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I don't know how new the Rev 2's are, but I just ordered the Moog Minifooger 05 Analog Delay pedal this weekend. Really looking forward to it.

 

AFAIK, the changes are mostly, if not entirely cosmetic. The first run of pedals were all black, so on a dark stage, it was hard to see which was which. Now, they all have a 'silver triangle' motif.

 

Mini Moogerfoogers

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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I don't know how new the Rev 2's are, but I just ordered the Moog Minifooger 05 Analog Delay pedal this weekend. Really looking forward to it.

 

The Moog delay starts at 35ms and goes all the way to 700ms, which is beyond the range of most analog delays (at both ends). Nice for slapback at 35ms.

 

Congrats! Keep us posted on how you like the new pedal. Looking forward to your review! The Live vs. Studio use issue would be of interest even if you are not playing much guitar live these days... :cool:

Take care, Larryz
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I don't know how new the Rev 2's are, but I just ordered the Moog Minifooger 05 Analog Delay pedal this weekend. Really looking forward to it.

 

AFAIK, the changes are mostly, if not entirely cosmetic. The first run of pedals were all black, so on a dark stage, it was hard to see which was which. Now, they all have a 'silver triangle' motif.

 

Mini Moogerfoogers

 

Nice insight.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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Yeah, that one was already on my G.A.S. list- SURPRISE!- and I just recommended it to a guy down under for a project he wanted to do with those tones..but on a budget.

 

Seriously- a lotta options for that price.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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With their curved design, two would be very nice side-by-side... I'd like two smaller boards with pre-amp-input pedals on one, and effects-loop pedals on the other...

Ooooooh...not bad!

 

I was just thinking in terms of my genre-specific boards, but FUNCTION-specific makes just as much sense!

 

Danger, Will Robinson!!!

 

I did that with 4 Pedaltrain boards. One for front-end effects like Ring Mods, Filters and Pitch Shift effects, (The Pre-Frontal Lobe), one for OD/Dist. (the Big Box of Noise), one for Mod effects (the Motion Sickness box) and one for Delay/Reverb effects (named, as you might guess, the Tardis). While I've always been fond of Wilde's axiom that ". . . nothing exceeds like excess." this was really pushing it.

 

Been mulling this over. One of the boards I thought about making was a "Sci-Fi" board. Well, it seems to me that THIS one at least might be dominated by effects that usually work best when in the FX loop- envelope filters, ringers, arpeggiators, random tone generators, etc. So making such a board could REALLY make sense.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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Been mulling this over. One of the boards I thought about making was a "Sci-Fi" board. Well, it seems to me that THIS one at least might be dominated by effects that usually work best when in the FX loop- envelope filters, ringers, arpeggiators, random tone generators, etc. So making such a board could REALLY make sense.

 

My general rule of thumb is that anything I would tend to treat as an Instrument voice (Ring Mods, Synth Pedals, Octave & Pitch Shift effects) goes at, or right near, the front of my signal chain. Same goes for most Filter effects. If they're meant to be dynamics-driven, like an Envelope Filter, I want them to get a consistent signal level coming from the Guitar. The "Frontal Lobe" box held those types of effects, with my MXR Micro Amp first in line as a Buffer/Boost, followed by my SV2 Slow Volume (Attack Delay), so the SV2 would always get the same signal strength to drive it.

 

I have been looking at The Arpanoid pedal, and I have to admit, I'm not sure where I would place it in the signal chain. Most likely, I would experiment until I found wherever it responded best to my playing.

 

Two suggestions: Octaver into an Envelope Filter can give you some PHAT Jaco/Stevie Wonder-style sounds. Run that mix into a nice slow Phaser effect and all you need is your own Hot Tub Time Machine.

 

Second suggestion: 'Tune' your Ring Mod (dial in the Frequency to match your Root as best you can), then run it into an Envelope Filter. You'll get anything from thick Synth-like tones to Robot Frat Party tones, complete with gastric distress.

 

Have fun, whatever you decide to do!

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Been mulling this over. One of the boards I thought about making was a "Sci-Fi" board. Well, it seems to me that THIS one at least might be dominated by effects that usually work best when in the FX loop- envelope filters, ringers, arpeggiators, random tone generators, etc. So making such a board could REALLY make sense.

 

My general rule of thumb is that anything I would tend to treat as an Instrument voice (Ring Mods, Synth Pedals, Octave & Pitch Shift effects) goes at, or right near, the front of my signal chain. Same goes for most Filter effects. If they're meant to be dynamics-driven, like an Envelope Filter, I want them to get a consistent signal level coming from the Guitar. The "Frontal Lobe" box held those types of effects, with my MXR Micro Amp first in line as a Buffer/Boost, followed by my SV2 Slow Volume (Attack Delay), so the SV2 would always get the same signal strength to drive it.

 

I have been looking at The Arpanoid pedal, and I have to admit, I'm not sure where I would place it in the signal chain. Most likely, I would experiment until I found wherever it responded best to my playing.

 

Two suggestions: Octaver into an Envelope Filter can give you some PHAT Jaco/Stevie Wonder-style sounds. Run that mix into a nice slow Phaser effect and all you need is your own Hot Tub Time Machine.

 

Second suggestion: 'Tune' your Ring Mod (dial in the Frequency to match your Root as best you can), then run it into an Envelope Filter. You'll get anything from thick Synth-like tones to Robot Frat Party tones, complete with gastric distress.

 

Have fun, whatever you decide to do!

 

I'm copying this post into my notes app for future reference.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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Digitech Dirty Robot:

 

[video:youtube]

 

 

I like how some of those sounds and passages evoke In Through the Out Door-era John Paul Jones keyboard-sounds with Led Zeppelin... I like that a lot. :cool:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Digitech Dirty Robot:

 

[video:youtube]

 

 

I like how some of those sounds and passages evoke In Through the Out Door-era John Paul Jones keyboard-sounds with Led Zeppelin... I like that a lot. :cool:

 

I was thinking likewise!

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I like this one:

 

[video:youtube]

 

Good 'un!

 

Agreed. If I wasn't awaiting delivery of a special paint-jobbed VFE Bumble Bee, I might be more interested in that Maleko Sneak Attack. I know that the Sneak Attack does a lot that the Bumble Bee does not, but the Bumble Bee does EXACTLY what I want it to do (as far as I can tell from promotional videos and whatnot), no more and no less, it and other pedals that I already own have me covered, and I'm alright widdatt. :cool:

 

Digitech Dirty Robot:

 

[video:youtube]

 

 

I like how some of those sounds and passages evoke In Through the Out Door-era John Paul Jones keyboard-sounds with Led Zeppelin... I like that a lot. :cool:

 

I was thinking likewise!

 

Great minds think alike. And often so do warped ones. ;)

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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The Minifooger Delay does say "New Design" inside the box, but maybe that only refers to the cosmetic changes.

 

I put it through its paces today, and despise it. But it's been YEARS since I have used delay with an amp, vs. waiting until mixing and album production time. I probably just don't know how to take proper advantage of delay from a playing point of view.

 

What I love about this pedal is the slapback settings, but even though this has the longest available delay time (700 ms) of any analog pedal, I don't like it for anything but slapback, where it excels. Especially on Wall of Voodoo type material. Really rich and deep, and musical at any setting of feedback and/or drive.

 

It works pretty well on bass guitar, so probably keyboards as well (I'll try that later). Maybe it isn't voiced well for guitar. It gets boomy too easily, at any setting of the pedal, guitar, and/or amp. Also a bit harsh; maybe even too clinical.

 

I tried my Strat, my Yamaha Pacifica, and my Les Paul, at every setting, and all four channels of my Fender Deluxe Reverb amp. I didn't try the Effects Loop, or my other amps (Custom Hand-Wired Vox AC15, and Mesa Royal Atlantic head w/ 2x12 Rectifier cabinet). I'm short on time today and was trying to limit the number of permutations for initial review, as I was mostly trying out my EHX Big Muff Pi Nano Edition that also arrived last week.

 

I may just not like delay as an "effect" vs. a production technique. After all, I despised my TC Electronic D-Two rack unit that I sold a few years back. I make fairly subtle use of delay on guitar stems and submixes/groups at production time, and am quite happy with my plug-ins.

 

I think I may prefer the timbre of the Empress Superdelay (which I haven't had time to put up for auction yet), but I do find that pedal completely impractical for real-time use and insufficiently flexible for studio work where I have much better plug-ins at my disposal than forcing delay at tracking time with digital effects and AD/DA conversion degrading the sound.

Eugenio Upright, 60th Ann P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico Bari, Dano Bari

Select Strat/Tele, Am Pro Jazzmaster, LP 57 Gold, G5422DC-12, T486, T64, PM2, EXL1, XK4, Voyager

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The Minifooger Delay does say "New Design" inside the box, but maybe that only refers to the cosmetic changes.

 

I put it through its paces today, and despise it. But it's been YEARS since I have used delay with an amp, vs. waiting until mixing and album production time. I probably just don't know how to take proper advantage of delay from a playing point of view.

 

What I love about this pedal is the slapback settings, but even though this has the longest available delay time (700 ms) of any analog pedal, I don't like it for anything but slapback, where it excels. Especially on Wall of Voodoo type material. Really rich and deep, and musical at any setting of feedback and/or drive.

 

It works pretty well on bass guitar, so probably keyboards as well (I'll try that later). Maybe it isn't voiced well for guitar. It gets boomy too easily, at any setting of the pedal, guitar, and/or amp. Also a bit harsh; maybe even too clinical.

 

I tried my Strat, my Yamaha Pacifica, and my Les Paul, at every setting, and all four channels of my Fender Deluxe Reverb amp. I didn't try the Effects Loop, or my other amps (Custom Hand-Wired Vox AC15, and Mesa Royal Atlantic head w/ 2x12 Rectifier cabinet). I'm short on time today and was trying to limit the number of permutations for initial review, as I was mostly trying out my EHX Big Muff Pi Nano Edition that also arrived last week.

 

I may just not like delay as an "effect" vs. a production technique. After all, I despised my TC Electronic D-Two rack unit that I sold a few years back. I make fairly subtle use of delay on guitar stems and submixes/groups at production time, and am quite happy with my plug-ins.

 

I think I may prefer the timbre of the Empress Superdelay (which I haven't had time to put up for auction yet), but I do find that pedal completely impractical for real-time use and insufficiently flexible for studio work where I have much better plug-ins at my disposal than forcing delay at tracking time with digital effects and AD/DA conversion degrading the sound.

 

Just what sort of timbre and character are you looking for in echo/delay? Can you cite given known song recordings and/or post clips or videos?

 

Was it you who's posted before that you didn't like the Strymon El Capistan?

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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@ Mark, try an MXR Carbon Copy next time you're near a GC store...it's a great little Delay pedal IMHO, and it will work very well with a Fender Deluxe Reverb amp...it's reasonably priced for what you get! :cool:
Take care, Larryz
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Can't remember if I once owned a Carbon Copy and sold it, but if so, it was when I was new to guitar sound manipulation (e.g. guitar amps and effects) and only had one since-sold amp (a Mesa Lonestar combo, which had fairly harsh speakers).

 

I will give it a try though. I didn't care for El Capistan (or any digital delay). Can't think of song examples of what I like right now; only what I don't like (e.g. David Gilmour's sound, even though I have a semi-positive view on Pink Floyd as a band).

 

I definitely love slapback, from the 50's through the 80's revival (e.g. Stan Ridgeway). The Moog Delay sounded best to me on my D'angelico XL-1 arch-top.

 

Oh, I also love the sounds of Johnny Marr (especially "How Soon Is Now?") and A Flock of Seagulls. EVERYTHING by Siouxsie and the Banshees also, but I was more aware of the chorusing on the bass than the effects on the multiple guitarists (one of whom was Robert Smith of The Cure) who passed through that band -- though I in general love Robert Smith's sound.

 

Big fan of Andy Summers' sound, as well as Devo's early albums (probably mostly slapback), and really, almost any of the 80's New Wave (including Tears for Fears, Joe Jackson) and later Brit-Pop (everything by Blur). Not such a fan of 70's guitar sounds/effects.

 

Maybe this is getting too specific about delays to stay in this thread? I think this topic is supposed to be just about announcements and discussions of brand-new pedals?

Eugenio Upright, 60th Ann P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico Bari, Dano Bari

Select Strat/Tele, Am Pro Jazzmaster, LP 57 Gold, G5422DC-12, T486, T64, PM2, EXL1, XK4, Voyager

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The Minifooger Delay does say "New Design" inside the box, but maybe that only refers to the cosmetic changes.

 

I put it through its paces today, and despise it.

 

I may just not like delay as an "effect" vs. a production technique. After all, I despised my TC Electronic D-Two rack unit that I sold a few years back. I make fairly subtle use of delay on guitar stems and submixes/groups at production time, and am quite happy with my plug-ins.

 

I think I may prefer the timbre of the Empress Superdelay (which I haven't had time to put up for auction yet), but I do find that pedal completely impractical for real-time use and insufficiently flexible for studio work where I have much better plug-ins at my disposal than forcing delay at tracking time with digital effects and AD/DA conversion degrading the sound.

 

Mark, I'm sorry you didn't like the sound of the MF Delay. It seems from your post, and the one following, that you might prefer a much shorter Delay setting than the 700ms the MF tops out at? Old-school Analog Delays topped out at around 300ms. BTW, that gets you right in for that classic Cure/Siouxsie sound, Analog Chorus or Flanger into short Analog Delay. If you're a fan of Robert Smith's sound, a nice Analog Flanger will get you most of the sounds from Faith. IIRC, Robert Smith turned all the knobs on his Boss effects to the same setting, possibly Noon? There's an old issue of GP I'll have to dig out, to make sure, but it was something obvious, like that.

 

While I agree with Larryz that the Carbon Copy is a very nice Analog Delay, I can't imagine that it will give you anything you don't already get from the MF Delay? It should sound, and behave, almost exactly like the MF. If you're going to try out another Analog Delay, try the Waza Craft re-issue of the Boss DM-2; that'll give you a classic 80's Delay sound. If you don't like what it puts out, maybe Delay isn't the sound you're looking for?

 

One last thought; try the Delay in front of your amp, instead of putting it in the Effects Loop. Back in the 80's, we tended to run our pedals right into the amp; the only folks I saw using the Effects Loops were the guys running rack effects.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Maybe this is getting too specific about delays to stay in this thread? I think this topic is supposed to be just about announcements and discussions of brand-new pedals?

 

I think it's fine to discuss here! It's certainly topical enough for me.

 

One last thought; try the Delay in front of your amp, instead of putting it in the Effects Loop. Back in the 80's, we tended to run our pedals right into the amp; the only folks I saw using the Effects Loops were the guys running rack effects.

 

GOOD CALL. That just might be the difference.

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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+1 Winston, I can get most of what I want with just a Fender amp with reverb and have no idea if the MF at 700ms would be any different than the Carbon Copy which tops out at 600ms as I've never owned the MF or worried about the ms's LOL! I do have a Carbon Copy and they get some great 50's 60's 70's, etc. delay sound for rock and roll when you want some slap back or just to add a little echo to the verb now and then. If you don't like the Carbon Copy, you probably won't like the delay effect you get from other pedals either LOL! I switched to my SS Fender Floor pedal which gets some nice delay and reverb while amp modeling. If just adding some delay for rockabilly, I now just use the Memphis Sun by Keeley pedal... :cool:

 

ps. I don't care for effects loops, but appreciate those that do like that concept for some of their pedals...depends on the type of equipment they are using and how well the pedal works with the amp/pa/etc.

Take care, Larryz
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I recently bought a Wampler Faux Tape Echo Delay pedal and really like it. You can get that 50s & 60s slapback effect & much more.

[video:youtube]

SEHpicker

 

The further a society drifts from truth the more it will hate those who speak it." George Orwell

 

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Cool, some great suggestions, and thanks for the info that the typical delays of the day were topping out at 300ms at most. It may be that the Moog pedal is SO good at slapback and short delays that it's worth keeping, and just not using to its fullest.

 

I really detest the Carbon Copy; went through it again yesterday. The Moog is super-lush and even convincingly retro at its shorter delay settings.

 

Turns out I was wrong about Moog having the longest delay. I forget which it is now, but probably the Maxon (Pro Edition); maybe the Malekko Ekko. One or the other goes to 900 ms. I didn't like how either sounded, personally.

 

Yeah, I think I just don't like long delays in general, with the minor exception of special effects such as diffusion, which I use rarely but have found ways to customize (in plug-ins, of course) for musically pleasing results.

 

The Wampler delay is not a pedal Iw as familiar with; though I am aware of some of their other pedals. The problem is that Andy makes EVERYTHING sound good, so I'll see if they have the pedal at a nearby store to try out in person. :-)

 

I do think in a way though, that the built-in tremolo and reverb of the Fender Deluxe Reverb can cover most of the bases for time modulated guitar. Obviously there are so many permutations that can't be covered that way, but those two effects are ALWAYS musical and pleasing. Sometimes less is more, in terms of the sonic toolkit one surrounds oneself with. This forces us to master what we have.

Eugenio Upright, 60th Ann P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico Bari, Dano Bari

Select Strat/Tele, Am Pro Jazzmaster, LP 57 Gold, G5422DC-12, T486, T64, PM2, EXL1, XK4, Voyager

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The Sweetwater demo for the Wampler Faux Tape Echo pedal is also quite nice:

 

http://www.sweetwater.com/store/detail/FauxEchoTap

 

At the more expensive end ($900), T-Rex has a BRAND NEW tape echo pedal, that of course uses actual tape vs. being an emulation:

 

http://www.premierguitar.com/articles/23993-t-rex-replicator-tape-echo-review

 

A friend of mine who has been through dozens of delay pedals over the years, says he can never go back to BBD based delay now that he has a real vintage tape echo machine. Unfortunately for my wallet, I might be on that same page. :-)

Eugenio Upright, 60th Ann P-Bass, USA Geddy Lee J-Bass, Yamaha BBP35, D'angelico Bari, Dano Bari

Select Strat/Tele, Am Pro Jazzmaster, LP 57 Gold, G5422DC-12, T486, T64, PM2, EXL1, XK4, Voyager

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The Sweetwater demo for the Wampler Faux Tape Echo pedal is also quite nice:

http://www.sweetwater.com/store/detail/FauxEchoTap

At the more expensive end ($900), T-Rex has a BRAND NEW tape echo pedal, that of course uses actual tape vs. being an emulation:

http://www.premierguitar.com/articles/23993-t-rex-replicator-tape-echo-review

A friend of mine who has been through dozens of delay pedals over the years, says he can never go back to BBD based delay now that he has a real vintage tape echo machine. Unfortunately for my wallet, I might be on that same page. :-)

 

Having owned many a tape delay (Echoplex, Echolette, 2 Roland Space Echoes, Korg Stage Echo) over the years I'm quite over any sense of nostalgia for these devices. Everything I used them for is available at a much higher level of quality with digital devices. Not wanting to start a digital vs analog debate, I'll just reiterate, for what I used them for (VERY long, sustainy, ambient spacescapes) they were always too noisy & too wobbly for me, & I was very glad to switch to digital delays/reverbs when they became available. I presume current tape machines are somewhat better, but I know people like them precisely because they are full of quirky flaws. If you want my old Stage Echo or Echoplexes, currently stored in a gear closet of stuff I can't bear to look at anymore, let me know.

Scott Fraser
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