Synthesize your waves... BOSS SYB-3 Bass Synthesizer

My first synthesizer pedal was the BOSS SYB-3 Bass Synthesizer. Its voiced for bass guitar but it worked fine on guitars. I got this on EBAY for around $100 + s/h and now retails for $159.00. BOSS SYB-5 now available for the same price. For people who are new to synth sounds, this pedal will serve to be quite tricky. Its really hard to dial in a good synth sound but when you do have the proper settings, you'll see yourself playing for hours and in my case, for days.

Its a buzzy pedal when you're dialing different settings. This is close enough to having a Moog synth pedal without spending 3-4x as much. I always ask myself when testing pedals "Does it help in making good music?" . Answer: It makes good synth sounds and noise. Background music. Background noise. Layered noise? It didn't help me write anything but it sure was fun just dialing various synth sounds. I did plug it in with my ALESIS SR-16 Drum Module and was making industrial funk, techno, electronica and some raunchy 80s soundtracks with it.

heres a demo:



FROM VINTAGESYNTH.COM:

This is the literal version of a Synth-Bass! This bass-guitar-pedal is a monophonic bass synthesizer with simple controls but a genuine analog synth bass sound. It transforms your bass-guitar's sound into a synth sound, complete with a resonant filter with cutoff, decay control and a hold function.
The SYB-3 has 11 synthesizer modes: 7 Internal Sound Modes in which the bass guitar triggers and controls the built-in oscillator. 2 Wave shape modes that tweak your actual bass sound into something synth-like. And 2 T-Wah modes that give you a wah-wah bass sound. Two outputs facilitate individual synth and direct bass signals.

FROM MANUFACTURER:

Boss's new SYB3 Bass Synthesizer is the first of its kind: a high-quality bass synthesizer in a compact floor pedal design. The SYB3 can turn any electric bass guitar into a dance, techno, hip-hop, funk, or R&B machine - molding a "straight" bass sound into any number of today's popular synth bass sounds.

Features

• 11 different modes for various synthesizer bass sounds: Internal Sound Modes (1-7); Wave Shaping Modes (8,9); T Wah Modes (10,11)
• Processes input bass sound to create synth bass sound.
• Uses input bass sound as a trigger to control built-in oscillator.
• Adds auto wah effects to the original bass sound.
• Decay/Sensitivity knob adjusts decay time of synthesizer sound (Mode 1-7) and sensitivity of direct sound (Mode 8-11).
• Frequency and Resonance knobs control cutoff frequency and resonance.
• Effect and Direct knobs allow for independent level adjustment of synthesizer and direct sounds.
• 2 outputs (A and B) individually output synth and direct sounds
• Hold function sustains synth sound, allowing bassists to play over the "held" sound.

Get lost with the echoes... Ibanez DE7 Delay / Echo

This is my Ibanez DE7 Delay/Echo. Paid around $80 for it when it was new. Its a pretty straight-forward delay w/ the echo sound set a little darker. It does a good job emulating an analog sound but I still love my BOSS DM-2 Delay for its warm analog delay. Anyways, it has the "glitch" settings that when you set it properly it gives you sound over sound and then some self-oscillation. Setting-wise, its like set it and forget it, the Tone-Lok version lets you push the knobs down close so no one messes around with your settings. The standout feature on this delay pedal is that it has a good digital double track like a slap-back feature where it repeats what you play with good tone definition.

heres some guy playing this pedal:

FROM MANUFACTURER:

The Ibanez DE7 Delay/Echo Pedal delivers both high-tech or vintage tape echo sounds at the throw of a switch. Capable of 30 ms to 2.6 seconds of delay time. Time, repeat, level, and a Range Switch allow for quick, precise control of your Ibanez DE7.

Fuss about a fuzz...ZOOM ULTRA FUZZ UF-01

*DISCLAIMER: I make no claim to being a decent guitar player =)

Decided to get my first fuzz after mainly playing high-gain distortions. It was hard to get a bad sound out of this unit from having 6 knobs. The feature that stands out on this pedal is its "glitch" to do self-oscillation. The "reso" is intended to introduce a constant oscillation, a "controlled noise" you might call it. But this is actually a fantastic feature, and what really sets this pedal in its own league. Its now discontinued by Zoom. I had it for few months and decided to sell it on EBAY. After 5 fuzz-less years I decided to go back using another fuzz. I got a BOMBER BOXX fuzz from www.electrictoadengineering.com . BOMBER BOXX review coming up.

some guy playing the fuzz:


FROM MANUFACTURER:

The UF-01 Ultra Fuzz is the Fuzz box for the new millennium. Using the Color, Tone and "Reso" controls, any fuzz, past or present, can be emulated. But with the use of the variable Gate effects control, sounds only dreamed of can be obtained. Ergonomically designed rugged all metal box, gain, level and tone controls, a status LED and runs on a 9V battery (AC Adaptor optional)

Reel in the vintage echoes with Danelectro Reel Echo

This is Danelectro's take on a tape reel delay echo. Very rugged, all-metal plus the lime green color adds a little bit of a vintage look. A real tape echo delay will cost heavily plus the expense of tape and maintenance. FULLTONE makes a great tube echoplex for $1,000 and the Blue Coconut for $3,000. A vintage Roland Space Echo is like finding a treasure and if you do find it affording one is another task. I'll suggest getting a BOSS RE-20 Space Echo for its better sound features but it'll cost around $249. I replaced this pedal with a LINE6 DL4 Delay Modeler that I got from Craigslist for $100. The Line6 DL4 model retails for $249 and it's much warmer and organic sounding plus it has a good tube echo, tape echo and a space echo modeling. If i can afford another delay pedal Ill get a TC Nova Delay ND-1 for $249 which is now the newest and most "state-of-the-art" delay pedal today. I sold this Danelectro Reel Echo for around $100+ on EBAY.

Pretty much used for mellow to bluesy but it takes its place when you use it for leads. Has an extremely nice slap-back echo sound. It gives out a nice big wall of sound to every picked note. Digital so it sounds a little bit cold and processed but it gets the job done nicely in a lot of ways! The sound on sound feature is alright for practices and jams. Here's how you do self oscillation...turn the repeats/feedback knob to the max and turn the lo-fi/hi-cut knob to its lowest setting in order to activate it and when you do this and engage the SOS footswitch, you get treated to runaway feedback/self-oscillation.

The layout was too big for my pedalboard so I ended up going to back to my BOSS DM-2 Delay then later on with a LINE6 DL4 Delay Modeler.

Danelectro Reel Echo retails for $149 but you can pretty much find it on sale for around $120.

FROM MUSICIANSFRIEND.COM:

The Danelectro Reel Echo Tape Simulator Pedal reproduces the sound of those '50s tape echo units perfectly and it will hold up a lot longer than they will. The Reel Echo from Dano simulates the sound perfectly and adds a Warble switch to replicate tape pitch deviations. A lo-fi control rolls off high frequencies of successive repeats just like tape while a Tube/Solid State toggle lets you pick your vintage. The Sound on Sound button works just like the original so you can play over the lick you just recorded. The Danelectro Reel Echo gives you up to 1-1/2 seconds of delay.

Danelectro Reel Echo Tape Simulator Pedal Features:

• Simulates the sound of tape-based echo delay perfectly
• Warble switch simulates tape pitch deviations
• Lo-fi control rolls off high frequencies of successive repeats just like tape
• Tube/Solid State toggle lets you pick your vintage
• Sound on Sound button lets you play over the lick you just recorded
• Up to 1-1/2 seconds of delay

Squish Squash your chicken pickin' ~ Ibanez CP10 Compressor Sustainer

This was my compressor for over 4 years. Its a subtle effect, noiseless and tone stays true. I place it after my main overdrive and then before all the preamp, modulations and delay. It sounds more professional when I place it that way instead of the beginning of the signal chain as suggested by most players. Its a fine compressor but mainly I use it to squeeze out the lower harmonics to drive' em much higher. All mildly played notes gets compressed higher so you'll hear it much louder and notes with much higher gain in the lows or highs gets played within a spectrum range I set (not too high freq if there's too much bass and treble).  The picking dynamic stays intact with no squished notes. I bought it used and so far its flawlessly working. This one is hard to come by these days. Its now discontinued by Ibanez in the early 80's and this one is possibly an '82 during the 10-series models based on a Tube Screamer Model # reference that if it starts w/ a "2" then 1982. Made in Japan. Very similar effect to the now vintage and fabled MAXON CP-9. As always, the one pictured above is the actual pedal I have. I still haven't decided to sell this one but if anyone's interested just message me up :)

CONTROLS:

ATTACK:
The attack control is also set all of the way off for the fastest attack time. Turn this control up for longer/slower attack times. This is helpful for humbuckers or bass guitarists that want a very punchy tone.

SUSTAIN:
You can use this control to give a sustain effect with almost no increase in noise or high frequency loss.

LEVEL: 
Use this control to match the bypass mode signal with the effected signal. You can also use this as a volume boost during solos. It provides the ability to overdrive your amp if you choose. To use the compressor as a lead boost, simply turn the sustain all of the way down, and then use the level control to drive your amp into a sweet overdrive tone.

From  Ibanez Power Series pocket manual:

Features

Compressor/Sustainers, unlike distortion effects, do not drastically alter the sound (distort it) to create sustain. Instead they maintain the basic integrety of the original sound while at the same time adding subtle changes to the attack and sustain. They also even-out the overal output gain, providing a clean, uniform sound. The Ibanez CP10 Compressor/Sustainer is a high tech, studio quality effect in a compact case. It's ultra low input noise (-107dBv) combined with the latest VCA circuit provides clean, distortion free compression and sustain. The CP10 also features three controls giving you complete control of the attack time, sustain and output level.

Principle

The CP10 Compressor/Sustainer is an effect that controls the envelope of sound, which is actually time's effect on volume. The three controls on the CP10 allow you to contour the attack and sustain to taste. The Attack knob controls the level of the initial attack. The Sustain knob controls the threshold level, so that if the volume is too great, it is compressed and if the volume is too slight, it is boosted, keeping a constant output level.

Use

Compressor limiters are used very often on vocals or extremely dynamic instruments to give uniform volume or amplitude in many applications. Peak levels are limited so tape saturation won't occur in a recording situation, allowing higher recording levels which increase signal to noise ratio. Dead spots on certain instruments can be eliminated live and in the studio. Stage monitors can be heard better when soft vocals normally would be buried, yet feedback can simultaneously be controlled by keeping a limit on the volume, helping to prevent the need for unnatural over-equalization. These applications aren't typical of how a guitarist uses a compressor but keeping them in mind will lead to efficient and creative use of the CP10. Most often a compressor is used on a guitar to influence either the attack or sustain portions of the sound. To emphasize the attack, gradually increase the attack control. Too much emphasis can ruin the sound by eliminating the sustaining pitched portion of the sound. Be sure the sustain time control is set at a moderate level when emphasizing attack to eliminate this side effect. This usage is especially nice for muted or "blocking" styles of playing. If the sustain is set too high, notes following a heavily attacked note may not come out well because the CP10 is still sustaining the previous note. Another major usage of compressors is to add sustain without distortion. Sustain isn't actually added but as the sound naturally decays, the CP10 increases it's gain giving the impression that the sound isn't dying out but sustaining smoothly. Once the signal has dropped below a certain point, the compressor can do no more than raise the level of the remaining noise. Careful adjustment of the sustain control to playing techniques can keep noise from getting out of hand. Low sustain levels are useful for limiting applications.

All-analog all-metal heavy as hell ~ Morley Stereo Chorus Vibrato MOD-SCV

Here's one Morley Stereo Chorus Vibrato that I owned for 4-5 years. This is an all-ANALOG all-metal heavy as hell pedal. Bought it for around $60 way back in '02 and sold it for $*** on EBAY since it was discontinued by Morley. Its a lil' similar to BOSS CE-2 Chorus, BOSS VB-2 Vibrato and BBE Mind Bender. The graphics alone on the BBE got me sold but we're not talking about that...yet ;)

The configuration of the Morley SCV Stereo Chorus/Vibrato is really easy to follow and is set up nicely and conveniently.  The pedal has two knobs - one to turn the effect on or off and one to choose between either a chorus effect or a vibrato effect.  The parameters on the pedal are chorus intensity, depth, and speed.  All of the parameters apply both the chorus and vibrato effects.  It is really easy to get a good sound from the pedal and is quite versatile even within each of the types of effects.

Compared to the BOSS CE-2 Chorus MIJ and VB-2 Vibrato MIJ this is a more subtle effect . Ill stick to my BOSS pedals since i'm familiar with them and they're easier to get than this Morley pedal. Ill also get a BBE Mind Bender since its only a fraction of the cost. I saw one today for $69 @ thenerds.net which they normally retail for $149.99.

Ibanez DFL Flanger - RARE - Tom Morello's Flanger =)

Five knobs - Four like a regular flanger (level, regeneration, delay, and width) and an additional three way knob to select delay time ranges (0.5ms up to 17ms). I'm convinced this pedal is incapable of bad sounds no matter what setting you have it on.

I wasn't aware that it was one of the secret weapons Tom Morello uses for his signature "Rage Against the Machine" sound. Wow, it really DOES live up to the hype!! I do believe the hype on this one!! Its awesome for metal and also very warm and organic on a clean channel. Its the BEST flanger I've heard so far. You can get chorus sounds and jet plane swooshes. Turn all controls to the right and you get wicked synth type sounds!!!

I've tried BOSS BF-2 and BF-3 Flanger but its seems a tad too cold and digital. If you cant find one or cant afford one on EBAY or Craigslist Ill suggest getting a vintage or a vintage reissue of an Ibanez FL9 Flanger.

The one pictured is my own Ibanez DFL Flanger. Ive had this pedal for 5 years and sold it in 2004. In '99 I paid $150+ for it as a package pedal deal on EBAY then later sold it for around $350. Vintage pedal market is getting way out of hand now. Pedals are meant to be used by musicians.

From WIKIPEDIA.COM

           To produce his alien guitar sounds, Morello chooses various effects pedals. During his tenure in RATM, he used a Dublop Cry Baby, a Digitech WH-1 Whammy, a BOSS DD-2 Digital Delay, a DOD EQ pedal (set flat and just used to boost the volume during guitar solos or particular rocking moments), and an Ibanez DFL Flanger. Around the time of The Battle of Los Angeles he added a Boss TR-2 Tremolo pedal (which can be heard on "Guerrilla Radio").

From PEDALGEEK.COM:

          A hard to find digital flanger from the mid-1980s that is a real score if you can track one down. This 5 knobbed fellow is found in the typical 10 series metal housing with the tempermental plastic footswitch. Soundwise, this shimmering flanger has that grating tinge of metallic coldness that suits itself well to dark industrial music or bands who dole out noise in massive amounts. There is nothing soft and squishy about the sounds found here. Its ultra-crisp and clear with a sinister bite that sounds absolutely amazing when paired with a wall of crunchy Marshalls. Aside from all the typical flanger controls, the DFL Flanger adds a selectable mode switch to add some sort of a pre-delay which increases the width of the flanger. It's a useful addition for squeezing even more demented tones from this puke green beast.

From NOISEGUIDE.COM:

           The Ibanez DFL is the first flanger to use digital processing. The exclusive IDPC (Ibanez Digital Processing Conversion) system permits wideband, brighter flanging effects previously available only with rackmount digital processors.The DFL also features an extra wide 8:1 sweep ratio for deeper, wide-ranging flanging effects. The DELAY MODE switch selects one of three delay ranges while the DELAY TIME control adjusts the delay within each range. As a result, the flanging action is tunable over a wide range of fascination flange sounds.

Fender Deville 410 Settings

My first tube amp...a FENDER Deville 410 amp w/ 2 x 6L6 and 3 x 12ax7 tubes.
We drove 35 miles from LA to Agoura Hills and got it from a Craigslist ad for $375.00 =) It normally retails for around $999 at Guitar Center. Upon testing it the same day, I found it is WAYYYY too loud for my purpose. I found a sponge power attenuator around $200-300 as a dummy load..too expensive and not practical.

search...search...search...

THE SOLUTION:
I ended up using an Omnisonic Tube Amp Volume Control Box through the amp EFFECTS LOOP that i got from EBAY for $18 + 4.95 s/h. I can now play even at night and still get a saturated tube amp sound. It was worth every penny but it was made of plastic and looks like it wasn't built strong enough so I ended up getting another Omnisonic Tube Amp "Deluxe" Volume Control Box that was in a metal enclosure and same chicken head knob for  $40+ on Ebay. I guess its now a special order since there are no posts today on EBAY from same seller for metal ones.

Planning to swap w/ biased 2 x Svetlana 6L6's and 1 x 12at7 on V1 tubes for lower gain. For clarification, V1 is the pre-amp tube for the clean channel, V2 is the pre-amp tube for the drive channel, but all the tubes are part of the same circuit. Changing V1 to a lower-gain tube will add clean headroom, but the signal will still go through part of V2, so it won't be as low-gain as if you were to replace both V1 and V2 with 12AT7s. Replacing V1 also reduces your gain on the drive channel, and if you change V2 to a 12AT7, it will reduce your gain on the drive channel even further. If you don't use the drive channel (or don't need much gain), then this may be fine.

I ended up never using the 2 drive channels because they're a little too harsh for my taste but
with the right setting i found it very usable with Drive on "3" and using 1st Channel with the following setting.

When Im using my Fender 50th Anniversary Strat...
My fave settings are:
Volume -> @ home = 2 @ jam practice = 3-4
Drive -> 3 (never used)
Treble -> 8
Bass -> 5
Middle -> 5
Master -> 4
Reverb -> 0 (never liked reverb)
Presence -> 8.5

When Im using my ESP LTD Deluxe EC-1000 w/ EMG 81s...
My fave settings are:
Volume -> @ home = 2 @ jam practice = 3-4
Drive -> 3 (never used)
Treble -> 8
Bass -> 7
Middle -> 7-8
Master -> 4
Reverb -> 0 (never liked reverb)
Presence -> 8.5-10

Here are some other settings that i fiddle around with;

 Have fun w/ these settings ;)

1st guitar, pedal and amp :)

1st acoustic guitar was a gift from dad - a dreadnought-body acoustic when i was 14.
I loved it and never let it go...
til i sold it for a new electric guitar :))

My 1st electric guitar was a red Fender-copy Stratocaster H-S-S set-up w/ white pickguard.
Also got a Marshall amp mini-stack for practice.
I loved it and never let it go...
til i sold both for a new pedal effect  :))

Everybody starts out small with their hobby, but i didn't thought that this amp was a little too small til i took it home... It does a good job for practice! ;)

After testing numerous pedals I got a Boss DS-2 Turbo Distortion and it has been my main pedal
my 1st and only pedal :)
I loved it and blah blah blah...
Sold it and got another pedal :))
The pedal hunting adventure began 1996.

FIRST ENTRY =)

Guitars, pedals and amps come and go as i play, learn and mature (really!?).
This is a blog to chronologically trace and track my guitar rig set-up.
Its more of a hobby and Ill say that I have more gears than talent :))

BLOG PURPOSE:
* chronological order of guitar rig set-up
* trace and track the purchase price of rig
* post picture
* my favorite settings

Time to start...plug in and play!!*
(*slight to average procrastination may happen during blogs)