Effects Bay

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Popularity: 8%

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A while back Will Cady of Source Audio sent me a Soundblox Tri-Mod Flanger to check out and demo for EffectsBay.com. Source Audio is really starting to get their name out in the guitar/bass effects world. Their Soundblox and Soundblox pro pedals are starting to find themselves on various boards and backline rigs. Artists such as Billy Sheehan, Adrian Belew, Billy Corgan, Bela Fleck just to name a few. Please check out their artist page for more info! Some serious talent there.

Okay, let’s talk about the Soundblox Tri-Mod Flanger. The Tri-Mod Flanger came from the original Hot Hand Phaser/Flanger system in a smaller system. The tri-mod flanger has 11 preset ‘effects’. The presets include:

1. Classic flanger with resonance
2. Delayed subtracted from input, producing a hollow sound
3. Multiple individually varying delay lines summed
4. High resonance, peaks only, no notches
5. Multiple delays, no resonance
6. Multiple delays, with resonance
7. Classic flanger with resonance, but with extra delay network inserted into feedback path
8. A lot of individual delays with resonance and extra delay network in feedback
9. A lot of individual delays with resonance and extra delay network in feedback
10. Classic flanger, hollow sound
11. Delayed signal only, no flanging effect. Meant for pitch modulation, such as vibrato.
- There is also a calibration setting.

My first reaction with this pedal and these pre-sets, you can achieve just about ANY flanger effect you’re looking for. The options were plentiful, and these starting points for initial effect covers just about everything a flanger is known to do. Subtle flange to crazy jet flange with huge sweeps is possible with this pedal!

There are three controls available. These control delay, depth and speed to the preset effect selected.

Delay - Adjusts the amount of time delay used to create the flange
Depth - This is actually a multi-purpose control. Primary function is to control the depth of the flange effect and controls the type of modulation used. Options include Envelope or LFO.
Speed - In envelope mode (see Depth control) it will control the attak of the envelope. In LFO it will control the oscillation.

Optionally this pedal can be used with a HotHand attachment. The HotHand is a like a tethered ring with a accelerometer in the ring. By triggering the accelerometer you will be able alter the effect from your playing hand. The Depth and Speed knobs have ‘HH’ values there. You can control the depth response via the HH and Flail/Pick controls which are part of Speed. The HotHand is sold separately.

For this demo, I again enlisted the help of Jimmy Rolle. Immediately we were both impressed with the insane amount of flange tone/control/effects that are available, and to present them all within a demo video or two is impossible. It would be easy to devote a 5 minute video of each preset effect! For this demo, we broke it down to two videos. One for ‘clean’ and one for ‘gain’ amp settings. All played with a Les Paul Elegant Custom Shop guitar into a Rivera Knucklehead 100w head through a Marshall 4×12 cabinet. Cabinet was mic’d with Shure SM57 and Fathead Ribbon Mic. Nothing else in the signal path between the guitar and the amp.

Below Jimmy is playing on Channel 2 of the Rivera Knucklehead (clean channel)

You can listen to the high quality MP3 clip via SoundCloud

Next up is the Tri-Mod Flanger on the gain side of the amp.

You can listen to the high quality MP3 clip via SoundCloud

As you can see there is a big variety of flanger/vibrato sounds that can be acquired with this pedal, and we just scratched the surface. If you’re looking for a flanger with variety and quality, then you may need to look closely at the Source Audio Soundblox Tri-Mod Flanger.

The Tri-Mod Flanger is currently available for $99 at Amazon.com, or you can find a dealer from Source Audio’s website!

If you want to learn more about what Source Audio offers, please visit them on the web, like them on Facebook and follow them on Twitter!

Popularity: 5%

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Today, I saw that Electro-Harmonix posted a video review by jazzlavchannel of the Electro-Harmonix Bassballs. I thought it would be cool to spread the word out as well. Nice video showing what this pedal can do from a music demo point of view. I also liked that there are four bass tracks demonstrating various aspects of bass playing with the Bassballs (lead, rhythm, etc).

First, here is the official description of the Electro-Harmonix BassBalls:

The Electro Harmonix Nano Bassballs Twin Envelope Filter effects pedal has everything you loved about the original Bassballs in a pocket size. The human vocal-like sound of its two sweeping filters gives bass a strong presence under leads, or a commanding quality when out front. The resonant frequencies are engineered solidly into the full range of the bass guitar’s strongest harmonics. Bassballs will respond to every bass note. The sweep is widely variable, and harmonic enrichment is available with the distortion switch.

The Nano Bassballs comes in a small, die-cast case with rounded corners, saving valuable pedalboard space. The footswitch selects your original signal or the filtered signal as the Bassballs output. The range of the filters‚ upward sweep in pitch is set by the interaction of instrument volume and the sensitivity control. Both stronger attacks and higher (clockwise) control settings increase the sweep range. Low volume and low sensitivity settings will create little or no sweep, and Bassballs will only provide a small boost in its lowest frequencies. In its upward position, the fuzz switch introduces additional harmonic enrichment that accentuates the filters‚ action. The sensitivity pot also serves as a volume control for the fuzz, also increasing in the clockwise direction.

Here is the video by jazzlavchannel

Right now, the Electro-Harmonix Bassballs is available for only $82.50 at Amazon.com. This is eligible for FREE super saver shipping as well!

Popularity: 4%

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I was working on a fun project for a friend of mine. My friend had a Joe Strummer Fender Artist Series Telecaster, but he was unhappy with the pickups. We talked about pickups over a year ago, so I contacted Brian at Porter Pickups and he hooked me up with a Standard Telecaster set. My friend and myself were excited to get them in.

A few nights later he swung by my house to get them installed. I’ve installed humbuckers in various guitars, and swapped out pickups on my Stratocaster, but this would be my first Tele job. I was psyched to work on something different, so this was a great opportunity. When learning something new, I find doing a search first on YouTube to be very handy. I found this great video to keep me out of trouble when taking apart the Tele by SeymourDuncanChannel:

What I liked about the video, was the experience this guy showed. When you do things more often, you usually tend to learn to do it faster and better and avoid common mistakes that would make you back track or slow down. His first point was using a set of digital calipers. I love my calipers, and if you don’t own one, you should really think about it. Totally removes the guess work.. in just about everything. I love my calipers! To remove the bridge plate, you need to push the saddles forward so the screws can be removed. By measuring and writing down the values of the saddles, it’ll get you back in the game as far as intonation goes when you put bridge back. Again, smarter vs. harder. I love it. He also talks about using something to cover your work area on the guitar so you don’t mare the guitar when unscrewing/screwing screws. Definitely important to not cause damage when you’re trying to actually fix something.

The telecaster swap out was easy, but it is definitely more involved than a Stratocaster. There are more pieces to remove and is more difficult getting the wires routed, but overall, it was easy. The first step for me was to replace the neck pickup. I took note of what lug the signal lead was connected to the switch and where the ground needed to be connected. After completing that, I went to the bridge. The original bridge had a two connections for ground. One to the bridge plate and that hopped to the main ground connection, so I connected the ground of the pickup to the bridge plate connection.

Once everything was soldered, I tested. I think it’s pretty critical to test before everything is locked down! Pretty obvious right?  After getting the pickguard re-secured. I tested again. After adjusting pickup heights and securing the bridge plate, I tested again. I wanted to make sure that I did not break a connection during the reassembly, and if I did, I would probably have an idea as to what caused it.

Below is a photo of the Telecaster with the pickguard, bridge plate and pickups removed.

Here is a photo of the completed pickup swap out with new Porter Pickups

So we plugged this guy into my amp, and pickups sound AWESOME. If you’re looking for swapping out your pickups, I would highly recommend contacting Porter Pickups. Hot damn.

Popularity: 5%

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Hello All. Just notified of a coupon code for GuitarCenter.com. You can save 15% off a single item of $299 or more at Guitar Center. Simply use the coupon code 4THSAVE at checkout. This sale goes from 6/27 to 7/4. Click here for more details or click the banner below.

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Today, I’m going to feature another great video by David Fisher and Taylor Barefoot. If you’re not subscribed to their channel (Tibbon), you really should, they have great demo videos. You can easily subscribe by clicking here.

Looks like they received a box full of Dunlop pedals (MXR, WayHuge, etc) and are demoing these pedals by genres of music. I thought this was a cool way of going about it, showing pedals in combination. They broke down the genres in the following groups: Rock, Classic Rock, Country, Heavy and Bass. They also break down some of the similar pedals (ie: Script Phase 45, Script Phase 90 and Phase 90, etc). Very nice to see.

Here is the following video by Tibbon. It’s a long one, so get yourself cup of coffee out.. or beer (depending on your timezone or situation) and relax:

Rock Set Up:
MXR Classic 108 Fuzz
Way Huge Green Rhino
MXR Script Phase 45
MXR Micro Flanger
MXR Carbon Copy

Classic Rock Set Up:
MXR Script Dyna Comp
Octavia JH-OC1
Way Huge Pork Loin
MXR Script Phase 90

 
Country Set Up:
MXR Dyna Comp
MXR Custom Audio Electronics (CAE) Boost/Overdrive MC-402
MXR Tremolo
MXR Micro Chorus
MXR Carbon Copy

Heavy Set Up:
MXR Fullbore Metal
MXR Flanger
MXR Carbon Copy

Bass Set Up:
MXR Bass Envelope Filter
MXR Classic 108 Fuzz
MXR Bass Octave Deluxe

Popularity: 6%

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Today’s pedal line is from Gary Vogel. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

I hate tapdancing, and rarely adjust my settings onstage unless necessary.  Also, I am tall and clumsy, so bending down to twiddle knobs on a big pedalboard is a big drag for me.

I also love the width and spread of a big stereo sound, especially in my power trio where I am the only guitar or melody instrument and need to fill a big space.  Yes, I know soundmen disdain stereo guitar for lots of good reasons, mainly due to the zoned-mono nature of PA’s– but if I am jazzed about my tone, I play better.

I get most of my dirt from my amp, which used to be a Fryette/VHT Pittbull 50ST.  That killer amp has a great FX loop with a level control, and the distortion was ideal for me.  But when I tried the new Fender-made EVH III, I liked that dirt even more, and the clean tones much better.  The clean tone power of the EVH allows my pedals to really shine through.
My philosophy is to place my FX in the best place for their nature.  To that end, I use some pedals before the amp, some in the FX loop, and some stereo ones on the preamp output into a variety of stereo amps, depending on the type of gig.  Here is my main rig for most gigs:
ON THE FLOOR BOARD:

EMMA Discumboblulator Envelope Wah –> Exotic EP Booster –> Peterson Strobostomp 2
Also on the floor is a momentary switch connected to my Timefactor Delay for stomp tempo adjustments.  The Emma is true hardwire bypass, so it is fine at the beginning of the chain, where it sounds the best when it is on.

This pedalboard feeds the “Guitar In” jack of a G-String Decimator noise gate, which senses the mostly-unprocessed guitar tone to control the noise later in the line.  The “Guitar Out” jack of the Decimator feeds the input of my RJM RG-16 midi switcher, controlled by an RJM MasterMind on the floor.  I don’t use the buffer on the RG-16, as there is one already on the Decimator.  The RG-16 switches several FX in and out, and also switches the channels on the EVHII amp.  Here are the FX in order:
IN MY RACK:

1) Whirlwind Rochester model DynaComp reissue –set to heavy compression and unity gain
2) MXR 6-Band EQ, used for extreme mid boost
3) Lovepedal 11- used to impart a mild, warm dirt on the EVH clean channel, a dirt that is not available with the EVH channels set the way I like:  Ultra clean on CH 1, main heavy dirt on CH 2, and extreme gain on CH 3.  In this case, I set it to achieve a Stones/Ya-Ya’s Out tone.  This pedal is perfect for this, and I set it so that it works with the eq on CH1 of the EVH set for sparkling tight clean.  I can also goose this with the compressor or the 6-band, giving a couple more options.  The compressor into Eleven combo is great for fusion-type leads– mellow, and warm, but tons of sustain and dirt.
4) MXR 10-Band EQ, set to a typical “smile” curve for carving up the compression if I need it sharp instead of warm.
5) Loud Button WTF pedal, set for radical exploding bomb, or ray-gun effect.  This baby always turns heads when I switch it on!!  Demo here: http://www.loudbutton.com/wtf_index.html
6) Soundblox Multiwave Distortion– I usually use this on setting #13, with minimal dirt and sustain, and max output.  This  creates an awesome Green Ringer type fuzz, really cutting, but very very musically useful.  It also sounds great into the clean amp channel on setting #4 with max dirt, low sustain and unity output.  This setting almost sounds like a digital keyboard sample of a metal guitar tone, and it is wicked for playing maj7ths, maj9ths, and other complex chords–really different!  I always run this pedal into the clean channel, as I have never found a good tone by sending this into a dirty amp.

(Note: in the photo, you cannot see the Soundblox and the Decimator, as they are in the back of the rack)

These then feed into the input of the EVH III amp.  The series loop of the amp runs first into the DC in jack on the G-string Decimator.  This really removes a ton of noise and hiss!  I can even use a stock Fender guitar!  The signal then goes into my Eventide Timefactor delay, MIDI-switched by the RGM Mastermind.  Putting the gate before the Eventide ensures that it does not mess with the tails of the delays, etc.

The speaker out of the EVH feeds a “Center” speaker cab, either a VHT Fattbottom 2X12, or a Marshall 1960 4X12 w/ 70 watt Celestions.  This is mic’d by the soundman for my main tone through the PA.  Soundmen usually find this easy to mic and use in their mix, but I take great pains to even out the volume levels on all the tones, which is quite difficult to achieve, esp when using the WTF pedal.

The preamp out of the amp comes back into rack, where it feeds the Eventide Pitchfactor in mono-in, stereo-out mode.  This pedal is so awesome, I cannot live without it now.  By far the BEST chorus tones, diatonic harmonies, weird noise patches, synth tones, all in stereo so they are HUGE.  The micropitch settings allow the famous “Zakk Wylde” stereo spread he used on the studio Ozzy albums:  one side +9 cents, 23ms delay and the other side -9 cents, 11 ms delay.

The stereo output feeds a TC Electronic Hall of Fame Reverb with stereo in/out, which recently replaced a Hardwire RV-7 reverb.  The reverb is switched in and out by the RG-16 via channels 7 & 8, which are both independent isolated loops.  I still dig the RV-7 for some of the hall and plate tones, but overall the Hall of Fame is just a bit more useful, and more musical for distortion tones for some reason.  The sound of the stereo modulated reverb is superb, even on dirty sounds, and the downloadable “Toneprint” tone called “Room With a View” is a variation of this that really works wonders for chimy, dreamy tones.  I place this on top of the rack along with the Soundblox and the WTF pedals, so I can switch between presets for different songs.

Note that both the Timefactor and Pitchfactor have hardwire bypass switching, using the midi input on the pedal.  This feature is so great!  It frees up the switching loops for other pedals.

The stereo out from the RG-16 channels 7 & 8 finally feeds a power amp.  Usually this is a Mesa Boogie 2 X 20 Dynawatt EL-84-based Stereo power amp.  I have modified the Mesa amp with the “Deep Mod” which you can google online– long story short, it reduces the typical midboost character of the amp, allowing more low end.  Easy to do, if you can follow directions and have good solder skills, or get a qualified tech to do it.

Sometimes at larger gigs, I use my VHT 2X50 power amp, with EL-34′s.  The Mesa is lighter, and usually powerful enough. I also have a Rocktron Velocity 300 amp as backup.

The amp drives a pair of Avatar 1X12 cabs w/ 80-watt Celestions for maximum bass and low speaker breakup.  These are placed on the sides of the mono amp cab, to increase stereo spread. Sometimes I augment the stereo feel by using a stereo Marshall 4X12 cab on top of my mono/center VHT cab.  Since the Avatar cabs are 8 ohm, and each side of the stereo Marshall is 8 ohm, this makes each side 4 ohms.

A wussy band was scared by this rig, which they referred to as “The Doomsday Device.”   It is a bit of a drag to transport, but for all the hassle one endures playing original music, who cares about that?  It is very reliable, and quick and easy to set up, which most find surprising.  Also easy to use onstage– I don’t spend much time tweaking tones at all, other than adjusting for room acoustics, which is done on the amp channels.

Popularity: 7%

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A couple of days ago I posted the following Community Question on Facebook and Twitter – “What pedal do you have on your board that you’re wanting to replace? What would you like to replace it with and why?” I wanted to ask this question, because a pedal line seems to always be in motion.  Sometimes slowly in motion, sometimes the pedals come on and off on a weekly basis. In my personal experience pedals come and go based on the need at that particular time. The need is usually associated with tone or actual effect for the song/band. This is then followed up, in my case, with finding something that performs or sounds better than what I have initially until I’m satisfied. That satisfaction point can last for years or until next band practice! I was curious what pedals people had out there that were on the “bubble” so to speak, and what they were hoping to get one day. These community questions are great to get some new ideas or to put some pieces on the radar for down the road. Thanks everyone for your responses!

On Facebook

Tom Striker My Line 6 DL4, because it is a monster and engulfs my entire board. I want something smaller and less complex for delay. Delay pedals are mad expensive though :/
Dan Cross I have a cheapo Beta Aivin Digi Delay that I want to replace with a BOSS RE20. For obvious reasons.
Michael Chaucer Stettes Was using my Barber Dirty Bomb to add sme distortion to my bass, but now I think I’d rather have a Tech 21 Red Ripper. I think it’s more attuned to what I’m looking for bass-wsie.
Sam Binder have a DOD DFX9 for some delay on my synth that I want to replace with an El Capistan for greater BoC sounds
Bernie Mulleda My line 6 MM4 is pretty worn out after 12 years of hard use, I wouldn’t mind getting another one, it covers a lot of territory!
Kneale Brown EHX holy grail > Strymon blue sky
Abi Robins I converted an old volume pedal into an expression pedal for a project I was working on. It was a crappy volume pedal to begin with, so the conversion didn’t do much to help it. I’d love to get a new, more reliable expression pedal.
Jeffrey Howard On your tip to the sale on Amazon I replaced my Fender tuner with the TC Electronics. Thanks for the tip!
Matt McQueen eventide timefactor with Strymon Timeline
Andrew J. Masterson Boss RV-5 with an Electro-Harmonix Holiest Grail. The RV-5 is decent, but the amount of features and tone of the Holiest Grail is amazing. I just wish they still made it.
Will Peck My BBE Free Fuzz, but with what I’m not yet sure. The BBE pedal is perfectly fine-sounding, but I think a different style (heavier?) fuzz might be more suited to my tonal tastes.
Michael Chaucer Stettes @Will Peck. Wampler Leviathan. I have one. It’s awesome. Get it.
Matt Miller I don’t put things on my board that I want to replace.
Robert Berges FuzzHuggerFX Absynth 4-knob > would like the newer 5 knob, I hesitated on buying it for two months because I thought it need the 5th. One year later… blammo. I would also trade for the FH Algal Bloom and possibly Electro Harmonix Bass Synth. (Not that I’m in any hurry to do so!)
Ivan Lopez Garrido I got a LPB-1 and i just want another better sounding boost.
Eric Oskanian Due to the financial mortgage crisis and having a vacant house on the market for 4.5 yrs, I had to sell off everything.I would love to have a board again and would very much like a Fulltone Trower wah pedal.
Peter Brennan Danelectro Fabtone. Great pedal, but not really usable in my current band. I really need a good reverb to replace it, cos I got fuzz up the wazoo (pardon?) elsewhere on my board.
Antonio Cristiano my boss hf-2 and mxr micro chorus are about to leave my pedalboard for a hbe frost bite flanger – just waiting some money to do it! my big muff has already left my board, in the next future I’ll purchase a new fuzz – most probably a fuzzhugg…er ab-synth. maybe I would replace my vox v845 wah too, with a real mccoy or something like that – that vox is great for the price but a bit noisy. in the end, I’d like to replace the GAS from my guitarist soul! xD
Tim Warner My DoD chorus that I am forced to use since my MXR one died! It is an overwarbly P.O.S. that has no good qualities whatsoever but when your in a working cover band and the song calls for a chorus you don’t have much of a choice! I tried to sell it once on ebay and couldn’t even get a lousy $10.00 for it(that’s a pack of cigarettes here in New York)!
Andrew J. Masterson I also want to replace my Boss PH-2 and CH-1 with a Red Witch Deluxe Moon phaser, and a Red Witch Empress chorus.
Jack Broughan A vox A/B switch that half works. I think I’m too emotionally attached to take it off my board.

On Twitter

Milerky2 @effectsbay boss CE-5 with a TC Electronics nova modulator.
TheeHolliday @effectsbay boss cs-3 for a keeley or strymon.
calebdenman @effectsbay i have a Ibanez TS9 i want to replace with a Timmy or similar OD because i moved to a tube amp, dont need a tube screamer
Gilligan204 @effectsbay Not a pedal, but I need a stompbox tuner eventually.
thelorddread @effectsbay a danelectro flanger id like to replace with an electric mistress. someone just threw it in on a trade and i can see why.
tiogitar @effectsbay digitech digidelay, the reason I want it replace coz its seams that I need to change delay type (cont) http://tl.gd/b8pe4l
MRMONITO @effectsbay Cry baby from hell,want to replace it with a Vox V847.I think the CBFM doesn´t worth the money,don´t like it at all.

If you didn’t have a chance to answer this community question on Facebook or Twitter, please join the conversation by commenting below!

Popularity: 11%

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The following is a guest post by Omar Findlay. If you are interested in guest posting, please contact me!

In this review I’m going to be talking about the SoundBlox Bass Envelope Filter, a new toy from the folks at Source Audio. It’s a funky little effect for your bass if you’re looking for something to spice up your pedal board a bit. This will definitely do the trick, and despite the minimalist interface, it has a lot under the hood.

Overview
The BEF has 21 preset envelope effects, which is an offering that other filters lack. The interface contains a minimal number of knobs (4) and each are clearly marked for their functions. The pedal itself takes up a little more space on a board than one might prefer, but it’s a minor thing since there are much larger pedals on the market. The power jack and input/output jacks are easily accessible and don’t get in the way. Time to plug it in and see what it can do!

The effects
The first thing that you’ll notice about the BEF is that it has 21 presets, each of which have a core setting, and are further adjustable with the other three knobs. The effects are categorized by filter setting (peak and notch, single/triple peak, 2/4-pole low pass, phasers) and all have their own unique sounds; he manual explains each effect in detail, which is very handy. The other three knobs allow you to get the exact sound you’re looking for once you’ve found your desired effect; ‘tone’ selects the centre frequency, ‘speed’ sets the filter’s attack and decay, and ‘sweep range’ determines the direction (negative/positive) and width (narrow/wide) of the frequency sweep. Any combination of those three knobs gives you access to thousands of sounds, which you’ll be discovering daily.

Extras
Source Audio has made this (and its other pedals) Hot Hand ready, which means that you’re able to plug in an accessory (sold separately) to the unit and manually control the filter sweep with your hand, finger – whatever you attach the ring to – thus making it similar in operation to a standard bass wah pedal. The Hot Hand is very useful because it gives you additional control without you having to adjust the pedal during a performance. Plus, the ring looks cool. What more could you ask for?

Pros and cons
pros: 21 presets, plus the ability to adjust them and get tons of different sounds out of them. This unit is also very easy to use and quick to learn.
Cons: no wet/dry knob (very minor issue).

Conclusion
If you’re looking for a good envelope filter that can do what the others can and more, don’t overlook this pedal. It’s versatile, it looks cool, it’s got 21 presets, a ‘handy’ accessory, and best of all… it costs less than the others but does just as well. Sure, there’s no save function for all the settings you’re going to find, but that’s a small price to pay for something that is very well-designed and very capable.

Thanks for reading

For more information about Omar Findlay, please check out his blog at backtobassics.wordpress.com. Omar is also in the band Edo & the Best (Visit them on MySpace and Facebook)

Popularity: 5%

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Today’s Free Shirt Wednesday is Killer Guitar Components! Killer Guitar Components is a business that manufacturers one-of-a-kind components for electric guitars. Components would include tremolo blocks, bridges, saddles, and so much more.

A while back I needed some specific saddles built for a guitar project I was working on, which I wish I knew about these guys back then, it would have been a perfect solution. Killer Guitar Components is a father and son operation where they machine pieces to order. They are located on Gloucester/Magnolia, MA. Their components are machined from brass which look and sounds great!

I found this video by tat2sbylolo where he talks about his KGC brass block in his strat. He is definitely liking his upgrade!

Please check out Killer Guitar Components at their website, like them on Facebook and follow them on Twitter. If you’ve purchased a component from them in the past, please let me know what you think by commenting below!

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