ilovefuzz.com

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?

the elements is a lot more expensive than a rat? Also, Rats sound great. Always. I don't get people's antagonism.

Also, LG posted the best uses of flangers in those two videos. Okay, not the best, but great. Frankly, there are many times when a flanger or chorus will do more to give that final oomph to a pad sound than a reverb would.

It really depends what instrument we're talking here. I think envelope filters and ring mods are all sensible on synthesizers, and sometimes bass, but i dislike them on guitar. Ring mod is really just only good in synthesizers when you can tune both the input and the carrier to track pitch.

But wah is just awful. Always.

I have a hard time reigning it in with delays, it's so easy to go overboard with them, just give me all the feedback and all the crusty modulation. Most of the times one or two repeats is more than enough.

bigchiefbc wrote:Envelope filters. They always sound SOOOOOO fucking lame when I try one. Some people can make them sound good. I just can't. But wahs or lpfs with exp pedals, I'm totally cool with.

This was worth double posting.

amp modeler thingys, they make everything sound like eggos taste like to me.

Don't let the envelope on the filter close. Play faster.

Ring mod...all about the signal preperations. Play faster and sloppier.

Simple. If it doesn't work, play faster. Go out to destroy, not lure or lull.

lordgalvar wrote:Ring mod...all about the signal preperations.

This was definitely true about the one that I enjoyed. Straight guitar > ring mod wasn't that interesting or musical. But if you ran it through some fuzz with some octave first, you could make some beautifully ugly noises

Yeah phase for me. I struggle to find it musical without it feeling like a cliche. My house mate has a Wombtone that's pretty awesome though. I just can't kinda gel with them when playing.

lordgalvar wrote:Don't let the envelope on the filter close. Play faster.

Ring mod...all about the signal preperations. Play faster and sloppier.

Simple. If it doesn't work, play faster. Go out to destroy, not lure or lull.

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.

Ring Mod can work, i just think its best uses are in synthesizer contexts, where it can do a lot.

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.

psychic vampire. wrote:

lordgalvar wrote:Don't let the envelope on the filter close. Play faster.

Ring mod...all about the signal preperations. Play faster and sloppier.

Simple. If it doesn't work, play faster. Go out to destroy, not lure or lull.

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.

Ring Mod can work, i just think its best uses are in synthesizer contexts, where it can do a lot.

The Brainfreeze is MS20 based and awesome!!

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

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

I mostly keep focused maxed out. Vidrets and his super ear heard a big differance but I'm low key with you on that one. The pre-gain simulates (or, you know, it is) the muff being pushed with a boost or an overdrive rather than being just more gain. It's good instead of having to stomp two pedals to get a pushed muff sound

Brandsmannen wrote:I mostly keep focused maxed out. Vidrets and his super ear heard a big differance but I'm low key with you on that one. The pre-gain simulates (or, you know, it is) the muff being pushed with a boost or an overdrive rather than being just more gain. It's good instead of having to stomp two pedals to get a pushed muff sound

Yeah, the extra gain is probably what gave me the extra juice/hair/grit that Iliked so much. Indeed took away the need to put an overdrive in front. But both controls gave me pretty much identical sounding gain, which is why my none-technical mind wondered if it weren't possible to just stack both gain stages and have em control with one pot

Hardly a complaint ofcourse, it was GAS that made me flip it, not a couple extra controls I had to set and forget...

Haha dude I don't know. I just think of it as a boost that's more like a separate thing from the pedal if that makes sense. Like I imagine two pedals crammed into one enclosure. I have it mostly set to one setting and I like it more than other muffs I've had. Oh and effects that escape me are like anything with an LFO except tremolo. It sounds so cheesy when I play lfo-based stuff.

My trick with LFOs is that if they're not tempo-synced, they need to be either super fast, or super slow. The closer they get to your tempo without actually matching the tempo, the worse they sound, to my ears.