Speaking of driving pedals and stacking gain, am I the only one who finds that more often than not, it doesn't sound as good as just using the one gain pedal? Either I'm doing it wrong, or it's just the pedals I have.

Like, I only have one overdrive + fuzz combo that actually works well together. Both are from the same company, but even when I use that overdrive with the other fuzz I have from that company, it sounds like shit and just sort of muffles it.

I guess the overdrive + Muff isn't that bad, but doesn't really offer any amazing new tones. Maybe it'd come in handy in a band setting, but I don't play in a band yet. But the aforementioned combo that does work, it makes the fuzz all glitchy and cool.

When I stack fuzzes, it always sounds like shit and just muffles everything. I don't get it, because I see people stack fuzzes all the time to get some monstrous sounds. Hell, Devi Ever's most popular pedals are usually stacked combos of two of her smaller pedals in one box, and those always sound great. When I do it with any of my fuzzes, it just makes things really mushy and indistinct.

Oh shit yeah, I mean 3. I must had confused myself because 9 is more than 3, yet dials tend to start at 7 because we start in the lower left-hand corner because of that darned left-right convention in Western civilization.

But yeah, 75% seems pretty early for oscillation still, I think.

Yeah, I researched it by looking at reviews and demo videos, but that doesn't mean I'm going to know everything about it.

Overdrive + fuzz is the best way to go if you want to use the space. David Gilmore was probably the earliest example of this. The theory is that you use the overdrive as an EQ and then the fuzz to oblivion, as the fuzz tends to get really washy.

Not really.

When I used a stacked fuzz + OD i tended to leave the OD on all the time which kind of drove me nuts because I certainly couldn't turn them both on at the same time, so i ended up leaving the OD on all the time which in turn made me want to get a better amp, or take out some pedals that were sucking my tone.

that's hot.

Looks like your pedal needs some internal adjustments.


Some weeks ago I built a Memory Man Deluxe clone and you have to set some trimmers to let it work without oscillations or excessive feedback. Maybe you have a faulty unit? Bring it to someone that knows how it should sound.

The pedal doesn't have an internal switch, does it?

Mine is keen enough as it is to go into self-oscillation, but opening it up and activating next-level sensitivity is just ridiculous.

I don't think that oscillation beginning at around 9 o'clock is that uncommon, especially if you're playing 16th or 8th notes steadily it can seem like oscillation.

At 9 you're looking at 10 or more repeats.

Chorus cranked to max plus playing harmonics is ecstasy

wah pedal has become my go to thing if I'm gonna noodle

I only have the one OD, so maybe my lack of success stacking it with other gain has more to do with the peculiarities of the particular unit. I do have another coming in the mail, a clone of the Mad Professor Sweet Honey. I just love how it sounds all sparkly with that "singed around the edges" tone, as opposed to those typical Tubescreamer or OCD tones, which sound less transparent to me. I'll see if I have more luck stacking that with fuzz.

I've experimented with doing stuff like putting the lower-gain pedal after the higher-gain one, even though that seems to be the opposite of convention. I find that if the gain is up in the second pedal, the first one just increases the gain, but the quality of the tone mostly comes from the second pedal. But if the second pedal's gain is set kinda low, then you hear the qualities of the first pedal more, and it allows you to try some interesting sounds.

Don't they make loopy things that allow you to engage or bypass a few pedals at a time? I also see a lot of people just put their drive pedals close enough together that they can stomp them both at once.

Experimenting with it, I think I'm starting to get the hang of it, and there's probably nothing wrong with it. Like, it makes sense that the mix doesn't go very high in retrospect, because it wouldn't make much sense for the repeats to be able to be exactly as loud or louder than the dry signal unless it was adding gain (digital delays probably have an easier time doing that because they are literally just recording the dry signal). And, unlike with a digital delay, it looks like the 'time' and 'regeneration' knobs on an analogue interact with each other. Oscillation happens more easily the shorter your delay time is. When the delay time is set to max, I get oscillation at 3 o'clock. When delay time is set to a short slap-back, oscillation can start at noon or earlier.

I Googled it, and apparently there is an internal level knob, though I saw nothing about a knob that affects oscillation.

Isn't a chorus set to max just a vibrato? Also, are you doing natural harmonics or artificial harmonics?

Wah is probably next on my list, if I don't get distracted by something again (I've been eyeing more fuzzes, and also this other analog delay with some unconventional settings).

That's basically what it is yeah so when you use harmonics you get the high pitched ring but it's like shaking back in forth between your right and left ear drums and it just feels less like a sound coming from the amp and more like you're submerged in it

Idk what natural harmonics are what I do is barely touch the string with the very tip of my pointer finger

You can put them in either order for different effects.

Even if it's not your cup of tea, this David Gilmour fansite has a ton of great information about stacking dirt pedals. It might take a little bit of digging. http://www.gilmourish.com/?page_id=6149

want to record a full album without ever letting the string touch the fret board now

I finally understand what all that "white noise" is in Krautrock albums

lol wut

Nuthin just overly excited about ringing noises

want to record a full album without ever letting air vibrate now

I learned the other day that Ron Asheton (Stooges) played power chords everywhere in the open E shape.

I've noticed you can use that shape everywhere and it sounds good

Well sometimes I'll have to mute the high e and the b strings

Because it's a perfect fourth interval

You can play power chords like that because it's an inversion of s perfect fifth interval

You are now less post-punk for knowing this. And you can never unknow it.

wait what's the open E shape

you mean these guys

5
5
X
7
7
X

?


or

0
0
6
7
7
0

or something else

Damn look how punk this guy is doesn't even know what an open E looks like

:smoke:

to be clear though, i obviously know the regular open E shape.

i just don't understand what you guys mean by applying it to other chords.

As in you just slide it down the fretboard the same way you do with power chords

ah yeah. i do that.

but i mostly keep to only a few certain spots where it sounds good. like, if i have to mute the e and b strings i might as well just use a standard power chord shape and be done with it.

It's funny because I have a song I wrote based on just moving the open E shape just because it sounded good didn't really think too much about it

Open E to me is 0-0-1-2-2-0, but since Sunken specifically said 'power chords,' I assumed he meant x-x-x-2-2-x. Like, that's still an E power chord, but it had the fifth (B) as the bass note instead of the root. Alternatively, you could take the B as the root note and call it a Perfect Fourth interval instead.

In retrospect, this required a lot of assumption on my part as to what Slunken meant. If I misinterpreted him, it's probably because I got no sleep last night.

I like 'dreamy' chord tensions, like 7ths, 9ths, etc., and I can get some cool chords by taking a chord shape with open strings and sliding it, while keeping the open strings open (so long as all notes played are in key).

022100

for example 0554 for G, 0775 for A

wut I play G 320003

oh forget it

that's only 4 strings too what language is this ahhh

haha
if i hadn't asked for clarification you guys would still all be seriously nodding your heads

fucking around with chord voicings and different tunings are one of the best ways to make the guitar sound fresh to my ears.

after playing for so long i basically cannot play basic chord progressions anymore without being bored by it (unless i have a particular idea for a song i'm trying to get through). what are some of your guys' fav tunings?

lol