Caevan O’Shite

Nursers, would you be so kind as to post links to some of the MPF threads concerning all of that? I'd love to read up on all of that again! Do I detect Lee Flier's guitar playing in there? Perhaps contributions from other members of What The... ? ? Did you perform for this track, yourself? Thanks in advance...

The overall best concert that I ever had the pleasure of attending was on Gilmour's tour supporting his second 'solo' album, About Face, at the fabulous Saratoga Performing Arts Center, situated in a beautiful park between Ballston Spa and Saratoga Springs, not far from Albany, NY. Walking around the woods outside the fence of the SPAC before the concert, we got to hear- but not see- Gilmour and band doing a sound-check, including a rendition of Pink Floyd's "Run Like Hell", rhythmic echoes and all! A little later, walking around within that fence, we ran into a couple of people, chatted and continued to meander about with them... One of them had a large bottle of cognac with a bow on it, which they presented to the operator of the light-board. This should have tipped us off, young alcohol-buzzed doofs though we were... When the performance began, we recognized one on stage, the 'Auxiliary Percussionist'! The other ran from within the audience, leapt to the stage, grabbed a sax from a stand and began ripping away... ! And what a band! Firing hard on all pistons. No less than Mick Ralphs- you know, from Bad Co.- was Gilmour's "Second" on guitar. They played wonderfully together! I believe that they performed everything from both David Gilmour and About Face, plus quite a variety of select Pink Floyd epics interspersed throughout the set-list. The final encore was an apocalyptic rendition of "Comfortably Numb" which left the audience howling. I love that movie! I saw it in the cinema when it came out! I love that song! I love Kate Bush! I had all of her albums- on cassette, and CD.

An old friend here on the MusicPlayer Forums from waaay back; he was a major poster here, a really funny and insightful guy, and an excellent guitarist and singer. I'll really miss him, and I'm really saddened by this.

"Opossum Apocalypse" has a nice, happy, even playful element within it; sounds like hordes of possums having a good time, if overrunning the landscape... not the type of "Apocalypse" I expected, and I'm glad of it! The 'vox humana' in the final segments were a very nice and pleasant surprise, as well. Great composing, playing, arranging, and all! Great lead playing in "There Go The Elephants", too.

THAT'S AWESOME.

Emoji reactions fail. I'm sorry to learn that, Winston, my friend. Seems kinda young, in this day and age...

Yeah, sometimes the old carbon batteries can make a pleasing difference. Sometimes not. If they do, it's usually pretty subtle. I've had Danelectro and Electro-Harmonix brand-labeled carbon 9v batteries; I'm sure that I still have a few around here somewhere. Last I knew, one or the other could be ordered from Sweetwater Sound, and very likely others. I used to have an old original 1979 Electro-Harmonix Small Stone Phase Shifter, and it did sound subtly better with a carbon battery. But most pedals I've had either didn't sound or perform any better or worse with carbon or alkaline batteries.

GOOD! Having a battery in place while also connecting an external Power Supply probably didn't have anything to do with the RFI problem. Hum, weird noise, and RFI issues are pretty common with shared and/or un-isolated Power Supplies. I got by pretty splendidly with my 1 Spot and daisy-chain for a long while; once I added a couple of highfalutin (and power hungry!) digital pedals, that daisy-chain added some strange, continuous noises that evoked an alien FAX transmission... ! Individual "wall-wart" power supplies nixed that, and a Voodoo Lab "DIGITAL" (just the model name, as in suitable for high-current digital pedals) 4-output isolated Power Supply made things even clearer and quieter yet. Switching to a battery eliminated any non-isolated PS connection between pedals. Plus, going to a battery makes that purely DC, as opposed to AC- eliminating the dreaded AC 60 Cycle Hum... Don't forget, when you're not playing, to unplug the cable at the Input of any pedal that you're powering with a battery; if left connected at the input, the battery will drain as if you're using it. Your batteries will last MUCH longer if you remember to unplug the Input! (I actually have two pedals that have a Battery Disconnect Switch on top; a great idea that's surprisingly rarely seen!) If you can find any old style carbon/zinc batteries without much fuss or expense, it's worth trying one with your fuzz or any other old-school vintage-based designs like various fuzzes, "Treble Boosters", etc. Sometimes, some pedals sound and/or respond and feel better, smoother, or even bolder with an old-fashioned carbon battery; sometimes, not as good as with, say, a modern alkaline; and sometimes, there's no discernable difference. But it can be worth trying.

I have been fortunate enough to have barely ever had that problem occur! RABid is right, that's where to start- the power supplies, trying batteries, a process of elimination. Also try plugging everything into a different AC outlet, a different breaker-circuit. It can't hurt to check outlets with an outlet-tester, the little 'plugs' that have three color-coded LED's and a chart to decipher whether or not there is anything mis-wired, shorted, or open between the hot, neutral, and ground. Try just a little less gain/fuzz/volume on each of those pedals. I've been lucky that the few times that happened to me over the years, it was very temporary and 'went away'. However, that resulted in my having little experience and knowledge about RFI with pedals! In the meantime, if I scrounge up any helpful info, I'll be back. And I would NOT be surprised at all if someone else here comes along and saves the day! EDIT: Hey, I see CEB's shown up...

What a cool and somewhat 'off-the-beaten-path' amp! Poking around the internet, I saw that Earl Slick had an Ampeg VT 22 (it's for sale), and that the original stock speakers had been replaced with a pair of Celestion G12-65's. Hard to say for sure! The Stones had a BUNCH of guitars and amps, that they treated like the band's instruments, sort of like 'community property'. Either way, I'd expect that virtually any Gibson guitar set to its neck-pickup, through a Maestro Fuzz Tone switched on and off through a Fender Reverb combo-amp, would sound very much along the lines of the guitar track on "Satisfaction"...

And yet very similar overall, well within the same ballpark. It's not a hard sound to emulate, both the fuzz and the clean passages. It is a pretty great sound, though, and it's a lot of fun to play that song, huh? I bet your Les Paul Custom, Deluxe Reverb, and Maestro FZ-1B Fuzz Tone pretty much nail it! And more. Very nice rig!

For what it's worth, I am fairly sure that he used a Gibson hollow or semi-hollow guitar with P-90 pickups, staying with the neck-pickup while picking near the bridge for the fuzz, and maybe further toward the 'middle' or the neck for a warmer tone for the clean passages; all through an amp like a Fender 'blackpanel' Twin Reverb or Pro Reverb or similar '60s Fender Reverb combo, all in one take. I don't think that the amp was modified. He switched between the Maestro Fuzz Tone pedal being on and off for the respective fuzzed and clean parts; you can hear him switching it off and on, there's even at least one mistake where he accidentally had it on briefly when he meant to either be playing a clean part with no fuzz, or not at all. Bear in mind that he was laying down what he intended to be a scratch track, a guide track for where and how he wanted horns to be playing a part that never was recorded, and that he assumed that his scratch/guide-track was going to be deleted.

May you have a wonderful day with much to be thankful for in your lives. 🙂

You're going to enjoy that! I think I would have done the same. I'd expect that your 2B Boost > DS-1w Distortion would allow you to set the DS-1w foe mean chord and riff distortion, and then kick-in the 2B for "MORE!", for bigger, fatter, even more distorted and somewhat compressed lead-tones. I think I'd probably proceed directly to the DS-1w's "Custom" C Mode, too. Although if you like the sound of the DS-1w just the way it is and just want it LOUDER from time to time, going DS-1w Distortion > 2B Boost will certainly oblige!

You are correct, Sir!

Sage and useful advice!

Those clockworks gears are all purely cosmetic ornamentation, and the clock-keys are surely add-on extensions in place of the 'normal' tuner-buttons. (You probably knew that already.) "Steampunk" aesthetics, probably all done to an offshore budget guitar.

I'm glad that you're enjoying that Lizard Queen! I love octave-fuzzes in general- all different types, and I have quite a few... I have so many that judging from numerous demo-videos, I don't necessarily need or want the Lizard Queen, beyond my loving the whole concept and back-story and collaboration JHS did with EHX. I love all that so much, that I would eventually buy both a big one and a little one (I'm sure you know what I'm referring to) just to have them, and not really use them that much, even though I'm usually not much of a 'collector'. If we- you and I, and many others here- lived closer to each other, I'd love to loan you a bunch of octave-fuzzes and fuzzes to try out! Which, the EHX Satisfaction Fuzz? I bet you could get it to sound a good bit like your ancient Maestro. Though for what it's worth, the EHX Satisfaction Fuzz is based on the old Jordan Bosstone; I won't pretend to know what differences there are betweenh 'em...

Oooh, I like 'Phase Jitter' Mode... Verb, and Filter... I don't always care or have use for some of the more unusual effects pedals, such as many that Chase Bliss puts out. This has some sounds, some potential, that I'd enjoy, though it wouldn't be an all-the-time staple for me, just special touches, if you will. At times, some of the sample-setting sounds in this demo video remind me of sounds I was getting long ago by combining octave fuzz, 'clean/dry-blend', a Leslie-sim pedal, maybe a chorus, and something- I can't remember exactly what?- on my DigiTech GNX4 that I'd set a number of control-setting 'all WRONG' on, yielding a moody, dreamy, sputtering and rippling sound that would ONLY respond when I played in a small area around the 12th-Fret and above (maybe up to the 17th-Fret?)... Strangely, if I played 'normal' stuff at most positions of the fretboard, often nothing would be heard... I don't mean no effect, I mean no sound, no notes, at all. It was weird, but very beautiful, with dilating speeding-up and slowing-down warbles...

"OMG, play that Stuff Smith track... !!"

Man, you have one of THE classics, and an extremely influential original fuzzes! Too cool. Among my earliest pedals, and my very first and second fuzz pedals in particular, were a '60s Shin-ei made FY-2 JAX Fuzz Master Unit, and a '79/'80 Electro-Harmonix V4/V5 "IC"/"Op-Amp" Big Muff Pi. The JAX Fuzz Master was a wicked sandblaster of a fuzz, among the craziest, most intense I've ever experienced. I really wish I still had it, I'd put it to good (bad? 😁) use now; I really did not understand or appreciate fuzz like that back then. I did appreciate and deploy the Op-Amp Big Muff Pi, L0O0O0O0NG before Smashing Pumpkins even existed. Still, I didn't realize at the time that it was different from the vast majority of Muffs, which usually employed transistors in a different circuit, and not IC's; and I threw it in along with a guitar and amp that I was selling, to sweeten the deal. (I also included an original MIJ Arion SFL-1 Stereo Flanger.) Currently, a Foxrox Octron is one of my all-time very favorite pedals. It's an AMAZING, very versatile Octave-Up Fuzz AND Octave-Down Fuzz, with a Direct/'clean-blend' control, too. The Direct/'clean-blend' adds mightily to its versatility, making it FANTASTIC for stacking into other pedals, especially overdrive and distortion pedals, and/or an overdriven/distorted tune-amp. It KILLS fed into Distortion. KILLS! After years of wanting an out of production Wattson Classic Electronics EFY-6 Fuzz, I finally scored one. Mine is one of a known factory production-run that were mislabeled, EYF-6, which really makes no difference in market-value or performance. It's an EXTREMELY FEROCIOUS, AGGRESSIVE fuzz, based initially on the '60s vintage Shin-ei and Univox Super Fuzz, but upgraded and improved with added controls. Monstrous!