Today’s pedal line is from Mike Gavrailoff. 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 email@example.com. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
While searching for venues/bands for my own upcoming mini-tour of the Northwest, I stumbled across This Patch of Sky out of Eugene, OR. After a couple of listens… I really really dug ‘em. This Patch of Sky is a instrumental / post-rock band. Similar to Explosions in the Sky, who I’m also a huge fan of. After talking with them about possibly doing a show together and venues around Eugene, I asked if they would be up for a quick gear related interview. Often bands with instrumental / post-rock vibe have interesting selection of pedals.. and they do!
Here is a video with a live performance and interview. To learn more about This Patch of Sky, check ‘em out on their site, Facebook and on Twitter!
My primary goal is to be able to achieve multiple sounds as needed depending upon the song while still maintaining a great sounding tone.
- How are you using the Disaster Area DMC-3XL Gen2 MIDI Controller?
The DMC-3XL allows me to control the banks on the Bigsky and the Timeline, and allows me to use the loop feature on the Timeline while still being able to use the other effects. I’ve also been experimenting connecting the DMC to Abelton Live to send midi clock to the Timeline/Bigsky as well as send program change messages for different song presets without needing to touch either pedal. It’s seriously a very powerful tool to have on my board.
- Tell me about the Neunaber Slate Stereo Effect Pedal
I picked up the Slate to have as a second reverb option on my board. What I like about the slate is that it’s reprogrammable. You can flash the pedal to use any 5 reverb options via Neunaber’s pedal customizer software you install on your Mac or PC. The software also includes a virtual trim pot that let’s you mess around with the tone of the reverb which is pretty neat. The other reason I chose the Slate is because you can write/draw on the surface with a permanent ink marker. As you can see, this is my kid’s favorite pedal.
- I thought your choices for overdrive and fuzz were pretty interesting. What eventually led you to the Triton and Fox Pedal?
I hate fuzz. Fuzz was one of those things that always made me cringe whenever I heard one, mainly because of how muddy they get. I was looking for a pedal that could turn a fender amp into a heavy sounding amp when I needed it to. I went through quite a bit of pedals and never achieved the sound I was looking for. One of my friends let me borrow his Triton Fuzz, and after playing a few chords I was instantly hooked. I love how deep and gnarly sounding it can get. A good example of this pedal is on ‘In The House Of Wolves’ at the 6:21 mark.
The Kingdom Transparent Overdrive by Fox Pedals I recently picked up. I was playing through a surf green Timmy which I liked a lot. I wasn’t looking for a new overdrive whatsoever, but I happened to stumble across this specific pedal and loved the tone they were achieving. After picking one up I was pleasantly surprised at how versatile it was. It has characteristics of a Klon Centaur but allows for a LOT more head room. I especially love the OD and Clip switches.
- You currently have 3 delays (MXR, Diamond and Strymon) – What roles do each play in your sound?
Being in a post-rock band, I obviously have a hard on for delay and reverb. The Carbon Copy is almost always on. I use it not so much as a delay, much more of a sweeping, lush, background effect. The Diamond Memory Lane Jr. I always kick on for leads. It can add a lot nice trailing delays which I love. Mix this and the Carbon Copy together with a little bit of reverb and you’re good to go. So why do I have a Timeline? I don’t really use the Timeline as a delay pedal. With the capacity to store 200 presents, I use it more as a “random effects” pedal. I can go from awesome ambient pads to lo-fi vinyl sounds. It’s basically a synth for a guitar.
- Do you feel that this board is where you want it? Or are you still trying to achieve your sonic goal?
It’s pretty dang close. Obviously as technology continues to move forward my board changes. Right now I am definitely content with my setup.
- What would you say is the most used pedal on the board.. and why?
Oh man – that’s a hard one! It’s a toss up between the Bigsky and the Carbon Copy. On almost every song we’ve ever created, the Carbon Copy most likely has a presence in the recording. The Bigsky is newer to my board, and I just can’t turn it off. It’s such an awesome sounding pedal.
My primary goal with my board is tone. I was taught early on how important tone is and over the years have trained my ears to find the specific tone that I love.
- I was unable to identify a couple of pedals. What is the orange pedal and the white pedal?
The orange pedal is home made boost pedal. Nothing too special about it. The washed out “white pedal” is actually a surf green Timmy OD. It’s newer to my board.
- I noticed you’re using the black russian Big Muff. Why is that the Big Muff of choice?
I love the Black Russian Big muff. It has that warm dark fuzz that I like. I don’t like pedals that are thin and whiny, the black Russian gives me more of a deep sounding bass fuzz which I love.
- How many modeled pedals/presets do you use on the M9?
I actually only use about 3 or maybe 4 presets on the M9. My favorite 2 are the particle verb (pretty much never catch me without it), and the Octoverb when I want a bit of shimmer (you can hear it a lot on Heroes And Ghosts). I use the particle verb set to Hazard on ‘In The House of Wolves’ to get that dark drone where you can’t hear the attack of the guitar. It’s such a great setting for stuff like that.
– What took you to the direction on M9 vs. getting individual pedals?
I chose the M9 over actual pedals because I am always experimenting and there are so many options with the m9. And to be honest, even for it being modeled they all sound really good. Line 6 has made some big strides in modeling. Almost every time we play a show someone asks me about a certain effect I am getting and its usually M9.
- The DE7 is an interesting delay/echo. What do you like about in particular?
The DE7 has been with me since the beginning, it all started with me being a fanboy of Explosions in the sky. I read somewhere that that’s what Munaf Rayani was using so I just had to get one! Ha! I usually just use it as a secondary delay nowadays.
- What’s the next pedal that you’re interested in?
Our other guitarist Kit has a ton of Strymon gear and I gotta say I am pretty envious, but I don’t want our stuff to sound to similar, I like the way Kit and I play off of each other. I do have my eye on an old Evantide Space. The broken glitch setting seems pretty brutal.
- What would you say is the most used pedal on the board.. and why?
Definitely the M9 hands down. It’s used on every single song we do.
I wanted to be able to get a variety of timbres other than just the standard bass sound. This board allows for bass swells, huge fuzz bass, and some approaching more of a affected guitar sound which allows me to fill other roles and be more versatile in songwriting.
- I believe the Blue Boss is a BD-2 Blues Driver (Keeley mod’d). How did you end up with this on the board?
The BD-2 was originally Kit’s and he gave it to me when he picked up some other pedals.
- I see that you and Joshua both prefer the Electro-Harmonix Russian Big Muff. What about it do you like? Have you tried the Bass Big Muff?
The Big muff allows me to get that huge doom bass sound that is on And Death Shall Have No Dominion and In the House of Wolves. It’s my go to pedal on any darker song we write. I’ve actually been wanting to try out the bass version of it as I’ve heard it works better with the bass frequencies but i have this one pretty dialed in so we will see if I ever get around to it.
- Having two *dirt* pedals on your board (BD-2 and Big Muff) do you use these in combination or do they offer two differing textures of dirt (Medium grit vs Full fury)?
Most of the time I use the two fuzz pedals for different purposes. I usually use the Big Muff when I am fulfilling the typically bass role and I want it to sound burly. I use the BD-2 most often with the carbon copy and holy grail. I can tremolo and come out with a full texture approaching a guitar or heavily affected cello. The BD-2 seems to work better with the higher frequencies for that type of stuff.
- How do you use the MXR Carbon Copy with your bass? By the look of the settings it looks like pretty extreme setting.
I use the carbon copy for bass swells mostly. It works well in the laid back parts of songs and gives bass support without more rhythmic playing breaking up the flow. I also use it for tremolo work as previously stated.
- Likewise, how do you use the Holy Grail? Drone? Or specific parts of the songs?
I’ve only ever used the holy grail on a high setting with the carbon copy for tremolo work. I’m starting to play around with it more to see if I can incorporate it in other ways
- Are you interested in any any other pedals for the board? If so.. what?
I am looking to pick up a tap delay of some kind. I also really want a compressor pedal to have more control over my tone.
- What would you say is the most used pedal on the board.. and why?
This changes from album to album. Overall, it’s probably the big muff though. It’s just so fun to stomp and that thing when the song climaxes and scream away. I have also been trying to use less effects on this new album so when I do use them, they are more meaningful.
Today’s pedal line is from Ethan Sims. 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 firstname.lastname@example.org. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
Hi, my name is Ethan Sims. Currently between bands. Here’s my signal path
Today’s pedal line is from Jesse Davidson. 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 email@example.com. Every Friday I’ll showcase a pedal line submission. Make sure you include iany links to your band or music page.
Hey pedal line! My name is Jesse Davidson and I live in Dothan Alabama. I’ve never submitted to this before but I would love to share my rig with you! I do not have any links to music just yet but I will soon. Anyone can follow me on twitter: jesseredeemed and Instagram: JesseJaguarkick
From the bypass strip it goes BBE sonic stomp, VPjr volume, strymon timeline, eventide timefactor with t1m aux switch as my secondary delay. I also use the infinite repeats function with swells to make a really nice pad like underscore when there are no keyboard players. From there it goes into my strymon bigsky and then into a strymon bluesky. This all runs through a badcat Luca. I am powered by a fuel tank jr. And a furman power conditioner that is mounted under my Pedaltrain pro. I use lava instrument cables, George L and planet waves patch cables and Blue Herdim guitar pics. Westone triple driver in ears monitors as well.
Last week I went into detail on Georg “Goggi” Hólm and Jónsi boards of Sigur Ros. Only one more installment to go.. which is Kjartan Dagur! Kjartan has few more pedals on board than the others, but his roll in Sigur Ros is to really add the depth of the sonic landscape of the band. While Jónsi leads the way, Kjartan defines the landscape. To get you up to speed, here is Premier Guitar Rig Run down cued up:
Here is the break down of Kjartan Dagur pedalboard:
Today’s pedal line is from Robert Abernathy. 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 firstname.lastname@example.org. Every Friday I’ll showcase a pedal line submission. Make sure you include iany links to your band or music page.
Hey, my name is Robert Abernathy and I have been following Effects Bay for a long long while. I always enjoy reading how other people have chosen their gear, how they use it and why they chain it together as they do. I’m always searching for creative and unusual ways to create sound. I love reading Effects Bay to see how everyone from different genres sets up their gear. I love playing everything weird and experimental from doom to post rock, surf to noise wave and crusty punk to clean. My attempt at setting up my board is based on wanting a great sounding clean tone that can be quickly obliterated into the best sounding all-out noise you have ever heard.
I’ve been using Hank’s pedal labels for the past year on different gear and they are great for saving settings. My board is always evolving, but here is my current setup:
Stanley FX Bluesman – This overdrive is an original design using FET transistors in a Shunt, Resist, Push, Pull configuration. This pedal is very unique to my ears and I really like it (and no, I don’t think of myself as a blues musician). It can go from a light/medium overdrive to gritty fuzz, without losing clarity or the bottom end. I put this first in my chain so that it will impart its’ sound on other pedals that I stack it with further in the chain. The Bluesman stacks very nice with fuzz and other overdrives, adding nice lows that give an extra growl while boosting the signal as well if you need it to.
Moog MF Boost – This is a great boost that really helps enhance your tone. VCA mode is like a clean boost, while OTA Clipped mode is more of a dirty boost. Either mode will make your guitar sound better as it adds beautiful natural compression. I keep this on all of the time. You can even add an expression pedal which increases the signal boost available and can be used to either sweep the gain or act as a volume pedal (!). I think this is a great under-rated pedal and can’t wait to add the expression pedal.
Devi Ever Synth Mangler – 2 of Devi’s Soda Meisers in 1 pedal – but with 2 sets of glitch switches (Chaos and Noise). The Chaos switch seems to de-activate parts of the circuit, while the Noise switch seems to slowly choke out the circuit altogether until it gasps its’ last breath and then passes out in a puddle of its’ own urine. Dense muff tones, gated/ungated, velcro-fuzz, sputter/creamy zazz – the Synth Mangler is super versatile. The trick is adjusting the joystick and trying different switch combinations. And if you love noise, feed this into another fuzz pedal, turn the switches on and off, and you’ll get wild rising sirens. Feed this into long delays, use the switches on and off, and create electronic drum patterns. Convert your body into an A.M. radio antennae by just touching the switches with your fingers while it’s on. I keep finding new ways to use this thing that should not be even possible. Insane, but dependable every time.
Kinnetone Sagmaster – This is a dying battery effect made by Brian Kinnaman. The sounds it gives you when you add it to the pedal’s power supply will vary from pedal to pedal. I keep this hooked up to the Synth Mangler. When you dial it all the way down while the Noise and/or Chaos switches are engaged and toggle the joystick, you can get other-worldly octave ring modulator tones, destructive electrical flash grenade sounds, arpeggiator-like tones, and scrambled sirens chock full of upper octave artifacts. Sometimes, your waveform just wants you to destroy it, so that it can be reborn into something new. You can check out a video I made of the Sagmaster and the Devi Ever Synth Mangler+MXR Carbon Copy here: https://www.youtube.com/watch?v=f_AG7o8P3Lk
Blakemore Effects Bi-Polar Octadrive – This pedal is a Blakemore Effects Mustang Overdrive along with an octave-up fuzz in a single pedal. The overdrive is based on a modded Way Huge Red Llama overdrive circuit (Tube Sound Fuzz) along with 3 separate tone controls added. This goes from a nice boost to a hot tweed tone before crossing over into fuzz territory. The Octave-up side is based on the Foxx Tone Machine’s Octave circuit and it has an amazing wild bloom – as if a ghostly electrical arc was creepy-crawling from your guitar cord to your amp. Both sides of this pedal sound incredible. The octave is very present and easily defined with either bridge or neck pickups and on both low and high notes all over the neck.
Devi Ever Aenima – Nasty high-gain Fuzz, instant thick angry feedback, super loud – Doom on command. This circuit is an evolutionary mutation from Devi’s Torn’s Peaker design and has a super aggressive and biting raw sound to it. This silicon fuzz is bright, in your face, down and dirty and sounds great stacked with overdrive. As nasty as this pedal is, it is easily tamed with a delay and is great for leads.
Übermut – This is the 1 pedal to rule them all. The Übermut pedal was designed so that you can change out the clipping components with a military spec. diode clip holder – so you can change out the diode in seconds without a sodering gun and without technical know-how. This is a great customizable pedal and what it does really depends on what diode you’ve selected. I am in love with their Vintage Germanium diodes, which at high settings is a great, burley, warm fuzz fountain. Mosfets sound awesome too. The left footswitch is a treble booster, which has an internal trim-pot to adjust the gain level. This is a great great sounding overdrive/fuzz pedal.
Celestial Effects Gemini VTR – Independent Vibrato, Tremolo and Reverb 3 in 1 pedal, with the circuit path in that order. The Vibrato sounds just like the sweet vibrato from a Magnatone amplifier with a toggle switch for Square and Triangle waveforms. The Tremolo is classic and easily controllable. Both the Vibrato and Tremolo are optically coupled LFO’s that have Rate, Depth and Duty Cycle controls on the front panel of the pedal. The Duty Cycle allows you to control the on/off ratio of each pulse of the waveform, allowing you to control the ratio of how long the pulse is on during the time base cycle. This means that you have incredible flexibility to manipulate the waveform to your liking. The Reverb section is based on the digital Belton medium spring reverb tank with an analog opamp signal path. I’m thinking of switching the tank out for the long reverb tank, but the medium tank sounds huge as it is. Each section of this pedal has its’ own Gain Adjust and Tone controls via internal trimpots. Everything on this pedal is of the highest professional grade and built like a tank. It sounds lush and can easily go from beautifully authentic retro sounds to nonstandard noise-athon pulse waves of desolation.
EHX Micro POG – Simple to use and tracks great on all notes and all strings with no lag. Great for bass sounds from the guitar and for guitar sounds from the bass. Cut down the dry signal to zero, crank the sub-octave and upper-octave and use this with fuzz and you’ll get a nice bit-crushing Atari effect. I like to add a little bit of the sub-octave to my dry signal when I’m playing clean – just enough to round out the sound and add fullness. A lot of people have this earlier in their signal chain, however, I like it right here after the reverb on the Gemini VTR to create a wash of ethereal octave waves.
MXR Carbon Copy – Great analog delay. This pedal makes everything single thing you play sound nice and worthy of listening to. I adjusted the internal trim pots to slow down the modulation so that it’s more subtle. Also super great for noise and oscillation effects. I love keeping this just on the verge of oscillation. Nice deep and warm repeats. Carbon Copy + any Fuzz = great for slow solos.
BOSS AW-2 Auto Wah – Great analog auto wah/envelope filter that has now been discontinued. Do I play Funk? – well, no…never -but this is great for slow, low-pass resonant filter-sweeping psychedelic drama (Rate 3, Depth 2, Manual 1 and Sens 0). At this setting, it’s slow and low and great for doomy sludgy Fuzz love. A lot of people put their wah very early in their chain, even before their dirt. I’ve always loved wah after dirt and putting this after dirt and modulation effects creates a very unusual sound that is not a typical wah or auto-wah sound. This unit can also act as an envelope filter (Rate 0, Depth 0, Manual 0, Sens 6). The BOSS AW-2 is a great example of why you should often disregard what the “experts” say about pedal chain order and why you should also try products and effects that other people tend to overlook.
TC Electronics Flashback Delay – Extremely versatile digital delay with a small footprint. The Flashback is like a Swiss pocket army knife of delay options and textures. The toneprint feature is what makes this pedal stand out from other similar delays and lets you customize it to your own personal taste. I am in love every single toneprint and I love being able to customize the toneprint to my exact liking. I switched the buffer on in this unit, which eliminates that audible click sound when you engage the pedal and also lets the delays spillover after you’ve turned off the delay.
I use the same set up for guitar and bass with zero problems. The pedalboard was made from re-purposed wood by Cory Scanlon of www.recycledpedalboards.com . He is a super-nice, super-skilled guy.
Here is a nice pedal I wanted to talk about for a while. It’s the Electro-Harmonix East River Drive. This is a classic sounding overdrive using the famed JRC4558 IC chip (ala Tube Screamer). This is a symmetrical clipping overdrive. There is a lot of talk about the JRC4558 IC chip. Some people swear about the tone from the JRC4558 opamp – some don’t care. For those of you have that have a few minutes today.. check out this post – “Visual Sound: Myth Buster #2: Op Amps”
But regardless of the type of opamp that is in the EHX East River Drive, the bottom line, it sounds great at an affordable price! Standard controls you’d expect for this classic overdrive – Volume, Drive and Tone, and the unit is has a true-bypass footswitch.
Here is the official description of the East River Drive:
Electro-Harmonix East River Drive Overdrive creates classic overdrive that’s as bold as New York City. Add some east coast attitude to your clean sound or send your already gritty tone over the edge. Symmetrical overdrive adds edge and gain without compromising tone. Volume and Drive take it from sweet to searing while Tone lets you dial in just the right amount of bite to cut through the mix.
No matter how hard you drive it, you’re always in control. True bypass and tone that is absolutely unflinching at a musician-friendly price! What more could you ask for?
Today’s pedal line is from Pete Hiley. 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 email@example.com. Every Friday I’ll showcase a pedal line submission. Make sure you include iany links to your band or music page.
Here are my pedals, arranged on a RUFO pedalboard purchased from Vintage Gitar in Oslo, Norway. I play in a stoner-rock band called The Wit (www.thewit.no) based in Oslo. I’m playing an early 80’s Gibson ES-335TD, a ’76 Gibson Explorer (Ltd Edition) fitted with Lindy Fralin p92’s, an MJT Jazzmaster copy and a ’79 Washburn Falcon. For amplification, I’m using a Simms-Watts MKII 100 watt head into a 1984 Marshall 4×12″ bass cabinet and an old Telrad (Norwegian company) 2×12 cabinet fitted with two monster PA speakers.
1: Sonic Research ST-200 Tuner. Tuners are tuners, I guess, but this is certainly the quickest one I have ever used. The accuracy and response are excellent and the user-preset function is pretty useful as well. I always thought the Gibson Min-ETune thing looked like it would do away with floor tuners all together. That was until I tried one the other day. It functioned perfectly well, and was fun to use, but it kind of reminded me of an orthopaedic shoe in the way that it looked. It completely ruins the side-profile of the headstock in my opinion, as well as adding extra weight at the wrong end. Anyway, enough about that…
2: Pete Drive PD-1 Ok, so this is really just a Boss SD-1 that I repainted and renamed. The paint job doesn’t do anything for the sound, but I think it makes it slightly nicer to look at. I love SD-1’s; they are as cheap as they are reliable. The Simms-Watts head is incredibly clean, so I’m using the SD-1 with a relatively low drive setting, just to give the sound of an amp that just on the point of breaking up. I understand that the SD-1’s are voiced on an overdriven tube amp, and it’s perfect for that.
3: Analog Man Astro Tone Fuzz I don’t use it all that much, but it has an excellent dynamic response. Changing the pick attack can really squeeze the tone. I’m running this and the King of Tone at a slightly lower voltage, using the SAG feature on the Pedal Power 2, but I’m not totally sure if it affects the tone all that much.
4: Analog Man King of Tone I’m using channel 1 as a clean boost and channel 2 on the distortion setting. Channel 1 stays on pretty much all the time and works nicely with the SD-1. It also gives decent clarity to the Astro Tone.
5: Earthquaker Devices Arpanoid This pedal has capabilities that I’m yet to fully explore/appreciate, and I haven’t really found a good use for it. However, if you set it as shown, you get a kind of slap-back octave situation. It’s hard to describe, but it works really well on leads patterns and gives a kind of vintage style effect. It only really stays on the board to encourage me to play with it. Otherwise, I think it might just end up on a shelf at home.
6: Analog Man ARDX20 Dual Analog Delay with the AMAZE0 Controller Pedal pictured to the right. The delay itself is amazing as it is, but the controller pedal gives you modulation options, a tap-tempo function, a bank of user-programmable presets and a choice of quarter, eighth and dotted eighth note settings. It’s just extremely cool and: No, I don’t work for Analog Man
7: Boss DD-3 I have no fixed use for this, but it’s nice to have. I’m mostly using the ‘hold’ function to create some atmospheric stuff between songs. Not much one can say about the DD-3 that people don’t already know.
8: EHX Holy Grail Nano The ‘flerb’ setting is poor, but the ‘hall’ and ‘spring’ settings are perfect. I’m using it for colour mostly. It’s really nice if you push the ‘hall’ setting just over halfway and get a slightly wetter tone.
9: Mr. Black Supermoon It’s pretty much my signature sound and I can’t say enough good things about this reverb pedal. The effect is sort of indescribable; a bit like trying to explain the smell of cut grass or clean bed-sheets. Hehe. The ‘sway’ function gives you erie trails that go on forever. I’d say the upgraded Supermoon Chrome has more of a high-shimmer to it and is perhaps a little brighter, but this one is perfect for me.
And that’s it! I might incorporate a phaser and a volume pedal at some point, I’m not sure.
Man.. I’ve been reading more and more buzz about the Electro-Harmonix B9 Organ Machine pedal. It’s time for me to take a closer look. I think it’s great that Electro-Harmonix exploring replicating sounds of interesting instruments and apply that for guitar for creating whole new musical options, that go beyond just replicating the instrument. EHX’s Ravish Sitar is a perfect example. Sure you could use this pedal for that sitar part, but you could also use it for crazy guitar leads that is completely unique.
So, the EHX B9 Organ Machine was designed to recreate some of the most classic organ sounds. You can select from 9 classic organ tones – Fat & Full, Jazz, Gospel, Classic Rock, Bottom End, Octaves, Cathedral, Continental and Bell Organ. Controls include ‘dry’ and ‘organ’ levels. Basically how you mix the guitar with the organ (via Organ and Dry outputs). ‘Mod’ will add modulation to the signal. ‘Click’ is an actual click to replicate the click percussion from B3 and C3 organs.
Here is the official brief description of the EHX B9 Organ Machine:
With 9 presets that were finely tuned to emulate the most legendary organs from the ’60s and beyond, the B9 Organ Machine will transform your guitar or keyboard. Control the instrument’s signature percussive click and sweet modulation. Blend your dry signal to create lush layers. Enough tone wheel and combo organ inspiration to light your fire and cook up some green onions!
The Electro-Harmonix B9 Organ Machine is currently available for $220.30 at Amazon.com. If you’re looking to add organs to a recording, or use this for a totally unique application, this could be a great solution! This pedal also comes with free shipping!
If you own a B9 Organ Machine, please lets us know what you think about it by commenting below!
This morning I came across a nice bundle deal on the Electro-Harmonix Switchblade Plus pedal. The Switchblade Plus is a A/B/Y pedal that is compact and with multi-color LED when switching from A/B which is nice. I personally use something similar to this (custom build) for Matchless HC-30 head. That particular head has 2 dedicated input channels, and I needed a way to switch between the two, as well as combine them. My controller, has single color LEDs so it can be confusing on dark stages, so the different LEDs is a big deal for me! I might have to jump on this.
So let’s talk about this bundle deal! I personally like the bundle deal. Nice way to pick up some extra pieces for free.. or really cheap, and some of these things are nice to have in the guitar case or in the studio for when you need it. The Electro-Harmonix Switchblade Plus is currently available for $43.95 via Amazon and includes FREE shipping.. but also comes with a free instrument cable.. free patch cable.. and free polishing cloth (also comes with free picks..but didn’t want to mention that.. who cares on the picks). But the rest is nice!
If you have personal experience with the Electro-Harmonix Switchblade Plus, please let us know what you think by commenting below! Love to hear what you think!