My Dirt Bender - Another Jounal

[sunbeast]

When I turned up the gain knob from the center area to nearly full, a childhood memory sparked up.

My family were close friends with another family and they had a child about my age. This guy occasionally had some very weird ideas on how to have fun outside. There was this barn. above the door, there was a hole between two of the wooden boards. It was dug by wasps that made their nest there, that hole was the entry and exit. The "weird idea of having fun" was to dare people to pick up an overripe apple from the grass and throw it at that hole. When your aim was on point and the apple struck one of the two boards right next to the hole, the wasps got really angry. I remember performing a half-hearted toss that missed the mark and lacked the momentum, thinking this ordeal might be over with that. Turning my head, I saw my friend launching an apple with all he was good for, hitting the board dead center with an audible thud.
That little hole started spewing wasps like nobodies business, and man, those beasts were MAD.
The next part of this pastime was as simple as it could possibly be. Imagine you're a elementary school age kid. Imagine you're confronted with a full swarm of angry wasps. Imagine your reaction. Right. It's this moment that you find out that a human can actually outrun a swarm of wasps. All it takes is a little head start the adrenaline pump jacked into overdrive by the prospect of a painful death.
Why am I telling you of somewhat terrifying childhood memories?

That moment when I turned and ran, the sound that made it through to my slightly foggy brain was a mix of a beautiful and serene late summer day, a swarm of insects that mean business and my own blood rushing through my body pumped by the frenzied heart muscle running at capacity, or slightly over. It kinda reminds me on how the Fatbee does its thing.
Replace the wasps with bees. No, replace the wasps with slightly overweight bees that are actually pretty chill about things (but keep in mind they are insects. The don't really do chill - so their version of a relaxed afternoon and yours differ greatly). You're nearly there.
It's got that deadly potential -- I mean I'm no expert, but my guess is that being killed by a swarm of frenzied wasps and a swarm of frenzied bees might not be exactly the same experience, but there have to be lots of similarities. It also has that raw power. Insects don't translate well into that, because they never invented V8 engines with lots of cubic inches. There's also some quality of using a rasp. Not on anyone's private parts, though - more like a very good rasp intended for rasping metal, but used on a great piece of hardwood.

I've owned one pedal that the Fatbee reminds me of: The MI Audio Blueboy Deluxe MkII. However, my guess is that this is little help since I'm describing one obscure pedal by using another obscure pedal.

I actually used to rock a Blueboy Deluxe on bass into a Mesa 400+ for a few years circa 2008-2010ish (IIRC?) as my main "kick it into 3rd gear" pedal. Most of the drive was from the amp (Gain set very low on the pedal but Volume pushed), but I remember liking the character of that pedal for the purpose of pushing an amp more than any of the other drives I had tried with bass at the time (of course there were FAR fewer options around at the time). I totally forgot about that pedal or how I came to try it out!

 

[el murdoque]

I actually used to rock a Blueboy Deluxe on bass into a Mesa 400+ for a few years circa 2008-2010ish (IIRC?) as my main "kick it into 3rd gear" pedal. Most of the drive was from the amp (Gain set very low on the pedal but Volume pushed), but I remember liking the character of that pedal for the purpose of pushing an amp more than any of the other drives I had tried with bass at the time (of course there were FAR fewer options around at the time). I totally forgot about that pedal or how I came to try it out!

I sold mine about a decade ago, I think - and when the Fatbee reminded me of it, I started looking to replace it. I'll keep it on my list and see if one pops up.
I remember using it not only as a drive pedal, but also as a boost and/or EQ. The knobs worked totally different than the makers intended when used with bass, but they totally worked.

 

[sunbeast]

I sold mine about a decade ago, I think - and when the Fatbee reminded me of it, I started looking to replace it. I'll keep it on my list and see if one pops up.
I remember using it not only as a drive pedal, but also as a boost and/or EQ. The knobs worked totally different than the makers intended when used with bass, but they totally worked.

Yeah I recall using it like a clean shaper as well- I mostly played G&Ls those days so having something that could tighten the lows or contour some mids going into the dirty amplifier was key!

 

[el murdoque]

Yeah I recall using it like a clean shaper as well- I mostly played G&Ls those days so having something that could tighten the lows or contour some mids going into the dirty amplifier was key!

Oh yeah. Using the tilt EQ to take off the sting and give it a bit more bottom would certainly come in handy, especially with fresh strings.

 

[bassbrad]

Karen Speaker Manager is still waiting for the Manager and getting more annoyed by the moment. First impressions is this is an interesting overdrive pedal that feels more amp like than preamp if you get my drift, from just warm to seriously saturation with all but the last bit of gain still having a transparent quality. Rage goes from mild to wild with a nice touch of compression and saturation as Rage increases. Nice attack dynamics and it does clean with a volume drop like an overdrive should. Very full range great for bass or guitar. The bass treble tone stack has good range and well voiced for shaping and can be bypassed. Not a lot of output gain maybe a 3 db boost but that is okay.

Huge kudos to Eddie Rifkind for a sweet sounding pedal and please note he is making a full value donation to MECA for Gaza Relief efforts.

 

[sloppy_phil]

Oh boy, I am definitely in the Honeymoon phase, but I see why the DCX has become such a staple of many players' boards! Had tried one of the newly-attainable Doom 2's in that slot for a few months, but it never quite worked out for me. I think there's a chance I'm just not a fuzz guy; I really liked the octave up synth flavour of the You're mode, but didn't have much use for it. And the "conventional" fuzz voice just wasn't cutting in a mix like I wanted, due to the passive treble control. Within 10 minutes of swapping the Doom for a DCX, I realized I had stumbled on a jackpot trade.

The EQ mode is where I'll likely spend most of my time, but with the drive knob cranked, it's the perfect amount of thick saturation without crossing over into real drive territory. It then feeds into an always-on Sushi Box (LU) on the edge of breakup, and the two combined makes for a cutting, clanky, hefty drive sound. And then, if I want really ripping, thick sounds on the boundary between overdrive and distortion, I kick on a Wampler Belle in front of the DCX. That combo made me smile very wide, indeed. Of course, if we then flip to OD mode (and the Med voice), it's basically a step up into fuzz territory. So this is proving a surprisingly versatile set of gain staging in my early exploration; fun times ahead!

Still need to see how practical the settings I've found will be when translating to a band, but I will get a chance very soon... playing in Ottawa tomorrow night to a sold out theatre crowd. Nothing like testing a brand new pedal on a high profile show! Though if I'm being honest, I'll actually put the DCX through its paces during sound check and decide if its ready to be thrown into the deep end. With tomorrow's set lists, I can definitely get away with just the Belle if need be, but I have a sneaking suspicion it'll get less work than usual this time around

 

[sunbeast]

Oh boy, I am definitely in the Honeymoon phase, but I see why the DCX has become such a staple of many players' boards! Had tried one of the newly-attainable Doom 2's in that slot for a few months, but it never quite worked out for me. I think there's a chance I'm just not a fuzz guy; I really liked the octave up synth flavour of the You're mode, but didn't have much use for it. And the "conventional" fuzz voice just wasn't cutting in a mix like I wanted, due to the passive treble control. Within 10 minutes of swapping the Doom for a DCX, I realized I had stumbled on a jackpot trade.

The EQ mode is where I'll likely spend most of my time, but with the drive knob cranked, it's the perfect amount of thick saturation without crossing over into real drive territory. It then feeds into an always-on Sushi Box (LU) on the edge of breakup, and the two combined makes for a cutting, clanky, hefty drive sound. And then, if I want really ripping, thick sounds on the boundary between overdrive and distortion, I kick on a Wampler Belle in front of the DCX. That combo made me smile very wide, indeed. Of course, if we then flip to OD mode (and the Med voice), it's basically a step up into fuzz territory. So this is proving a surprisingly versatile set of gain staging in my early exploration; fun times ahead!

Still need to see how practical the settings I've found will be when translating to a band, but I will get a chance very soon... playing in Ottawa tomorrow night to a sold out theatre crowd. Nothing like testing a brand new pedal on a high profile show! Though if I'm being honest, I'll actually put the DCX through its paces during sound check and decide if its ready to be thrown into the deep end. With tomorrow's set lists, I can definitely get away with just the Belle if need be, but I have a sneaking suspicion it'll get less work than usual this time around

View attachment 7121171

I had panned the DCX drive sounds as too harsh a few times on here since I got it (mostly based on at home experimentation and trying to get a little too edgy with a cleaner band I play in), but every time I play with one of my bands with a dirtier mix I play with pushing the gain a bit more each rehearsal and when used into some other driven device (in this case my Walkabout amp) it really works well in a mix. I think the key for me is having some distorted guitars to soak up the high-end harshness a bit. My bandmates have commented on how good it sounds too, so that pretty much cements it!

 

[sloppy_phil]

I had panned the DCX drive sounds as too harsh a few times on here since I got it (mostly based on at home experimentation and trying to get a little too edgy with a cleaner band I play in), but every time I play with one of my bands with a dirtier mix I play with pushing the gain a bit more each rehearsal and when used into some other driven device (in this case my Walkabout amp) it really works well in a mix. I think the key for me is having some distorted guitars to soak up the high-end harshness a bit. My bandmates have commented on how good it sounds too, so that pretty much cements it!

I can see what you mean about the tone shaping options fitting well in a mix. I am sure you are well-voiced in dirt and drive pedals at this point, so you've probably learned what works and what doesn't for you in terms of finding your spot in a mix. I definitely see what you mean about fitting in with a dirty/thick set of guitars! Tomorrow night is going to be primarily reggae, with bits of folk/Celtic sprinkled in, and no electric guitar. So I'll report back to see if it handles the comparatively lighter style.

I will be playing in a power trio a couple times later this month, and I expect it'll do very well in that situation as well, since there's a good amount of guitar-bass interplay and riffing. Looking forward to putting it through its paces!

 

[arepa_funk]

Oh boy, I am definitely in the Honeymoon phase, but I see why the DCX has become such a staple of many players' boards! Had tried one of the newly-attainable Doom 2's in that slot for a few months, but it never quite worked out for me. I think there's a chance I'm just not a fuzz guy; I really liked the octave up synth flavour of the You're mode, but didn't have much use for it. And the "conventional" fuzz voice just wasn't cutting in a mix like I wanted, due to the passive treble control. Within 10 minutes of swapping the Doom for a DCX, I realized I had stumbled on a jackpot trade.

The EQ mode is where I'll likely spend most of my time, but with the drive knob cranked, it's the perfect amount of thick saturation without crossing over into real drive territory. It then feeds into an always-on Sushi Box (LU) on the edge of breakup, and the two combined makes for a cutting, clanky, hefty drive sound. And then, if I want really ripping, thick sounds on the boundary between overdrive and distortion, I kick on a Wampler Belle in front of the DCX. That combo made me smile very wide, indeed. Of course, if we then flip to OD mode (and the Med voice), it's basically a step up into fuzz territory. So this is proving a surprisingly versatile set of gain staging in my early exploration; fun times ahead!

Still need to see how practical the settings I've found will be when translating to a band, but I will get a chance very soon... playing in Ottawa tomorrow night to a sold out theatre crowd. Nothing like testing a brand new pedal on a high profile show! Though if I'm being honest, I'll actually put the DCX through its paces during sound check and decide if its ready to be thrown into the deep end. With tomorrow's set lists, I can definitely get away with just the Belle if need be, but I have a sneaking suspicion it'll get less work than usual this time around

View attachment 7121171

That's a great board!! Is that a Metro size btw?

 

[sloppy_phil]

That's a great board!! Is that a Metro size btw?

Thanks, man! Yes, it's a Metro 16. It's a tight squeeze, though it all just about fits. A couple of the stomp switches are a little closer together than is ideal for those heat-of-battle pedal changes, but it's the compromise I make for keeping things pretty light and compact.

 

[el murdoque]

I had panned the DCX drive sounds as too harsh a few times on here since I got it (mostly based on at home experimentation and trying to get a little too edgy with a cleaner band I play in), but every time I play with one of my bands with a dirtier mix I play with pushing the gain a bit more each rehearsal and when used into some other driven device (in this case my Walkabout amp) it really works well in a mix. I think the key for me is having some distorted guitars to soak up the high-end harshness a bit. My bandmates have commented on how good it sounds too, so that pretty much cements it!

It's the same for me. I adjust it in the bedroom, then go to rehearsal and turn it waaaay up. When I get home and play it, my eyebrows rise to the hairline and I think that this is way too harsh and there's no way that I used these settings and liked them. Then, come next rehearsal, the exact same thing happens.

However, what I learned about the DCX in OD mode is how nice it positions the bass in a mix. I run my comp as a hard limiter after the dirt pedal and before the Bassrig. I have the Bassrig set up to the point where harmonics and distortion are happening, but only just and barely audible, and the comp is set to prevent it being pushed any further than that. The dirt pedals run into that brick wall limiter - so I can't really raise the level to have them them leveled properly and so far, only a few pedals were able to take that hurdle.
With the DCX, the bass in the mix actually sounds a bit louder than clean.

 

[el murdoque]

View attachment 7121069View attachment 7121070
Karen Speaker Manager is still waiting for the Manager and getting more annoyed by the moment. First impressions is this is an interesting overdrive pedal that feels more amp like than preamp if you get my drift, from just warm to seriously saturation with all but the last bit of gain still having a transparent quality. Rage goes from mild to wild with a nice touch of compression and saturation as Rage increases. Nice attack dynamics and it does clean with a volume drop like an overdrive should. Very full range great for bass or guitar. The bass treble tone stack has good range and well voiced for shaping and can be bypassed. Not a lot of output gain maybe a 3 db boost but that is okay.

Huge kudos to Eddie Rifkind for a sweet sounding pedal and please note he is making a full value donation to MECA for Gaza Relief efforts.

Are you telling me that the switch labeled with "Don't use that tone with me" is bypassing the EQ?

 

[OldShark]

Are you telling me that the switch labeled with "Don't use that tone with me" is bypassing the EQ?

Self-explanatory, isn't it?

Edit: The newer "Karen X Twitter Manager" has it as "In space you can't use that tone with me" :

KarenX Twitter Manager | Eddie Rifkind Effects

This is a build-to-order listing. It will take about 1-2 weeks to build your KarenX for you!KarenX is the celebrity marriage of my Satellite of Fuzz circuit with the Karen switchable Baxandall tone stack, labeled here as "In space, you can't use that tone with me."It’s a circuit inspired by the...

eddie-rifkind-effects.square.site

 

[el murdoque]

Self-explanatory, isn't it?

Yes. While the whole pedal triggers a chuckle when looking it over, that switch triggers more of a belly laugh.

 

[arepa_funk]

Thanks, man! Yes, it's a Metro 16. It's a tight squeeze, though it all just about fits. A couple of the stomp switches are a little closer together than is ideal for those heat-of-battle pedal changes, but it's the compromise I make for keeping things pretty light and compact.

Nice!! That's a good compromise. I've been thinking about going with a Metro size because the Nano Max is too long. I might be able to squeeze about as much on a Metro size using a vertical and horizontal layout. Much to think about!

 

[el murdoque]

The postman rang.
(Actually it was a post lady and the door was open)

Which brings me directly to the differences between the Aftershock and the Ultrawave. Can anyone enlighten me how different they are tonally?
I've looked at the layout and simply assumed that the Aftershock will have the same functions my C4 has, but that's not the case. You only get 6 Presets which seems a bit poor IMHO. On the C4 I used 7

 

[Billyears IV]

The postman rang.
(Actually it was a post lady and the door was open)

View attachment 7121532


Which brings me directly to the differences between the Aftershock and the Ultrawave. Can anyone enlighten me how different they are tonally?
I've looked at the layout and simply assumed that the Aftershock will have the same functions my C4 has, but that's not the case. You only get 6 Presets which seems a bit poor IMHO. On the C4 I used 7

I have the UW but never tried an Aftershock. Plenty of folk from Source Audio threads can talk comparisons.

I understand the UW can replicate the sounds that Aftershock can produce, but not vice versa. However, UW cannot simply import actual presets created with Aftershock.

UW is a complex pedal, capable of many sounds & control of distortions. Aftershock is more straightforward to operate I understand.

Do you not utilise the full 127 preset storage for your C4, via the Neuro software?

 

[Rick Penrose]

The postman rang.
(Actually it was a post lady and the door was open)

View attachment 7121532


Which brings me directly to the differences between the Aftershock and the Ultrawave. Can anyone enlighten me how different they are tonally?
I've looked at the layout and simply assumed that the Aftershock will have the same functions my C4 has, but that's not the case. You only get 6 Presets which seems a bit poor IMHO. On the C4 I used 7

After owning both....the Aftershock has more usable tones, was easier for me to get my head around, and use on my pedal board. Yes it is an earlier architecture and so does not have the 128 preset available as do SA’s later pedals, but it does have integration with the SA software as well as an extensive library of presets for the pedal (just 6 at a time vs 128). Personally, I will probably never need more that 6 dirt presets when playing a gig but that’s just me so it works out welI. My search for dirt is over, and I use the Aftershock over the UW when playing out.

 

[Mr. voodoobass]

There’s an insane amount of settings you can work with on the uw, and after that, you realize that you have two channels of it.
Either in series or parallel.

 

[Billyears IV]

I struggled a bit at first with the UW, with all the possible parameters, somewhat overwhelming. But persevered and expanded my understanding of sound shaping at same time.

What I enjoy now is using the UW in conjunction with analogue preamps - para sansamp & OE Bassrig. The preamps give more 'soul'/depth/width to the digital distortions. Also less harsh. Not a scientific approach, just trying this & that.

I currently have a good range of ODs on edge of breakup - grit/grind/clack which I can tweak EQ on UW or preamp & blend in more distortion with exp pedal. Don't really have so much need for Fuzz but combining with C4 subs & synths is cool.