ilovefuzz.com

ShaolinLambKiller wrote:

Iommic Pope wrote:Dude, I'd have ordered a bunch by now if it wasn't for continental drift occuring eons ago.

Thank ya. I figure when I get back in town I can focus a bit more on what would be the best option if there is one.


Also.... love heat. I should visit and stay.

You should do a flat pack version...that we could screw together and load up with speakers!

mmmms screw together....

Not big on heat. Don't mind it, but humid heat is the worst. Mexico was hot when I visited, but it was dry enough that I didn't feel like I was sticking to everything.

dazedbyday wrote:Don't know if it has already been posted by Kowloon Walled City streamed their new album and they have an interview with Kurt from Converge: http://noisey.vice.com/blog/kurt-ballou ... iew-stream. New album is pretty nice.

I wasn't sure how I felt about it when they released the "single", but I like it more with every progressive listen. The interview was pretty cool too.

Hello friends! My homie G Stuart Dahlquist (Burning Witch, Sunn O))), etc) has asked me to ask you all a question. He is doing a new duo thingy with Edgy (Burning Witch dude) and has a gear problem. He is committed to keeping it a duo and is playing bass tuned to A. He wants to split his signal and run one path straight to his trusty Acoustic 360/361 rig while running the other into some sort of octave up device, into an EHX B9, and then to a different amp. The problem he's having is that the B9 doesn't track worth a fuck that low. Can you suggest a sweet octave up pedal that may do the job better than what he has (I didn't get the name of what he's using)? All he needs is the octave, no fuzz or any of that stuff. If you know the B9 just isn't going to cut the cake for this application then please suggest something that will. The both of us thank you in advance!!

I posted it once before but here's the one cut they've released on the web:
[youtube]http://www.youtube.com/watch?v=cCemYTZqCUc[/youtube]

The Taurus Dexter seems pretty rad. Not sure on price though. The Micro POG or the Pitchfork might be good cheaper alternatives.

Pretty cool stuff though.

Micro Pog all the way.

Yea Micro POG is the best solution. Most of the analog octave stuff up or down has poor tracking. The only thing I have found that tracks well is the digital polyphonic stuff.

That track is still awesome on second listen (months later).

Thirding the POG if tracking is the concern. the Taurus looks cool but fuck $400 for an octave up (IMO).

new05002 wrote:Yea Micro POG is the best solution. Most of the analog octave stuff up or down has poor tracking. The only thing I have found that tracks well is the digital polyphonic stuff.

This has been my experience as well. Would be great for a glitchy sound but probably not what he's going for based on what I'm hearing.

Any thoughts on just a POG2 without the use of the B9/C9, etc? I haven't tweaked it enough but I feel like you'd be able to pull off those Organ sounds without the use of those pedals, though there may be more versatility there.

This track is a ripper. Super moody. Definitely digging it. Hope he finds a solution that works out for him.

odontophobia wrote:

new05002 wrote:Yea Micro POG is the best solution. Most of the analog octave stuff up or down has poor tracking. The only thing I have found that tracks well is the digital polyphonic stuff.

This has been my experience as well. Would be great for a glitchy sound but probably not what he's going for based on what I'm hearing.

Any thoughts on just a POG2 without the use of the B9/C9, etc? I haven't tweaked it enough but I feel like you'd be able to pull off those Organ sounds without the use of those pedals, though there may be more versatility there.

This track is a ripper. Super moody. Definitely digging it. Hope he finds a solution that works out for him.

Ya, some of the bigger POGs might be better options. I never really dug on the B9/C9 sounds, mostly because I thought they sounded doable with other boxes. Can't hurt to simplify at the cost of both a Micro and B9.

D-Day wrote:One of my favorite things happened at last night's show. Some dude covered his ears with his hands for the whole set. SUCCESS!

YES. The path to success is (probably) paved with weaklings covering their ears.

samzadgan wrote:

Iommic Pope wrote:You guys are playing low down, right?
You could probably justify the 200, but is it going to do a perceptibly better job than the superbass in most settings.
Plus I'm willing to put dollars on the fact that when you go to record, you're gonna want that Marshall there.

Yeah we play down in B...the main problem i would have is that i want to run dual rig with my pedal board going to both amps...in that scenario a 2 channel amp is useless as i would only be able to use one channel and get all my dirt from pedals. I think if i played a single rig a 2 channel would be ok.

I'd encourage you to rethink that. Some of the cooler tones I've gotten were running two kinds of dirt (blackstar amp, and Elements or some fuzz into another amp). Plus running mod and delay into one amp and the other amp 'dry' lets you get really fucking crazy with mod and oscillation and stuff while maintaining clarity from the unaffected amp.

HeavyXIII wrote:So I have a shameful secret to reveal... After receiving my replacement Ultimate Drive from Brendan, I think I prefer it to the Boneshaker.

That's not to say it's not as good, but there are a couple of things I can't seem to get it to do, and it may be just how the pedal is:

It's got plenty of gain, and really I don't need much but it's not very compressed. And for some reason I miss that. Especially on palm mutes, the DOD can sound a bit flubby.
On the other hand this makes it great for chords, as it has a very open quality like there is some secret clean blend going on that makes everything that isn't chugging sound like magic.
The parametric EQ is very useful as I sit perfectly in the mix at practice, but I feel like I could maybe do just as well with a regular stand alone EQ instead.

What do I do?? Should I reevaluate my life and everything I stand for?!

Nothing wrong with that. I've had to let go of some very rad, well regarded pedals because they just didn't work in my rig.

untilshewokeme wrote:[youtube]http://www.youtube.com/watch?v=9mza4fO-v3g[/youtube]

I can get on board with this.

dazedbyday wrote:Don't know if it has already been posted by Kowloon Walled City streamed their new album and they have an interview with Kurt from Converge: http://noisey.vice.com/blog/kurt-ballou ... iew-stream. New album is pretty nice.

Jammed it while doing case notes yesterday. Solid album. I kind of miss the super heavy sound they had in Gambling on the Richter Scale, but I really dig the sparseness of this one.

t-rey wrote:

dazedbyday wrote:Don't know if it has already been posted by Kowloon Walled City streamed their new album and they have an interview with Kurt from Converge: http://noisey.vice.com/blog/kurt-ballou ... iew-stream. New album is pretty nice.

Jammed it while doing case notes yesterday. Solid album. I kind of miss the super heavy sound they had in Gambling on the Richter Scale, but I really dig the sparseness of this one.

It was a good sound, wasn't it? Honestly though, I understand that material should shift for the band's sake. I could only imagine playing a multi-album set, only to have every song sound so similar that someone couldn't tell the difference. I'm afraid I'd get bored. It's not like the earlier albums cease to exist either though.

I've been trying to find a good example to bring up this point. Sorry if this came off as dickish, it wasn't intended as an attack or anything of the sort.

From the interview:

When this band started, I literally said I wanted us to never evolve.
It’s a personal identity too: when I walk into this room, this is what I do. And I was totally fine with that. Then Jon joined the band and man, I don’t know, over the course of writing Container Ships, that no-evolution thing just dissolved.

The discussion about Manowar, Meshuggah, and Unsane is great (love that Manowar was Ballou's example): I love a lot of bands that have Motorhead Syndrome and never ever change, but I can't disrespect a band that evolves organically into something more mature and challenges themselves with every album. Even if I don't like it, I appreciate what they're going for, so long as they aren't transforming into a Fidelman-produced Reload cover album

That said, I fucking love the direction KWC has taken. We will always have More Like The Shit Factory in our libraries, but this morose style is beautifully done and Container Ships and Grievances both are masterful albums.

HeavyXIII wrote:

t-rey wrote:

dazedbyday wrote:Don't know if it has already been posted by Kowloon Walled City streamed their new album and they have an interview with Kurt from Converge: http://noisey.vice.com/blog/kurt-ballou ... iew-stream. New album is pretty nice.

Jammed it while doing case notes yesterday. Solid album. I kind of miss the super heavy sound they had in Gambling on the Richter Scale, but I really dig the sparseness of this one.

It was a good sound, wasn't it? Honestly though, I understand that material should shift for the band's sake. I could only imagine playing a multi-album set, only to have every song sound so similar that someone couldn't tell the difference. I'm afraid I'd get bored. It's not like the earlier albums cease to exist either though.

I've been trying to find a good example to bring up this point. Sorry if this came off as dickish, it wasn't intended as an attack or anything of the sort.

Not at all. I like their evolution, because it still sounds like the same band, just different. Can't say the same for Mastodon, unfortunately. Or The Sword.