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Critique my Pedalboard Signal Path

Discussion in 'Effects [BG]' started by LakeEffect, Sep 23, 2013.

  1. LakeEffect


    Feb 21, 2013
    I'm putting together my first pedalboard and this is what I have come up with thus far. The reason I am asking for critiques is because I would like to hear everyone's general experiences/opinions for two reasons:

    1) To give me things to pay attention to and watch out for while I be sure to experiment myself with the order. I think it will be helpful to hear how you all feel some of these pedals will relate, to give me a more astute ear for how they are interacting when I test out suggested combinations.

    2) As you can tell, I need to be conscious of space, and so far I only have the Darkglass VMT, Moog LowPass, and Philosopher's Compression. The Octave, Chorus, Delay/Reverb pedals are yet to come - and I hope to have a good sense about where they might be going so I can start running at least a few wires.

    Octave (heard they track better with clean signals) --> Darkglass VMT (used for only a touch of grit, before the filter to give it some spikes to latch on to, I play with a very soft touch) --> Low Pass --> Chorus --> Delay/Reverb --> Compression (I also use this as a volume pedal, so I thought I would put it at the end).

    What does everything think?

    Attached Files:

  2. Jazz Ad

    Jazz Ad Mi la ré sol Supporting Member

    Looks good to me. The MF likes a readable signal on which to work so if you plan to use it along with distorsion, it's worth trying the compressor in between, since chorus and delay don't really benefit from it.
  3. LakeEffect


    Feb 21, 2013
    Hmm, interesting thought. I use it for very modest grit/overdrive - I never approach real fuzz or distortion. Could you explain the 'readable signal' to work with for the moog, and why the compressor should go in between the VMT and Moog?
  4. Jazz Ad

    Jazz Ad Mi la ré sol Supporting Member

    The Moog tends to lose tracking and give a lot of gargling if fed a distorted signal. Compressing the distorted signal a bit before entering the Moog will give cleaner, more usable results.
  5. thebean


    Jan 23, 2007
    I would put the moog right after the octave. Its a filter and filters inherently like a clean signal. Move the compressor to between the vmt and the chorus to control any peaks you might get from digging in to deep with the vmt on. My .02
  6. Daniel L

    Daniel L

    Jun 12, 2012
    I would recommend compressor before delay, otherwise, as the delay trails off, the compressor will be bringing the signal back up again, unless that's what you are going for of course
  7. LakeEffect


    Feb 21, 2013
    I'll definitely give a the octave-->moog-->darkglass-->compressor a go. Also makes sense to have the delay after the compressor when you put it that way.

    Thanks for the heads up!
  8. MCS4

    MCS4 Supporting Member

    Sep 26, 2012
    Fort Lauderdale, FL
    One thing that we can't answer for you is which effects you prefer to "optimize" over the others. For example, many of the above posters have given good advice about how to control distortion peaks and make it play nicely with other effects.

    However, I personally prefer to optimize my dirt tone even it leads to less-optimal results for other effects. This means no compression after dirt, unless the compression is at such a minimal level that the dirt doesn't engage it (which basically defeats the purpose of the compressor anyway). There's not much I hate worse than the sound of distortion getting smeared/blurred out because it engaged the compressor. This may be irrelevant to you given that it sounds like your dirt use is relatively mild, but I just wanted to raise the issue that it is good to keep in mind what exactly you want to prioritize.
  9. LakeEffect


    Feb 21, 2013
    Good considerations, I woudl say I 'optimize' the moog low pass the most, then probably the Darkglass, then Octave. You are right, my dirt is pretty mild but I do use it a lot (even if the amount is slight). The Chorus and Delay aren't big parts of my sounds - more on the board for some intro's and certain segments within a song.

    Thank you for advice - I always thought leveling out the distortion with compression would be a good thing - I'll have to do some tinkering and see if I really believe that assumption, I never really thought about the adverse effects of it.

    Keep em coming guys!