ilovefuzz.com

Same.
Default for Leslie cabinets. Slow speed sound good, fast speed sound good. On prettymuch everything, no screwing around.
Amp trem on the other hand...hit or miss. Same goes for everything I've used with a sweep, esp anything intense & whooshy

MechaGodzilla wrote:

psychic vampire. wrote:I trust you. I like the idea of an envelope filter on guitar, it's just that most envelope filters i've heard try to emulate really "smooth" or "funky" synth sounds, and i want one based on like, the mk1 MS-20 or the Polivoks, if it's going to be on guitar. I want horror, not funk. Personally. I still like the sludge rave band idea with a guitar tryna emulate 303 lines.

100% word-for-word this. Gimme beefy synthy lo-pass filters with squealy resonance, not a lazy man's shit sounding wah wah.

Fucking oath.

frigid midget wrote:

Brandsmannen wrote:

frigid midget wrote:If certain peds *cough muff cough rat* only sound great when you stack 'em with other peds, use em with this amp and that guitar, at high volumes only and in good sounding rooms...Doesn't that basically comfirm you're better off just spending that $100 on say, a The Elements?

Very true. As for muffs, the blunderbuss/musket does this with the pre-gain control. That's why it's like my fav muff. Why isn't there a similar rat

Yeah, as far as muffs go, the musket is indeed pretty impressive. I think it was the first muff I played that I didnt have to crank the gain control(s) to get really filthy saturated fuzz. Thick, smooth, sludgy,...All kinds of muff goodness all in one pelol. The extra gain control didnt really impress me though, I dont really seen the point in having two seperate controls to dial in the gain level. It seemed to me that somehow combining both functions on in one control would be just as usefull Also, the focus control was waaaaay to subtle to justify yet another control imo. Could've been an internal trip pot, at best...

And mpo on rats...Even more so than with muffs, modding a rat so it sounds a little less hars and fizzy, giving it more bass at cost of some mids...Would take away what makes a rat a rat The low end suck is probably just inherent to the heart of that circuit, and I'm sure it has its place...On other people's boards but mine

This is probably why the Blower Box will never leave me. Fuzzes come and go, but that fucking Blower Box. Holy fucking shit. It's brilliant.


And i'm glad other people see eye-to-eye with me on filter pedals.
That Brainfreeze MS-20 filter looks cool. I won't be getting it, because it's nearly the cost of an MS-20 mini, but in different circumstances (such as one where i was physically capable of playing guitar) it could be cool.

I never agreed with Muffs, and tried a bunch. I know that adding mids back in makes the circuit shine, but it was never my fuzz. I've kind of wondered about the Idiotbox Static Fuzz and Dungeon Master on bass, but i think what i finally realized was that i just like overdrive and distortion on bass, not fuzz. Fuzz works great on guitar, and oscillating fuzzes work well on everything, as well as octave up or down fuzzes with shittier/glitchier tracking. But straight normal fuzz isn't my game. I guess Fuzz escapes me? (#whoops)

Oscillating fuzzes.
It's for just fucking around, bur I have been able to use an
oscillating fuzz in a real musical context. Neither with band or solo.

You just have to play through the oscillation. Most of them sound gnarly as fuck if you're playing hard while they oscillate. If you just let them ring, they sound like butt a lot of times. LOL. I think they are kind of like a ring mod in that you really have to work it to get it to perform the way you want. One of my favorites is the Great Destroyer and it crushes when oscillating.

Oscillating Fuzz is A LOT like ring mod to me. A ring mod that is easier (more musical?) to work with on guitar/bass, for me. But the ways in which i use them and conceptualize them (and octave up/down fuzz sometimes, for that matter) is very similar. I really want to build a Noise Swash, just to have disgusting/chaotic moments in my music.

ognoy wrote:Oscillating fuzzes.

#triggered

Anyway, I've probably said it before, modulation escapes me. Always feels sorta repetitive and locks me into a world of swooshes and blubs. I prefer to fuck around with weird bends and trem bar abuse. I use reverbs in Ableton to add space when recording, but in a bedroom/rehearsal/live setting I tend to dislike how it muffles me and makes everything sound like #ambienttoanz. I do love when others use modulation and verbs and stuff, though. Guess it comes down to me enjoying my attack and breaking straight rhytmic patterns.

I know what ya mean Elvi. Try a UniVibe
Its modulation is mostly emphasized in the bottom end of your signal. Even at full-chop, there's a cloud of harmonic content that seems to exist around the pulse. With intensity rolled back to 50% or so, the modulation gets overpowered by your fuzzy gnarl but the movement is still there, whether in chorus mode for dat throb or vibrato mode for dat seasick wobble. The rhythmic patterns of the oscillation are not at all confining when set to slower sweeps. For me anyway, YMMV

Someone said compression a couple of pages ago, and I realized that should have been my pick, so yeah, compression for me. My only experience with a compressor was a dyna comp, and I just hated it. Didn't see the point, or like what it did to my sound at all. Still, I'd like to fiddle around with a Warden or something if I ever get the chance. Curious to see if I'd ever find a use for one. A lot of you guys seem to really dig the Fairfield Circuitry Accountant, and I've been curious what makes it special.

Pete wrote:Someone said compression a couple of pages ago, and I realized that should have been my pick, so yeah, compression for me. My only experience with a compressor was a dyna comp, and I just hated it. Didn't see the point, or like what it did to my sound at all. Still, I'd like to fiddle around with a Warden or something if I ever get the chance. Curious to see if I'd ever find a use for one. A lot of you guys seem to really dig the Fairfield Circuitry Accountant, and I've been curious what makes it special.

A stock dynacomp is boring as fuck. I can see how some people could find good use for it, but it'll always be a tool rather than a fun effect to mess with. I have zero experience with those compressors you mension, but the ones I used to have were also able to really squash your signal, and almost do fade-ins when you strum hard. Really liked how it made my guitar sound more percussive and sorta funky. the more conservative use for compressors can be nice too though. Evening out your dynamics a little bit, the way studio compressors are used.

Also, for some reason my cs-3 made the swell mode on my dl-4 work a lot better.

The main reason why I dont use compressors anymore: Noise is inherent to the solewhat extreme settings I prefer :/

Realize I should have posted "Whammy" as my pick.
It's just grating to me. Never have I felt desire to hear let alone use one

rustywire wrote:Realize I should have posted "Whammy" as my pick.
It's just grating to me. Never have I felt desire to hear let alone use one

[youtube]http://www.youtube.com/watch?v=bWXazVhlyxQ[/youtube]
[youtube]http://www.youtube.com/watch?v=pRU-6vaKaf4[/youtube]
[youtube]http://www.youtube.com/watch?v=0J2QdDbelmY[/youtube]

I never understood why people got confused/irritated by them.
I love the glitchy octave sounds it makes.

Because Whammy always sounds like Whammy...and I don't care for the Whammy sound. Even in good songs.

rustywire wrote:Because Whammy always sounds like Whammy...and I don't care for the Whammy sound. Even in good songs.

Definitely true. Even people who know nothing about effects hear it and go 'oh...there's that sound like the guy uses in RATM.' Also, Tom Morello's ownership of that sound makes it basically impossible to use. I can't think of an effect that is though thoroughly implemented by a musician as the Whammy and Morello. Dude did pretty much everything possible with that thing, and better than you or I could.

rustywire wrote:I know what ya mean Elvi. Try a UniVibe
Its modulation is mostly emphasized in the bottom end of your signal. Even at full-chop, there's a cloud of harmonic content that seems to exist around the pulse. With intensity rolled back to 50% or so, the modulation gets overpowered by your fuzzy gnarl but the movement is still there, whether in chorus mode for dat throb or vibrato mode for dat seasick wobble. The rhythmic patterns of the oscillation are not at all confining when set to slower sweeps. For me anyway, YMMV

You are completely correct, the only modulation effect I've ever really bonded with was one of the old Lovepedal vibes. Might check out the Fulltone one someday.