a Line6 FBV longboard. It's controlling an old Bogner designed Spidervalve II 100 watt tube head.
Not all of the functions are available because it was designed to work with a Vetta amp. But I did figure how to use the loop function.
e266e630ee5ec6548f0c2b286d5d6096.jpg


Sent from my SM-A115A using Tapatalk
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Bury this in a deep hole, and salt the earth in a 20' radius around it.
 
Fender_Punk said:
I agree it's a very clever and useful switch if you want to bring one (kind of) guitar to a gig. That said I just haven't explored it much myself, having a Tele and a LP . If I only had a Strat or a LP I'd probably use it lots.

I updated the board after considering Ace's advice. I might have to get some 1ft cables to keep the chorus behind the phaser as I prefer phaser after chorus when both are on. Or the OCD goes back to the top row. I deem 1/3 overhang as acceptable, structurally and functionally. the mess of DC cables stays in place well and doesn't bother me. If it bothers you, either look away or cry more!

Also I will die on the hill of SD Catalina being the best chorus pedal ever. It's rich and versatile. I actually quite like the dynamic functions.

JOYO King Lobster Comp > SD Pickup BOoster > Soul Food > OCD > Small Stone > Catalina Chorus > Axle Grease > TU-3
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I updated my board based on the advice received in this thread.
Tuner at the start of the chain instead of the end.
Compressor before pickup booster (RIP resonance switch I never used)
Phaser after Chorus Click image for larger version Name: PXL_20230227_052330310~2.jpg Views: 1 Size: 94.0 KB ID: 6221995
 
I never had a chance to use those old Morleys, but I remember the ads. How do you like yours?
 
Mincer said:
I never had a chance to use those old Morleys, but I remember the ads. How do you like yours?
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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.
 
Securb said:
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.
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Interesting. I wonder if it has been successfully modeled somewhere.
 
Mincer said:
Interesting. I wonder if it has been successfully modeled somewhere.
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I have tried everything I could get my hands on. I was even playing with the range n the Eventide Q Wah. I can program in the range and tone, but the massive sweep range that the huge pedal gives you is hardware driven and can not be duplicated with a software solution.
 
Is that talk box ok? Between Living/Prayer and Kickstart, I'm thinking about getting one.
 
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.
 
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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.
 
IS this an adaptation of the original bagged mess, or something new? Just for indoor recording use.
 
The bag is my grab-and-go effects. Once I knew I was sticking with the band I brought my main board. When I record I will lose the Blue Box, Liverpool, and the Talkbox
 
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