What pedals do I need?

Discussion in 'Effects, Pedals, Strings & Things' started by Crazy Carl, Jan 7, 2006.


  1. Crazy Carl

    Crazy Carl Member

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    Okay, here's the scoop. I'm putting together a pedalboard after years of being a 'no/few pedals guy'. I play, basically, 2 humbucker set-neck guitars (Gibson & TCM) w/pickups ranging from 'warmed up PAFs' to over the top, ceramic, metal monsters. I play thru a Single Rectifier & a '73 Super Bass w/PPIMV into a VHT 2x12. I play raunchy, greasy heavy rock/classic rock thru mid '80s metal & some 'heavy' blues thrown in. I don't attempt to nail any particular tone & don't care to. I like to get a good tone, that's 'ballpark' & run with it. Hell, I can't play like 'em, so why bother copping their tone?

    I currently have a Voodoo Labs Microvibe (love it), a Vox V847 wah that I'm gonna tweak/mod a bit & a Strobostomp. I'm going to deffo buy an Analogman-modded Small Stone phaser. I'm seriously considering the Boss DD-20 for my delay.

    I'm looking at pedals in the $200ish (less, preferably) range. Don't have to be boo-teek. I could care less about the name, as long as it works well.

    What do I need to get into the Sabbath/'stoner rock' ballpark, given my gear/rig? Think 'Lord of this World', 'Electric Funeral', etc. Hendrix/Trower sounds don't suck, old Nazareth rocks as well. For the 'stoner rock', think Orange Goblin, High on Fire, 60 Watt Shaman or Alabama Thunder Pu$$y.

    Fuzz, to push my already high gain over the top? Chorus? Any application for a compressor in that? Am I missing anything?

    Suggestions appreciated.
     
  2. drolling

    drolling Member

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    You're off to a good start there.

    Vibe's the only 'swirly' on my board, and if I were you I'd get a fuzz of some kind before a phaser/flanger/chorus type pedal.

    The V847's decent too. All it really needs is a true-bypass switch.

    You really do need a delay as well, but I'm not a big fan of Boss pedals. There's plenty of other cheap digital delays out there that have a more analog/tape flavored tone.

    And that about it, really. You can get a lot of variety out of those 4 basic building blocks..

    +1 on the Strobo, BTW. That tuner just makes everything sound better.
     
  3. StompBoxBlues

    StompBoxBlues Member

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    The Visual Sound H20 is really nice, and it has both chorus and delay (and it is a decent delay too, and easy to dial in) all in one.
    Takes up some space on a pedalboard, but not as much as two Boss size pedals AND it only then uses up one DC power.

    I recommend it, it keeps making it's way back on my board.
     
  4. wgs1230

    wgs1230 Fully Intonatable Silver Supporting Member

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    Fuzz is foundational to all hard rock & metal. IMO every guitarist playing in a heavy style ought to have one on hand, even if it's only for the occasional cover or solo break. Your Marshall is crying out for one right now- can't you hear it?

    But seriously, there's a grain to the signal envelope which a good fuzz adds that no high gain tube preamp will, it's just the nature of the way old transistors and ss diodes handle signal when they're pushed- any flavor of the original big three (fuzz face, big muff or tone bender, though that last one gets complicated b/c of the variations) is a potentially useful tool. That said, the higher the output from the pickups, the greater the chance that a high gain fuzz is going to "flatten out" on the pick attack or that the lows will turn to mud. The fuzzface type circuits are the lowest gain of the three, that might be your safest bet from a versatility standpoint. Check out the Pedalworx McFuzz, it's gig-ready and has an above-average tone control (midrange bypass sweeper rather than the typical treble-bleeder).

    As for delays, nothing sounds like analog- I've got a DD-20, it's very flexible and can do things which used to be available only from $$$ rack units, but its analog sim won't beat the tone from a good EH Memory Man or the old Ibanez AD.
     
  5. Crazy Carl

    Crazy Carl Member

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    Hey, thanks fellas.

    See, I was really eyeballing the Memory Man, but H-C reviews seems to be all over the place on it. The DD20 seemed to be a good, all around compromise. Read a bunch of reviews on the Visual Sound that really beat it down.

    How does the MM handle fuzz's in front of it? Seems I read here that it overloads very easily?

    The Small Stone's deffo gonna happen. I LOVES me a good phaser & as cool as the MicroVibe is, it don't do phase.

    The V847's getting true-bypass, Fulltone pot & d/c jack.

    What fuzz works well on top of high gain? The guitars w/over the top pickups get used for straight ahead metal. For the older stuff, I like the 'warmed up PAF' types, like my Fillmores or TCM TOLs. Fulltone Souldbender looked interesting (mostly 'cos I'm a huge Page fan) & the Keeley soundclips didn't suck at all.

    Any compressor love, for this type stuff? J/c. Bud runs a Keeley & I love what it does for his sound.

    Love my StroboStomp; invaluable for setups & easy to use.

    At any rate, I'm budgeted for about 3-4 $200ish pedals, plus the Voodoo Lab PP2+.
     
  6. drolling

    drolling Member

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    Yeah, EH stuff's definitely got quality control issues, but I've had the MM for a few years now- totally reliable. Great sounding delay AND the sickest modulation I've ever heard. You really can't beat analog delay for old-school rock tones. You heard right, tho'. Is does overload very easy- especially w/humbuckers. If you keep the input rolled way down, shouldn't be a problem.

    I got a used Soulbender very cheap. There's so many new ones coming out all the time, you should be able to snag a second hand one easily. Fuller makes some cool fuzzes- '69 & 70's like Jimi Hendrix in a box. But the Soulbender nails the Page Yardbirds/early Zep tones. I've got a few fuzzes and SB's still one of my faves- you'll need to put a Foxrox booster in the Vox, tho'. Unless you run the fuzz before the wah.

    EDIT: forgot about the compressor. I'd go after a good fuzz & delay first. Compression's a very subtle effect compared to modulation & distortion. I have a Diamond comp that I run all the time, but there's plenty of others to choose from. Don't have a Keeley, but everyone raves about them..
     
  7. wgs1230

    wgs1230 Fully Intonatable Silver Supporting Member

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    With the DMM, the trick is to roll down the input volume. If that won't get it, mod it for a higher value input resistor- not a major project at all and probably necessary for use in a series loop. The distinctive feature of that circuit is that it only puts modulation on the repeats, not the original note- a very hip tone, especially in stereo. Nothing else like it.

    Re. Page and Tone Benders, remember that he only used that box on the first album and he was playing a Tele at the time, not a LP. Your axes won't sound the same (more like what Fripp or Hackett got from those circuits on the early Crimson/Genesis records). For most of the rest of LZ, his gain box was a Univox Uni-Drive, an active boosting volume pedal with 3 silicon gain stages which could produce some mild clipping on its own (but was mainly putting out a massive volume boost to slam the front end of the Plexi). Check it some photos here: http://www.univox.org/effects/

    Strangely, it's one of the few really famous "golden age" effects tones which none of the big boutique guys are cloning right now. You'd think they'd be all over it, it's not like there's no demand. Probably the closest things we have to it right now are the clones of the Colorsound Overdriver (Prescription, Throbak), it's the booster Beck used on some of his early solo work.

    With a high gain signal, you probably want to go with something which can split the difference between a germanium treble booster (all over the early Sabbath albums, for instance) and a 'Face. The Pedalworx guy who makes the McFuzz also makes a box called the Hellbilly which meets that description, it might be the right choice.
     
  8. Crazy Carl

    Crazy Carl Member

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    Info on what's involved in modding the DMM for more headroom? If it's not too whacked/complicated, I'll dive in there, otherwise, forget it.

    The clips for the Hellbilly sounded pretty schweet. But. True-bypass or no? Site doesn't say.

    Heh heh, I AM considering building a LZ1 Tele....
     
  9. erksin

    erksin Member

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    The Hellbilly is true-bypass...

    It's killer for '70s rock tones - has great chord definition too and stacks well.
     
  10. Crazy Carl

    Crazy Carl Member

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    Yeah, I was thinking the Hellbilly would sound SICK into the Super Bass. :JAM
     
  11. Crazy Carl

    Crazy Carl Member

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    After TONS of 'research' & some thinking, I think I've got the lineup I'm going to go with- modded V847, Hellbilly, Boss DD20, Analogman modded Small Stone & natch, a Voodoo Labs Pedal Power 2+. I think that should cover about any tone I can foresee needing/wanting.
     
  12. drbob1

    drbob1 Silver Supporting Member

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    Or, jsut to mess it up, a Foxrox Captain Coconut (Hendrix in a box)!
     
  13. THROBAK

    THROBAK Gold Supporting Member

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    If your looking for Stoner Rock tones a Rangemaster clone to push you amp should be on your list. It was used by Black Sabbath and Judas Priest.

    Also a Sola Sound Tone Bender MKII clone will do more than Yardbirds and Led Zeppelin I tones. After seeing the HOW THE WEST WAS WON DVD I became convinced that the Sola Sound Tone Bender that Page is clearly using through the entire Danish TV set has to be modified to allow the kind of low note definition that he clearly has. A straight Tone Bender MKII Professional clone will not get you Page's tone, the low notes will lose definition. I came up with some modifications to my clone and tested many types of components to eliminate the mud. Lo and behold after the mud is gone you have Page's tone for Led Zeppelin I and II and pretty much the sound of the entire HOW THE WEST WAS WON CD and DVD set as well as the BBC sessions CD set. The Royal Albert Hall show on the DVD is without question a modified Sola Sound Tone Bender MKII that Page is using as an overdrive as for as I can tell. So consider a good Tone Bender MKII clone also. Go here for clips of mine. www.throbak.com
     
  14. wgs1230

    wgs1230 Fully Intonatable Silver Supporting Member

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    How does soldering a 22k 1/2w resistor between the input jack and the connecting wire sound?

    BTW, I'd be interested in seeing any photo evidence of Page on stage with a Tone Bender after '70. (We can see the Unidrive at least twice in "How The West...".)
     
  15. THROBAK

    THROBAK Gold Supporting Member

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    I don't have any photo evidence to back up my claim other than it sounds like a modified Tone Bender MKII professional clone. There is anecdotal evidence from people that have seen his rig that he apparently still uses one. But if Page is using a modified Tone Bender MKII as an always on overdrive, which I think he is, there would be no need to have it on the floor in front of him.

    As far as the Unidrive evidence goes I don't see it in use in the HOW THE WEST WAS WON DVD. The only thing that could be mistaken for it is a silver hammerite wah that is in the floor during the Royal Albert Hall show. Unless I have missed something there is no Unidrive being used on that DVD. I have seen only a couple of B&W stills with a Unidrive in use from what appears to be the same show. There is a three knob Tone Bender in use on the French TV appearance but frankly Page's tone is exceptional for how bad it is in that clip. The French TV appearance has the harsh thin buzzy sound of a 3 knob Tone Bender. The rest of the pre SONG REMAINS THE SAME footage sounds like a modified Tone Bender MKII Professional to me.
     
  16. Crazy Carl

    Crazy Carl Member

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    That's why I'm diggin' on the Hellbilly- I like the fuzz sound (from the clips anyway) & it does the treble booster thing as well. Like I said, I think the Hellbilly into my Super Bass would be over the top, Sab heaven.
     

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