superfuzz

gear lust fuzzy feelings heavy sounds haunting echoes kooky guitars

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ELECTRIC BROWN The Electric Brown is my favorite overdrive ever. I use it with a Jagmaster laced with lace sensors into a Marshall 1987x. It sounds loud and all kinds of crunchy in all the right ways. Not too bright, not dark. Helps me get feedback when I need it, where I need it. I don’t have to fight for control. It does exactly what I want it to when I want it to. It’s kind of like a dominant submissive relationship. I have a delay running before it. It makes each echo sound amazing. Just enough overdrive and crunch with out being overwhelming. I think this is a pedal that Pink Floyd would have used during the time they recorded Live at Pompeii. I know that sounds pompous, but this pedal is, so… I guess you are going to deal with that. But don’t you want your guitar to sound pompous… and Pink Floydy… and awesome? I know I do… and am god damned glad I found this circuit in my own odd creation.

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Happy Halloween!

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i picked up this old harmony ukulele a few weeks back. all i can say is i hate tension tuners but it's fun to play.

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National Guitars ResoTone The ResoTone was designed from the ground up as a simplified version of the Resolectric. Featuring our Hotplate Pickup system utilizing a Jason Lollar single coil pickup with passive volume and tone controls. This instrument has a solid alder wood body. The hard rock maple neck has an unbound rosewood fretboard with mother of pearl position markers. The solid angled headstock has a unique shape accentuated by Kluson closed gear tuners. Available in various colors.

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Harmony Archtone H1213 Guitar

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Super-Duper 2-in-1 Gentlemen/women, start your engines. This pedal is so dangerous that I'm sure I'll be getting a lot of complaint emails that people have blown up their amps using it. So let's just start this off by saying I WARNED YOU TO BE CAREFUL. When using this pedal, start off slow, and monitor your amp for potential damage. Don't have too much fun! OK, have too much fun, but don't blow up your amp in the process. Unless that's what you want, of course, and well, gosh darn it, it's your right. Good ol' Pete Townsend did it. Well, at least he poked his speakers out. All right, I'll try to stay on track here. Ahem. The SUPER-DUPER 2-IN-1 (TM) has two of my infamous but rather delightful Super Hard-On(TM) pedals in one small box, with two switches and LED indicators. HEY! I responded to your multitude of complaints that I don't put in LED's! Also, in this SUPER-DUPER 2-IN-1 (TM) (gosh I love saying that) is a Master volume control that lets you use it as an overdrive/distortion with any output volume. My my! How conventional, you say! Well, suffice to say, if it weren't there, you'd go deaf with both of those channels cranked up. This pedal is dangerously loud. Don't do what I did, and lean over in front of your speaker cabinet while turning it up. Ouch. Dang.

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Metasonix D-1000 Drum Machine The first drum machine made with vacuum tubes since the Wurlitzer Sideman of 1959. Unlike the Sideman, it's a "modern" primitive device--with plenty of inputs, outputs, and flexibility. Even though it has only four drum sounds -- two tunable drums, a tunable "snare" drum (harder sounding than the others), and a cymbal -- control voltage inputs give great flexibility. Each of the tunable drums is made from a vacuum tube ringing bandpass filter, and can be tuned to sound from below 20 Hz to over 2 kHz. They are also tunable with external control voltages, allowing complex patterns to be built up with external CV or pulse sources. Resonance of each filter circuit is set by internal trimpots. The cymbal sound is an extremely primitive circuit, with white noise gated by a pentode tube. The cymbal's attack is knob-variable and CV variable. The four outputs mix to a single tube preamp that allows for overdriving via the mix-level controls. In keeping with the primitive nature of the soundmaking section, the pattern sequencer is extremely simple. Unlike early drumboxes, we won't subject you to preset nonsense like "waltz", "foxtrot", "swing" or the like. Instead, there is a single 8-pulse sequence with separate enable switches for each drum sound--set a toggle switch up to get the sound at that point, down for silence. Great for house, hardcore or other simple 4/4 patterns. The internal clock is settable from 60 BPM to over 1000 BPM. There is also a "roll" clock signal built-in, to generate a faster drumroll on any drum sound by pressing a button (speed is preset with an internal trimpot). If you don't like the internal sequencer, there are separate trigger inputs for each of the four sounds (the trigger pulse must be 0 to +5v, and less than 40 mS long). These trigger inputs operate in parallel with the built-in sequencer, so the D-1000's sounds may be triggered by its internal sequence and external pulses at the same time. As a bonus, the three tunable drums can also be used as tunable bandpass filters, by feeding a line audio signal to each trigger input. Ample inputs and outputs: mix output (with overdriveable tube preamp), separate outputs for each drum sound, external trigger inputs for each drum sound, and a main clock input/output (0-5v) for slaving external generators to the internal clock. Setting of RUN switch determines if the D-1000 uses an external clock or the internal clock generator. No, it does not sound like a TR-606. It's a beast you have never seen or heard before.

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Boss Pocket Dictionary Vol. 1

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Fender Electric XII Designed by Leo Fender, the Fender Electric XII was introduced in late 1965 with the bulk of the production taking place in 1966. This model had unusual split pickups, much like a Precision bass and an alder body similar in design to the Fender Jaguar/Jazzmaster line. Initially the model came with dot fret markers on a rosewood fretboard which were eventually replaced with rectangular fret markers on a bound neck. Unlike its competitors’ electric 12-string models, which were simply existing 6-string guitars with six more strings, the Fender Electric XII was a ground-up 12 string designed to capture part of the folk-rock market. The headstock was different from Fender’s usual 6 on-a-side shape, and is sometimes referred to as a "hockey stick". Leo Fender’s bridge design for this model is very simple, works well, and may be one of Fender's best designs of the 1960s. The bridge has an individual saddle for each string, allowing for precise intonation. A string-through-body design also helps to increase sustain. It also featured master tone and volume controls and a 4-way rotary pick-up selector. The model was discontinued around 1970.

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Silvertone 1448 by Danelectro The 1448 is the one; the guitar that pretty much sums up the entire Dano/Silvertone philosophy in one package. It's the guitar you certainly see the most of... that's because Sears sold a boatload of them from late 1962 until '66 or so, when they were replaced by the 1451.

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The 1964 Fender Mustang The Fender Mustang was introduced in August 1964. This guitar was essentially a Duo-Sonic with a Dynamic Fender Vibrato. It was available in three colors: Red, Blue, and White. Although similar to Fender's custom colors of the time: Dakota Red, Daphne Blue, and Olympic White, these namings were apparently never used on the Mustang. They were just plain Red, Blue, and White. The Red and Blue ones came with white pearl pickguards (white pearl-black-white), black pickup covers with no pole piece holes, and black slider switches. The White ones came with red tortoise-pearl pickguards (red pearl-black-white) and white (creamish) pickup covers and white slider switches. The white slider switches were made of different material than the pickup covers and tended to stay whiter and not age to a greenish gray color like the pickup covers. The specifications for Fender Mustangs change relatively little over the years. Here are the basic specs of the Mustang in 1964: Poplar or Mahogany slab body (Note: as of March 2000, I no longer believe Mustangs were ever made with Alder body wood.) "Patriotic Colors" Red, White, and Blue Maple neck with rosewood fingerboard Two single coil pickups with black base plate Small headstock with Transition Fender Logo One string guide Kluson tuners with plastic oval knobs White dot finger board markers (sometimes Faux pearl dot inlays) White pearl neck side markers on the seam of maple and rosewood Brass shielding plate in the pickup, slider switch, and control cavity Two slider switch ON-OFF-PHASE for each of the two pickups 12 screw pickguard 3 screw control plate Dynamic Fender Vibrato White Tremolo Bar Tip L-series neck plate One volume one tone with black plastic knobs with white marker line Headstock numbers (early '64): DES. 186,826 PAT. 2,960,900 2,741,146 & PAT. PEND. Headstock numbers (late '64): DES. 186,826 PAT. 2,960,900 2,741,146 3,143,028 & PAT. PEND. 24" scale with 22-frets standard (optional 22-1/2" scale with 21-frets). Most '64 Mustangs appear to be shipped with short scale length necks with "A" neck widths (1-1/2").

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MX-5050BIII 2ch Analog Audio Tape Recorder The MX5050 BIII has long been the standard in 1/4" two-track analog recorders. It features an optimized three-head design and transformerless balanced inputs and outputs to provide superior frequency response, low distortion and high signal-to-noise performance under the most demanding conditions. Record setup adjustments can be made from the front panel, and a convenient built-in oscillator provides test tones for calibration/maintenance. The direct drive capstan motor is servo-controlled, and an integral microprocessor governs tape handling, including dynamic braking, motion sensing and transport logic. A built-in mini-autolocator provides three one-touch cue-point memories, search zero, and a repeat function. The tape timer display shows tape time in Hrs/Min/Sec., as well as tape speed in inches per second and percentage of tape speed. Capstan speed can be varied by ±20% in 0.01% steps using the built-in "pitch" control. Timecode editing using a synchronizer is accomplished via the 37-pin Otari standard parallel interface. The extremely rugged mechanical construction includes a 1/4" deckplate with cast aluminum side panels and steel support members. All circuit boards are designed to swing out or unplug for quick service access.

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Cat Power ...bought her first Silvertone, a 1448, because she had a crush on Dexter Romweber. It sat forlornly in her New York apartment until bored, she picked it up one day and decided to learn to play it.

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bleak mixser passive analog summing mixer

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Nels Cline - Notes On Effects

[skullservant]

I’m swooning Brian, these turned out wonderfully! Thank you @smallsoundbigsound 😍😁 #pedal #pedals #pedalboard #smallsoundbigsound #mini #overdrive #fuzz #boost #ngd #npd

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long live smallsound/bigsound/dontfuckaroundsound !