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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
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.
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
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)
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Aerial view of Adastral Park at Martlesham Heath, Suffolk, with the landmark buildings of BT’s research and development centre dominating the centre of the photograph and construction work for the emerging Brightwell Lakes development visible in the foreground.
Adastral Park occupies part of the former RAF Martlesham Heath airfield. The telecommunications research establishment here was formally opened by Queen Elizabeth II in November 1975, when the Post Office transferred much of its research operation from Dollis Hill in London to Suffolk. After the creation of British Telecom it became widely known as BT Research Laboratories, or BT Labs, and the site was later renamed Adastral Park as it developed into a wider technology and innovation campus.
For decades the laboratories have been associated with major advances in British telecommunications, particularly work on digital communications and optical fibre. Today BT continues research at Adastral Park into areas including fibre networks, 5G and future mobile technology, artificial intelligence, cyber security and quantum communications.
This photograph also records a major change taking place immediately alongside the historic research campus. The cleared and newly worked land in the foreground forms part of Brightwell Lakes, the large new community being developed to the south and east of Adastral Park. Outline planning permission was granted in April 2018 for a masterplanned development of up to 2,000 homes.
The 113-hectare Brightwell Lakes site is being developed in phases and is intended to be considerably more than a housing estate. Plans include employment space, local centres, public open space, sports facilities, allotments and community orchards, together with new walking and cycling routes and associated roads and infrastructure.
Education forms another important part of the new community. Land has been allocated for a new primary school and pre-school, with provision for the primary school ultimately to accommodate up to 630 pupils, while the outline permission also provides land for a future secondary school.
The development has an interesting historical setting of its own. Martlesham Heath was one of Britain’s important military aviation sites, and surviving archaeological and military features within and around the development include a scheduled bowl barrow and a pillbox. The Brightwell Lakes masterplan therefore includes provision for a Heritage Park intended to protect historic features and retain important views through the landscape.
The result is an unusual meeting of three generations of development in one aerial photograph: the landscape of the former Martlesham Heath airfield, the unmistakable 1970s architecture of BT’s Adastral Park research laboratories, and, in the foreground, the beginnings of Brightwell Lakes, a new community which will eventually bring around 2,000 homes and substantial new infrastructure to this part of Suffolk.
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
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 / ..
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”.
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
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.
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!
Fender 60's Series Telecaster w/ Bigsby [Figsby]
Ibanez RG4EXFM1
Fender Twin Reverb '68 Reissue
Many pedals.
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!