buzfluhart wrote:Pretty much feel the same, Brian. Get loaded down with a slew of effects and you have to wonder if under all of that if there is a guitar in there somewhere.
Funny, that reminds me of being in the studio and having the producer connect a couple of effects pedals together with the output going to the board, and the input being left on the floor. It created quite a nice moving background effect that was used on 1 track and faded in and out in different parts of the song. Trippy.
The Dan-Echo and the Reel Echo are 2 different animals, both of which I own. I used to have a real Echoplex, and wanted something to play out with that wasn't fussy. For the most part, the Dan-Echo fit the bill. The Reel Echo looked really cool, so I got it, and found the features a bit misleading, as moving the slide doesn't change pitch and speed like the tape machines do. Other than that, the Reel Echo sounds great, (even though it takes up a ton of real estate)and looks very cool.
The new Boss Space Echo pedal really does it for me. You can make it sound like a flying saucer, Rockabilly King, Pink Floyd, U2, and such. It also has a foot controll that allows you to assign different functions when you step on it, to get real time control over over a choice of parameters. You can also hook up an external foot pedal to control further parameters. All this flexability, lots of controls, and a great sound make this the one for me.
Distortion/overdrive pedals are too many and too subjective too list as a favorite. It just depends on what you want for the moment, and what you're plugging it in to. At the moment I'm quite smitten with my Tech 21 Liverpool pedal, but really only with my 330. That's why I have no favorite, and makes things like my POD XT Live attractive when faced with unsure playing situations.
Fuzz, hands down for me, is the Ashbrite Fuzzrite. It is an exact clone of the 60s Mosrite Fuzzrite pedal used by many 60s artists. The thing I really love about this pedal is can get really chainsaw, but not get lost in itself. Everything from the Del Vets "Last time around" to Blitz "Razors in the night", this puppy kills. Surprisingly, it can also get very smooth and musical. Again though, as with distortion, my Big Muff PI and other fuzzboxes have their places.
Chorus, have and have had many. Bottom line, if anybody finds one that sounds as nice as my JC-120s Chorus, please let me know.
Phase-MXR Phase 100 script logo, sounds great, wish it had a light and a power supply jack, so that's why I bought a newer Phase 90. Not quite as good, but in the audience, who can really tell the extreme subtle difference anyways?
Tremolo, amp is preffered, but my Boss TR-2 has always worked great. I don't want a soft buttery Tremolo(it can be), I want the effect to be heard and chop like a helicopter.
Compression-The Janglebox(big surprise), yet not for everything. It does do wonders for my 360/12.
Reverb-EH Holy Grail-A great reverb that will actually splatter when you run a good fuzzy signal in to it. Cheap, durable, and the Flerb setting makes some great "The Wall" album by Pink Floyd type sounds. Who knew?
Probably leaving a bunch out, but it's 3AM and I'm outta here.
I got the idea from bluegrass banjo picker Pete Wernick.
this must be a typo, wait, lemme get my specs ...
