My Dirt Bender - Another Jounal

[sloppy_phil]

@el murdoque Not sure if you saw it anywhere, but it's a Fender style tone stack; mids are cut-only, bass and treble are boost-only. So something like 0-10-0 would be "true" flat but I don't really know anybody who uses it in that way. I keep the mids full up (there is careful scooping of mids elsewhere in my chain, so no need to overdo it here), treble barely engaged since it is, as you say, rather potent, and bass to taste for each given room (which seems to centre somewhere around 10 o'clock on my pedal).

The longer I've owned it, the lower I have found myself turning the gain knob. It's now somewhere around 11 o'clock. This is one of those pedals that sounds rather different at band volume, driving a decently loud amp, than it does with either IEM or bedroom volume. I wasn't sure how much I was into it when it first came to me, but then one rehearsal and one gig later, I was sold! I was very used to a clean blend of some sort, but the depth knob proved a very clever way to shape the bottom end.

 

[el murdoque]

@el murdoque Not sure if you saw it anywhere, but it's a Fender style tone stack; mids are cut-only, bass and treble are boost-only. So something like 0-10-0 would be "true" flat but I don't really know anybody who uses it in that way. I keep the mids full up (there is careful scooping of mids elsewhere in my chain, so no need to overdo it here), treble barely engaged since it is, as you say, rather potent, and bass to taste for each given room (which seems to centre somewhere around 10 o'clock on my pedal).

The longer I've owned it, the lower I have found myself turning the gain knob. It's now somewhere around 11 o'clock. This is one of those pedals that sounds rather different at band volume, driving a decently loud amp, than it does with either IEM or bedroom volume. I wasn't sure how much I was into it when it first came to me, but then one rehearsal and one gig later, I was sold! I was very used to a clean blend of some sort, but the depth knob proved a very clever way to shape the bottom end.

I am quite glad you told me this, for I did not know it.
The fact that there was zero honk when I turned up the mids was a dead giveaway, but I was slow in reaching that conclusion - the bass and treble knobs did not feel very Fender'ish, are these shelving ?

 

[Dave Hill]

What pedal are y’all talking about?

 

[Zbysek]

What pedal are y’all talking about?

Broughton Scorpion

Scorpion | Broughton Audio

The Scorpion is a highly adaptive overdrive pedal designed specifically with bassists in mind. The Scorpion stands out by implementing a resonant feedback circuit, allowing the dynamics and punch of your clean signal to come through without the need for a clean blend. Unlike most overdrives that...

www.broughtonaudio.com

 

[el murdoque]

This is only a personal account, but I must admit that the Scorpion has given me a ton of fun just playing it; Not with a firm plan to use it for a specific purpose - just plugging it in, toying with the knobs and enjoying what it gave me. In direct comparison, the Bass Blaster, the Gladio and the VB-2, as the most recent candidates to rush across my test bench, felt a bit like a chore.
The Bass Blaster was great, but felt somewhat bland to my ears (which are pampered by luxury at this point). The Gladio was, in one word, boring.
Also a good pedal for what it does, and I want to stress the fact that I did not erupt in a rant about how bad it is. It is good. It does a good job, and the one distinguishing element I would comment on is the finer grain size and its smoothness, but it kinda felt like you meet that woman that shares many of your interests and looks like the type of women you like, but at the end of the evening, it did not click and you parted ways, wishing each other well.
The VB-2 felt weird because of the complex simplicity or the simple complexity - and weird is often good, but in this case it rather gave me paralysis instead of inviting me to explore.
The Scorpion on the other hand, took me by the end of the arm (opposite the shoulder) and invited me into a world of toan.
Switching it on felt like things are getting better, turning knobs brought me even further and I did play just for my own pleasure and enjoyment.

 

[el murdoque]

Some more Scorpion:
I did check out the very high settings and found them not to my liking. I have other pedals that can do that sound in a more convincing matter.
For me, the Scorpion is a great low gain drive pedal.
When I sat down to play, I kept in mind that I'm dealing with a Fender tone stack (Broughton could really have mentioned that on the website), so I started out with the mids maxed and the bass and treble well before noon, then re-adjusted to taste.
The pedal is totally capable of giving my dead flats some definition and some top end via the EQ and when adding just a hint of drive, you get a a very civilized sound that works well in a mix, even in places where you would not expect a bass track with dirt in it.
In some way, it does remind me of the Bassrig '64. It's capable of producing what I want to call white collar dirt.
You could absolutely use it for blues (the non-heavy stuff), jazzy tunes and funk.
Feeding just a hint of dirt and the enriched top end into the envelope filter made it quack even harder.

 

[Zbysek]

Some more Scorpion:
I did check out the very high settings and found them not to my liking. I have other pedals that can do that sound in a more convincing matter.
For me, the Scorpion is a great low gain drive pedal.
When I sat down to play, I kept in mind that I'm dealing with a Fender tone stack (Broughton could really have mentioned that on the website), so I started out with the mids maxed and the bass and treble well before noon, then re-adjusted to taste.
The pedal is totally capable of giving my dead flats some definition and some top end via the EQ and when adding just a hint of drive, you get a a very civilized sound that works well in a mix, even in places where you would not expect a bass track with dirt in it.
In some way, it does remind me of the Bassrig '64. It's capable of producing what I want to call white collar dirt.
You could absolutely use it for blues (the non-heavy stuff), jazzy tunes and funk.
Feeding just a hint of dirt and the enriched top end into the envelope filter made it quack even harder.

I agree

 

[el murdoque]

Damn, those UPS people surely are fast when they do international shipping.
USPS easily takes a week to get the parcel to the airport and to clear export customs.

3 Leaf sent me an email with a tracking number yesterday, when they handed the parcel to the brown clad parcel person. The latest tracking update is from an hour ago - the Doom2 has touched down on German soil and cleared import customs. It will be here on Monday.

I should start practicing my palm muting.

 

[el murdoque]

...and here it is. I'm Doom 2 now.

As always, I'm in the office now and have no bass at hand.
The build quality of that beast is on par with the highest quality makers.
I wanna say Origin Effects, Rodenberg, CMC Audio make pedals that you can throw through a closed window on the third floor and pick it up from the dented concrete outside and continue playing it. Sheet metal.

The knobs and switches confirm what the steel enclosure hints at: In terms of material and build quality, no corners were cut.
Mmmmmmh.

 

[sloppy_phil]

View attachment 7053374


...and here it is. I'm Doom 2 now.

As always, I'm in the office now and have no bass at hand.
The build quality of that beast is on par with the highest quality makers.
I wanna say Origin Effects, Rodenberg, CMC Audio make pedals that you can throw through a closed window on the third floor and pick it up from the dented concrete outside and continue playing it. Sheet metal.

The knobs and switches confirm what the steel enclosure hints at: In terms of material and build quality, no corners were cut.
Mmmmmmh.

Just tell your bosses you are actually a Canadian; today is Thanksgiving here, so it's a national holiday, and offices are closed all across the land. That should leave you plenty of time to Doom!

 

[Charlie Tuna]

no corners were cut.
Mmmmmmh.

Be careful handling the enclosure because people were cut.

 

[el murdoque]

A little delay between the photo and the first comment on how it is. I not only got my Doom2, I also took home a sample of the freshest batch of the 'rona and basically slept through 36 hours straight.

This is one of the pedals where reading the manual is quite helpful, but I wanted to experience it by myself, so it took a while to find out how the bass knob works.
Essentially, you have your volume and gain, but these only affect the fuzz signal. There is a second path hidden in the pedal, which is either a clean signal or a lowpassed clean signal. The lowpass is switched on with the left switch, and the bass knob controls the volume of that signal. I found that with gain and volume all the way down, the switch in the non-low-pass-position and the bass knob around 11:30, pedal off and pedal on sound the same.

Now there's the your/you're knob which essentially takes a melodic fuzz that is rich in harmonics and injects a mix of steroids and crack into the circuit that does the harmonics. In the lower setting you get what you're used to from a fuzz. In the upper setting your get total mayhem.

The remaining knobs do as expected. Mids and treble work to shape the fuzz signals mids and treble.

However. Every knob is incredibly interactive with every other knob - not even the volume knob is innocent here. And the pedal is incredibly reactive to playing style. There are so many factors at play here - It feels a bit like you've been introduced to letters in math class and are quite proud that you can
solve for X in 2X-7=7, but now you're asked to prove that a^n+b^n=c^n does not work for n>2.

This pedal has a LOT to offer.
The only other thing I ever laid eyes and/or hands on that comes close is the Fake Plastic Trees.
I only compared those two for a minute, but I wanna say that while the FPT is much better at low gain sounds and works as a preamp, the Doom2 has a lot more control over the maxed out fuzz stuff. I need to play more, but I'll head back to bed now.

 

[arvegrinden]

A little delay between the photo and the first comment on how it is. I not only got my Doom2, I also took home a sample of the freshest batch of the 'rona and basically slept through 36 hours straight.

This is one of the pedals where reading the manual is quite helpful, but I wanted to experience it by myself, so it took a while to find out how the bass knob works.
Essentially, you have your volume and gain, but these only affect the fuzz signal. There is a second path hidden in the pedal, which is either a clean signal or a lowpassed clean signal. The lowpass is switched on with the left switch, and the bass knob controls the volume of that signal. I found that with gain and volume all the way down, the switch in the non-low-pass-position and the bass knob around 11:30, pedal off and pedal on sound the same.

Now there's the your/you're knob which essentially takes a melodic fuzz that is rich in harmonics and injects a mix of steroids and crack into the circuit that does the harmonics. In the lower setting you get what you're used to from a fuzz. In the upper setting your get total mayhem.

The remaining knobs do as expected. Mids and treble work to shape the fuzz signals mids and treble.

However. Every knob is incredibly interactive with every other knob - not even the volume knob is innocent here. And the pedal is incredibly reactive to playing style. There are so many factors at play here - It feels a bit like you've been introduced to letters in math class and are quite proud that you can
solve for X in 2X-7=7, but now you're asked to prove that a^n+b^n=c^n does not work for n>2.

This pedal has a LOT to offer.
The only other thing I ever laid eyes and/or hands on that comes close is the Fake Plastic Trees.
I only compared those two for a minute, but I wanna say that while the FPT is much better at low gain sounds and works as a preamp, the Doom2 has a lot more control over the maxed out fuzz stuff. I need to play more, but I'll head back to bed now.

The Doom 2 and FPT are my current dirt options. Interested in your take on the two in comparison, I really like them both at low gain. One for some amp like dirt and the other on synth duties. But I seldom go into high gain territory at all.

 

[el murdoque]

The Doom 2 and FPT are my current dirt options. Interested in your take on the two in comparison, I really like them both at low gain. One for some amp like dirt and the other on synth duties. But I seldom go into high gain territory at all.

I need to look deeper into the capabilities of the lower gain settings on the Doom2, now that I have a firmer grip on the controls.
Watching Zach's YT video about it, I learned that my assumption about the EQ was not correct - the treble knob is roll off only and it's neutral when wide open.
It's funny how the FPT and the Doom2 get you instantly in synth territory - just fire them into an envelope and you're done.
However - my secret sauce with the FPT is using the BDPG before hitting the filter and I don't seem to require that with the Doom2.

Both are somewhat weird pedals that stray off the trodden paths and do something on their own, in their own way. The limited availability and high price tag on both awards them Cork-Sniffer's-Snob-Points even before plugging them in.

 

[el murdoque]

I have to sing .. the highest praise. Ein Lobelied auf 3Leaf Audio.
This thing is awesome. I learned yet another thing just now: The gain knob does not affect the output volume. You can literally set your envelope just right and then sweep through the entire range to find the right spot instead of guessing sweet spots and tediously and painstakingly readjusting the envelope and master volume every time you touch the gain. That is SUCH a treat!
Apart from that, I found my favorite settings.


You can see them in the pic. The EQ is set with treble wide open, mids giving a bit of a boost and bass set to unity a fair bit before noon, with the low pass engaged on the clean signal and the other switch in the upper (more harmonics) position.
This works surprisingly well through the entire sweep of the gain knob. At low settings it is a terrific low gain drive pedal. Really outstanding. The sound is a touch too mellow for my taste when playing alone with headphones on, but it sits extremely well in any mix. It adds a certain musical fuzzy coating to the notes without taking their heft or momentum. I tested it playing to a slow pop backing track that is incredibly boring, but even there, I could make it fit.
With the envelope engaged and a fair bit of chorus underneath to lay it down thicker, it is a funk machine with the gain at 9 o'clock. It gets a bit grindier wen you slowly increase and once you get past noon it's a fat monosynth.

What I have not talked about yet is how incredible this pedal feels.
It is incredibly responsive to play style and dynamics and once you have dialed it in, you can feel the shape of the note leaving the Doom2 while the string is leaving your fingertips. This feels so rewarding! Even through it gets quite chaotic with the gain on the right hand side of the dial, I did not miss a gate option once. It's not only incredibly responsive, it's also incredibly easy to control and a breeze to keep reigned in.
In synth mode, I liked something I only found in the Meatball clone I had and in the Brown Dog / Agent00Funk combo: When you hit a heavy gated fuzz (preferably with an octave) you usually create a wall of fuzzy sound that hammers at the envelope with the same strength each time you play a note, which makes the envelope react in a predictable way, but also looses this dynamic completely. With the Fuzz in the Meatball's FX loop and the special cable that goes from Brown Dog to Agent00Funk, the envelope is triggered by the signal before it gets mangled and chopped to uniform pieces, and therefore, touch sensitive. With the Doom2, you get some of that even playing in a regular filter, because not only does it react very dynamic, it also responds in kind.
As I said, your fingers get a feeling of the sound while you play and it feels like your playing can get another dimension.
When you gained another dimension on your bicycle because your parents took the training wheels off, the first tries were shaky, I presume.
I learned two lessons that day. Not only how to ride a bike, but also that I should hold a lengthy and exhausting internal debate of whom to trust blindly from now on. My Father jogged alongside, holding me steady by the saddle. I told him not to let go. He told me he would not. When he was satisfied that the intricate equilibrium of gyroscopic forces, momentum and gravity was met, he secretly let go and slowed down. That sleazy oath breaker. I was riding along for a bit until I realized the reassuring presence of my old man just behind my left shoulder was gone. I said something and he replied - his voice now a good quarter of a furlong behind me. In a mix of astonishment, shock and surprise I turned my head back to see where he was. You know why most experienced bicyclists don't ever do that? Well, the main reason is because you can't see where you're falling since you just crashed your bike. That's the third lesson I learned that day.
He's earned back some trust and I think and my therapists mostly agree that I have forgiven him for the incident.
I also think I just got carried away for a bit. I was talking about that whoopsie feeling when you suddenly gain another dimension and are not yet entirely sure about the rules and how to interact with it before it comes for you. That feeling I'm describing here is what is absolutely not happening when playing with the dynamic output of the Doom2. It feels natural from the get-go.

Such a great pedal. I'm gonna play some more.

mmMMMMWWRAPPmmmm

 

[GrowlerBox]

I have to sing .. the highest praise. Ein Lobelied auf 3Leaf Audio.
This thing is awesome. I learned yet another thing just now: The gain knob does not affect the output volume. You can literally set your envelope just right and then sweep through the entire range to find the right spot instead of guessing sweet spots and tediously and painstakingly readjusting the envelope and master volume every time you touch the gain. That is SUCH a treat!
Apart from that, I found my favorite settings.
View attachment 7055843

You can see them in the pic. The EQ is set with treble wide open, mids giving a bit of a boost and bass set to unity a fair bit before noon, with the low pass engaged on the clean signal and the other switch in the upper (more harmonics) position.
This works surprisingly well through the entire sweep of the gain knob. At low settings it is a terrific low gain drive pedal. Really outstanding. The sound is a touch too mellow for my taste when playing alone with headphones on, but it sits extremely well in any mix. It adds a certain musical fuzzy coating to the notes without taking their heft or momentum. I tested it playing to a slow pop backing track that is incredibly boring, but even there, I could make it fit.
With the envelope engaged and a fair bit of chorus underneath to lay it down thicker, it is a funk machine with the gain at 9 o'clock. It gets a bit grindier wen you slowly increase and once you get past noon it's a fat monosynth.

What I have not talked about yet is how incredible this pedal feels.
It is incredibly responsive to play style and dynamics and once you have dialed it in, you can feel the shape of the note leaving the Doom2 while the string is leaving your fingertips. This feels so rewarding! Even through it gets quite chaotic with the gain on the right hand side of the dial, I did not miss a gate option once. It's not only incredibly responsive, it's also incredibly easy to control and a breeze to keep reigned in.
In synth mode, I liked something I only found in the Meatball clone I had and in the Brown Dog / Agent00Funk combo: When you hit a heavy gated fuzz (preferably with an octave) you usually create a wall of fuzzy sound that hammers at the envelope with the same strength each time you play a note, which makes the envelope react in a predictable way, but also looses this dynamic completely. With the Fuzz in the Meatball's FX loop and the special cable that goes from Brown Dog to Agent00Funk, the envelope is triggered by the signal before it gets mangled and chopped to uniform pieces, and therefore, touch sensitive. With the Doom2, you get some of that even playing in a regular filter, because not only does it react very dynamic, it also responds in kind.
As I said, your fingers get a feeling of the sound while you play and it feels like your playing can get another dimension.
When you gained another dimension on your bicycle because your parents took the training wheels off, the first tries were shaky, I presume.
I learned two lessons that day. Not only how to ride a bike, but also that I should hold a lengthy and exhausting internal debate of whom to trust blindly from now on. My Father jogged alongside, holding me steady by the saddle. I told him not to let go. He told me he would not. When he was satisfied that the intricate equilibrium of gyroscopic forces, momentum and gravity was met, he secretly let go and slowed down. That sleazy oath breaker. I was riding along for a bit until I realized the reassuring presence of my old man just behind my left shoulder was gone. I said something and he replied - his voice now a good quarter of a furlong behind me. In a mix of astonishment, shock and surprise I turned my head back to see where he was. You know why most experienced bicyclists don't ever do that? Well, the main reason is because you can't see where you're falling since you just crashed your bike. That's the third lesson I learned that day.
He's earned back some trust and I think and my therapists mostly agree that I have forgiven him for the incident.
I also think I just got carried away for a bit. I was talking about that whoopsie feeling when you suddenly gain another dimension and are not yet entirely sure about the rules and how to interact with it before it comes for you. That feeling I'm describing here is what is absolutely not happening when playing with the dynamic output of the Doom2. It feels natural from the get-go.

Such a great pedal. I'm gonna play some more.

mmMMMMWWRAPPmmmm

Don’t know whether you saw this, but Janek Gwizdala just released a video trying out the Doom 2 here.

 

[el murdoque]

Don’t know whether you saw this, but Janek Gwizdala just released a video trying out the Doom 2 here.

Let him. My mind is made up.
The Doom2 is a fantastic pedal.

I'll bring it to the next rehearsal with the metal band and try it out as a drive pedal there to see how it performs in a dense mix.

 

[el murdoque]

Anyone have a suggestion for a single loop switcher that is not the LS-2?

 

[Ritter667]

Anyone have a suggestion for a single loop switcher that is not the LS-2?

Old Blood Noise Endeavors Signal Blender?

 

[triviani]

One control Mosquito Blender. There’s also a version with an expression pedal jack.

One Control Minimal Series Mosquito Blender Trail with BJF Buffer