View allAll Photos Tagged digitech
Pedals:
TC Electronics PolyTune
Zvex Vexter Series Fuzz Factory
Digitech Bad Monkey
Vox VFS2a
Electro-Harmonix Holy Grail Plus
Electro-Harmonix Memory Boy
Artcessories ABY Coolswitch
T-Rex Fuel Tank Junior
Bell Tower. Central Presbyterian Church is a historic church located at 1660 Sherman Street between 16th and 17th Avenue in downtown Denver, Colorado. It was built in 1891 and designed by Frank E. Edbrooke in the Richardsonian Romanesque style.
Just messing around with my new(ish) toys. Got the Nighthawk Custom Reissue in March and a Digitech RP-355 multi-effects pedal. All the noise is just one guitar with reverb, echo, and other effects from the RP-355.
For you tech heads, the audio was recorded directly from the Digitech through its USB interface. The video is from my Nikon D90.
After nearly 2 years of growing my guitar skills, this is the current level of equipment I'm using to help me "find my sound". Nothing here is going break the bank, or get the professionals all wet and gooey, but it makes me feel like a rock star.
In the back a new Fender Frontman 25R amp ($99), and on the Voodoo Lab Power Plus+ ($160) transformer-equipped PedalTrain ($99) board, (from left-to-right) a DigiTech RP155 ($94) multi-effects box including drum machine and looper, a DeltaLab TO1 Tube Overdrive pedal ($49), a DeltaLab RD1 Rock Distortion pedal ($49), a Way Huge Swollen Pickle Mk II Jumbo Fuzz pedal ($129), a Boss TU-3 Tuner ($99), and an Original CryBaby Wah pedal ($69).
GuitarCenter Lake Forest appreciates my business. :)
This is a frame from a video. You can watch it on Vimeo.
A short film of us writing and recording the song Big City. The actual recording process was spread over about 4 weeks - this is from the first session where we decided to start tackling the recording of this song. The week before we'd already layed down the initial MIDI tracks. This was shot at our friend's house (Andy Leddington), the same place as other Bournemouth acts have recorded - such as Dutch Husband, True Swamp Neglect and The Hat
For more information about the band check out our myspace page at...
We can also be found at the following places...
Facebook:
Group - www.new.facebook.com/group.php?gid=2571032582
Fan Page - www.new.facebook.com/pages/Blind-Voyeurs/8732545705
Reverbnation: www.reverbnation.com/blindvoyeurs
Last.fm: www.last.fm/music/Blind+Voyeurs
MP3: www.mp3.com/artist/blind-voyeurs/
fuzzed tv: www.fuzzed.tv/profile/blind-voyeurs
The line up is...
Guitar - LEE DITCHER, Guitar/Keyboard - JAMES BURTON, Bass guitar - STEVE BECK (me), Drums
- SCOTT WALLIS
WE USE: Boss, Ampeg, Digitech, Fender, Line6, Marshall, Apple Mac, Sabian, Korg, Electro-Harmonix, Shure, Logic 8, Final Cut Studio, Audacity, Milkytracker, M-Audio, E-Mu, Canon, Ernie Ball, ProCat, Alesis
.. love this bag to death... have been using it either for photoshoot or band practice sessions... sometimes both :)
Especially love the laptop/ipad compartment underneath..
Bag - Think Tank Streetwalker HardDrive
In The Bag - from left, counterclock wise: Zoom G3, EHX Metal Muff Micro, Boss FS5L, Dunlop Strings 10-46, Eneloop Charger, Rockman Equalizer
New Pedal Monday
I had my Mom get a smaller storage unit this morning and intended to resume cleaning out the large one and even begin moving to the little one. However, I made it all the way to U-Haul Storage of Dublin and realized my access card and lock keys were in the Golf...I was driving the Jetta. After some choice expletives I turned around and decided to go to Lowe's to see what kind of bathtub surrounds they had.
I'm glad I went to Lowe's to look at bathtub surrounds because they had a much better store display than the two Home Depots I stopped at. Also, there was a fairly knowledgeable associate there to answer my questions. I think I'm going to go with the store-brand offering for $249. I sent pictures of it to Stacy and she said it was fine. I sent the same pictures to Doug and he wanted to make sure it would work with an existing tub and find out if he was supposed to buy it or I was. I told him I would pay for it and have it delivered to the condo. He wants me to have them open and inspect it to ensure nothing is damaged during shipping.
After Lowe's, I went to Micro Center to do some Christmas shopping and ran into Mark Bowman. He said he's playing bass in a band now and living in an apartment so playing drums isn't very practical. I started to offer him my G&L but he needs a 5-string. He said he was headed to Music-Go-Round next and so was I!
At Music-Go-Round I did my typical sweep of the store but decided to use my store credit and reward dollars to help pay for this MXR Carbon Copy analog delay. It ended up costing me $21.24 after all that. Not bad for $20!
Laurie called late tonight and asked if I could give her and her friend a ride at 3pm. She said where but I wasn't sure I understood her right...
(January 2009)
I recently got my hands on the Digitech HardWire DL-8 Delay pedal, so that brought about another revision to the pedalboard. I removed the really old Boss pitch shifter/delay and analog delay pedals. I may put back the Boss analog delay, but I'm not sure I'll ever need three delay pedals on there!
I also moved the VariOboost to the top row, which puts it in the effects loop instead of in front of the amp. This makes it's effect MUCH more pronounced. I have it set to tame the insane amount of midrange that I can't otherwise dial out of my Mesa Stiletto. (I don't need it with my Lone Star, though).
That leaves an empty spot on the bottom row for another addition. I'm thinking about the Catalinbread Serrano Picoso boost. We'll see.
One other note....
Those Digitech HardWire pedals have an interior switch that allows you to turn true bypass on or off. I turned true bypass OFF in the reverb pedal, since it's the last one in the chain, and the signal is making a 20 foot trip to the pedalboard and another 20 foot trip back to the amp. The others are true bypass, so I thought it'd be a good idea for one of them to have a buffer on. The same is true for the bottom row - the MXR phaser is non-true bypass, so I have a buffer there, too.
(This is probably way more than anyone wanted to know.)
Here's what's on it, in order of signal flow (right to left, bottom to top).
BEFORE THE AMP:
Peterson Strobo Stomp tuner (v1)
Keeley Compressor
Fulltone OCD overdrive (v1)
BB Preamp overdrive (with cool copper finish)
MXR EVH Phase 90
IN THE AMP'S EFFECTS LOOP:
Catalinbread VariOboost parametric eq/boost
MXR Carbon Copy Analog Delay
Digitech HardWire DL-8 Delay/Looper
Digitech HardWire RV-7 Digital Reverb
AND FINALLY:
Amp footswitch (Stiletto switch works identically for my Lone Star)
The signal goes this way:
Polytune Mini: due to small space available in the board, this pedal fits well below the wah.
Dunlop CAE MC404 Wah: designed by Bob Bradshaw, this wah helps me to have 2 sounds: classic red fasel for the solos, and the yellow one for rhythm
Digitech Bad Monkey: a cheap and versatile TS pedal, used for low drives and boosting the gain for RAT.
Proco RAT 2 modded: this pedal has a 3way mod swtich, sounds perfect for solos (sometimes boosted by Bad Monkey).
MXR Phase 90 with smooth mod: mod made by Ed's Mod Shop, cuts off the pop and the dirty drive low mid boost from the original block phase sound.
Boss CH-1 Super Chorus: lush and brighty chorus, 80's perfect sound!
Joyo Us Dream: cheap drive, used for low drive (simulating a valve amp)
Boss ME-70: used basically for its compressor, boost, modern drive, delays, reverb and noise gate
Boss DD-7 Digital Delay: used almost always in analog mode.
Das legendäre Death Metal-Pedal bietet dir endlose Möglichkeiten an Verzerrungen, um dir alles zu geben, was du brauchst, um schwer zu werden!
.. für mich eine wahre Motorsäge \m/ ..
The legendary Death Metal pedal gives you endless possibilities of distortion to give you everything you need to get heavy!
.. for me a real chainsaw \ m / ..
This is the only outboard effects processor I use in my live set. I bought it sixteen years ago, and the only thing to die on it has been the battery. Hence this shot of the unit without its cover.
Taken the other i was practicing. Learning this song has been about 8 years in the making, ever since i first picked up the guitar. There have been a lot of set backs in getting it down. I hope to continue to get it near perfection sometime. Since it is the song that got me into playing music. I always like to pick up my axe and lose myself in whatever comes out of my fingers...
D300s | 50mm f/1.4G AF-S
Crybaby 535Q Wah, HardWire HT-2 Tuner, Wren and Cuff "Tall Font Green Russian" Fuzz, Wampler Euphoria Overdrive, MXR Stereo Chorus, DigiTech HardWire Supernatural Reverb, Empress Tape Delay, Pigtronix Infinity Looper, Pedaltrain Jr., Voodoo Labs Pedal Power 2 Plus, George L's cables
Note positive contact on left.
Also, make sure the battery + and - contacts on both the battery and the battery holder are clean. When replacing the battery, you might have to stretch the holder out to remove the old battery, so remember to bend the contacts back in before putting in the new battery. Otherwise, the holder's contacts might not make a firm connection with the battery's contacts.
Not pictured: Axess spliter/buffer (under fuzz probe) and two pedal powers (under riser).
Order of effects:
Axxess BS-2 Buffer Splitter (splits the main signal and tuner)
Line 6 Filter Modeler
Vox Wah-wah
Z-Vex Fuzz Probe
Ampeg Scrambler Clone
Boss Blues Driver (Keeley mod)
Ibanez Tube Screamer (Keeley mod)
Boss Super Overdrive SD-1 (Keeley mod)
Utopia Drive (similar to FullDrive)
Digitech Whammy
DOD Chorus
Dunlop Volume
Line6 Delay Modeler
Squier Brownie strat, Jansen 50 Bassman (probably built between 1966 and 1968), two 2x10" bins kitted with Wharfedales, a two-speed single-rotor Leslie, and a multieffects design that shamelessly rips off Pete Cornish and puts an aging Digitech RP7 to honest use.
And which still needs a ton of work internally, but is proving pretty useful for straight blues (clean right through to saturated) through to Clapton/Gilmore/Knopfler.
Earlier version of the effects at:
homepages.ihug.co.nz/~butting/music/guitar.html
Footswitches L-R are:
1. Marshall Guv'nor boost (not yet wired)
2. Marshall Guv'nor.
3. Tubescreamer TS-10 (controls currently disabled)
4. Leslie/clean
5. Leslie fast/slow
Power supplies were the bane of the whole affair until I built this unit; the RP7 had a 240V-110V transformer and a 110V-12V transformer (which -- lies! -- claimed to be 110V-9V), and the other pedals ran off a 240VAC-9VDC adapter. Painful.
Internally, a 240V-12V transformer feeds the RP7 directly (it takes 12VAC, even though its back panel claims 9VAC), and a 12VAC-9VDC supply to power everything else.
There's just four leads: mains, signal in, signal out, and a custom control lead for the Leslie. Beyond that, there's a speaker lead from the amp to the Leslie, and a second lead from the Leslie to the speakers. (Previous attempts to switch the Leslie had all the three speaker leads and a switched mains three-core to power the Leslie's motors all running through a footswitch. Learn from my mistakes, and DON'T DO THAT!)
The multiboard internals are:
a) signal in -> TS10 -> CryBaby -> Guv'nor -> RP7 -> signal out.
b) control lines for Leslie: 12V switching current, F/S relay driver, Leslie/clean relay driver.
The wah has a single cable going in to it: ground shield, +9V, signal in, signal out. The earlier version had plugs everywhere, which just got in the way; going inside its body to fix that's made life lots easier.
The RP7 is programmed with a bunch of (currently) simple patches; chorus, vibrato, etc, one per bank. The four patches within each bank have increasing preamp saturation going left (gentle breakup) to right (full meltdown), and switchable delay for each patch (the expression pedal's configured as delay mix, which is excellent for Floyd-ish and U2-ish stuff). This sounds *great* through the Jansen.
The Leslie/clean relay inside the Leslie throws the amp output between the Leslie's speaker and the Wharedales.
The Wharfedales are woefully inefficient (I metered them at 12dB lower than a Mesa-Boogie), but have a *great* tone.
As of course the Jansen does... interested parties might want to check:
www.jansen.co.nz/news.php?display=4&show=146
These are *damn* fine amps, and John Veldwijk can feel right proud.
Recordings to come (if I get around to it).
To do:
1. Properly shield the Guv'nor and TS10 circuits. There's some buzz, and that's probably 75% of the reason. (The other 25% is that I'm too lazy to do a Cornish and fit buffers between each effect.)
2. *Fix* the TS10; this means replacing the (long lost) control panel board, and figuring out a toggle circuit so I can use the same (on/off) switch as the others instead of the (momentary) it's designed for. (It's in the signal chain for now but is off; this is a Good Thing to have, since it acts as a buffer circuit for the [unbuffered] CryBaby, which would otherwise bring the legendary Tone Sucking Pixies into the picture.)
3. Put some more work into programming the RP7. (The chorus in particular takes a lot of work to get good sounds out of, unless you like cheesy 80s chorus.)
4. Wire up the extra controls I've fitted as boost for the Guv'nor. The problem? Guv'nors sound great at both low gain and heavy gain, but mucking about onstage with that is performance death. Having two pots each for gain and volume, with a 3PDT to select which are active, solves that nicely.
5. Replace the CryBaby's pot.
6. Add a volume pedal.
Blue sky stuff:
1. Modify the wah to act as a volume pedal when switched off.
2. Lessons from Pete Cornish: buffer, buffer, and buffer some more. Buffer stages between each effect would very likely bring hum and hiss right down to zip. This is *tempting*.
3. The Leslie is quieter than the clean speakers. The RP7 has a *lot* of headroom on its output vol dial; I'm giving serious thought to adding a pot in line to boost the output when the Leslie's selected.
4a. Separate amps for the Leslie and the clean speakers. Means an extra cable from floor to stack, and an extra amp in the stack. Ouchie.
4b. Rig a volume pedal as a fader between the two outputs; this would let me mix between full Leslie and full clean. SHINY.
5. Add a switchable loop. (I've still got a Korg AX1G, which while generally naff has very good autowahs and talk boxes. Kinda miss them in the RP7.)
6. Replace the RP7 with something fancier.
At which stage I'd *probably* rebuild, and having learned my lesson, lose an inch or two in each direction. Which'd also make it lighter, which would be GOOD.