![]() ![]() I tend to approach this step slowly so that I can allow some space between listening sessions as my sonic tastes vary from day-to-day and week-to-week. Next was tweaking the circuit for the right frequency response and getting the burst control to respond appropriately to either a guitar, keyboard, bass, etc. Next I researched different methods of getting the particular sound, put together a rough schematic using some basic circuit building blocks and took the idea to the breadboard. ![]() since I had the feeling many guitarists might not be too familiar with that record). For example, I can run down the process for the Fuck Overdrive: I started with a sound I wanted to recreate - in this instance it was the crackling, dying sound of William Basinski’s "The Disintigration Loops” (I adapted the product language to include dying amplifiers, dynamic sag, etc. “When I’m designing a new pedal the process is pretty straight forward yet painstakingly slow, since at the moment I am a one-man operation. What is the process like when you are designing a new unit? How much tweaking usually happens between the prototype and the final version?.The Korg just goes to the amp and I use it’s onboard effects.” ![]() Scientist RRR and is primarily used for feedback and noise (i also sing through a regular mic for backing vocals). Vocal mic runs through a ss/bs Year4545 > EQD Dispatch Master or Dr. Pedalboard for the nord: Keys > Boss DD-5 > ss/bs Sparkle Motion > ss/bs TAFM > ss/bs Delay > ss/bs Fuck Overdrive > Boss RV-5. As far as the pedals go, I try and keep things simple… I run the sampler direct and both keys and mic through my amp which is either an Ampeg v2 or Fender PA100 with a 1x15 cab. "My band is Cymbals Eat Guitars and my live setup is a Nord stage compact, Korg ms2000, Boss SP-303 sampler and vocal mic.
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