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So what's y'alls favorite setting, mine is JKB (Hi at 9 o'clock, low at 3 o'clock with gain and level dimed)

The swap is just bizarre compared to any of the period pedals is the thing.

I'm not on the likely demo anyway, since I have a pair of GL-100s and a HM-2 and have that sound covered in spades, but...

GardenoftheDead wrote:So what's y'alls favorite setting, mine is JKB (Hi at 9 o'clock, low at 3 o'clock with gain and level dimed)

I'm not running it for chainsaw. 1:30ish level, dimed low, 2:30 high, gain about 9:30.

new05002 wrote:

rfurtkamp wrote:Bizzare control layout on the Dunn.

The reversal of the high/low knobs makes no sense.

Iommic Pope wrote:Understandable.
And, after swearing off boutique clones, I just found out Dunn are doing one.
http://www.dunneffects.com/product/the-black-pedal
I really liked the 1984 I had, so this will probably be rad, too.
Interest piqued.

Its pretty close to the original design. I would know as I laid out that pedal (actually Ive laid out most of Dunn's current pedal lineup)

The L/H swap is just a matter of control location but that was Dunn's suggested control layout. I just conformed the parts to fit the space he sent me.

Getting a close sound to the original is just about fine tuning the EQ to get the right response hence why I did that in the Tyrant and the Nihilist versions (and the Trap Them sig but that seems DOA at the moment) The Modded HM2 (aka Strange Aeons) is not like that at all. I purposely split the EQ into more bands except the Low (which is in the same place as the original).

Hey mate!
I thought you may have had a hand in this (no left hand puns intended). I know you guys have worked together before.
I really liked the idea of splitting the mids up.
You got a run of tour variant lined up soon or are you done with these?

GardenoftheDead wrote:So what's y'alls favorite setting

V10 L10 H2 D10

Iommic Pope wrote: Hey mate!
I thought you may have had a hand in this (no left hand puns intended). I know you guys have worked together before.
I really liked the idea of splitting the mids up.
You got a run of tour variant lined up soon or are you done with these?

I got a Nihilist version with top mounted controls coming out of the prototype phase soon.

JonnyAngle wrote:Is the hm2 similar to a rat?

necrobump

indeed
what are y'alls observations/preferences between rat + hm2?

To me, the rat's filter has more of a Choke effect and a more compressed feel to the harmonics.

The Rat is probably more flexible and easy to get working in a variety of contexts. It can do clean boosting to jangly overdrive to saturated distortion to the edge of fuzz. The Filter knob can control how jangly/edgy/fizzy it is, though you’ll never get smooth so much as filtered aggression. The Rat can be bass shy, though.

The HM-2 is more flexible than it gets credit for, but it’s particular. It combines a bunch of sorts of clipping and distortion and can get very unsubtle, but at very low gain settings it isn’t overbearing and the eq is the star. The low band of the eq sounds fantastic—boosting the lows it conjures early Pumpkins and a lot of harder early 90s American indie rock. The high band is kind of screwy because it’s high and mid bands with a common level control, so you can’t be overly picky about tweaking it. You can dial an HM-2 as a Muff stand-in (and I like it better than the Muffs I’ve played) or do the Swedish chainsaw thing, but again, it can be subtler.

Have totally used a HM-2 clone as a lower gain rock tone.

How much difference does the volume knob make with the HM-2? Is it just a master or does it actually affect the tonez?

Master only. I have never noticed any change in the sound when turning the volume knob.

Gone Fission wrote:The Rat is probably more flexible and easy to get working in a variety of contexts. It can do clean boosting to jangly overdrive to saturated distortion to the edge of fuzz. The Filter knob can control how jangly/edgy/fizzy it is, though you’ll never get smooth so much as filtered aggression. The Rat can be bass shy, though.

The HM-2 is more flexible than it gets credit for, but it’s particular. It combines a bunch of sorts of clipping and distortion and can get very unsubtle, but at very low gain settings it isn’t overbearing and the eq is the star. The low band of the eq sounds fantastic—boosting the lows it conjures early Pumpkins and a lot of harder early 90s American indie rock. The high band is kind of screwy because it’s high and mid bands with a common level control, so you can’t be overly picky about tweaking it. You can dial an HM-2 as a Muff stand-in (and I like it better than the Muffs I’ve played) or do the Swedish chainsaw thing, but again, it can be subtler.

Agreed on both ...and I too, often use the HM2 more in a muff stand-in way, though I never thought of it like that. I think it works well for the lower gain rock Matthias mentioned also. (Most of my experience is with the Throat Locust, which opens up mids controls, but I have the real deal here as well).

...Do I need to get a rat again?