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This was my first time working with a water-slide decal. I'm surprised at how well it came out. It did take a couple of attempts to find a shade of yellow that would show up over the pistachio green.
Kevin Armstrong guitar effects kit and Mat Hector's Gretch drum kit
THOMAS DOLBY and the 2012 “TIME CAPSULE TOUR”
(clockwise from top) Shin-ei Uni-Vibe, Uni-Vibe controller, Vox V846 Wah Wah pedal and (Crest Audio) Fuzz Face.
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.
Autumn red, brighton, London, uk, alt-country, folk, gothic americana, indie, singer-songwriter autumn red, gospel, woven hand, john martyn, nick drake, lloyd williams, banjo, Stomp, Stomping, Stomp Box
Tubescreamer Doble, con modificación para conmutar entre TS808 y TS9 independientemente, al igual que el switch para corte simétrico/asimétrico en cada TS. Fabricado para Jorge Ortiz, de Temuco, el año 2010.
Simple treble boost with tone switches and a bias/gain knob.
Image on the enclosure is from the brilliant illustrator James Joyce www.one-fine-day.co.uk/ It's a drawing of Daniel Pemberton's music gear
I found this mod on www.thegearpage.net. Here is a link to the thread: www.thegearpage.net/board/showthread.php?t=471807.
It adds a resistor on the underside of the circuit board in parallel with another resistor to drop the original value, allowing for faster speeds, resulting in a pseudo rotary speaker type of sound at some settings.
I personally used a 470K resistor instead of the recommended 510K and it worked fine. There's a lot of hype surrounding this on the thread I linked to. It does give way to some pretty good rotary speaker-like sounds at the newly available higher speeds, but obviously still doesn't touch standing in front of a Leslie. I would say though, that this mod, being as ridiculously easy and just as easily reversible as it is, is practically a must try for any CS-9 owner. Note that the slow speeds are still available.
NOT MY PHOTO (via Music Thing): John Frusciante of the Red Hot Chili Peppers has a crazy huge pedalboard for his guitar effects.
From Inside Home Recording episode #71, May 2009.
It emits sound, with ridiculous amounts of gain.. I'm still playing with the circuit and tweaking stuff. There's a silicon NPN 2N5088 transistor in there now, but I'm gonna turn the electrolytic caps (and power) around and see what a late 80's Russian germanium PNP MП26A transistor (much less gain, hFE = ~60) sounds like..
Here she is—complete!
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Built from a Build Your Own Clone kit, the "Scrambled Octave". This kit is a clone of the rare Ampeg Scrambler. I titled mine "The White Peach" because this effect can be sweet or tart—just like a peach.
Atsuko & Stompbox - soundcloud.com/atsubox
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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!
La modificación Pure Mod para el Boss Blues Driver BD-2 convierte a este pedal en un exquisito overdrive con un completo rango de sonido y una inigualable transparencia de tonos arenosos y afiliados.
30th January 2012 the Slaughtered Lamb, London EC1 (Genticorum gig).
The Stomp Box is a wooden board or box which a musican (usually guitar or banjo player) taps with their feet to enhance the rhythm. They can be solid or have an acoustic chamber. A microphone is often placed above the board/inside the box They go by a variety of other names - e.g. stomp drum, foot drum, or porch board, and were originally used by American Folk and Blues performers. They can be home made or, with more sophisticated version, manufactured for the purpose. The term Stomp Box is also sometimes applied to the Pedal Boards electric guitarist use to obtain a variety of effects.
Stomp Boxes are also a feature of Québécois music. The role of "podorhythmie" or “tapements de pieds” is usually assigned to a seated fiddler.
For this board in use see: www.flickr.com/photos/kmlivemusic/6901708577/.
Stomp Boxes are assigned the number 111.24 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
1 = Idiophones. Sound is primarily produced by the actual body of the instrument vibrating, rather than a string, membrane, or column of air.
11 = Struck Idiophones. These idiophones are set in vibration by being struck.
111 = Directly Struck Idiophones. The player himself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc.
111.2 = Percussive idiophones. The instrument is struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground).
111.24 = Percussion vessels.
Russian Big Muff Pi modified to include a bypass for the second diode clipping stage, and a feedback loop. Cosmetic changes like an ultra bright white LED and white knobs were also made.
Recorded a small piece "live" two nights ago and took pictures of the set-up. I recorded a small piece "live" two nights ago and took pictures of the set-up. More info here: Dance Robot Dance
It's a Strymon Blue Sky Reverb, A Stereo Memory Man delay, and the Teenage Engineering OP-1
Very exciting glowing valve, a 12AU7 running on 12v in a Matsumin Valvecaster circuit. This should be a great preamp for my new Hohner Pianet.
DIY Octavia pedals, boosters and treble boosters
Cheap case, the circuit almost falling apart inside, weird wiring, but who cares? It’s working!
I had no idea stompboxes existed this small until I spotted a photo uploaded by Big Al Davies. After researching, decided I needed to have one of these. However, when the Hotone Grass arrived, it was even smaller than I expected. Lets hear it for efficient and elegant design. Very cool... and it has some great tones to boot.
Note: In case you were wondering, yes - my hands are that big.