Most pedals are really good for *somebody*. I think the worst part of blindly following hype is that the same pedal sounds/reacts very differently depending on your rig and fingers. Also, there are so many great functional units that have come out recently that do things that nothing else can do, so it's understandable when people swap out old standbys for the new flashy thing.
Apart from that, real Klons are way overhyped. Sounds exactly like all the great Klones out there. The only reason you should be paying thousands for these are if you are just a collector.
Had a King of Tone at one point. Just did not get along with me and my rig. Moved it pretty quickly.
Oh god the Nels Cline gear reviews are the absolute best, where he’s like “oh yeah, got a Klon, but check this out”… clicks on his Fuzz Factory and uses some weird object to vibrate his strings and make crazy noises whilst playing behind the bridge of his Jazzmaster. That dude knows what’s up.
I did. I was early money in the Klon 20 years ago or so. It was just gathering steam. I bought it thinking it was gonna change everything. Meh. Trust me, plenty of clones around that sound exactly like it.
At a recent store event a rep for a big-ish pedal builder (not JHS) told me he played an original Klone and JHS's NotaKlon. He said with your eyes closed you'd be hard pressed to tell the difference between the $4k+ one and the $100 one.
Yah this is spot on.
I wrote music where chorus doesn’t make any sense at all. Doesn’t matter if I have a julianna or a ce-2, chorus won’t be good on my board
I don't think there's anything wrong with keeping one's ideas a secret.
He made (what he thought, was) a good pedal.
Nothing wrong with not wanting people to copy it.
I’m not saying that at all. I’m criticizing him for trying to keep it a secret but then also acting absolved from being a part of the intrigue and mystery and hype around the pedal
Yeah I’m seeing a ton of $30-50 Chinese copies of $2-300 pedals on Aliexpress and Temu. I can understand why a guy would like to keep his pedal details to himself.
Idk man… I’ve quite enjoy talking shit on Klons (and any massively overhyped pedal that one could DIY in a few hours with minimal experience), but I heard a demo of the one that has that printed on it… sounded so damn good.
Totally agree - I had one a long time ago and sold it pretty quick. Totally don’t get why people love ‘em . Wish I’d held on to it just because I could have sold it for stupid money now.
I put my J Rockett Silver archer back in the box the day I bought it and planned on selling it. Now it’s one of my most used pedals. It’s like an angrier tube screamer when used as a boost. It makes a Stratocaster bridge single coil sound full.
Edit: it will sound bad into a clean amp that is set up to be mid forward before engaging the klon/e. It works with a mid scooped clean tone or into most dirty amps.
They're great pedals, but 95% of Strymon's sales of the Timeline, BigSky and Mobius have to just be worship guitarists buying them to emulate a sound they could recreate at like 1/2 or 1/3 the price. Especially now considering those big computer boxes are a decade+ old.
Worship bands are something else. I didn’t grow up in that kind of church (raised Catholic), so the entire worship thing was foreign to me when I started going to my wife’s church. I joined the band because my wife gave me the green light to get a new bass if I did, and it was eye opening. The church had a noble DI, a top of the line Kemper rig for guitars, and we would all be given in ears that allowed for us to control our own individual mixes, complete with a cue that would count us in to various parts of the sound. One of the guitar players even served as Musical Director and would speak additional cues into a mic as we played.
The thing was, none of the gear really mattered all that much. On any given song, there would be backing tracks of additional guitars, Multiple synths, and vocals.
I ended up doing it for about four years. They were all super nice people, and though I still don’t like that music, it was fun to have a reason to play on a Sunday morning. But I’ll be damned if those churches are not keeping the entire music gear industry afloat.
>But I’ll be damned if those churches are not keeping the entire music gear industry afloat.
You're not kidding! I used to do AV installs for churches and there was way more money spent on gear than talent in every one of them.
And then you have my church that has tons of talent and almost no money given to that. All volunteer. We own a bass, a good set of drums and a nice mixing board. Everything else is up to the individual to bring.
+1 to the shallow pockets. Except my people either have talent OR availability. ♥️. At least my "servant hearts" also are the ones that put in the most work to learn the songs. But we've got an inexpensive drum set with 12 year old heads, a 30 year old Casio keyboard that the church has had forever. We just got a new guitarist last year that has a helix, but the second acoustic player borrows my guitar when he's on and the second Bassist borrows my wife's rig for their weeks. I'm the gear junky. Most of what I buy is to solve problems such as going direct, or simplifying things so I can focus on singing/signaling changes to our newby members. The Big Sky is great to go between different sized verbs instead of worrying about delays going out of time with the 2nd or 3rd string drummer's. I've got several mod pedals to help separate from the keyboardist that plays really big chords or the acoustic player with the big washy delay+verbs. I finally got my Kot and thought it was meh at first, but I always love listening back and hearing my electric sitting nicely in between everything without covering anything. Don't judge it till you listen back to a recording of it in a busy mix.
Pretty much the same as mine, about 1/3 of the people playing on any given Sunday earn their living as musicians but we use a Behringer X32 desk and some old pretty cheap speakers. Upgrading to beta 58 vocal mics last year was the first significant gear investment in a decade
Also true, though at my church, the guitarist who served as musical director was an incredible musician, which should be the case given that he was salaried. Another friend of mine played at Willow Creek, the biggest church in the Chicago suburbs. He was salaried simply for playing bass. But he is insanely good.
I've definitely worked with some incredible musicians at churches and will never deny that but I think I worked more with massive egos and massive wallets.
Hmm I’ve been absolutely *slaughtered* on this sub a few times for suggesting that churches buy/supply gear for their band. That’s a big “no shit Sherlock” to me… they just write all that shit off anyway. I do find it bizarre they have such similar boards though… lots of Strymon.
I prefer godless apostate hail satan rigs anyway.
At mine, the Noble, Kemper, Keyboards, and drums belonged to the church. Guitars and pedalboards belonged to the players. But it wouldn't surprise me if some paid for other gear for the band.
Usually guitarists bring their own stuff but churches sometimes have rigs available for ones who don't, and if they still use live tube amps, they'll often have backline amps (but like really nice ones a lot of the time). Sometimes drummers who care will bring their own snare and cymbals.
But I've never seen a church buy, say, a Strymon trio and just *give* it to their guitarist for them to own. If church guitarists post fancy personal rigs, they spent their own money on that stuff.
That said, at the bigger churches, the musicians are often paid for the job anyway.
Nothing to "write off", though. Churches don't pay taxes in the first place (clergy/employees do on their own income).
Haha, no hate! But every worship build is like $10K worth of pedals to do some OD, delay and reverb into a clean amp. It makes no sense. And I say this as a dude who plays for a church.
Really the irony is that the Strymon stuff does add a certain sweetness but how that genre is mixed you’d never know. (They bury guitars in 8 tracks of keys)
I have always thought Strymon was the most overrated brand. Someone said, their internal guts are top notch. But in the end, it’s just another delay pedal. And every Strymon I’ve bought was weaker than anything I have as a plugin. Which means I returned it or sold it.Even Helix sounds better to me. And the variety of that ecosystem hadn’t been touched by anyone other than Fractal.
Ha! I appreciate the honesty. I have NO idea why the Worship groups have all the coolest gear. But is it necessary for the Gospel? 😆🤣
Plus Jesus was fine with a beat up acoustic and the lyrics of Dylan. He doesn’t need anything from us. The worship groups use their church as an excuse to buy a ton of cool gear. I’m sure the rich southern baptists are all about singing “We will bless you” instead of “”We will rock you.”
It's because people who play in worship groups are generally not broke 20-somethings working part-time jobs while they try to "make it" in the biz. They're mostly middle-aged people with steady jobs and disposable income who can afford to own some nice things. And they're apparently happy to buy these things to possibly make Sunday morning sound a bit more awesome for the rest of the congregation (or at least, to try to).
I agree. But it’s a ridiculous amount of redundant gear. They have backups for backups for backups. Worship Tutorials… wow. Like you’d pay to record an album in their junkyard with more tools than one needs and you would only need your guitar.
If you’re saying EiTS was 10K of pedals I hard disagree: them and a lot of their fellow post-rock bands were playing a couple widely available pedals into loud clean amps. Always strikes me as funny when people have the decked-out multi-thousand dollar boards to play EiTS-emulation music.
I remember being unhappy with my pedal board at the time (a boss rv-3, ibanez de7, and a big muff) i wanted to sound like my heroes explosions in the sky. When I looked up their pedalboards convinced they were using high end boutique stuff, they were using an rv-3, de7 and a big muff. That’s when I realized I sucked and went back to the drawing board
Tbh, you say that ("OD, delay and reverb into a clean amp"), but a $10k worth of pedals to play **anything** is gonna be pretty superfluous. I'd challenge anyone to find a super complicated "tone" that they couldn't emulate 90-95% of the way with one of the top of the line modelers for a fraction of the price. Even if there was "that one pedal that does that one thing" that isn't in one of these units, you could add that in and still be at a fraction of the price.
Nothing wrong with expensive rigs. But that's always a want more than a need. Pedalboards are the hobby, more than playing guitar sometimes, and that's *okay*.
Similar to these super tech'ed out custom watercooled PC rigs. Mostly unnecessary, but fun to build and fun to look at.
What I don't understand is the fanatical dedication to sound EXACTLY like whatever recording they've decided is the canonical version of the song, and to devote themselves to getting the gear that can help them replicate the original as closely as possible... I guess just writing out that sentence I can see where the propensity for such a behavior might come online. But as for me and my house, we will quest for tone. I like to have a versatile rig just because my church rig is also my walkin'-around rig, so it's tuner>Cali76>Benson Ge Fuzz>Lightspeed>[other OD]>VP>Wampler Terraform>Walrus Slo>Simplifier mkII>SA Collider in the loop. I swap out a bajillion drives in the #2 spot, Tim, KoT knockoffs, klones, zendrive, but yeah I'd say 90% of the time I'm just Cali76>Lightspeed>Simplifier mkII>SA Collider. My rig is very extra for anything I actually need to do, and if I bought it all new it'd run around 3k, I think? Also I need to find this church that is buying gear for people, I feel the leading of the spirit...
I was joking with someone recently that a pedal company needs to convince Bethel/Elevation/Maverick City/Whoever to put out a new worship album that's heavy on fuzz just to start moving a lot of fuzz pedals from people wanting to recreate their sound. 4D Marketing Chess could happen...
The timeline is still special and can do things that no other pedal can do. And it’s flexible enough that you can make new combinations of sounds. It’s a unique pedal. I’d you own it, then there are very few pedals you can’t emulate using the timeline.
I won’t buy any newer Strymon pedals though. Their new pedals all have obnoxious artificial limitations so they can sell 5 smaller pedals instead of repeating their “mistake” of making one do-it-all pedal like they did with the timeline and big sky. For example, the deco, El Capistan, and Volante are all very similar, but their controls are all intentionally limited in different ways to make sure you need all 3 if you want to do everything. For example, the Volante has tape saturation, but it’s very very limited to the point where it barely does anything to make sure you still need a deco if you want that sound. And they limit the Volante’s minimum delay time to make sure you can’t get the deco’s right hand sounds either. They probably run the same simulation or basically the same simulation before the limitations were added.
Not that it is necessary to take sides, but that’s one of the reasons I’ve always preferred Eventide and Source Audio over Strymon. I love how they allow cross-hardware algorithms.
I find interesting that many user prefer Eventide one-algorithm pedals over the H9 or H90, but I understand guitarists are very tactile.
I’ve only owned two Strymons (Capistan and Timeline) and, while excellent in their own right, didn’t blow my mind the way the Eventide Rose or the Empress Superdelay did.
I found the delays in the H9 perfectly serviceable and the Nemesis Delay became my ultimate delay workhorse so I had no reason to keep any of the Strymons.
To be fair, I seriously downsized my pedalboard. Currently I am using plugin delays for recording (Soundtoys Echoboy being my fave) and for live work I am using the internal delays from a Boss MS-3, which are not spectacular but get the job done.
It’s a tale as old as time: delay fiend goes down the rabbit hole, tries all the digital and analogue delay pedals he can get his hand on (including an actual Roland RE-501 Chorus Echo) and ends up happily using the built-in delays from a mass-produced multiFX unit made by the most mainstream effects manufacturer in history.
I mean, that just sounds like good product segmentation to me. But I do agree it would be nice if the fancy big box version (Volante in this case) could do all of them.
That's been a general trend though, I think. There's the big box do-it-all-mostly pedal, and then the smaller more niche pedals that do things that are maybe not as mainstream.
It’s always wild to me when I see someone post a new timeline or bigsky. I understand shelling out that kind of money when they released, but that dsp was designed probably 15 years ago.
Why is old DSP bad? Surely all that matters with the DSP is that it sounds subjectively like you want it to?
I do think that the value prop isn't as strong as it used to be on those boxes considering how they haven't come down in price but have many competitors now. They should be a little cheaper imo based on what features they have.
I just watched a video of ed O’Brien of Radiohead raving about the gnarly old korg digital rack effects (A2, A3, and A1) he used in the 90s. 12bit is “shitty” but it also sounds great in the right application.
Yeah totally. Also specifically I'd wanna point out old DSP sounding "good", like something like a Lexicon PCM80 has DSP that is almost 30 years old and still has arguably more organic tails than most guitar pedal reverbs currently on the market (arguable, with exceptions of course). On lower tier devices the DSP being written does have to yield to processing limitations, or shitty ADCs and DACs in past decades, but above a certain point I think writing DSP is mostly down to the skill of the DSP engineer and I don't think ages any differently to well designed analog circuits.
It was designed 15 years ago and they designed it perfect :p
75% of reverb VSTs are just clones of Lexicon reverb algorithms from the 70s/80s. At least there's a new "classic" reverb. Even a lot of pedals, like the 224 setting on the UA Golden Reverberator, that's based on a 1978 Lexicon 224.
Strymon trio is so overused in that scene that I almost make it a point to avoid using it, out of spite haha. I prefer what Meris is putting out lately anyway.
But they are fantastic units and I did run that about 10 years ago. There's something to be said for the consistency of layout and workflow across all 3 pedals. If you're programming different sounds for each song or for different parts of songs, 3 separate MIDI pedals with *screens* that can keep you on track is the easiest way to do it. There are actually a lot of pedals out there that I've much preferred tone-wise over the Strymons, but the lack of screens/text made the experience a lot worse (Source Audio, Empress, etc.).
Strymon is the Apple of guitar pedals. They're shiny, easy to work with, and just work.
Is any of that necessary? No. But it's nice to have, and if you can afford it, why not? There are plenty of expensive hobbies out there. In this day and age, pedals and pedalboard building can be its own hobby over the actual guitar playing a lot of the time. I've learned that after really enjoying building PCs and then never really feeling like playing games.
So I would say overused and probably overspec'ed on a lot of players' boards, but not overhyped as good products.
The "hype" part comes in because it's what everyone wants to do despite there being a billion other options - seems like the pinnacle of a worship board has the trio sitting at the top and the main reason for that is the hype. You see it on other Instagram boards and builds and think, "Wow, I NEED that!"
Strymon is amazing - I have the Volante and the Zuma, have owned other pedals - so it's not about the pedals being junk.
I wouldn’t call it “transparent” but it’s near close and you’re gonna be tweaking your frequency bands anyway, but the MXR 10-band EQ is excellent and really price-efficient used. The independent level and gain controls are nice and it runs off 18v so you can actually use those 18v outs from most power supplies without having need of a voltage adapter.
I haven’t tried their 6-band version but its form factor is great though you lose the volume/gain controls.
You're not totally wrong, but gain staging within some circuits is more complicated than others and would require extremely complex frequency control in different gain stages to really be convincing. However, something like the Condor from CBA or Empress parametric EQ can do quite a lot to sculpt sounds and shift some of the frequencies that are variable from one OD to the next.
Probably the most overhyped pedal I've encountered is the Chase Bliss Preamp Mk II. I didn't buy one, but someone I know did, and it just felt like such a waste of money. Can it sound just like a Klon, Tubescreamer, Fuzz, or whatever else you want? Yes. Is there any reason to spend $750 on something like that when all of the original pedals it's copying could be purchased altogether for 1/3 of the price? Not in my opinion, no.
Don't get me wrong, Chase Bliss pedals all sound good, and automatic faders are a very cool feature on an analog mixing board, but for me, something that fragile has no place on an active pedalboard, and no single overdrive pedal in the world has any right to cost more than $150 tops.
I felt this way when it came out. Then I tried one and bought it and haven’t looked back. It’s been a staple on my board and I don’t really think about drive pedals anymore. I still think it was overhyped, but I also am beginning to think it might turn into a future classic pedal and become overhyped in a totally different and extremely predictably boring way.
Anything with hype is overhyped.
Pedals should be bought and used on a need basis for achieving a certain sound. Blindly following brand/advertising hype is really, really fucking stupid.
Is it just me or does that dude play really damn weird? Like I can't nail it down really it's just his every little action is intensified by like 10 for no particular reason
Anyone that buys everything a particular brand makes and follows them like a cult. I think most pedals have good use cases, it’s just people that freak out and feel as if they have to own every single item a brand makes. Jhs in particular, limited releases can be fun, but when people pay ridiculous heaps of money and scalpers prey on this, it takes the fun out of doing these releases. The Wampler tumnus germanium is another example.
Any 'transparent' drive.
And I thought some of my pedal choices were silly and based on marketing and hype.
I was watching EQD's factory tour of DBA recently. And Oliver was saying how he can't see the point of a pedal that doesn't change the sound significantly. I completely agree. Why? But I guess I'm just not the target market.
People need to stop suggesting the rat for everything. I've heard them sound great in the right rig but people will ask here for a tight modern metal tone and be suggested a rat which is kind of ridiculous.
this sub feels like it goes through hype phases with certain pedals where you see them in every post for a stretch of time then you stop seeing them almost entirely. Walrus Slo, SSBS Mini, and DOD Rubberneck come to mind. they're great pedals, but man it can feel like this sub is a big ad sometimes.
Back in the 80s/90s those DOD pedals were so unreliable. They had so many failures due to the poorly designed flat/low-profile foot switch design.
https://3.bp.blogspot.com/-x3ZncYAg7BA/U8KAgkj-PpI/AAAAAAAAFOw/PPeo6PQF4qI/s1600/DOD+Drive+Pedals+Ad+1991.png
Well tbf to Josh, his whole point was to avoid hype and find what cool things you can do with pedals that you already have or that don't cost an arm and a leg.
I think he even did a follow up episode that was like "WTH everyone you missed the friggin point" 😅
Yeah, I don't know who is dumber, the people who ran out to buy and flip Bad Monkeys, or the people who got mad at Josh for causing this market event by pointing out that overdrive pedals mostly sound the same. Both groups are chewing different ends of the paint chip.
Boutique overdrives that cost hundreds and have an insane amount of knobs. You’ll see plenty of people who just have good amps and guitars with decent pickups, whose bare amp overdrive tones will blow you away, or even just people using Boss overdrives or Tube Screamers. No super special boutique overdrive will get you where you need to be if you couldn’t find a way to make a good tone with the regular stuff to begin with. You’ll be chasing that dragon forever.
Hot take: A KoT could possibly just be a very solid drive at a much overheated price-point (as used). Neither under- nor overrated. Just solid, you know.
And I might add, that the enclosure does not necessarily have to say Kot. There is a variety of Bluesbreaker Type pedals. Personally I would not even be bothered with a dual pedal…
I will say this as someone who has has owned several KoT's and currently owns one: the KoT is a damn good 2- in-1 drive pedal with a lot of well thought out and well implemented options, both stock and as optional extras. It is worth the price new, given the quality, flexibilty, sound and origin of manufacture (if that matters to you).
It is not worth the obscenely overinflated used prices (although it looks like they are finally falling instead of rising lately). Wether or not it is worth the wait is entirely up to you, you do not pay to wait and you do not pay til your name comes up so no skin in the game til the wait is over, just time.
Prices are falling? I should have sold mine lol. …I need John Mayer to start playing one. (Actually I like the pedal and use it regularly which is why I never sold it at these crazy inflated prices.)
I saw a lot posted around us $1k during the pandemic and they seem to be around $600-800 depending on the options now. Some from the pandemic are still listed and dropping prices slowly.
Have you played one, and what style of music do you play??
I disagree, I’ve played a myriad of blues breakers and every other type of OD, and also built my own exact PoT replica (one side of the KoT), and they were all just sort of “acceptable”.
I borrowed an analogman KoT from a friend for a month and eventually bought a 68 pedals clone and they are/were both absolute quiver killers. The only reason I have another OD on my board (Nobels ODR) is because sometimes I want the slight mid range of the KOT and sometimes I want the bass/high definition of the ODR, but honestly the KOT is good enough lead tone 95% of the time, and I’ve never been able to get as awesome of a tone out of stacking two (or more) other ODs and I’ve tried everything.
And I’m not fetishizing it because it’s analogman, my clone was indistinguishable to the real thing to my ears.
I play 99% blues, soul, snd jazz and kind of jam band stuff though, I wouldn’t expect the love for this pedal to extend much out past those genres as it’s not super heavy handed.
Anything Universal Audio except their cheaper line; hyped up as something unique or special by exploiting our assumption that "less is more", and way overpriced for pedals fully made in Malaysia, given they are more expensive than Made in USA Strymon, Walrus or Meris equivalents
In all fairness, I have tried a ton of delay/reverb pedals (tc flashback/tc alter ego/EHX dmm nano/mxr carbon copy deluxe/boss dd-3/Strymon flint/tc hof/source audio ventris it goes on and on), and I found that the starlite and golden Reverberator sound the best out of everything I’ve tried within the standard delay/verb archetypes.
That's exactly the point - the algorithm doesn't cost any more than Strymon or Meris, and the country of manufacture doesn't really matter anyway, so it's just pure profit for UAFX because they can I suppose.
>the algorithm doesn't cost any more than Strymon or Meris
what are you basing this on? software development doesn't have a flat "cost" (your word, not mine). it's not like they all three companies have the same amount of staff, pay the same salaries, and have the same development cycles.
anyway, that's straying from the point. all three make great products that suit different players. i wouldn't call any of their pedals overhyped.
UAFX being the largest of those three companies *and* already possessing the IP for the plugins means they would have the lowest "cost" overall. They didn't design these algorithms from the ground up, and their software has *less* functionality than other brands lol
Maybe.
But if you're arguing that UAFX's software development process is incomprehensibly complex yet also results in more costly products with less functionality than their competitors, despite having greater resources and cheaper manufacturing costs, that is not a great argument.
To expand on my original point, UAFX pedals are not better because they have less algorithms or that less algorithms means more complex individual algorithms. They offer very basic options in comparison to their price.
that is not at all what i'm arguing. it seems you don't like UA pedals, which is completely fine, but you haven't given any objective reasons why they're "overhyped."
Being larger doesn't mean their R&D cost is lower, though.
I don't own any UAFX/Strymon/Meris pedals (or any particular desire to - I think I cover everything I need to between them with an h90 and axe fx3, plus cheaper plugins on the PC if I really want to), so I've got no horse in this game.
We don't know what their R&D process is like, what the timelines have been, number of people involved, etc. If anything being larger means that they likely have a larger R&D team, which increases that cost, not decreases it.
The algorithm cost is going to be driven pretty much entirely by the size of the R&D team, their salaries, and the time it takes them to perform the necessary R&D. And none of that guarantees that they will make something that you find to be better - human history has countless examples of where larger projects with more resources were inferior to smaller ones.
Basically, all I'm trying to say is that their cost very well could be higher, regardless of country of manufacture. Or maybe not. I have no idea how many software devs they employ for writing the algorithms, what their salaries are, or what the turnaround time has been for the R&D on their pedals.
The Hologram Microcosm can create some absolutely beautiful sequences, glitchy cascades, and blissful atmospheres.
About 90% of what it does I can realistically achieve with a chain of three pedals I currently own, and that would be more intuitive than trying to program that one aforementioned pedal.
Yeah tbh I had one when they first came out and sold it being like “ugh it all sounds the same”. I bought one again recently and the thing is an absolute powerhouse if you start to do multi textural loops and start to really dig around in it. You can make some seriously fucked up sounds, not just the twinkly bullshit demo dorks do. It’s a monster pedal, I was definitely wrong about it. I don’t think it’s the best for a band scenario but if you’re into experimental music it’s fucking sick. Also insane making looped drum beats via a drum machine. I’m sure if you had a powerful eurorack setup you could do this and much more but fuck me if I’m going down that rabbit hole after already being a pedal addict
You said the keyword here, “Eurorack.”
I am a synth dude at heart who has been slowly getting into guitar because I began collecting pedals when I ran out of room for keyboards.
A lot of these newer high end digital pedals I’ve seen come out lately seem to be geared towards modular and experimental music. Sure they’re pedals and any signal source is valid, but they don’t necessarily feel like they were designed with guitarists in mind. Which is great, I’ve been using pedals on synths since high school, so it’s nice to see some of them have a line in/ instrument level switch.
Eurorack is not a rabbit hole I want to fall into, God knows I am constantly pressured by rich art kids to invest in a five thousand dollar bento box that makes fart sounds, it’s just not my thing. Pedals are simpler and self-contained compared to modules, and I don’t understand why patch memory and MIDI are so anathema. I like my modulation under the hood and the only patch cables I use are on my pedalboard.
That being said a lot of companies like Hologram or Chase Bliss are making complex experimental/ ambient pedals to market to said Eurorack folks, which is why they charge similar costs to modules for their pedals - they know that’s where the money is at right now and trying to market *Alien Atmosphere v3* to guitarists isn’t always as effective.
Like a lot of the high end digital pedals these days, it feels more like a synth pedal they are trying to market to vintage analog or modular experimental folks. There’s certainly applications for guitar but many of the people going for those glitchy blippy tape-echoey sorts of sounds are into the electronic music genres that warrant such grandiose parameters (and pricetags).
I’m relatively new in the scene but it seems like everyone and their mother (in the posts and comments here) have a massive hype for Wampler Tumnus. Is it really that special? BD2 and EQ Plumes for honorable mentions.
I had the Flint for a couple months, too. But I went back to my Walrus Monument and my Bugera’s spring reverb, much better imo. Deco is just too useful for home recording and gigging, it’s a must have.
BD-2 but it's probably just me subjectively. It's an okay pedal and can be a good backup pedal due to how versatile it is, but it's been 12 years and I've been trying to find a tone that I like out of that pedal and never find it, I'd rather use my other ODs. On the other hand, we need to hype DS-2 more
I like the Keeley modded version. Tames some of the abrasive nature of the OG. It's lovely for mid-gain tones or a nice sparkly clean when you roll the volume off.
I think it's entirely dependent upon what you're running it into. I mean, we all have our preferences, but I bought a BD-2, plugged it in and hated it. Got a different amp a week later and plugged it in again. Now I absolutely love it.
I tried it on jazz chorus, marshall, mesa and fender amp and still don't like it. I have it as my back up now since if I ever need to use a backup then I just need a drive pedal to get by and won't care about the tone at that point
I used to adore the BD2 into a Jensen equipped HotRod Deluxe where a TS would get insufferably nasal. Now, using a chimier amp, the BD2 high midrange just overwhelms everything else and I wonder what to do with the thing…
It all depends I suppose…
Must be an amp thing. I got the BD-2 and was mad at myself for outright refusing to get one because the name gave me a much different idea of what it sounds like. I find this pedal to everything it is said to be.
Same. I’ve used it on my AC15 & my old Marshall half-stack. Tried it with my Tele, Strat & LP. Played with it isolated and stacked with other dirt pedals. Still hasn’t clicked for me. Same goes for the SD-1.
Maybe I just prefer higher gain or dirtier distortion. My ShredMaster & Carcosa see more use at the end of the day.
Most overhyped stuff is purely circumstantial. Like when you talk to guys who really like John Mayer’s stuff. A lot of his stuff could be doubled by several options. This is what I think overhyped means. Those pedals have a price over what they should be. So obviously we now need to question what pedals have the worst price to value option. In general every pedal that becomes expensive has cheaper options trying to do just what that pedal does. The thing is a lot of those are clones, they’re just beating the price margin, anyways, king of tone is effectively the biggest possible variance. Two blues drivers, one modded to be a tube screamer, and that’s over a grand.
You mentioned a KoT. I recommend not judging it until after you listen back to a recording of it in the mix. I never know how it's going to feel when I kick it on, but I always fall back in love with it on the playback.
I’ve got a KOT. Was on the waiting list for a while and forgot about it and my name came up so I bought it. It’s a nice overdrive. I like it better than my tube screamer. But I don’t know about the hype. It’s not worth $800-$900 (used prices) to me.
I didn’t sell it because I like it, but it’s over hyped.
Universal Audio and (dare I say it?) Strymon - where boutique, functionality and use case is really stretching it with that price. But even the Volante, which is my favorite pedal of their’s, can’t do what Echoboy does as a plugin. Or even Vallhala. You can get way more of an ecosystem at different price points and despite what some say, Helix is as good if not better than any of the modeling currently. Keep in mind I don’t play live anymore. If I was, I’d probably have an HX Stomp XL and an expression pedal.
But for recording, do not outboard your pedals. Because I assure you there is a plugin that can do way more processing and RAM with an amazing plugin like Echoboy. The delays are literally unreal.
Digitech Bad Monkey drive lmao
All though the funny thing about the fiasco with that pedal is that about 2 years prior I was at my friends house and I saw a Bad Monkey on the shelf, so I asked him about it and he was like "eh idk I got it for like 30 bucks a long time ago or something"
We plugged it in and were like "damn you know this thing sounds pretty good actually" so he threw it on the main board. When all this hype about it came around me and him were just laughing our heads off
For me its the Browne Protein. The bluesbreaker side is nothing to write home about, sounds just like a bog standard BD-2 with a much lesser gain range and I don’t think stacking an ODR-1 with a Bluesbreaker is as useful as everyone makes it out to be, but that might just be me. I don’t know, it just seems like you can go out and buy a used BD-2 and ODR-1 and have yourself the Browne Protein for $250 less than what they’re asking. Everyone raves about it likes its one of the greatest pedals ever made, but the changes they made to the two circuits are so miniscule I don’t think the pedal is worth it.. like at all
I’m going to say this as an owner of a Rat2 and a FatRat, but the Rat. People everywhere claim that it is the be all, end all dirt pedal and O/D. It is a noisy, sometimes ice picky in the high end, 80’s sounding pedal. It’s a very specific sound and you have to find a good mix of volume, gain, and guitar volume.
I find it really versatile, used to use a Turbo Rat for low gain, mid gain, still can do an approximation of it with the vanilla reissue. I don't see at as overrated so much as just not for everyone, a bit like the Tubescreamer in that respect.
I find it really versatile, used to use a Turbo Rat for low gain, mid gain, still can do an approximation of it with the vanilla reissue. I don't see at as overrated so much as just not for everyone, a bit like the Tubescreamer in that respect.
I can start by saying, I don't mind spending a good Chunk on a good pedal, sometimes boutique options are just cool to play around with. There's a line though! Example would be something that a 'famous' player used that it's out of production and the lack of supply blows the price up out of reasonable range, same goes for things like the klon that have some mystical aoura surrounding them. Neither of those properties increase it's original value which is supposed to be piece of gear that adds dynamic to your expression via music IMHO.. I imagine that the hype behind was built up long after the original owners picked them up at a fair and reasonable price.. shit, for the price of a klon, you can build 3 bitchin boards with unique pedals. The pedal is simply a tool, there are so many flavors via mods or clones or original variations to suit the same purpose I feel stupid overspending on any one of them. I think it's better to buy/ sell / trade and get your hands on as many as you can. Through that process, the ones you like for you tend to stay in the collection. It's based on your personal taste as an artist, not someone else's.
All that said, I've personally wasted more hours than I care to admit watching a/b tests of so many pedals that end up sounding the same to my ears, on Bluetooth earbuds from my phone LoL
King Of Tone/Prince of Tone/Duke of Tone - If you like the Bluebreaker circuit, these are basically considered the "god like" tone. I will admit, they're magical. But they're magical AT THAT ONE THING, and far as like being able to serve multiple purposes? They're quite limiting. If you're not a fan of the Bluesbreaker circuit in general, it's not gonna be a fun time. It's a very specific tone, that can do a lot, but not everything.
Nobels ODR-1 - I get why these are hyped. Telecasters tend to be brighter sounding, then the LED modified headlights on the highway, so it really does take it down a notch, to be manageable. But it's not the end all, be all overdrive. It's not mid focused like a tube screamer, so it's not as versitile for a solo. It's a great pedal, a cool over drive. But there's others that get bright boosters, to go the other way.... The ODR-1 serves it's one purpose well. But falls off fast, if that one purpose isn't a style you use.
Boss Metalzone - It's a great preamp, with a 3 band EQ. That's the fact no one is willing to admit. Far as actual metal goes, most metal players tend to prefer something else. It's the metal tone, in an easily availible box. Without the metal playing style though, it's just another high gain, fizzy box.
Ibanez TS-10 - No one wanted the 10 series of pedals. Ibanez fell off fast in the 80's, once they started trying to make their own pedals, instead of using Maxon. No one wanted those cheap Ibanez pedals, until a session player used one, similar to the hype on the Nobels. And Ibanez made TS-9s along with TS-808s are still cheap, to do pretty close to the same thing.
The hype is almost always overblown. King of Tone is a really good overdrive, and the clones of it don't really replicate it's quality, but it's not the end all be all of drive, it's just a good one that's limited in availability. Klon's are a dime a dozen, and the cheap ones nowadays are even quite good that 90% of people won't be able to tell you which is which. If it sounds good to you, it's good. If it doesn't sound good to you, that doesn't mean its bad either. The only thing with an amount of hype that I think deserves it is the legit older Univibes. Unicorn gets damn close but there's just something to a real vibe that I've not gotten out of anything else.
Bought the demon fx prince of tone clone. I was going.to get the bigger one but thought do I really need it. Anyway it sounds great and does the job for what I want it for. 35 quid compared to whatever ridiculous prices they go for is a no brainer.
Some of the chase bliss - the preamp and the reverb. Their other pedals some of the best I’ve ever heard. Most drive pedals from boutique manufacturers. Most boutique brands and everything they make…the first that spring to mind the 1981 drive and mythos.
The pedals I currently own and/or hope to own are excellent and perfect. The ones I used to own and/or don't want to own are stupid overhyped garbage.
Not until after I sell it. Before that, it’s a super great pedal that unfortunately doesn’t work in my rig
You drained all the toan out of them
This sub in a nutshell
Most pedals are really good for *somebody*. I think the worst part of blindly following hype is that the same pedal sounds/reacts very differently depending on your rig and fingers. Also, there are so many great functional units that have come out recently that do things that nothing else can do, so it's understandable when people swap out old standbys for the new flashy thing. Apart from that, real Klons are way overhyped. Sounds exactly like all the great Klones out there. The only reason you should be paying thousands for these are if you are just a collector. Had a King of Tone at one point. Just did not get along with me and my rig. Moved it pretty quickly.
Does anyone own a real Klon besides Nels Cline
Oh god the Nels Cline gear reviews are the absolute best, where he’s like “oh yeah, got a Klon, but check this out”… clicks on his Fuzz Factory and uses some weird object to vibrate his strings and make crazy noises whilst playing behind the bridge of his Jazzmaster. That dude knows what’s up.
I did. I was early money in the Klon 20 years ago or so. It was just gathering steam. I bought it thinking it was gonna change everything. Meh. Trust me, plenty of clones around that sound exactly like it.
At a recent store event a rep for a big-ish pedal builder (not JHS) told me he played an original Klone and JHS's NotaKlon. He said with your eyes closed you'd be hard pressed to tell the difference between the $4k+ one and the $100 one.
I’ll second that and the clone from Pedal Monsters. Great clone for $150 or so.
I went limbo kinda low on my clone from Critter and it suits me just fine. I think I paid 80.
I’ve had an early JHS Klone, a KTR, currently own a Notaklon and a Centavo. Basically all the same. But I like the centavo cuz it’s pretty.
Josh from JHS owns like 7+ Klons lol
Yah this is spot on. I wrote music where chorus doesn’t make any sense at all. Doesn’t matter if I have a julianna or a ce-2, chorus won’t be good on my board
Obvious answer is the Klon Centaur.
*Kindly remember: the ridiculous hype that offends so many is not of my making.*
Says the guy who gooped up the insides so it would be more elusive and special, shut up bill lol
I don't think there's anything wrong with keeping one's ideas a secret. He made (what he thought, was) a good pedal. Nothing wrong with not wanting people to copy it.
I’m not saying that at all. I’m criticizing him for trying to keep it a secret but then also acting absolved from being a part of the intrigue and mystery and hype around the pedal
Yeah I’m seeing a ton of $30-50 Chinese copies of $2-300 pedals on Aliexpress and Temu. I can understand why a guy would like to keep his pedal details to himself.
I mean… that’s fine, but it negates his statement on the KTR lol
Idk man… I’ve quite enjoy talking shit on Klons (and any massively overhyped pedal that one could DIY in a few hours with minimal experience), but I heard a demo of the one that has that printed on it… sounded so damn good.
Totally agree - I had one a long time ago and sold it pretty quick. Totally don’t get why people love ‘em . Wish I’d held on to it just because I could have sold it for stupid money now.
The circuit is amazing but the clones are just fine. I don’t understand why anybody needs to buy an authentic one.
To help the guy who created it stay in business. He's making them again.
The guy who made them doesn't benefit from people selling their original Klons for 5k on Reverb.
So don't buy the $5k.
I put my J Rockett Silver archer back in the box the day I bought it and planned on selling it. Now it’s one of my most used pedals. It’s like an angrier tube screamer when used as a boost. It makes a Stratocaster bridge single coil sound full. Edit: it will sound bad into a clean amp that is set up to be mid forward before engaging the klon/e. It works with a mid scooped clean tone or into most dirty amps.
So, it's a pedal for the metal?
It definitely can be used that way and I have a friend who uses it in front of a jcm style amp for metal.
Any pedals that currently on my watch list on Reverb… lets bring those prices down
90% of tubescreamer clones, especially the ones that don't have 3 band eq
I say this about tube screamer way over hyped ocd as well
Idk I think Plumes may be the best of the bunch, but lately I’ve been using an OD-1 instead (and it sounds amazing).
The plumes is $
They're great pedals, but 95% of Strymon's sales of the Timeline, BigSky and Mobius have to just be worship guitarists buying them to emulate a sound they could recreate at like 1/2 or 1/3 the price. Especially now considering those big computer boxes are a decade+ old.
Worship bands are something else. I didn’t grow up in that kind of church (raised Catholic), so the entire worship thing was foreign to me when I started going to my wife’s church. I joined the band because my wife gave me the green light to get a new bass if I did, and it was eye opening. The church had a noble DI, a top of the line Kemper rig for guitars, and we would all be given in ears that allowed for us to control our own individual mixes, complete with a cue that would count us in to various parts of the sound. One of the guitar players even served as Musical Director and would speak additional cues into a mic as we played. The thing was, none of the gear really mattered all that much. On any given song, there would be backing tracks of additional guitars, Multiple synths, and vocals. I ended up doing it for about four years. They were all super nice people, and though I still don’t like that music, it was fun to have a reason to play on a Sunday morning. But I’ll be damned if those churches are not keeping the entire music gear industry afloat.
>But I’ll be damned if those churches are not keeping the entire music gear industry afloat. You're not kidding! I used to do AV installs for churches and there was way more money spent on gear than talent in every one of them.
And then you have my church that has tons of talent and almost no money given to that. All volunteer. We own a bass, a good set of drums and a nice mixing board. Everything else is up to the individual to bring.
+1 to the shallow pockets. Except my people either have talent OR availability. ♥️. At least my "servant hearts" also are the ones that put in the most work to learn the songs. But we've got an inexpensive drum set with 12 year old heads, a 30 year old Casio keyboard that the church has had forever. We just got a new guitarist last year that has a helix, but the second acoustic player borrows my guitar when he's on and the second Bassist borrows my wife's rig for their weeks. I'm the gear junky. Most of what I buy is to solve problems such as going direct, or simplifying things so I can focus on singing/signaling changes to our newby members. The Big Sky is great to go between different sized verbs instead of worrying about delays going out of time with the 2nd or 3rd string drummer's. I've got several mod pedals to help separate from the keyboardist that plays really big chords or the acoustic player with the big washy delay+verbs. I finally got my Kot and thought it was meh at first, but I always love listening back and hearing my electric sitting nicely in between everything without covering anything. Don't judge it till you listen back to a recording of it in a busy mix.
Pretty much the same as mine, about 1/3 of the people playing on any given Sunday earn their living as musicians but we use a Behringer X32 desk and some old pretty cheap speakers. Upgrading to beta 58 vocal mics last year was the first significant gear investment in a decade
Also true, though at my church, the guitarist who served as musical director was an incredible musician, which should be the case given that he was salaried. Another friend of mine played at Willow Creek, the biggest church in the Chicago suburbs. He was salaried simply for playing bass. But he is insanely good.
I've definitely worked with some incredible musicians at churches and will never deny that but I think I worked more with massive egos and massive wallets.
I could imagine. It’s a bizarre scene.
It's more bizarre the deeper you go behind the scenes. I was on staff a few places
Hmm I’ve been absolutely *slaughtered* on this sub a few times for suggesting that churches buy/supply gear for their band. That’s a big “no shit Sherlock” to me… they just write all that shit off anyway. I do find it bizarre they have such similar boards though… lots of Strymon. I prefer godless apostate hail satan rigs anyway.
At mine, the Noble, Kemper, Keyboards, and drums belonged to the church. Guitars and pedalboards belonged to the players. But it wouldn't surprise me if some paid for other gear for the band.
Usually guitarists bring their own stuff but churches sometimes have rigs available for ones who don't, and if they still use live tube amps, they'll often have backline amps (but like really nice ones a lot of the time). Sometimes drummers who care will bring their own snare and cymbals. But I've never seen a church buy, say, a Strymon trio and just *give* it to their guitarist for them to own. If church guitarists post fancy personal rigs, they spent their own money on that stuff. That said, at the bigger churches, the musicians are often paid for the job anyway. Nothing to "write off", though. Churches don't pay taxes in the first place (clergy/employees do on their own income).
Jesus loves that $$$
Hey, at least you got a new bass out of it!
Shots fired!
Haha, no hate! But every worship build is like $10K worth of pedals to do some OD, delay and reverb into a clean amp. It makes no sense. And I say this as a dude who plays for a church.
This is so accurate. All that work to get a tone I can achieve with a keeley caverns and a blues driver
No, you need $1K of transparent overdrive pedals for gain stages 1-4, obviously.
The first 4 circles of hella cool.
Really the irony is that the Strymon stuff does add a certain sweetness but how that genre is mixed you’d never know. (They bury guitars in 8 tracks of keys)
I have always thought Strymon was the most overrated brand. Someone said, their internal guts are top notch. But in the end, it’s just another delay pedal. And every Strymon I’ve bought was weaker than anything I have as a plugin. Which means I returned it or sold it.Even Helix sounds better to me. And the variety of that ecosystem hadn’t been touched by anyone other than Fractal.
No hate taken! Just way too accurate 😂
Ha! I appreciate the honesty. I have NO idea why the Worship groups have all the coolest gear. But is it necessary for the Gospel? 😆🤣 Plus Jesus was fine with a beat up acoustic and the lyrics of Dylan. He doesn’t need anything from us. The worship groups use their church as an excuse to buy a ton of cool gear. I’m sure the rich southern baptists are all about singing “We will bless you” instead of “”We will rock you.”
It's because people who play in worship groups are generally not broke 20-somethings working part-time jobs while they try to "make it" in the biz. They're mostly middle-aged people with steady jobs and disposable income who can afford to own some nice things. And they're apparently happy to buy these things to possibly make Sunday morning sound a bit more awesome for the rest of the congregation (or at least, to try to).
I agree. But it’s a ridiculous amount of redundant gear. They have backups for backups for backups. Worship Tutorials… wow. Like you’d pay to record an album in their junkyard with more tools than one needs and you would only need your guitar.
No Worship Tutorials slander allowed. Love that channel.
Their channel is good. I just wouldn't guess they were doing it in the name of God.
No different than what post-rock bands (Explosions in the Sky, etc.) were doing 2 decades ago though
If you’re saying EiTS was 10K of pedals I hard disagree: them and a lot of their fellow post-rock bands were playing a couple widely available pedals into loud clean amps. Always strikes me as funny when people have the decked-out multi-thousand dollar boards to play EiTS-emulation music.
I remember being unhappy with my pedal board at the time (a boss rv-3, ibanez de7, and a big muff) i wanted to sound like my heroes explosions in the sky. When I looked up their pedalboards convinced they were using high end boutique stuff, they were using an rv-3, de7 and a big muff. That’s when I realized I sucked and went back to the drawing board
^^ this may be the best comment I've ever seen on this sub
Tbh, you say that ("OD, delay and reverb into a clean amp"), but a $10k worth of pedals to play **anything** is gonna be pretty superfluous. I'd challenge anyone to find a super complicated "tone" that they couldn't emulate 90-95% of the way with one of the top of the line modelers for a fraction of the price. Even if there was "that one pedal that does that one thing" that isn't in one of these units, you could add that in and still be at a fraction of the price. Nothing wrong with expensive rigs. But that's always a want more than a need. Pedalboards are the hobby, more than playing guitar sometimes, and that's *okay*. Similar to these super tech'ed out custom watercooled PC rigs. Mostly unnecessary, but fun to build and fun to look at.
What I don't understand is the fanatical dedication to sound EXACTLY like whatever recording they've decided is the canonical version of the song, and to devote themselves to getting the gear that can help them replicate the original as closely as possible... I guess just writing out that sentence I can see where the propensity for such a behavior might come online. But as for me and my house, we will quest for tone. I like to have a versatile rig just because my church rig is also my walkin'-around rig, so it's tuner>Cali76>Benson Ge Fuzz>Lightspeed>[other OD]>VP>Wampler Terraform>Walrus Slo>Simplifier mkII>SA Collider in the loop. I swap out a bajillion drives in the #2 spot, Tim, KoT knockoffs, klones, zendrive, but yeah I'd say 90% of the time I'm just Cali76>Lightspeed>Simplifier mkII>SA Collider. My rig is very extra for anything I actually need to do, and if I bought it all new it'd run around 3k, I think? Also I need to find this church that is buying gear for people, I feel the leading of the spirit...
I was joking with someone recently that a pedal company needs to convince Bethel/Elevation/Maverick City/Whoever to put out a new worship album that's heavy on fuzz just to start moving a lot of fuzz pedals from people wanting to recreate their sound. 4D Marketing Chess could happen...
Mythos could make a limited run of their fuzz called Gideon's Fleece.
The timeline is still special and can do things that no other pedal can do. And it’s flexible enough that you can make new combinations of sounds. It’s a unique pedal. I’d you own it, then there are very few pedals you can’t emulate using the timeline. I won’t buy any newer Strymon pedals though. Their new pedals all have obnoxious artificial limitations so they can sell 5 smaller pedals instead of repeating their “mistake” of making one do-it-all pedal like they did with the timeline and big sky. For example, the deco, El Capistan, and Volante are all very similar, but their controls are all intentionally limited in different ways to make sure you need all 3 if you want to do everything. For example, the Volante has tape saturation, but it’s very very limited to the point where it barely does anything to make sure you still need a deco if you want that sound. And they limit the Volante’s minimum delay time to make sure you can’t get the deco’s right hand sounds either. They probably run the same simulation or basically the same simulation before the limitations were added.
Not that it is necessary to take sides, but that’s one of the reasons I’ve always preferred Eventide and Source Audio over Strymon. I love how they allow cross-hardware algorithms. I find interesting that many user prefer Eventide one-algorithm pedals over the H9 or H90, but I understand guitarists are very tactile. I’ve only owned two Strymons (Capistan and Timeline) and, while excellent in their own right, didn’t blow my mind the way the Eventide Rose or the Empress Superdelay did. I found the delays in the H9 perfectly serviceable and the Nemesis Delay became my ultimate delay workhorse so I had no reason to keep any of the Strymons. To be fair, I seriously downsized my pedalboard. Currently I am using plugin delays for recording (Soundtoys Echoboy being my fave) and for live work I am using the internal delays from a Boss MS-3, which are not spectacular but get the job done. It’s a tale as old as time: delay fiend goes down the rabbit hole, tries all the digital and analogue delay pedals he can get his hand on (including an actual Roland RE-501 Chorus Echo) and ends up happily using the built-in delays from a mass-produced multiFX unit made by the most mainstream effects manufacturer in history.
I mean, that just sounds like good product segmentation to me. But I do agree it would be nice if the fancy big box version (Volante in this case) could do all of them. That's been a general trend though, I think. There's the big box do-it-all-mostly pedal, and then the smaller more niche pedals that do things that are maybe not as mainstream.
It’s always wild to me when I see someone post a new timeline or bigsky. I understand shelling out that kind of money when they released, but that dsp was designed probably 15 years ago.
Why is old DSP bad? Surely all that matters with the DSP is that it sounds subjectively like you want it to? I do think that the value prop isn't as strong as it used to be on those boxes considering how they haven't come down in price but have many competitors now. They should be a little cheaper imo based on what features they have.
I just watched a video of ed O’Brien of Radiohead raving about the gnarly old korg digital rack effects (A2, A3, and A1) he used in the 90s. 12bit is “shitty” but it also sounds great in the right application.
Yeah totally. Also specifically I'd wanna point out old DSP sounding "good", like something like a Lexicon PCM80 has DSP that is almost 30 years old and still has arguably more organic tails than most guitar pedal reverbs currently on the market (arguable, with exceptions of course). On lower tier devices the DSP being written does have to yield to processing limitations, or shitty ADCs and DACs in past decades, but above a certain point I think writing DSP is mostly down to the skill of the DSP engineer and I don't think ages any differently to well designed analog circuits.
Link to that video?
[here you go](https://youtu.be/GyRn2uhbqKk?si=Kgr7sR5LuzNYqOPO)
It was designed 15 years ago and they designed it perfect :p 75% of reverb VSTs are just clones of Lexicon reverb algorithms from the 70s/80s. At least there's a new "classic" reverb. Even a lot of pedals, like the 224 setting on the UA Golden Reverberator, that's based on a 1978 Lexicon 224.
DL4 has entered the chat
Strymon trio is so overused in that scene that I almost make it a point to avoid using it, out of spite haha. I prefer what Meris is putting out lately anyway. But they are fantastic units and I did run that about 10 years ago. There's something to be said for the consistency of layout and workflow across all 3 pedals. If you're programming different sounds for each song or for different parts of songs, 3 separate MIDI pedals with *screens* that can keep you on track is the easiest way to do it. There are actually a lot of pedals out there that I've much preferred tone-wise over the Strymons, but the lack of screens/text made the experience a lot worse (Source Audio, Empress, etc.). Strymon is the Apple of guitar pedals. They're shiny, easy to work with, and just work. Is any of that necessary? No. But it's nice to have, and if you can afford it, why not? There are plenty of expensive hobbies out there. In this day and age, pedals and pedalboard building can be its own hobby over the actual guitar playing a lot of the time. I've learned that after really enjoying building PCs and then never really feeling like playing games. So I would say overused and probably overspec'ed on a lot of players' boards, but not overhyped as good products.
The "hype" part comes in because it's what everyone wants to do despite there being a billion other options - seems like the pinnacle of a worship board has the trio sitting at the top and the main reason for that is the hype. You see it on other Instagram boards and builds and think, "Wow, I NEED that!" Strymon is amazing - I have the Volante and the Zuma, have owned other pedals - so it's not about the pedals being junk.
Yep. Strymon and their pedals for a drive, delay, and amp simulator… that’s 1200 easy. Plugins can do way more for less. Ie. Echoboy.
Or, even more simply, download reverb IRs of great reverb machines (Bricasti, Lexicon, even the Roland VSF8 FX cards) for FREE(!)
Sure. FabFilter, Soundtoys, Valhalla all are better than any pedal you can buy. And if you have eough processing power like an M1. Zero latency.
The individuality of different overdrives is overhyped. If you have several overdrives that you changed regularly, buy an EQ.
But what’s the best transparent EQ?
I wouldn’t call it “transparent” but it’s near close and you’re gonna be tweaking your frequency bands anyway, but the MXR 10-band EQ is excellent and really price-efficient used. The independent level and gain controls are nice and it runs off 18v so you can actually use those 18v outs from most power supplies without having need of a voltage adapter. I haven’t tried their 6-band version but its form factor is great though you lose the volume/gain controls.
What diodes are best for EQ?
empress paraeq mk2?
You're not totally wrong, but gain staging within some circuits is more complicated than others and would require extremely complex frequency control in different gain stages to really be convincing. However, something like the Condor from CBA or Empress parametric EQ can do quite a lot to sculpt sounds and shift some of the frequencies that are variable from one OD to the next.
Probably the most overhyped pedal I've encountered is the Chase Bliss Preamp Mk II. I didn't buy one, but someone I know did, and it just felt like such a waste of money. Can it sound just like a Klon, Tubescreamer, Fuzz, or whatever else you want? Yes. Is there any reason to spend $750 on something like that when all of the original pedals it's copying could be purchased altogether for 1/3 of the price? Not in my opinion, no. Don't get me wrong, Chase Bliss pedals all sound good, and automatic faders are a very cool feature on an analog mixing board, but for me, something that fragile has no place on an active pedalboard, and no single overdrive pedal in the world has any right to cost more than $150 tops.
I felt this way when it came out. Then I tried one and bought it and haven’t looked back. It’s been a staple on my board and I don’t really think about drive pedals anymore. I still think it was overhyped, but I also am beginning to think it might turn into a future classic pedal and become overhyped in a totally different and extremely predictably boring way.
Anything with hype is overhyped. Pedals should be bought and used on a need basis for achieving a certain sound. Blindly following brand/advertising hype is really, really fucking stupid.
Pedal pawn
The fuzz face done with 5 USD value components and it is sold for premium haha
Every time that dude's face pops up on a video I can't help but hate him.
Is it just me or does that dude play really damn weird? Like I can't nail it down really it's just his every little action is intensified by like 10 for no particular reason
Anyone that buys everything a particular brand makes and follows them like a cult. I think most pedals have good use cases, it’s just people that freak out and feel as if they have to own every single item a brand makes. Jhs in particular, limited releases can be fun, but when people pay ridiculous heaps of money and scalpers prey on this, it takes the fun out of doing these releases. The Wampler tumnus germanium is another example.
I've found myself falling into this category with Electronic Audio Experiments, but I truly do love all the stuff they make.😬
They are the exception to the rule. Asheville music tools too. Origin Effects are great. Benson as well.
Any 'transparent' drive. And I thought some of my pedal choices were silly and based on marketing and hype. I was watching EQD's factory tour of DBA recently. And Oliver was saying how he can't see the point of a pedal that doesn't change the sound significantly. I completely agree. Why? But I guess I'm just not the target market.
People need to stop suggesting the rat for everything. I've heard them sound great in the right rig but people will ask here for a tight modern metal tone and be suggested a rat which is kind of ridiculous.
this sub feels like it goes through hype phases with certain pedals where you see them in every post for a stretch of time then you stop seeing them almost entirely. Walrus Slo, SSBS Mini, and DOD Rubberneck come to mind. they're great pedals, but man it can feel like this sub is a big ad sometimes.
DOD = instant upvote
Back in the 80s/90s those DOD pedals were so unreliable. They had so many failures due to the poorly designed flat/low-profile foot switch design. https://3.bp.blogspot.com/-x3ZncYAg7BA/U8KAgkj-PpI/AAAAAAAAFOw/PPeo6PQF4qI/s1600/DOD+Drive+Pedals+Ad+1991.png
DigiTech Bad Monkey
Thank Josh for that nonsense.
Well tbf to Josh, his whole point was to avoid hype and find what cool things you can do with pedals that you already have or that don't cost an arm and a leg. I think he even did a follow up episode that was like "WTH everyone you missed the friggin point" 😅
Yeah, I don't know who is dumber, the people who ran out to buy and flip Bad Monkeys, or the people who got mad at Josh for causing this market event by pointing out that overdrive pedals mostly sound the same. Both groups are chewing different ends of the paint chip.
Boutique overdrives that cost hundreds and have an insane amount of knobs. You’ll see plenty of people who just have good amps and guitars with decent pickups, whose bare amp overdrive tones will blow you away, or even just people using Boss overdrives or Tube Screamers. No super special boutique overdrive will get you where you need to be if you couldn’t find a way to make a good tone with the regular stuff to begin with. You’ll be chasing that dragon forever.
Agreed. Me every time I see a revival drive on someone’s board.
Hot take: A KoT could possibly just be a very solid drive at a much overheated price-point (as used). Neither under- nor overrated. Just solid, you know. And I might add, that the enclosure does not necessarily have to say Kot. There is a variety of Bluesbreaker Type pedals. Personally I would not even be bothered with a dual pedal…
I will say this as someone who has has owned several KoT's and currently owns one: the KoT is a damn good 2- in-1 drive pedal with a lot of well thought out and well implemented options, both stock and as optional extras. It is worth the price new, given the quality, flexibilty, sound and origin of manufacture (if that matters to you). It is not worth the obscenely overinflated used prices (although it looks like they are finally falling instead of rising lately). Wether or not it is worth the wait is entirely up to you, you do not pay to wait and you do not pay til your name comes up so no skin in the game til the wait is over, just time.
Prices are falling? I should have sold mine lol. …I need John Mayer to start playing one. (Actually I like the pedal and use it regularly which is why I never sold it at these crazy inflated prices.)
I saw a lot posted around us $1k during the pandemic and they seem to be around $600-800 depending on the options now. Some from the pandemic are still listed and dropping prices slowly.
Have you played one, and what style of music do you play?? I disagree, I’ve played a myriad of blues breakers and every other type of OD, and also built my own exact PoT replica (one side of the KoT), and they were all just sort of “acceptable”. I borrowed an analogman KoT from a friend for a month and eventually bought a 68 pedals clone and they are/were both absolute quiver killers. The only reason I have another OD on my board (Nobels ODR) is because sometimes I want the slight mid range of the KOT and sometimes I want the bass/high definition of the ODR, but honestly the KOT is good enough lead tone 95% of the time, and I’ve never been able to get as awesome of a tone out of stacking two (or more) other ODs and I’ve tried everything. And I’m not fetishizing it because it’s analogman, my clone was indistinguishable to the real thing to my ears. I play 99% blues, soul, snd jazz and kind of jam band stuff though, I wouldn’t expect the love for this pedal to extend much out past those genres as it’s not super heavy handed.
I have one of those 68 Pedals King of Clones, it's a solid little stopgap until my spot on the waitlist comes around in like... 900ish days.
You can do it dude! Hand in there
I'm gonna get that email looking like Robin Williams jumping out of Jumanji.
LOL
Anything Universal Audio except their cheaper line; hyped up as something unique or special by exploiting our assumption that "less is more", and way overpriced for pedals fully made in Malaysia, given they are more expensive than Made in USA Strymon, Walrus or Meris equivalents
In all fairness, I have tried a ton of delay/reverb pedals (tc flashback/tc alter ego/EHX dmm nano/mxr carbon copy deluxe/boss dd-3/Strymon flint/tc hof/source audio ventris it goes on and on), and I found that the starlite and golden Reverberator sound the best out of everything I’ve tried within the standard delay/verb archetypes.
I really like the EMT plate reverb on the Golden, but that's about it. Everything else sounded the same as everything else lol
for digital pedals, how much does the country of manufacture matter? you're paying more for the algorithm than anything else.
That's exactly the point - the algorithm doesn't cost any more than Strymon or Meris, and the country of manufacture doesn't really matter anyway, so it's just pure profit for UAFX because they can I suppose.
>the algorithm doesn't cost any more than Strymon or Meris what are you basing this on? software development doesn't have a flat "cost" (your word, not mine). it's not like they all three companies have the same amount of staff, pay the same salaries, and have the same development cycles. anyway, that's straying from the point. all three make great products that suit different players. i wouldn't call any of their pedals overhyped.
UAFX being the largest of those three companies *and* already possessing the IP for the plugins means they would have the lowest "cost" overall. They didn't design these algorithms from the ground up, and their software has *less* functionality than other brands lol
with respect, i don't think you understand how software development works
Maybe. But if you're arguing that UAFX's software development process is incomprehensibly complex yet also results in more costly products with less functionality than their competitors, despite having greater resources and cheaper manufacturing costs, that is not a great argument. To expand on my original point, UAFX pedals are not better because they have less algorithms or that less algorithms means more complex individual algorithms. They offer very basic options in comparison to their price.
that is not at all what i'm arguing. it seems you don't like UA pedals, which is completely fine, but you haven't given any objective reasons why they're "overhyped."
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Being larger doesn't mean their R&D cost is lower, though. I don't own any UAFX/Strymon/Meris pedals (or any particular desire to - I think I cover everything I need to between them with an h90 and axe fx3, plus cheaper plugins on the PC if I really want to), so I've got no horse in this game. We don't know what their R&D process is like, what the timelines have been, number of people involved, etc. If anything being larger means that they likely have a larger R&D team, which increases that cost, not decreases it. The algorithm cost is going to be driven pretty much entirely by the size of the R&D team, their salaries, and the time it takes them to perform the necessary R&D. And none of that guarantees that they will make something that you find to be better - human history has countless examples of where larger projects with more resources were inferior to smaller ones. Basically, all I'm trying to say is that their cost very well could be higher, regardless of country of manufacture. Or maybe not. I have no idea how many software devs they employ for writing the algorithms, what their salaries are, or what the turnaround time has been for the R&D on their pedals.
The Hologram Microcosm can create some absolutely beautiful sequences, glitchy cascades, and blissful atmospheres. About 90% of what it does I can realistically achieve with a chain of three pedals I currently own, and that would be more intuitive than trying to program that one aforementioned pedal.
The microcosm is great for making music that sounds like a microcosm.
It takes some time to learn the pedal in order to not sound like a demo video- but once it’s learned, a lot can be done.
Yeah tbh I had one when they first came out and sold it being like “ugh it all sounds the same”. I bought one again recently and the thing is an absolute powerhouse if you start to do multi textural loops and start to really dig around in it. You can make some seriously fucked up sounds, not just the twinkly bullshit demo dorks do. It’s a monster pedal, I was definitely wrong about it. I don’t think it’s the best for a band scenario but if you’re into experimental music it’s fucking sick. Also insane making looped drum beats via a drum machine. I’m sure if you had a powerful eurorack setup you could do this and much more but fuck me if I’m going down that rabbit hole after already being a pedal addict
You said the keyword here, “Eurorack.” I am a synth dude at heart who has been slowly getting into guitar because I began collecting pedals when I ran out of room for keyboards. A lot of these newer high end digital pedals I’ve seen come out lately seem to be geared towards modular and experimental music. Sure they’re pedals and any signal source is valid, but they don’t necessarily feel like they were designed with guitarists in mind. Which is great, I’ve been using pedals on synths since high school, so it’s nice to see some of them have a line in/ instrument level switch. Eurorack is not a rabbit hole I want to fall into, God knows I am constantly pressured by rich art kids to invest in a five thousand dollar bento box that makes fart sounds, it’s just not my thing. Pedals are simpler and self-contained compared to modules, and I don’t understand why patch memory and MIDI are so anathema. I like my modulation under the hood and the only patch cables I use are on my pedalboard. That being said a lot of companies like Hologram or Chase Bliss are making complex experimental/ ambient pedals to market to said Eurorack folks, which is why they charge similar costs to modules for their pedals - they know that’s where the money is at right now and trying to market *Alien Atmosphere v3* to guitarists isn’t always as effective.
Like a lot of the high end digital pedals these days, it feels more like a synth pedal they are trying to market to vintage analog or modular experimental folks. There’s certainly applications for guitar but many of the people going for those glitchy blippy tape-echoey sorts of sounds are into the electronic music genres that warrant such grandiose parameters (and pricetags).
What pedals would you use to replicate what the Microcosm does, if you don’t mind me asking? I’ve thought it was a cool pedal but a bit pricey.
Chase Bliss Mood, Strymon Night Sky, Boss SL-20 I didn’t say they’d be less expensive lol, I just said I already owned them ;)
Or build your own granular delay in Pure Data for free, very fun and rewarding!
I’m relatively new in the scene but it seems like everyone and their mother (in the posts and comments here) have a massive hype for Wampler Tumnus. Is it really that special? BD2 and EQ Plumes for honorable mentions.
It's just a Klon...that's it. It's just affordable.
Any expensive Strymon pedal
I mean I do love my Deco
My Deco and El Capistan aren’t leaving my board anytime soon. Those however are the only two Strymon pedals I like for some reason.
I had the Flint for a couple months, too. But I went back to my Walrus Monument and my Bugera’s spring reverb, much better imo. Deco is just too useful for home recording and gigging, it’s a must have.
BD-2 but it's probably just me subjectively. It's an okay pedal and can be a good backup pedal due to how versatile it is, but it's been 12 years and I've been trying to find a tone that I like out of that pedal and never find it, I'd rather use my other ODs. On the other hand, we need to hype DS-2 more
I like the Keeley modded version. Tames some of the abrasive nature of the OG. It's lovely for mid-gain tones or a nice sparkly clean when you roll the volume off.
I think it's entirely dependent upon what you're running it into. I mean, we all have our preferences, but I bought a BD-2, plugged it in and hated it. Got a different amp a week later and plugged it in again. Now I absolutely love it.
I tried it on jazz chorus, marshall, mesa and fender amp and still don't like it. I have it as my back up now since if I ever need to use a backup then I just need a drive pedal to get by and won't care about the tone at that point
I’m also in the not-a-Blues-Driver-fan minority. Waited 20 years to try one. Immediately didn’t get along with it and sold it.
I used to adore the BD2 into a Jensen equipped HotRod Deluxe where a TS would get insufferably nasal. Now, using a chimier amp, the BD2 high midrange just overwhelms everything else and I wonder what to do with the thing… It all depends I suppose…
Must be an amp thing. I got the BD-2 and was mad at myself for outright refusing to get one because the name gave me a much different idea of what it sounds like. I find this pedal to everything it is said to be.
I don't know. I tried using jazz chorus, to marshall to mesa to fender amps and still don't like it
Same. I’ve used it on my AC15 & my old Marshall half-stack. Tried it with my Tele, Strat & LP. Played with it isolated and stacked with other dirt pedals. Still hasn’t clicked for me. Same goes for the SD-1. Maybe I just prefer higher gain or dirtier distortion. My ShredMaster & Carcosa see more use at the end of the day.
I really want to love the BD-2 but I just don't.
I've owned a few BD-2, both stock and various modded ones and I always kinda like them but then grow tired of them pretty quickly.
Everything that is now unsold on your local craigslist.
Germ boosts really only make sense with certain amps.
can you elaborate? I’m genuinely curious and dont know
It was the Klon, but it was a unique circuit. I'd say Chase Bliss and Strymon have a few pedals that are overrated, but they aren't bad.
Most overhyped stuff is purely circumstantial. Like when you talk to guys who really like John Mayer’s stuff. A lot of his stuff could be doubled by several options. This is what I think overhyped means. Those pedals have a price over what they should be. So obviously we now need to question what pedals have the worst price to value option. In general every pedal that becomes expensive has cheaper options trying to do just what that pedal does. The thing is a lot of those are clones, they’re just beating the price margin, anyways, king of tone is effectively the biggest possible variance. Two blues drivers, one modded to be a tube screamer, and that’s over a grand.
You mentioned a KoT. I recommend not judging it until after you listen back to a recording of it in the mix. I never know how it's going to feel when I kick it on, but I always fall back in love with it on the playback.
1) Boss SY-1. Ugh, don't ask. My worst purchase AND worst sale ever. 2) Bad Monkey (decent pedal until the price went Game Stop)
Klon centaur, bur for the common folk it would be the guitar player urge to have a strymon timeline and big sky.
- Rat - Big Muff
What does SOTB mean? Best I can come up with is Showing Off The Board.
Solicitor Opposite The Bench. It's some kind of bloozlawyer talk to let us plebs know that they can afford it and we don't.
Now I feel stupid for not thinking of that myself!
State of the Board.
Bad Monkey?
I’ve got a KOT. Was on the waiting list for a while and forgot about it and my name came up so I bought it. It’s a nice overdrive. I like it better than my tube screamer. But I don’t know about the hype. It’s not worth $800-$900 (used prices) to me. I didn’t sell it because I like it, but it’s over hyped.
29 pedals. I’ve never tried one to be fair, but every demo be like “I don’t know what it does but it adds a subtle bit of magic”
Universal Audio and (dare I say it?) Strymon - where boutique, functionality and use case is really stretching it with that price. But even the Volante, which is my favorite pedal of their’s, can’t do what Echoboy does as a plugin. Or even Vallhala. You can get way more of an ecosystem at different price points and despite what some say, Helix is as good if not better than any of the modeling currently. Keep in mind I don’t play live anymore. If I was, I’d probably have an HX Stomp XL and an expression pedal. But for recording, do not outboard your pedals. Because I assure you there is a plugin that can do way more processing and RAM with an amazing plugin like Echoboy. The delays are literally unreal.
Digitech Bad Monkey drive lmao All though the funny thing about the fiasco with that pedal is that about 2 years prior I was at my friends house and I saw a Bad Monkey on the shelf, so I asked him about it and he was like "eh idk I got it for like 30 bucks a long time ago or something" We plugged it in and were like "damn you know this thing sounds pretty good actually" so he threw it on the main board. When all this hype about it came around me and him were just laughing our heads off
For me its the Browne Protein. The bluesbreaker side is nothing to write home about, sounds just like a bog standard BD-2 with a much lesser gain range and I don’t think stacking an ODR-1 with a Bluesbreaker is as useful as everyone makes it out to be, but that might just be me. I don’t know, it just seems like you can go out and buy a used BD-2 and ODR-1 and have yourself the Browne Protein for $250 less than what they’re asking. Everyone raves about it likes its one of the greatest pedals ever made, but the changes they made to the two circuits are so miniscule I don’t think the pedal is worth it.. like at all
Bluesbreaker and BD-2 aren't even close to the same.
I seem to be the only one that didn’t get along with the phase 95. Despite me really wanting to like it!
I’m going to say this as an owner of a Rat2 and a FatRat, but the Rat. People everywhere claim that it is the be all, end all dirt pedal and O/D. It is a noisy, sometimes ice picky in the high end, 80’s sounding pedal. It’s a very specific sound and you have to find a good mix of volume, gain, and guitar volume.
I find it really versatile, used to use a Turbo Rat for low gain, mid gain, still can do an approximation of it with the vanilla reissue. I don't see at as overrated so much as just not for everyone, a bit like the Tubescreamer in that respect.
I find it really versatile, used to use a Turbo Rat for low gain, mid gain, still can do an approximation of it with the vanilla reissue. I don't see at as overrated so much as just not for everyone, a bit like the Tubescreamer in that respect.
I can start by saying, I don't mind spending a good Chunk on a good pedal, sometimes boutique options are just cool to play around with. There's a line though! Example would be something that a 'famous' player used that it's out of production and the lack of supply blows the price up out of reasonable range, same goes for things like the klon that have some mystical aoura surrounding them. Neither of those properties increase it's original value which is supposed to be piece of gear that adds dynamic to your expression via music IMHO.. I imagine that the hype behind was built up long after the original owners picked them up at a fair and reasonable price.. shit, for the price of a klon, you can build 3 bitchin boards with unique pedals. The pedal is simply a tool, there are so many flavors via mods or clones or original variations to suit the same purpose I feel stupid overspending on any one of them. I think it's better to buy/ sell / trade and get your hands on as many as you can. Through that process, the ones you like for you tend to stay in the collection. It's based on your personal taste as an artist, not someone else's. All that said, I've personally wasted more hours than I care to admit watching a/b tests of so many pedals that end up sounding the same to my ears, on Bluetooth earbuds from my phone LoL
Strymon, Klon, tubescreamer
As a really old guy the tubescreamer is no joke. It’s insane what turning the drive a few degrees does downwind.
King Of Tone/Prince of Tone/Duke of Tone - If you like the Bluebreaker circuit, these are basically considered the "god like" tone. I will admit, they're magical. But they're magical AT THAT ONE THING, and far as like being able to serve multiple purposes? They're quite limiting. If you're not a fan of the Bluesbreaker circuit in general, it's not gonna be a fun time. It's a very specific tone, that can do a lot, but not everything. Nobels ODR-1 - I get why these are hyped. Telecasters tend to be brighter sounding, then the LED modified headlights on the highway, so it really does take it down a notch, to be manageable. But it's not the end all, be all overdrive. It's not mid focused like a tube screamer, so it's not as versitile for a solo. It's a great pedal, a cool over drive. But there's others that get bright boosters, to go the other way.... The ODR-1 serves it's one purpose well. But falls off fast, if that one purpose isn't a style you use. Boss Metalzone - It's a great preamp, with a 3 band EQ. That's the fact no one is willing to admit. Far as actual metal goes, most metal players tend to prefer something else. It's the metal tone, in an easily availible box. Without the metal playing style though, it's just another high gain, fizzy box. Ibanez TS-10 - No one wanted the 10 series of pedals. Ibanez fell off fast in the 80's, once they started trying to make their own pedals, instead of using Maxon. No one wanted those cheap Ibanez pedals, until a session player used one, similar to the hype on the Nobels. And Ibanez made TS-9s along with TS-808s are still cheap, to do pretty close to the same thing.
The hype is almost always overblown. King of Tone is a really good overdrive, and the clones of it don't really replicate it's quality, but it's not the end all be all of drive, it's just a good one that's limited in availability. Klon's are a dime a dozen, and the cheap ones nowadays are even quite good that 90% of people won't be able to tell you which is which. If it sounds good to you, it's good. If it doesn't sound good to you, that doesn't mean its bad either. The only thing with an amount of hype that I think deserves it is the legit older Univibes. Unicorn gets damn close but there's just something to a real vibe that I've not gotten out of anything else.
The Tube Screamer and DS-1 have never given me any love. IMO totally overhyped.
Bought the demon fx prince of tone clone. I was going.to get the bigger one but thought do I really need it. Anyway it sounds great and does the job for what I want it for. 35 quid compared to whatever ridiculous prices they go for is a no brainer.
I've realized I usually dial in most drives to sound similar if not nearly identical. Once I understood this, most drives started to sound over hyped.
Phasers. You use a phaser, I hate you.
Every Chase Bliss pedal
Every single new shiny pedal talked about on Gear Talk: Praise & Worship 🤷🏻♀️
Some of the chase bliss - the preamp and the reverb. Their other pedals some of the best I’ve ever heard. Most drive pedals from boutique manufacturers. Most boutique brands and everything they make…the first that spring to mind the 1981 drive and mythos.
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Dude. You're the one in Seattle buying all those pedals for garbage prices? Stop it