Lets see those pedal boards you are using right now.
- Thread starter guitarSQUIRELL
- Start date
v8stang289
New member
Built a bigger board and took off a couple pedals
v8stang289
New member
Well, I took off a couple and added 1.
It was too cluttered, and now I have room to add different pedals! Haha
Butch Snyder
ObsoleteChickenPickingologist
Butch Snyder
ObsoleteChickenPickingologist
Butch Snyder
ObsoleteChickenPickingologist
Hot Rod Deluxe IV.
Butch Snyder
ObsoleteChickenPickingologist
Much better than they used to be. IMO, this version of the HRD is far better than the previous three. Better speaker, pine cabinet. The drive channel is better. It's not perfect, but very usable to me.
They fixed A LOT of the things that I always hated about those amps with the Series IV version. I've had a lot of the older ones on my bench for repairs and mods.
I really hope that the Series IV version will have a more reliable reverb circuit! Time will tell for that, I guess.
Probably not. Fender will probably develop a software fix for that and quickly abandon the whole thing shortly afterward.
They will probably jack the prices up again too.
Securb
One of Jerry's Kids
Nah, I was just being an ass. I haven't been terribly impressed by Fender lately.
The Hot Rod Deluxe costs like, $1,000.00 now. For a thousand dollars, any amp had better be reliable. The fixes to the volume and reverb control tapers on the Series IV Hot Rods are definitely welcome but I am still skeptical about the long term reliability of these.
v8stang289
New member
Added a cheap noise gate to mess around with, and moved everything over to a Voodoo Lab Dingbat medium pedalboard
Blille
New member
Two analog delays? How come?
v8stang289
New member
2 different amps, 1 in the loop of each amp.
dystrust
New member
I've come a long way in the (roughly) year and a half since this was posted. You can read all about it here, but the TL;DR is that any tap-dancing is too much if you're also singing in addition to playing guitar. The separate clean and dirty loops allowed me to set up a few of the sounds in advance, but others required 2-3 button presses to go from one sound to the next while playing. NO MORE.
In the drawer I have the same Pedal Power Mondo, Phase 90, Tumnus, and GT-500. My vintage CE-2 has been replaced with a Waza Craft, and the vintage CS-3 with an Origin Effects Cali76. My custom color Homebrew UFO has been replaced with a standard example, which in turn has been modified to make the octave externally-switchable. The MXR Micro Flanger, TC Flashback 2, and Strymon Flint have all been replaced by a TC G-Major 2 in my amp's (typically Marshall 2525H) effects loop. I may not have quite the same tremolo options, but I've been able to replace all of the other sounds I used in a setup that requires exactly ZERO tap-dancing.
On the floor I have the same Holeyboard Evolution Wide (with the platform removed), EB Volume pedal, Korg Pitchblack Portable, and Wilson Signature wah in the fancy Vox Union Jack case. They've been joined by an RJM Mastermind GT/16 that handles all of the switching duties.
Signal flow is as follows:
Guitar -> EB Volume -> Wah -> Pedalboard Interface -> Rack Interface -> GCX 'Guitar In'
Loop 1: Origin Effects Cali76 Compact Deluxe
Loop 2: MXR EVH Phase 90
Loop 3: BOSS CE-2W
Loop 6: Homebrew Electronics Ultimate Fuzz Octave
Loop 7: Wampler Tumnus
Loop 8: Fulltone GT-500
-> Marshall 2525H input -> FX Send -> TC G-Major 2 -> FX Return -> 2525H output -> Two Notes Torpedo Captor 16 -> Pass thru -> Egnater Rebel 112X w/ Eminence Wizard 16.
Loop 4 switches the amp channel, while loop 5 switches the UFO octave. Currently the Captor is used for silent recording with the cabinet disconnected, but I'm planning to add a BOSS IR-200 to allow me to go to FOH without a mic.
In the drawer I have the same Pedal Power Mondo, Phase 90, Tumnus, and GT-500. My vintage CE-2 has been replaced with a Waza Craft, and the vintage CS-3 with an Origin Effects Cali76. My custom color Homebrew UFO has been replaced with a standard example, which in turn has been modified to make the octave externally-switchable. The MXR Micro Flanger, TC Flashback 2, and Strymon Flint have all been replaced by a TC G-Major 2 in my amp's (typically Marshall 2525H) effects loop. I may not have quite the same tremolo options, but I've been able to replace all of the other sounds I used in a setup that requires exactly ZERO tap-dancing.
On the floor I have the same Holeyboard Evolution Wide (with the platform removed), EB Volume pedal, Korg Pitchblack Portable, and Wilson Signature wah in the fancy Vox Union Jack case. They've been joined by an RJM Mastermind GT/16 that handles all of the switching duties.
Signal flow is as follows:
Guitar -> EB Volume -> Wah -> Pedalboard Interface -> Rack Interface -> GCX 'Guitar In'
Loop 1: Origin Effects Cali76 Compact Deluxe
Loop 2: MXR EVH Phase 90
Loop 3: BOSS CE-2W
Loop 6: Homebrew Electronics Ultimate Fuzz Octave
Loop 7: Wampler Tumnus
Loop 8: Fulltone GT-500
-> Marshall 2525H input -> FX Send -> TC G-Major 2 -> FX Return -> 2525H output -> Two Notes Torpedo Captor 16 -> Pass thru -> Egnater Rebel 112X w/ Eminence Wizard 16.
Loop 4 switches the amp channel, while loop 5 switches the UFO octave. Currently the Captor is used for silent recording with the cabinet disconnected, but I'm planning to add a BOSS IR-200 to allow me to go to FOH without a mic.
