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Paul_C wrote: Having said that, I have just sent someone £50 for a Ellitone Multi Synth.

*sigh*

i have the earlier version of that which is simultaneously rad and wonky af
the newer version looks like a better deal

Dungus wrote:

Paul_C wrote: Having said that, I have just sent someone £50 for a Ellitone Multi Synth.

*sigh*

That person there.

baritone or standard scale?

dubkitty wrote:baritone or standard scale?

Are you asking about the Tele?

i hope so

Was able to score an old Ibanez Omar Rodriguez-Lopez sig last night on reverb! Wanted one ever since I was a teen on these forums, so I'm super stoked for it to arrive. Should be here Tuesday.

gila_crisis wrote:

Dowi wrote:I don't know how things turned this way but now I have a Fabrikat incoming for the second time this year. I always felt like I needed to explore it more, plus it sounded better than any similar device.

I did almost sell my Fabrikat. On a way I like better the intuitiveness and quickness of the Bakfram, and both cover some common ground. But the Fabrikat has some specialties which the Bakfram can't do, and viceversa. So keeping both.

I've got both and I'm a bigger fan of the Bakfram...admittedly I have not spent enough time with both to really have expert opinion. To me, Bakfram is more of a delay whereas Fabrikat is more of a freeze if that makes sense. I have a bunch of pedals in this area and the main difference I see is the workflow it encourages. Most of these are kind of deep and dynamically sensitive to themselves and the way they are laid out is everything on how you use it and discover it. As for Pladask, I'm pretty in love with the newest, Falma, which is super simple. 4 knobs. boom. I'm bummed I passed on Draume.

Blood_mountain wrote:

gila_crisis wrote:

Dowi wrote:I don't know how things turned this way but now I have a Fabrikat incoming for the second time this year. I always felt like I needed to explore it more, plus it sounded better than any similar device.

I did almost sell my Fabrikat. On a way I like better the intuitiveness and quickness of the Bakfram, and both cover some common ground. But the Fabrikat has some specialties which the Bakfram can't do, and viceversa. So keeping both.

I have wondered about this a lot. I have a Fabrikat and love it, and the Bakfram does seem to have some unique features. Just not sure there is enough to warrant me having both. What do you like best about Bakfram that Fabrikat can’t do?

First the Bakfram is more quick and intuitive to use. It doesn't offer all the alghorhythms of the Fabrikat, but a cool feature which sets it appart is the clock knob. With slower clock you can achive longer loops (on the Fabrikat you are mostly limited by this max 1s buffer, while Bakfram can go up to 6-7s). With the clock you can also create some wonderful pitch artifacts.
On ther other hand Fabrikat has this close/open loop option when you engage the Infinity switch, so it can play the loop as it is (closed) or add more layer/degradation (open).
Bakfram concentrate mosty on delay/freeze/strech (which also the Fabrikat does), while Fabrikat has a lot more to offer on the micro sampling side, and random glitches.
A feature I love a lot on both is the latching/momentary switching system, which for me was a big game changer, if you compare these to others in the like of CBA Mood and Hexe Revolver.

Blood_mountain wrote:

gila_crisis wrote:

Dowi wrote:I don't know how things turned this way but now I have a Fabrikat incoming for the second time this year. I always felt like I needed to explore it more, plus it sounded better than any similar device.

I did almost sell my Fabrikat. On a way I like better the intuitiveness and quickness of the Bakfram, and both cover some common ground. But the Fabrikat has some specialties which the Bakfram can't do, and viceversa. So keeping both.

I have wondered about this a lot. I have a Fabrikat and love it, and the Bakfram does seem to have some unique features. Just not sure there is enough to warrant me having both. What do you like best about Bakfram that Fabrikat can’t do?

I've had both but in different moments, so i never did a real-time comparison between the two. Only thing i can say is that i didn't have much use for the Bakfram octave-up/octave-down functions, and i always found it to be a more "textural" pedal capable of reverber-ish sounds or reverse delays, while the Fabrikat was more incisive and able to drastically mangle the original sound, specially with some patches. Don't get me wrong, they're both able to do light ambience or noisy feedbacks like Gila said, but, to me, the Bakfram was more dedicated to add background movement. I loved its immediacy, which is not necessarily the case of Fabrikat, but I clearly remember that sonically the Fabrikat sounded better than any other granular-based device I've ever had, plus having the tone control right there was super useful.
That being said i think the octave settings on the Bakfram do not overlap much with the Fabrikat patches IIRC, so if that's what you're looking for, go for it.

murrrrr i have about 10 or so pedals left over from being a Live Musician Human. every time i set up an amp and noodle on bass for a bit and have a blast, but then leave it all laying around for a week or so, then pack it up. couple months later, repeat. if i had enough room i'd just leave it up all the time, but i've been enjoying synth stuff more latley? lol. i have NO idea on the State Of Pedals.

got a new murdered out version of an Elektron Analog Four and Rytm mark II's on the way?

tl;dr - pedals fun, hard to use. synths easy and enticing.

i took a desperately-needed mental health day today which included a visit to Atomic Music just outside of Washington DC. OH. MY. FUCKING. GOD. i knew it was a recommended area buy/sell/trade, but i had no idea whatsoever of the scope of the thing. it's the size of a heckin' Kroger store. there were so many guitars that i literally had to stop a couple of times because i couldn't process it all...Strats, pseudo-Strats, Stratifications, more Epiphones and Gibson Les Paul Studios than you could shake a stick at, a whole aisle's worth of shredder guitars. weird Japanese shit i'd never seen before. they had a rack of baritones, like eight or ten. salted in for variety were some amazing items like a orange double-cut Gretsch from the early 60s like the ones Mark Gardener and James Dean Bradfield favor. hardly any Teles though, oddly enough. it was like NAMM without assholes in suits.

and did you say amps? amps upon amps. stacks of them (no pun intended) down each aisle below the dual racks of guitars. Marshalls, Fenders, Vox, Black Cat, PRS, H&K, A&P (j/k), an ancient Epiphone that was probably from the early 50s. literal alcoves made of amps along one entire side wall. a whole half-row of Kustom tuck-and-roll PA heads and stacks. and a Magnatone suitcase amp that whispered my name. i couldn't even look at the acoustic guitar room because i couldn't cope with the additional input.

i may be on the verge of a large and rather audacious trade. while i was there i noodled a bit on a used Guild Aristocrat, a little chambered thing with two of the Guild Franz P-90s not unlike a sweeter Gretsch Duo Jet. i didn't even plug it in but as soon as i set it in my lap it felt like Home. it was as if i'd known it for years. so i'm thinking about taking in my Rickenbacker 360--a fantastic guitar that's just not me, you know?--and trading for the Guild and other considerations cos the Rick was $1650 used while the Guild is like $800. they also have a brace of Epiphone Thunderbird basses i could use as well as a troika of the First Act Volkswagen guitars, which are the only guitars with built-in fuzz i've ever seen where the fuzz was worth a damn. i figure test 'em all and choose the best ones. i'm going to sit with the Rickenbacker and see if i need it, and if i decide not i'll ring Atomic and ask them to hold the Guild for me. watch out for these people...they know what you like.

seriously, today's Radiohead quote was "phew! for a minute there i lost myself."

i've only experienced that sense of instantaneous connection with a guitar once in my life. it was the winter of 1982-83, and i was down and out in Eugene, Oregon. there was a store called McKenzie Music, and one day i saw there a 1958 1st-year single-cutaway walnut-stain Gretsch Country Gentleman that was the most beautiful thing i'd ever seen. i took it down and played it; my friend who was with me said "Bob, that's your guitar." i said "i know." but it was $600, and i was literally homeless at the time, so i sadly bade it adieu. now they go for six thousand dollars. it's haunted me ever since. i'm not going to let something like that get away again.

on the other hand, i am in a hypomanic rebound state following a depressive collapse, so i could just be trippin'. which is why i'll take as much time as necessary to be sure.

the one that got away, or its cousin:
example Guild (this one is new factory sunburst; the one i played was all natural and has likely been stripped; its lightly applied (assumedly lacquer) finish was, well, soft and comfortable, with that matte feel of guitars you find of a certain age. general feel was well played in but not played out. finish wear and patina on the gold Grovers.