View allAll Photos Tagged digitech
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
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.
10th June 2013 at Red Lion, Isleworth, Middlesex (gig with Derek Nash).
Effects Pedals modify the sound of a musical instrument such as an Electric Guitar by means of changes like distortion, modulation, and feedback. They are often found on the floor on a pedalboard, and are operated with the feet.
The photo shows (left to right) a Marshall Bluesbreaker (which emulates the sound of the combo amplifier of the same name), a DigiTech EX-7 Expression Factory, Line 6 DL-4 Delay Modeler Pedal, an Ernie Ball VP JR (volume pedal), TC Electronic PolyTune (tuner) and a Boss CH-1 Super Chorus (makes sounds of similar timbre and pitch converge as one)
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 / ..
Used Digitech Kitty & Daisy computer motifs. Freehand cross hatching, continuous curves and meander around applique.
Effects Pedals (amp-guitar)
ACDC Power Bank
Marshall EH-1 Echohead (Customised by me)
Behringer Blues Overdrive
Big Muff Pi (Built in the heart of the Soviet Union)
ProCo Rat 2 Distortion
Boss DS-1 Distortion
Boss CS-3 Compression Sustainer
Rocktron Black Cat Moan
Daphon Guitar Tuner
Digitech Whammy 4
Zvex Fuzz Factory
Album by Premik Russell Tubbs & Steve Booke
Pratyavartana
Pratyavartana is Sanskrit for “Homeward Journey”. The intention of this CD is to bring you back “home” to your Source where you will find yourself in a state of tranquility and bliss. Whether used for meditation, a healing/massage session or your yoga practice, the music on this CD will greatly assist you to go deeper. Steve Booke, a Reiki master and master of Atrostonic healing, embedded the music with high frequency healing energies to intensify your experience while listening. The calming sounds of this recording will provide the perfect background for whatever you intend on using it for. Let the music and energies take you away to your own personal paradise.
Premik, a composer, arranger, producer and an accomplished multi-instrumentalist, performs on various flutes, soprano, alto and tenor saxophones. He was a touring and recording member of John McLaughlin’s groundbreaking fusion group, Mahavishnu Orchestra on the Visions of the Emerald Beyond album and tour. He has also worked with Carlos Santana, Whitney Houston, Herbie Hancock, Ravi Shankar, Narada Michael Walden, Jean-Luc Ponty, Clarence Clemons, Jackson Browne, Lonnie Liston-Smith, Sting, Billy Joel and James Taylor, to name a few. He played the saxophone solo at the end of Whitney Houston’s number one hit “How Will I Know” and the sultry sax interplays in Regina Belle’s hit “Come to Me”.
Steve Booke, a Berklee College of Music graduate, makes his living as a composer of music for film and television. He endorses Fender Guitars, Larrivee Guitars, Dunlop, GHS strings, Mogami cables, Soldano, Peavey, Graph Tech, L.R. Baggs and Digitech. Steve’s music can be heard on everything from The Oprah Winfrey Show to any and all major cable networks such as Discovery, A&E, MTV, VH-1, Animal Planet and many more. He was featured in Guitar Player Magazine and won the June 2005 Song of the Year contest for one of his world/fusion compositions. Steve performs his own music with his five piece acoustic world music ensemble, Violet Samudra, in the New York area. He performs regularly in NYC with different groups several nights a week and is a regular performer at visionary artist Alex Grey’s NYC based gallery, CoSM. Steve has eight CDs of his own music released and appears on fifteen other recordings alongside such artists as Steve Vai, Allan Holdsworth, John Paul Jones, Steve Morse and many others.
Produced and Composed by Steve Booke and Premik Russell Tubbs
Recorded and mixed by Steve Booke
Premik Russell Tubbs – Bansuri, Celtic Flute, Alto Flute, Bass Flute and Metal Flute
Steve Booke – Acoustic Guitar, Fretless Guitar
___
From years ago...a single, by chance recording. At the end of a session with Steve Booke he handed the mic over to his friend Treza...and this voice and precious lullaby suddenly filled the room. It is organic, loving and timeless.
The flute was then added at a later session.
Treza Bettencourt - Cancao de Embalar
www.youtube.com/watch?v=M57rZsZw2bI
"This is an Azorean lullaby used in my family to rock all children to sleep. I recorded it in memory of my mother, our lullaby singer and so that the tradition might continue for generations to come."
Treza Bettencourt - Vocals
Steve Booke - Music and Production
Premik Russel Tubbs - Flute
Free Photos – Professional Audio Rack Systems
More photos and details about possible copyright or licensing restrictions here:
public-photo.net/technology/audio-rack-systems/
Full Size Up to 3072 x 2304 pixels
Information Regarding Copyright: public-photo.net/copyright/
Current configuration. I'm still experimenting and swapping stuff out. I'll cut foam and do better cable management once it's settled a bit more.
TC Electronics Polytune -> Morley Bad Horsie Wah -> Rocktron Short Timer Delay (set with just a tiny delay to widen the sound a little) -> Danelectro CTO-1 Transparent Overdrive -> Boss HM-2 (my roommate stumbled across an amazing distortion tone using an odd combo of the CTO-1 and HM-2, that's why it's on there) -> Boss MT-2 (for serious scooped metal) -> Digitech Hyper Phase -> Danelectro CV-1 Vibe -> Danelectro CT Tremelo -> Digitech Hyper Delay -> Amp. All sitting on a Behringer PB1000 pedalboard.
I still have a lot more pedals than fit on the board so I'm not sure what to do. The current setup is oriented towards running into my roommate's Blackheart Little Giant amp (which sounds great but is pretty minimalist) and getting fun noises, rather than being a tight metal rig.
i was a Sweet Transfestite from Transexual-vainia for Rocky
I think i might get back in the game (I lose)
I'm in a much better mood
i've been playing my guitar a lot more (Probably because i got a kick ass distortion pedal.)
Digitech Hardwire distortion+Dunlop Crybaby Wah= Orgasam
I'm finally 17
I'm getting my prescription glasses here soon
My birthday party is July 25
I'm getting Hookah and that makes me happy, i finally get to see what Taylor looks like when she has a Hookah buzz
Thank you
-Dr. Sam R. Perkins
Warmoth custom strat, FJA modded 5150, Digitech 2101 Artist w/ Memory upgrade, Mesa/Boogie Rectifier 2x12 cabinet, VOX VT50, Vexter Fuzz Factory, VOX Wah pedal.
ITEMS NOW SOLD: Vox amp, Digitech 2101, Modified 5150.
5150 was replaced with a 2010 Mesa/Boogie Dual Rectifier
Organize e proteja seu setup com os Pedal Boards F!RE.
Disponível em 2 tamanhos, eles comportam de 8 (o pequeno) a 12 (o grande) pedais de tamanho padrão. A superfície é revestida em Velcro®, dando a perfeita fixação dos pedais à plataforma. Os Pedal Boards são produzidos em MDF*, por isso podem também ser perfurados para adaptações diversas de acordo com a criatividade e necessidade de cada músico e têm alças para facilitar o manuseio em palcos e estúdios. As plataformas têm perfil inclinado, facilitando o acesso aos pedais que forem colocados na parte de trás do setup.
Os Pedal Boards F!REvêm num bag luxuoso produzido com os melhores materiais disponíveis no mercado, proporcionando proteção, praticidade no transporte e maior durabilidade ao seu setup, com um visual muito mais estiloso.
*Medium-density fiberboard é um material derivado da madeira e é internacionalmente conhecido por MDF. Em português a designação correta é “placa de fibra de madeira de média densidade”.
Ibanez TS9 Tube Screamer
MXR EVH Eddie Van Halen Phase 90
Boss CE-5 Chorus Ensemble
DigiTech HardWire DL-8 Delay/Looper
Robert Keeley Boss TR-2 Mod Tremolo
Boss CS-3 Compression Sustainer
Boss TU-2 Pedal Tuner
Dunlop Crybaby 535Q Multi-Wah
This is my current (and favorite) guitar & amplifier rig. The guitar is an Epiphone Sheraton II, which I've customized with gold Gibson speed knobs and a vintage amber switch cap. The signal then goes to a chain of stompboxes and pedals, in order: DigiTech Whammy -> Boss DD-3 or DD-6 (delays) -> Boss DS-1 Distortion -> Boss BD-2 Blues Driver (a more natural, tube-like overdrive). I use the "Crunch" channel on the amp for most of my distorted tones, but I'll use the DS-1 for lead sounds, and the BD-2 for slightly overdriven sounds. In the studio, I'll use either a DigiTech GNX300 or a DigiTech RP150 (shown here, kind of), for recording direct, though I prefer the Boss analog pedals for live use or mic'd recording. Eventually, I'll get a Boss ME-50, an all-analog stompbox type multi-effects floor processor, for convenience. Notice the lack of a chorus unit. The Whammy pedal generates a great sounding chorus effect on the "shallow detune" setting. The signal goes directly to the front end of the Rhino Tone Ranger amp. The amplifier is a 100 watt 2 X 12" dual channel combo, made by Rhino Guitar Amplification. Sadly, the company is no longer in business, and finding one of these is really rare. The factory used to be here in El Paso, and I remember going and watching them being put together and tested. I had always wanted one of these, and now I have my very own Rhino. This probably makes it a collector's piece, especially in the condition that it's in, but it just sounds too good to not play through it.
ISRAEL FERREYRA - Guitar
BIOGRAPHY:
Born in April 18, 1985 in San Martin, Mendoza. He started to study music at the age of 13 with classical guitar for 6 years, then because of his musical preferences decided to purchase his first electric guitar. By not getting a proper teacher for the style and way of playing that he wanted (Heavy Metal), decides to base his studies in books and guitar clinics, becoming an autodidact. At 16 he had his first musical experience in a “Black Metal” band where he played the keyboard, then at the age of 17 plays as guitarist in a “Thrash Metal” band. Later he decides, with musicians from those bands, to form Nephelim, a “Power Metal” band in which he played several years until its dissolution. Since 2011 he is a member of the band “Blood Dress” where he plays the guitar.
BIOGRAFIA:
Nacido el 18 de Abril de 1985 en San Martín, Mendoza. Comienza sus estudios musicales a la de edad de 13 años con guitarra clásica durante 6 años, luego debido a preferencias musicales decide adquirir su primera guitarra eléctrica. Al no conseguir un profesor adecuado para al estilo y la forma de tocar que deseaba (Heavy Metal), decide basar sus estudios en libros y clínicas de guitarra, convirtiéndose en un autodidacta. A los 16 años tiene su primera experiencia musical en una banda de “Black Metal” donde ocupa el rol de tecladista. Luego, a la edad de 17 incursiona como guitarrista en una banda de “Thrash Metal”. Al pasar el tiempo decide junto con músicos de aquellas bandas formar “Nephelim”, banda de “Power Metal” donde toco varios años hasta su disolución. Desde el año 2011 forma parte de la banda “Blood Dress” donde se desempeña como guitarrista.
INFLUENCES / INFLUENCIAS:
Guitarists / Guitarristas:
Yngwie Malmsteen
Michael Romeo
Dimebag Darrell
Chuck Schuldiner
Christian Muenzner
Bands / Bandas:
Necrophagist
The Faceless
Obscura
Gorod
Spawn of Possession
Sleep Terror
EQUIPMENT / EQUIPAMIENTO:
Guitars / Guitarras:
Dean Razorback
Dean Dime
Jackson PS4
Bc Rich Warlock NT
Ovation Electroacustica Demented
Amplification / Amplificación:
Randall RH 100
Randall R412CX
Pedals / Pedales:
Boss GT 10-LS 2
Dunlop Dime Cry Baby From Hell
Line 6 DM4
Electro Harmonix Soul Preacher-LPB1
Marshall EH1
Korg Df10
Digitech Whammy
Hunny Bhagchandani
Founder, Torchit
Kaushik Burman
CEO, Spiro
Frans Cronje
Founder, DataProphet
Songo Didiza
CEO, GreenBDG Africa
Guy Diedrich
Senior Vice President and Global Innovation Officer, Cisco
Mostafa El-Ghorab
Partner and Chief Business Officer, INDOS (Garment IO)
Kweilin Ellingrud
McKinsey Global Institute Director and Senior Partner, McKinsey
John Kamara
Chair, AI Center of Excellence Africa
Francis Kariuki
Chief Operating Officer, Toto Safi Limited
Ayaan Mohamed
Founder and CEO, Digitech Oasis
Editha Mshiu
Founder, Freshpack Technologies
Emily Musil
Managing Director, Social Innovation, Milken Institute
Nneile Nkholise
Founder, Thola Inc.
Derick Nwumfor Chunga
President, BleagLee
Fender 60's Series Telecaster w/ Bigsby [Figsby]
Ibanez RG4EXFM1
Fender Twin Reverb '68 Reissue
Many pedals.
New @digitech Whammy Ricochet: triggered pitch sweeps! bit.ly/23d5eYT #musikmesse #musikmesse2016 #musikmesse16 #musikmessefrankfurt #effectsdatabase #fxdb #geartalk #gearphoria #iheartguitar #guitarnoize More from Musikmesse at bit.ly/1V6vClC, via Instagram: bit.ly/23d5gQs
The primary difference between this version of my board and the last version is the Eventide ModFactor. After not very exhaustive non-scientific lab work, I determined it should go in the effects loop, rather than in front of the amp. Therefore, it needed to go on the top level, displacing the amp footswitch to the bottom level, where the Phase 90 used to be.
I'm about ready to sell every modulation pedal I own (and that is a good number of pedals). The ModFactor renders them obsolete. Sure, it's probably not a perfect clone of all of my old pedals, but it sounds great anyway. Man...I haven't heard flanging like this since the last time I hooked up my A/DA Flanger.
Next up (as soon as I can raise the funds by selling some of the aforementioned pedals), a PitchFactor!
I don't put too much about my music on Flickr because Flickr isn't a medium to share audio...but it is a huge part of my life and when I'm not out taking pictures I'm up in my room messing around with the six stringer...check out the notes to get a lil more technical....
As far as bands that I can tell that have had an influence on my style...the list would go something like this:
The Fall Of Troy
Don Caballero
The Mars Volta
At The Drive-In
Minus The Bear
Tera Melos
Frank Zappa
Botch
Rage Against the Machine
Hella
The Smashing Pumpkins
I'm trying to do more with some "minimalistic" ideals right now...I use my delay (looper technically) to throw some foundation out there and just start screwing around with some really simple crap that would sound boring were it not for some background noise (about as close as you can get to the idea behind Don Caballero)....
I suck at writing...there is a lot more I'd like to say and share with all of you but I guess thats why I'm a musician and not a writer!