Your donations help us continue to add new and exciting features. Please consider making a donation
FugazziJan 25, 2009 12:39 PM GMT
I am *thinking* of picking up a couple pedals. I started with the Line 6 DL-4, which gets me some trippy sounds. I tried a Behringer US 600 Ultra Pitch Shifter, which is a clone of the Boss PS-5. It tracked two octaves down really well across the harp (great for $50). Well, for single notes anyways. It made me want to get a Micro POG (which only does one octave but the large one is too much money) because it tracks better.
I was also looking at a rotary/Leslie pedal...again. The DLS Rotosim caught my eye recently.
However, I always wrestle with pedals of no pedals. I don't even like using my Kinder AFB or DL-4 all the time. I love hearing other harp players use effects, but I change my mind daily about using them.
Order by DateAscendingDescending
Hey Fugazzi, I have a Vox modelling amp with bulit in effects which I really like using. I have been trying to think how I could use them in a song and then I heard Peter N doing a track called "Why" on the site here. I asked him what he used and he said chorus. Check it out...Its an excellent sound and has given me a few ideas on how to use effects...effectively!
Fugazzi, you and I had some discussion about this topic a ways back via e-mail. I have about a dozen pedals bought for guitar. I'm slowly testing them, which is a much more involved process than I had imagined. Different amps, different mics, different settings ... lots of time. The other day, I had a great sound from a Lovepedal Blues Face, which is a rare variant of the Lovepedal COT 50, an overdrive that has a variety of sounds, but usually is considered to somewhat emulate a Marshall amp. The sound gave the harp more presence, more growl, and some bass. More testing to follow!
The POG, the big one i mean, is fantastic. It can track everything at every speed. Anyway for my lazy brain sometime it's a little bit more complicated to have it properly configured.
And yes I understand your behaviour and attitude, for me it's the same about pedals... now I'm using an old BOSS DM3 delay, but well one day I love it, the next one I'd throw it out the window...
I really like my Ernie Ball volume pedal. It's strong as a tank, with smooth, linear action. I also use an old Rocktron MicroHush--it's an '80s-era noise suppression pedal that's a great feedback controller for harp. Really quiets your rig, too. I bought two of them off eBay years ago when no one wanted them. I paid only $25 apiece. Now they're in great demand, so the prices are ridiculous.
I just bought a BBE Sonic Stomp on the recommendation of Jason and others. Haven't had a chance to work with it yet.
Brutus, glad to hear that you like the Ernie Ball volume pedal. I've been thinking about picking one up, since I have no volume knob on any of my mics. It seems like it would address that issue in a different way.
You use it like the throttle on a race car. I close it completely when I'm laying out or changing mics, so there's no pops or handling noise. When I'm playing, I keep it at about 80% most of the time, then I floor it when I'm getting ready to solo. You can also use it for swells and fades, but I do that more with breath control.
It's a solid chunk to lug around. The outer frame is made of thick extruded aluminum, and the pedal is made of cast aluminum. The stainless steel pivot shaft rides in teflon bushings. You can literally jump on the thing all night long. It uses a kevlar cord to operate the pot via a pulley arrangement. Some people claim to have worn out the kevlar cord, but you'd really have to use the hell out of it to do that. You can even send the pedals back to the factory to be completely refurbished.
I love distorted sound of harp so i use a classic Boss DS-1 pedal, and works fine with tube amp. I want to try Boss PS-2 or PS-3 (pitch shifter/delay), sounds like a good combination for harp. Have anyone try this effect ?
I use Boss PS3 extensivly. It has great pitch shifting (octaves are great, but not as good as micropog) digital delay mix of pitch shifter and delay. You can produce effect when each repeat are lower (or higher if you prefer) than previous, really psychodelic tones along with great octaving.