ilovefuzz.com

Oh, wait, wait. This's the one:

"Noise addition
Noise (hiss, rumble, etc) is deliberately added to the input signal. If this is done with restraint and matching the input signal envelope, it can add a breathing effect like the hiss of air in a flute.
Filtered low frequencies can add a growling quality."

Description lifted from R.G. Keen's website.

Someone build me one.

Chankgeez wrote:Oh, wait, wait. This's the one:

"Noise addition
Noise (hiss, rumble, etc) is deliberately added to the input signal. If this is done with restraint and matching the input signal envelope, it can add a breathing effect like the hiss of air in a flute.
Filtered low frequencies can add a growling quality."

Description lifted from R.G. Keen's website.

Someone build me one.

oooooooo. the possibilities.

CV inputs for everything. In a perfect world, I'd like full Moogerfooger-style control to integrate crazy fuzzes (or anything else) with my synth gear...

AMT-sized Expression peds (Little Loudmouth/Japanese girl wah)

TheStevenLasombras wrote:CV inputs for everything. In a perfect world, I'd like full Moogerfooger-style control to integrate crazy fuzzes (or anything else) with my synth gear...

CV/EXP, yes. A pedal like the RRR or RP Context with CV/EXP control are high on my wishlist.

TheStevenLasombras wrote:CV inputs for everything. In a perfect world, I'd like full Moogerfooger-style control to integrate crazy fuzzes (or anything else) with my synth gear...

everything built into a treadle
id usually say gas pedal
but im tryin to be technical here
unless someones payin attention

psychedelicrelic wrote:Envelope reverb.

buchla 275 vc reverb

Bellyheart wrote:Shepards tone pedal

fucking this

TheStevenLasombras wrote:CV inputs for everything. In a perfect world, I'd like full Moogerfooger-style control to integrate crazy fuzzes (or anything else) with my synth gear...

Yup. CV and envelope control over every parameter would be awesome

CV inputs on everything. No need for interior modulation, just CV? inputs.
Then a pedal that's basically just a bunch of LFO's in a box with knobs and outs. Use them as needed to modulate all of your pedals.

Stereo reverb with effects loop. Stereo EVERYTHING.

Exactly. I think it's time for guitar pedal manufacturers to quit pretending to go synthish and really go all the way. Pedals should still come with modulators -- they're useful and a good selling point -- but ideally they'd all have ins and outs to allow them to be rerouted.

But that's fantasytalk. Tbh in their current form factor we may be better off wishing for more Eurorack versions of pedals than pedals with crazy 1/4" spaghetti all over the floor. In reality, I'd really settle for more creative modulations or EXP inputs.

Like I have a Fairfield foureyes and it's pretty boss, but I kinda wish the filter peak was linked to the EXP pedal more than the filter frequency. As it is, unless I left it go plumb crazy, it's Just Another Wah. I still like it but I'd love to see stuff like EXP linked to -> blend between two saturation types... input gain... output gain... chorus "width" or depth (as opposed to rate)... delay feedback... dry/wet blend... the list goes on, those are just some of the most glaring examples of stuff that woul dbe fun to play with and you hardly ever see. The last two in particular are things I would think be really popular with a lot of people. Don't all have to be implemented on one pedal, just add one weird one to make it unique. The world really doesn't need another digital delay with analog character and EXP pedal control over delay time.

misterstomach wrote:I wish EQD made some of their stuff with stereo ins/outs. Or something. More stereo options in general.

This.


I agree with the exp. control thing, but honestly I already have a ton of exp. controlled stuff on my board.

Chankgeez wrote:Oh, wait, wait. This's the one:

"Noise addition
Noise (hiss, rumble, etc) is deliberately added to the input signal. If this is done with restraint and matching the input signal envelope, it can add a breathing effect like the hiss of air in a flute.
Filtered low frequencies can add a growling quality."

Description lifted from R.G. Keen's website.

Someone build me one.

LAL Sandstorm or Copilot Arrow Airwaves? That's only white noise but i'm pretty sure they do just that. It would be cool if someone made a more extensive box that could introduce pink noise / 60 cycle hum etc.

I agree that most pedals should have cv inputs for more knobs that could be hooked up to LFO's. ESPECIALLY MIX/DEPTH CONTROLS. I really wanna hear how some effects sound being faded in/out of the signal.
But I guess that's where Moog comes in. NEED MOAR MOOG.

Fuzz with a 3 band parametric EQ and Hi/Low Shelving.

backwardsvoyager wrote:

Chankgeez wrote:Oh, wait, wait. This's the one:

"Noise addition
Noise (hiss, rumble, etc) is deliberately added to the input signal. If this is done with restraint and matching the input signal envelope, it can add a breathing effect like the hiss of air in a flute.
Filtered low frequencies can add a growling quality."

Description lifted from R.G. Keen's website.

Someone build me one.

LAL Sandstorm or Copilot Arrow Airwaves? That's only white noise but i'm pretty sure they do just that. It would be cool if someone made a more extensive box that could introduce pink noise / 60 cycle hum etc.
.

They aren't envelope controlled though, are they? Don't they just introduce noise into the signal when you play? I think what he means is noise that appears only at the beginning/attack of a note but is absent when the note sustains.