StopReferencing wrote:Using the Hotcake as an end-of-the-line boost.
Traditional pedal order thinking keeps dirt pedals at the beginning of the chain, claiming that you wouldn't want to muddy up modulation, delay, reverb, etc.. yet I find that I like the sound of some modulation (or ambient echo-y-ness from Ghost Echo) into a dirty, pushed amp. Sure, the echoes are getting overdriven too, and it is a slightly different sound than a dirty preamp going through the clean spring reverb tank, but it can be neat. I've been thinking I'd just put a SHO clone at the end of my chain to push my amp harder. Having an OD there with tone/gain controls separate from volume might make more sense (I suspected this up to this point but haven't really tried it.) Thanks for this tip
ILF Equipped
skullservant wrote:You can like whatever you want so long as it makes you happy
Searching for that new sound.
If you can read this, then I'm back?
Running guitar->high-gain->low-gain->amp is pretty TGP. I started sticking "amp-in-a-can" pedals towards the end of the chain to simulate different types of amp breakup, etc. - was REALLY useful while recording. I saw someone talking about the Hotcake rivaling the Klon in the capacity of a boost, and I used to stick a Klon towards the end of the chain; figured I'd try it with the Hotcake. Running fuzz into the Hotcake with the presence backed off sounds baller.
I found that running a distortion at the end of the chain, after reverb and modulation, yields an amazing crushed Neil Young Rust Never Sleeps sound. it's definitely worth trying, especially if you're into the Huge Wall O'Fuzz (and who around here isn't?).
my latest discovery involves the Emma DiscumBOBulator envelope filter. when you set the sweep to Down, turn all the knobs full up, and play broadly-voiced chords you get a delightful burbling watery effect as the filter tries to figure out what frequency to settle on. it sounds like something you'd hear on a Flaming Lips record back when the Lips weren't popular. add some delay and
In girum imus nocte et consumimur igni
FIFTY YEARS OF SCARING THE CHILDREN 1970-2020--and i'm not done yet
dubkitty wrote:yields an amazing crushed Neil Young Rust Never Sleeps sound.
Lunar Module -> Formula 5 is good for this as well.
dubkitty wrote:you get a delightful burbling watery effect as the filter tries to figure out what frequency to settle on. it sounds like something you'd hear on a Flaming Lips record back when the Lips weren't popular. add some delay and
Yesssssssssss.
Last edited by StopReferencing on Thu Apr 28, 2011 1:32 pm, edited 1 time in total.
dubkitty wrote:my latest discovery involves the Emma DiscumBOBulator envelope filter. when you set the sweep to Down, turn all the knobs full up, and play broadly-voiced chords you get a delightful burbling watery effect as the filter tries to figure out what frequency to settle on. it sounds like something you'd hear on a Flaming Lips record back when the Lips weren't popular. add some delay and
dubkitty wrote:I found that running a distortion at the end of the chain, after reverb and modulation, yields an amazing crushed Neil Young Rust Never Sleeps sound. it's definitely worth trying, especially if you're into the Huge Wall O'Fuzz (and who around here isn't?).
my latest discovery involves the Emma DiscumBOBulator envelope filter. when you set the sweep to Down, turn all the knobs full up, and play broadly-voiced chords you get a delightful burbling watery effect as the filter tries to figure out what frequency to settle on. it sounds like something you'd hear on a Flaming Lips record back when the Lips weren't popular. add some delay and
I also like the cut of your jib and would like to subscribe to your newsletter.
ILF Equipped
skullservant wrote:You can like whatever you want so long as it makes you happy
Searching for that new sound.
If you can read this, then I'm back?
univalve wrote:i had a nice experience yesterday: if you have a fuzz like gnomeratron vft or tafm with clean AND fuzz volume do the following: tune a fuzz to trebly sound and put it in front of it (i used the wolf computer), tune the second fuzz (that one with the separate volumes) to a bassy muffled sound (i used the gnomeratron vft) and turn both on. You get an ultra wide fuzz sound 'cause the first fuzz goes through the second one untouched with the clean volume. Absolutely amazing. So the "stacking" gets not too washed out or dull (yes, both could be also intended but this application is more "tight").
Hmm, I might do this with my Sparkle Drive (has a clean blend knob) and a darker-sounding overdrive in front of it, to get a wider range of overdriven sound / boost fuller frequencies. Will report back on how that sounds.
Sorry, for the late reply: yes, blend will do the same 'cause you have also the clean signal running through. So as addition: separate volumes for clean and fuzz OR a clean blend will work. i'm curious what you guys think.
univalve wrote:i had a nice experience yesterday: if you have a fuzz like gnomeratron vft or tafm with clean AND fuzz volume do the following: tune a fuzz to trebly sound and put it in front of it (i used the wolf computer), tune the second fuzz (that one with the separate volumes) to a bassy muffled sound (i used the gnomeratron vft) and turn both on. You get an ultra wide fuzz sound 'cause the first fuzz goes through the second one untouched with the clean volume. Absolutely amazing. So the "stacking" gets not too washed out or dull (yes, both could be also intended but this application is more "tight").
FUCK. you discovered my tonal secret, I've been doing this exact thing with a mini gnomeratron for months with those amazing results. I like leaving the gnomeratron on most of the time and whenever I want to pop out in the band I stomp on the wolfy and get deep and piercing fuzz at the same time.
I was very covetous of this sound, I found it and wanted everybody else to look the other way while I played the shit out of it. Yes it was wrong, but it felt so good :shame:
Not sure if is unexpected or not, but I have never had a better tone w/ my Tele than when I play through my Subdecay Liquid Sunshine and my 1st generation Tech 21 delay. It is the perfect sound for me, especially if I use the mixed position.
I recently got a good deal on a big box DMM and figured I'd sell it. I found my unexpected tonal bliss . Also, delay time off, and level up it works as a great clean boost.
Seriously, so lush and usable for any application I've needed out of it. I've always been SO against it because of the price/ expansive existing delay market.
I was running a shorter delay that's barely feeding back into the RRR (mix set high) and I feel like a balla. I could get high on about 5 notes.
Another one was running my Pharaoh into the tubedriver model on the M9. I was jamin and thought I was gonna push reverb and I hit that and almost fell over. It was so intense.
can you provide clips? that sounds rad
Tasty.........
