Just that little bit of warble really brings the room together, hot damn. Obviously I will also put it in momentary mode at high settings to mess with my bandmates but for now it's staying on.

I've been building my pedalboard recently and have been fortunate enough to get my hands on these pedals. The SD-1 and Big Muff are new, while the rest are pre-owned pedals I found on Adverts.

I used to play a bit back in uni, and after years away, I recently got my first electric guitar (Harley Benton Les Paul nothing crazy). I don't have much soloing experience yet, so the Loop Station has been a game changer for me. Here's a short demo: https://photos.app.goo.gl/7pVkHAE7rmsx3yda6

I originally planned to have five pedals on the board. The Dynamic Wah wasn't part of the plan, but I picked it up today after finding a deal that was hard to say no to! I wasn't sure what to expect but oh boy, it is a new way to think about music for me.

Here is a short demo of the Wah, and other pedals. Recorded in garageband: https://photos.app.goo.gl/dP1wGjf8GvPRqeUT8

I'd love to hear your thoughts and any feedback you might have!

Added a Flint, have anyone ever heard of it? Jk. jokes aside, it does sound as great as I hoped it would. Been struggling with reverb. Most recently had a Red Panda Context 2 but it felt overwhelming and I used maybe 10% of its capacity. Sold it and found picked up a pre owned Flint v1 (and mini switch). Not looking back!

Also, happy (inter)national Black Cat Day, as I’m writing this. Let’s make it international! He loves the case. Sometimes I just open it so that he can crash on it. Might as well play some tunes then. Oh well…

I have been playing guitar with pedals since about 2007 and have mostly been conscious of "pedal order", but I have become sloppy with it over time. I re-ordered my board last night and damn did it make a difference. My fuzzes/rangemaster sound fatter and fuller, and my overall noise floor seems to have improved through my old amps.

Just a curious question for the masses; do you follow order, or just send it?

I posted this board a few weeks ago praising the Deco and La Brea.

After a few weeks I’ve decided that I don’t actually like what they did to my tone and I think I was trying to convince myself that they were what I needed. Luckily I bought them on Amazon so they’ve all been returned. The La Brea did have a certain thing I liked about a saturation overdrive, but with my ES335 it sounded too “honkish and dark”.

I replaced the Deco with the Zio, the La Brea and Sunset with the JHS AT, and the UA Enigmatic with the TC Combo 65.

I know the Zio is a totally different thing but I really like what it does to my overdrive pedals and my tone. Plus it was the $99 Stupid Deal of the Day last week.

The Enigmatic got too overwhelming dialing in a good tone and I actually like the sound of the Combo 65 and the straight forward settings over the Dream 65. I was also talking myself into being a Dumble guy when I’m really just a Fender guy.

I was buying expensive pedals and convincing myself they were the end all be all, when really I needed to step back and simplify my board. Plus getting my $1000 back was nice too!

I used to own the DECO V1 and I was fascinated with that pedal. If you look back in my post history, there are a few different demo posts involving the DECO V1. I started playing in stereo mode and the V1 was suddenly less useful. The stereo input jumper is inside the pedal on the V1. Eventually, I traded it.

The Strymon DECO V2 has a few big improvements over the V1. A stereo/mono input switch is on the outside of the pedal now. There is a tone knob for the saturation side and a second “cassette” voice that sounds even better than the classic DECO saturation sound.

The modulation side of the pedal is the same as before. You control random modulation with the wobble knob. The lag knob controls delay on the modulated signal. You can get all kinds of cool sounds like slap back, phaser, flanger, and chorus. My favorite way to use it is blend at full, Lag at 0, and wobble all the way up. That’s my favorite lo fi vibrato sound.

If you use midi, the V2 does that. I don’t use midi, so I can’t comment on that part. I was a little disappointed when I realized there was only one input. The midi/expression jack makes it too crowded for another input jack. A TRS cable is needed for stereo input. At least I don’t have to open the pedal up anymore to switch to stereo.

The original DECO is one of my favorite pedals. People often call it a Swiss Army knife type pedal, and I agree with that. Especially with the Cassette voice. It has more gain than the classic sound.

I like to keep this pedal at the end of my chain right before delays if I’m using the saturation side mainly. If I use it for lo fi vibrato, I’ll run the EQD Arrows or a Dyna Comp in front of the DECO. If you add the saturation side after fuzz, that’s good times too. One of my favorite sounds is Ibanez Soundtank Chorus > Tumnus > Honey pot fuzz > DECO. It sounds heavy as fuck.

Do you have this pedal or have questions about it? Let me know and thank you for reading. (My bookshelf is now arranged by hard covers > paperbacks in the order they were written for the most part)

Title says it. I’ve got a large collection, but have never really messed with octave effects besides fuzz. Thoughts on POG vs Boss Octave vs 🤷🏻‍♂️?

Ideally I would use this for ambient or shoegaze - OR - to give singer/songwriter acoustic guitar a little extra heft live.

What should I check out?

Got a decent deal on this, came with everything like new and it's in great shape. Been loving playing around with it!

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Hey everyone,

After nearly a year of layout adjustments, wiring trials, and 8 months of heavy testing, I’m finally at a point where I feel this board is 100% complete. It has been absolutely flawless for me in practice.

The goal here was to build a bulletproof, high-gain, dual-amp rig that uses an outboard preamp pedal as my primary dirty channel, while completely isolating my time-based/modulation effects and splitting my outputs to multiple destinations with zero phase or ground loop issues.

Here is the exact breakdown of how this monster is wired up:

1. The Front End & Dynamics Loop (SaturnWorks 3-Loop)

• Input: Guitar runs straight into a Boss TU-3 Tuner -> DigiTech Drop -> the guitar section of an ISP Decimator G-String.

• From the Decimator, it goes into SaturnWorks 3-Loop Switcher to manage the front-of-amp shaping dynamics:

• Loop 1: Empress Compressor

• Loop 2: Boss BP-1W Booster/Preamp

• Loop 3: Keeley Noble Screamer

1. The High-Gain Preamp & Gate Stage (4-Cable Clamping)

• The output of the 3-Loop switcher feeds directly into the main input of a Diezel Zerrer, which acts as the core preamp and distortion engine of the rig.

• To keep the high-gain completely silent, the FX Out of the Diezel Zerrer routes back into the Decimator G-String's Gate section, clamping down hard on any residual preamp hiss before sending a pristine signal down the line.

• The gated output then goes into an Empress ParaEQ w/ Boost for final master tonal sculpting.

1. The Wet & Modulation Loop (SaturnWorks 5-Loop)

• From the ParaEQ, the signal hits a SaturnWorks 5-Loop Switcher which houses all time-based and modulation engines to keep them completely isolated when not in use:

• Loop 1: Boss BF-2 Flanger

• Loop 2: Eventide ModFactor

• Loop 3: Seymour Duncan Andromeda Delay

• Loop 4: EHX Cathedral Stereo Reverb

• Loop 5: Zoom MS-70CDR / MS-50G (for wild card utility/ambient patches)

1. The 3-Way Output Split (The Wall of Sound)

• The final output of the 5-Loop switcher goes into a Fortin Spliff (3-Way Splitter) to drive three independent destinations simultaneously:

• Out 1: Feeds a Mesa/Boogie Dual Rectifier power section.

• Out 2: Pushes into an EVH 5150 III EL34.

• Out 3: Routes directly into a GFI Cabzeus (Cab Sim), which feeds a Walrus Canvas DI/LI for a direct line straight to the studio interface or front-of-house.

It took an incredible amount of planning to balance two independent loop switchers, a 4-cable gate method, and a 3-way output split without creating a nightmare of phase cancellations or ground loops—but it has been rock solid and completely quiet.

I've attached full graphic signal flow diagram I built to keep track of the routing.

Would love to hear your thoughts! Is anyone else running a complex multi-amp split layout or relying on a dedicated preamp pedal

My simple setup. Crybaby, Strobostomp, Plumes, Milkman, Dleuxe61, Element. The Darkglass Element lets me play through my FRFR or headphones and play along with anything Bluetooth.

My board has been pretty stable the last few years, but working on a new record prompted some changes.

Signal flow:
Tele/Strat/Meteora into > Dream Reaper > Timmy > Brothers AM > VSXO > Comp JR > out to volume pedal > MD200 > Tap Delay > MOOD > DD500 > Blue Sky > and out to one of my traynors or DRRI

I’m really digging how easy/quick it is to dial in sounds with this board. I added the MD200 so that I could stop swapping mod pedals in and out, and for my fairly basic needs it’s been fantastic.

TLDR: It's ugly as shit but it's the best fuzz pedal I've ever played and rolled back it's legitimately one of the best overdrive pedals I've ever played. Sounds incredible on a LP.

There's very little about this company or pedal in the way of reviews or even information online, so I'll write a little review:

Note: each DanDrive pedal is uniquely designed. My specific run was made with some paisley tapestry design fabric and my pedal happened to get some unfortunate section of it. The red is quite jarring. The fabric is also inside the pedal (photo included) but looks quite different.

The Equilibrium uses vintage BC183 silicon transistors so they're more creamy and warm like germanium. When you roll the volume back you get a beautiful clean tone without distortion or muddiness but roll it back up a bit and it sounds like a blues breaker circuit. Keep going and you'll get to a full on Fuzz Face pedal. Very much like a germanium circuit.

The knobs controls Volume, Fuzz, Clean-Up and Bias. I've never had a Fuzz pedal with a clean-up and bias before and I'm pretty mad I've gone this long without it.

The toggle switch controls the bass cut filter. In the down position it's a traditional fuzz face circuit with lots of low end (for single coils). In the up position it filters out heavy muddy bass to make it more punchy (for humbuckers).

As the title suggests, I'm after a low-gain overdrive that I can leave on most of the time but it's not a hard requirement.

I think I'm after a Tubescreamer although I'm not entirely convinced so I'm looking for some advice.

I'm chasing a specific type of sound but don't really know how to describe it, if anyone is familiar with Two Feet's music, it's his tone that I'm after and if I'm not mistaken he is using a Tubescreamer.

I've never used a Tubescreamer before so I'm a bit hesitant, I'm using an EAE Halberd at the moment.

I have my sights on these pedals:

• BOSS BD-2W
• Fairfield Circuitry Barbershop
• MXR Duke of Tone
• Ibanez TS808
• Klon clone, perhaps Wampler Tumnus

Hey. I'm a big fan of the WA Slotva, and mainly keep it at the end of my pedal chain, however I've been playing around with having it in front of the gain stages, which sounds mint. The problem is i play in a band and therefore i can't change the order of my pedals between songs when playing live. I was wondering if there was any sort of loop switcher that enables me to change the location of the slotva in the signal chain? my current signal chain is tuna -> canyon -> wah -> rat -> simplifier -> mods -> delay -> slotva -> fx return -> DI. i want to be able to switch between that and tuna -> canyon -> wah -> slotva -> rat -> simplifier -> mods -> delay -> fx return -> DI at the press of a button. is this possible? are there any commercial switchers like this available on a budget? thank you.

Want yall thoughts, suggestions, opinions.

Super into Arctic Monkeys, The Strokes, anyone else in that general scene and want some suggestions for other pedals I can add

.
10 years ago I posted my "minimal pedalboard" :)

After a lot of career developments, a divorce, a new wonderful partner, and a little bit of playing in between, I'm happy to show you the current state of the same budget pedalboard (still the same Gator with pre-applied velcro, but this time using a 1 SPOT Pro underneath, and a hidden USB hub for quick connection to PC and firmware updates.)

I feel this evolution represents my life: colorful and complete now - lifeless and empty then.

Path is impedance optimized for low noise. Sonicake VolWah > Yellow Comp > Blues Crab > JHS AT > Pure Sky > Ditto+ > HX Stomp with Logidy EPSi (using converted IRs of a Bricasti unit) in FX loop and Ampero footswitch for tuner and extra function access.

The footswitch covers for HX Stomp, Ditto + and EPSi are custom designed and 3D printed. I will be selling them soon. Please check out my Printables profile

With a little od / boost on tap for mediocre solos etc.

Was going to get a helix stadium or something to have a convenient all in one, but I’m going to try working with what I’ve got here. And still no screens :)

Picture 1, My current setup

tuner, eq, comp, flange and drives into IR-200
chorus, delay, reverb in the fx loop stereo

Picture 2, possible upgrade involving more individual pedals
Picture 3, possible upgrade to hybrid using the HX Stomp/Boss GT1000core (or similar)

As you can see in my current setup, my eq and flanger have desperately been left behind by the rest of my setup (some may so compressor too). Additionally, my HOF’s footswitch is becoming unreliable.

I’m looking to upgrade these, with around £1000 budget,

Firstly, the RV-500 is the main contender for reverb, as I like to have an always on small room verb and then be able to change to a huge ambient space, with a freeze switch option, for with my big muff (I also really like the lofi SFX mode too). Also I’ve heard the Stomps DSP budget can struggle with large stereo reverbs, so i’m pretty set on this but any other recommendations would be welcome.

Secondly, my eq, compression, and modulation. The HX Stomp seems to do all of this, with having my eq and compression in it as always on and not assigned to a footswitch, leaving the three available for chorus, flange, and an extra.

However, I mainly can’t decide between the Stomp vs individual effects.

The main effects I’d need is a ten band eq, a simple and easy to use compressor, and a couple of modulations/a dual mod multi fx with independent control of each (such as the GFI Synesthesia). I’m not 100% aware of all of my options and whether the Stomp would keep up with the individual effects, as it is considerably cheaper and my bank account would much appreciate it. (however it doesn’t look as cool and we all know they sound better when they look better)

Any advice or experience would be welcome as I’ve gotten a bit lost with option paralysis.

Sorry if I’ve missed anything silly or obvious in all of this I’m tired of scrolling through internet reviews.

Thanks!

Bought this pedal because I once had the original one and was surprised this one is modded - but what do I got here now? Fuzz Face?

Best Marshall in a box I've ever had!

hey, i'm currently playing a cheap joyo/hb ultimate drive. i'd like to upgrade to som more reliable since a tour is comming up. what ods, dis and fuzz do you guys prefer for a raw obpen sound? currently thinking bout a rat2

edit: stuff I have access to/can borrow:

Marshall blues breaker, tc cinders, Boss Ph-2, Ce-5, ML-2, CS-3, DS-1, TC prophet, tc mimiq

amps: Marshall V80, Boss katana, Harley Benton 10w amp

Just got the Benson Germanium... Is it weird having the Benson, Chase tone and Tone King preamps?

hey everyone! i’m planning on making my first pedal in which i got the idea out of a dream i had that turned into a genuine problem a week or so after. my question is: is it possible to build a pedal that acts as a Freqout but put the circuitry inside a wah enclosure?

i’ve always loved the idea of instant feedback like in either a Freqout or Sustainiac (yes, i’m aware that’s a magnetic driver, but the function of it) and i figured it’d be cool to have that feature in an easily understood and simple enclosure like a Cry Baby shell!

my idea/plan is:
• a “manually” operable sustainiac/freqout effect using a wah’s treadle mechanic to adjust the level
• spring loaded, no footswitch to turn pedal on/off (think morley wahs)
• simple circuit and PCB build (this is my first build!)
• analog (no programming thresholds or anything)
• heel down: bypass
• toe down: heavy effect, but not overbearing

• (optional) maybe a function to boost signal slightly at a certain threshold? can be turned on/off via mini toggle switch on side of enclosure

i have no experience building pedals which is why i’d want this to be an analog circuit with a fairly easy and simple PCB layout, no programming a threshold for the feedback or anything like that, just purely a pedal that acts has the same function as a manual Freqout. i have an 80s Cry Baby that’s stopped working and light tinkering won’t fix it, so i’m using that as my donor/prototype design.

if anyone has experience with this type of pedal/build, can tell me why it will/won’t work, is able to help in any capacity, point me to someone who knows what they’re talking about, let me know!

I just got a Dr. Z M12 and I use a Nash S63 with it. The clean tone is amazing, and as a pedal platform amp, it has extremely clean headroom for a 12 watt amp, almost all the way up the dial. My current drive section is an SD-1 into a BD-2W. That has been great, but I think I want to try something a little different for an always on pedal, which I’ve used the BD-2W for. The custom mode of the BD-2W is nice if I’m running it with higher gain, but I normally keep it in stock mode.

I am looking for a transparent always on overdrive that I would boost with the SD-1. I want to retain clarity. I am considering these:

1. Greer Lightspeed. I see everyone rave about these. They are expensive but if they are truly worth it, then I’ll try it.
2. MXR Timmy. I see mixed reviews of these but have never used one so not really sure.
3. Boss OD-3. I hear that this beats a lot of more expensive pedals and that it is overlooked. But I’ve also read it is picky with what you stack it with?
4. JHS Morning Glory. Now this pedal I have owned, and just didn’t get along with super well, but I was also playing into a Princeton so it could sound fairly different through this amp. I remember thinking it sounded kind of congested but I did like certain qualities of the pedal.

And it might sound crazy but I am convinced that the BD-2W stock mode sounds different than a non-Waza Blues Driver. I always like the sounds from a normal Blues Driver more but think no, mine is Waza, it must be better.

This gig board has been through quite a few adjustments since I last checked in, so here’s the rundown…

Signal chain: Korg Pitch Black Mini Tuner > Crybaby Wah > EHX Q-Tron+ > (fx loop send) MXR Poly Blue Octave (fx loop return) > Mosky King Rat > MXR Sugar Drive > Boss GE-7 > MXR Phase 95 > Boss CH-1 > Boss FV-50 > JHS Flight Delay > Walrus Audio Fundamental Reverb > EHX Pulsar

This is the first time I’ve ever used the fx loop on the Q-Tron+ and it has unlocked some absolute fire for me. I always struggled with how the octave pedal was impacting the dynamics of the envelope filter and struggled to dial it in, and now the Q Tron stays responsive while still giving me they sweet bass synth-esque funk.

I still need to spend more time with the Mosky King Rat + Sugar Drive combo to dial in my distortion lead tones. I also need to find out how to craft deep rhythm chug tones with it. I feel like I need a noise gate after the Sugar Drive but am currently out of space. Open to recommendations.

The Phase 95 is the least used pedal on the board right now, may eventually swap it out for a flange or similar modulation pedal. May also just remove it entirely as my power supply (VooDoo Labs Pedal Power 3) is currently too crowded to hold the two ports required to run 24v power to the Q-Tron, so I need a separate power supply cord for that pedal at the moment.

CH-1 is old reliable. Best Chorus pedal I’ve ever owned.

I have wanted a volume pedal for a long time for ghostly swells during ambient jams, and the FV-50 is simple, durable, and low impedance/passive so no power requirements necessary.

JHS Flight Delay and Walrus Audio Fundamental are the newest pedals on the board. I was previously using an EQD Avalanche Run v2 to meet my delay and reverb needs. I love that pedal, and still own it and probably will forever, but it is more ambient than I need for my current jam band, and only has the massive cavernous plate reverb and digital delay effects.

The JHS Flight Delay is an early favorite. I bought Josh’s “everything you need in a delay pedal and nothing you don’t” pitch hook line and sinker and have had fun diving into the effects I can get out of this thing so far. The Fundamental Series from Walrus Audio is phenomenal for the price point and meets my more subtle ambient needs currently. I could see upgrading to a Hall Of Fame 2 or something similar eventually, but I mostly like my reverb for either massive ambient Hall/Plate moments or always on, low in the mix Spring sounds, and this pedal does both beautifully for a very affordable price.

The Pulsar is a beautiful simple tremolo pedal that has a wide range of uses in a compact package.

This board has been a labor of love for many years and it’s feeling in a very good spot right now! Open to suggestions for upgrades or replacements for the Phase 95. In the meantime, the pedal board is “complete” and for the first time I have enough pedals off the board for a whole second viable board if I wanted to. The never ending journey continues!