#Top 5 Distortion Pedals

[guitarbomb]

How To Use - Top 5 Distortion and Overdrive Pedals

The Top 5 Distortion and Overdrive pedals you can buy easily, and just about anywhere. These are the some of the best drive tones you can purchase today. And not a boutique pedal in sight!

This list gives you what I believe are the most flexible, reliable, and readily available stompboxes. If you need a good overdrive or distortion for your guitar setup then this is the list for you and I’ve added a few basic tips to get the most out of each pedal. Ultimate Drive Tone? I have a huge collection of pedals myself and have been using pedals for over 35 years. This has given me some…

[imichelle-l-rigby]

Reflections: Cillian Murphy’s Limited Edition

Season 3, episode 5

✨also magnificently late✨

———————————————————————

*I am a music prof (predominantly classical vocalist), and I LOVE listening to Cillian’s music choices! That being said, sometimes I won’t like a song simply because of a vocalist (it’s a professional hazard - sorry!) 👩‍🏫

** The following are my own observations/opinions. We may not agree, and that’s ok! That’s what makes music fun! 😊

*** I wouldn’t say I’m well-versed in Cillian’s music preferences, but I do enjoy them (for the most part). I always wind up adding to my own playlists after listening to Cillian’s recommendations.

———————————————————————

The episode…

🎵Set 1 (Cross Talk I - Auntie’s Lock/Infinitum)

Cross Talk I: this sounds like the technology of my childhood 👵🏻

Soaring X: the instrumental track reminds me of something (specifically the 3 note motif) and I can’t for the life of me remember what it sounds like! Ahhh!!!! Also, I love this! It’s always so interesting to me how a tremolo (the fast repeated notes) can be so effective and moving when the technique itself is so simple.

Auntie’s Lock/Infinitum: … when the melody is basically the Westminster chimes 😳😅😂 wasn’t expecting that!

🎤Talking Break

Thanks for the date info! 😂😂😂

“”Luxury loving Librans”

An ident! 😳��

… sir. I didn’t need to know that about spiders 😖😖😖

“Do your bit”- yes. Please wash your hands

Why is he so into uninteresting facts?? 😅

Yay! Someone told him the name of the film!!!

🎵Set 2 (All Change - Excess Success)

All Change: the intro sound effects specifically remind me of the jump/crisscross sections of the Cha Cha Slide 😅🤦‍♀️ now it is cool how things get more distorted towards the end! Unsettling, but neat.

it’s been a long week please don’t judge me for my idiocy 😅😂

Apothecary: I’m listening to all the woodwinds in the background. Interesting timbres.

Excess Success: it’s both cute and driving. Idk how that works, but it does!

🎤Talking Break

“Oh yes! Some music from Cork. Where I’m from…”

Reflection inspired tangentially by Elaine’s comments - I’ve noticed so many ppl are afraid to sing. It’s a part of us, so of course it’s personal. Either way, please sing. It’s worth it.

🎵Set 3 (To the Test - somehow she’s still here)

To the Test: chill and atmospheric. 😎

InFLUX: a weird distorted saxophone background. Again, I’m convinced this is one of Cillian’s favorite instruments! I really like the vocals here. And then halfway through everything changes! 🙀 surprise twist!

Somehow she’s still here: soulful! Gorgeous vocals!

🎤Talking Break

More Irish music!

“Cracker of an album”

🎵Set 4 (All of the People)

All of the People: while not my fave vocal style, I do like this (and Fontaines DC). Instrumentals are beautiful *dreamy sigh*

🎤Talking Break:

Oh dear… he manifested a poetry reading 😂😂😂😂

A stormy Brooklyn!

Plateau: the background track is trippy! I am immersed!

🎵 Set 5 (Le Jardin - Sorrowful Soil)

Le Jardin: I feel like I’m in a National Geographic special omg! 🙀 but the cute piano piece is a great addition! It really feels like I’m in the garden and I’m listening to someone play from the garden window. It’s also cool that the piano portion follows the “rustic” or pastoral trope of the pedal point. It’s meant to evoke bagpipes/pipes (not limited to Scotland but of course heavily associated with the country). The lilting melody on top just adds to the pastoral trope. And then the garden atmosphere gets all synth and I go “what???” 😅 this one’s got a bit of everything! 😂

XII: I love that he enjoys instrumental music. Lots of interesting timbres - some brass and woodwinds.

I’ll Stay Here Now: it’s all whooshy like the music’s being played backwards. 😊

Sorrowful Soil: this is so angular! I know I should pay attention to the lyrics, but I’m only paying attention to the musical lines. It’s reminding me of VERY early (medieval) musical lines, but put in the electronic timbres of today.

🎤Talking Break:

“That was Bjork, of course!”

I should check out the podcast. I’m not a huge Bjork fan, but it sounds cool!

Idk how or why, but I always enjoy music from Iceland. I’ve never even been there!

The ident…

GEORGE HARRISON IS MY FAVORITE BEATLE

I still need to watch Living in the Material World… 😅

I LOVE GET BACK

Side note - I’m convinced Cillian’s favorite Beatle is John.

🎵 Set 6 (I Can Feel It)

I Can Feel It: I am dancing and having so much fun!!! 💃

🎤Talking Break

The shortest break EVER.

🎵Set 7 (Inglan is a Bitch)

Inglan: all I can say is OOF. This song packs a punch! 😅

🎤Talking Break

No Cill, he’s not more interesting. Promise. 😂😂😂

Cohen covers ❤️

🎵Set 8 (Hey, That’s No Way to Say Goodbye - What About Now)

Hey: I love Roberta! ❤️❤️❤️

I Shall Not Be Moved: I think tambourine should be in more songs.

Description of People Get Ready: I love gospel!

People Get Ready: ok, for so many personal reasons, I love this song and it’s message! “You just thaaaank the Lord!”

What About Now: I’m feeling so much ‘60s teenage rebellion. 😎 vocals aren’t that strong, but the drums sure do cover a lot of that! Perhaps a Bob Dylan inspired vocal quality! The whine is on point.

🎤Talking Break:

“Great name for a band”

Disco!

“Does this qualify as disco?”

🎵Set 9 (Dee Tour - Genshi)

Dee Tour: fun and girly and so retro! Also… FLUTE SOLO! 😎

Genshi: I looooove the opening. Which is funny because it’s so monotone, but the repeating rhythms are cool 👍 and then you have other lines show up. It’s just a groovy little piece!

🎤Talking Break

“Do work, or tidy the kitchen, or think about composting, things like that”

Kinda a cover?

🎵Set 10 (Goodbye Pork Pie Hat)

Goodbye Pork Pie Hat: more sax! The ding and other sound effects are so strange to me. Like… why? I feel like I’m missing context here. The pedal board lyrics are so “whoa”

🎤Talking Break

GEORGE HARRISON 😍😍😍😍

Yeah George - biggest solo album!!!

ARCHIVE OF GEORGE!!!!

I’m so proud of him for not cussing in this interview because I know he wanted to 😂

🎵Set 11 (Awaiting on You All - One Woman)

Awaiting On You All: not my fave George solo song, but you can’t deny it’s groovy!! His personal style could be haunting, beautiful, or kinda schmaltzy early rock ish. And all wrapped up in a quiet, sassy personality! 😂😅

One Woman: ooohhh this soulful, soulful song! ❤️ gorgeous vocals.

🎤Talking Break

I’m with you, Cill, regarding Al Green

Noooo don’t go!

Jazz! Yussss 😎

“Played this loudly in the kitchen last week”

“Mind yourselves”

🎵Set 12 (Pastoral - Memories of Edith Johnson)

Pastoral - ok, I could go music nerd again on the pastoral genre, but I won’t. Once is enough. But I do like the harp! Such a sweet sound.

Desillusion: yep! Definitely some jazz! 😎 powerful piano. It keeps sloooowly getting more complex as the song goes along. The bass and drums are also getting it! I’m gonna have to look up this trio.

Memories of Edith Johnson: so I looked her up and Edith was a silent film actress. It now makes sense why Cillian likes this. The organ and sax are fun together. The “oooohs” I can do without.

Fin

———————————————————————

Thank you so much for reading! Feel free to share and comment! Episode 6 coming soon!

Tag list:

@iammrsrogers @deliciousnutcomputer @mariamoonie @brownskinsugarplum76 @look-at-the-soul @kj-davis @neverroad @teapothollow @thepurplearmyposts @possessedmarshmallow

[iodotsys]

For the music ask game thingie:

-Vaudeville Villain by MF Doom

-Sway by Michael Buble

-Come as you Are by Nirvana

-Me and your Mama by the GOAT himself Childish Gambino

-Kick Back by Kenshi Yonezu

(Addition of Kaikai Kitan by Eve in a followup ask)

Vaudeville Villain by MF Doom

The backtrack to this was really pleasent and had my head bopping. It was enjoyable to listen to. I loved the bassy sound to it, it tickled my ears. 6/10, wouldn't listen again out of my way, but it was a very enjoyable song. If it ever came on again, I'd be bopping my head to it.

Sway by Michael Buble

The key the vocals are in was very interesting and kept my attention the entire time. The tonal resolution was extremely satisfiying at the end of the verses (?). Made me sway (SERIOUSLY NO PUN INTENDED. I JUST noticed the song was named Sway) from side to side. The song absolutely provided the feeling it intended to. The vocalist has a hell of a voice. The horns hurt my ears a tiny bit though. 6/10. Would have given it s 7/10 but the horns were too much for my ears.

Come as you Are by Nirvana

Alright, I've gotta say something. Nirvana is one of my favorite bands. In Utero is in my top 5 albums (also happy 30th to In Utero!) and they are an inspiration for me as a musician. I am going to judge this SOLELY based on the song as if this wasn't Nirvana. The opening bass is very nice and I love the effects pedal they're using. I think its a phaser? The chorusing on Kurt's voice is nice and smooth (well, its multiple vocal takes instead of chorusing but ya know). Gives it an interesting texture. Really good driving beat. The guitar solo in the middle was a nice aside form the rest of the song, mimicking the vocals. Overall kinda boring, not much happening with the song. Sorta repetitive. 7/10, good effects, nice and crunchy but really boring. Wouldn't go out of my way to listen to it.

Me and your Mama by Childish Gambino

Very chill opening. Reminds me of older Gorillaz stuff. Actually reminds me a lot of The Fall stuff. The transition into the meat of the song was very well done. SUPER funky in the best of ways. Had me close my eyes and really listening. Made me go "DAMN". The vocalist is incredible. Had my whole body moving to the music. Super interesting melodically. There was so much going on, but every instrument and vocal had its place. Amazing song, 8.5/10. I'd give it a 9/10 but I don't think I'd go out of my way to listen to it. But damn I'm glad I was recommended it.

Kick Back by Kenshi Yonezu

The electronic back track to this was pretty good, but I feel like the vocalist was all over the place. REALLY liked the refrain with the melodic singing. Was very loud in ways I didn't like. Wasn't a pleasant listening experience. Everything was too loud, like it was heavily sustained. It felt like the instruments were screeching at me without much of a bass to fill the low end. 5/10, too bright of a song for my tastes but I don't regret listening to it.

Kaikai Kitan by Eve

The bass reminds me of Castlevania music. The vocalist has a really nice singing voice and I enjoyed the chorusing on it. Didn't feel like too much was going on or that it was too loud in any part. The distortion effect that was put on the vocalist's voice in the middle of the song was super pleasant to the ears and fit the song well. 6/10, still a little too bright for me.

These were some good song recs! Thank you for sending them over!

[baglsasha]

I don't think I posted when I got the HM-2 in, but this is the current compact noise makin rig. Have barely gotten to play it since getting the HM-2 in bc Tendonitis but ah well.

explanation/signal chain

1. DBA Supersonic Fuzz Gun:

i fucking love this thing. it's such a gnarly fuzz and can do so much cool shit. The way the oscillator mode gets controlled by your volume and tone pots is so sick.

2. Boss DD-8:

It's just a super versatile and reliable delay. All the modes sound sick. Does the normal digital delay thing fantastically and then has a bunch of other cool shit (reverse, glitch, looper) on top of that! Love it.

3. Coppersound Daedalus Reverb:

I got this one off a friend who wasn't using it anymore and it's really cool. It's 2 reverb stages with independent foot switches which is already nice but then it's got an "Exp" out which is basically just a send so you can send the wet signal out to whatever other FX u want on its own. I'm routing it back into input B on the DD-8 to make a feedback loop. With the level and feedback on the delay a bit lower it just kinda creates this bed of washed out delay verb feedback that sounds rly nice under cleans. With the level and feedback up on the delay it gets super loud and feedback-y super fast which is fun and useful.

4. Boss HM-2 (Late 80s, made in Japan):

this was the cheapest HM-2 on reverb at the time I was shopping. Visually beat up but works perfectly. I adore the sound of the HM-2. w/ everything cranked but the highs at like middle position it's just this perfect doom metal-y distortion and it works so fucking well after delay and reverb. Also doing the chainsaw thing is fun too.

5. Donner tuner:

nothing to say, it's a tuner. I have it last in the chain so I can use it as a killswitch if I get some crazy feedback shit going.

Thattsss my pedalboard info dump. I can theoretically fit one more regular sized pedal on here if I turn some stuff sideways and I've been considering picking up a ring mod, but this is like the fundamental board completed. Can't wait til my hand is more healed and I can play fun loud noisy shit w/ it!!!

[heritage-instrument-insurance]

Top 10 Most Popular Guitar Pedals and Why Everyone’s Using Music Gear in 2025

Guitar pedals in 2025 are more essential than ever. Musicians are investing in gear that helps them shape their sound, build flexible setups, and perform in many different spaces. Pedals are no longer seen as side tools but as core parts of a musician’s workflow. With so many effects and features packed into compact designs, pedals are changing how music is played and produced. As the value of these tools increases, people are becoming more aware of risks. That’s why many are now including music gear insurance as part of their plan. It’s about keeping tools protected and staying focused on the craft.

Before we explore why gear culture is growing, here’s a look at the pedals leading the scene this year.

Most Popular Guitar Pedals in 2025

These are the pedals musicians are reaching for in 2025. They cover multi-effects, analog classics, loopers, and ambient tools.

1. Line 6 Helix

The Helix gives players tons of amp models, effects, and routing options in one unit. It’s built for serious setups but easy enough to control. With flexible presets and USB recording, it works great for live shows and studio sessions. Many use it as their full rig without needing extra pedals.

2. Neural DSP Quad Cortex

The Quad Cortex is all about detailed tone capture. It lets players model their amps and pedals and store them inside. The touchscreen interface feels modern and quick. It’s compact enough for travel but deep enough for pro sessions. Musicians trust it for its clean sound and fast switching options.

3. Boss RC-600 Loop Station

The RC-600 is a looping powerhouse. It has six stereo tracks, built-in rhythms, and effects. Solo players love it for live looping, but it’s also great for practice and layering ideas. The footswitches are fully assignable, which makes it easy to build your setup. It’s perfect for creators who perform alone.

4. Strymon BigSky MX

This reverb pedal delivers huge sound options. It includes detailed presets and a new processor that handles stereo setups easily. The BigSky MX works well in ambient, cinematic, or post-rock tones. The interface is clean, and players can save and scroll through settings quickly. It’s a go-to for deep reverb textures.

5. Ibanez Tube Screamer TS808

The Tube Screamer keeps its place as a top overdrive. It has a smooth mid-range boost that helps solos cut through without sounding harsh. Many use it with amps or stacked with other pedals. The TS808 version sticks to the original tone but with modern reliability. It fits on almost every pedalboard.

6. Empress ZOIA

The ZOIA is a synth, looper, and effect designer in one box. It has a grid-based interface that lets players build custom patches. People use it for weird textures, modular sounds, or full compositions. It’s a creative tool more than a standard pedal, and it rewards time spent exploring its features.

7. Electro-Harmonix Big Muff Pi

This fuzz pedal is known for its thick and gritty tone. It’s popular in rock, metal, and alternative setups. The sustain feels endless, and it can push amps hard. Newer versions keep the classic sound while offering smaller sizes and true bypass. It remains a favorite for aggressive, standout guitar sounds.

8. Walrus Audio Julia

Julia is a chorus and vibrato pedal with a wide tone range. It adds warmth, shimmer, or wavy textures to clean or distorted tones. Players love its control layout, especially the blend knob. It’s used in everything from indie to shoegaze. Julia feels modern but still keeps that classic modulation vibe.

9. Headrush Core

This pedal combines amp modeling, effects, and a touchscreen interface. It’s made for players who want everything in one unit without losing quality. The Core is compact, easy to update, and beginner-friendly. It’s growing in popularity for live gigs and home recording. Users enjoy how fast they can build full rigs.

10. EarthQuaker Devices Avalanche Run

Avalanche Run blends stereo delay and reverb in one pedal. It’s known for ambient tones, soundscapes, and creative layering. Tap tempo and expression input give it flexibility in real-time control. It’s a good fit for players who want spacey sounds without building a huge board. Many use it as a core pedal in ambient setups.

Why Everyone is Using Music Gear in 2025

More people are making music outside of traditional studios. Home recording is common, and musicians need gear that adapts to different spaces. Pedals are easy to use, portable, and offer a lot of control. They help shape tone without needing large rigs. Many of the new releases also work well with both instruments and software, which adds to their appeal.

Another reason gear is growing in use is social media. Platforms are full of demos, walkthroughs, and tone tips. Pedals are featured in short videos, live streams, and tutorials. This exposure makes them more popular among younger musicians who are learning online.

Gear also has a resale value now. People treat pedals and effects like collectibles. Limited editions and custom builds are often flipped for profit or traded in communities. This shift in value is making players think about protection. That’s where music gear insurance is gaining traction. It helps cover theft, damage, or loss, especially during gigs or travel. It’s not only for pros but also for anyone building a serious setup.

Brands are also paying more attention to design and usability. Pedals now come with better interfaces, stereo options, and preset saving. Some are even connected through mobile apps for easier control. These updates make pedals more beginner-friendly without losing the power that advanced players need.

Final Thoughts

Pedals are shaping the sound of music in 2025. The mix of smart multi-effects units, classic analog tools, and new creative designs is helping musicians get more out of every session. The rise in pedal use demonstrates the importance players place on tone, flexibility, and workflow. As setups get more valuable and complex, the need for protection becomes clear. Staying protected and focused on creating is easier when music gear insurance is part of the plan. The gear world continues to evolve, and pedals are leading that journey with sound, style, and purpose.

[learnhowtocreatemusic]

Top 6 Common Guitar Recording Mistakes to Avoid for Better Sound Quality

Recording guitar can be a rewarding yet challenging process. Capturing the perfect tone and achieving professional sound quality requires attention to detail. Unfortunately, even small mistakes can make your recordings sound amateurish or lackluster. In this blog post, we’ll cover six common guitar recording mistakes and how to avoid them for a cleaner, more polished sound.

1. **Neglecting Proper Tuning**

One of the simplest yet most overlooked mistakes is not ensuring the guitar is properly tuned before recording. Even if the tuning is slightly off, it can make the whole track sound out of key and unprofessional. Guitars can easily slip out of tune during sessions, especially when recording multiple takes.

**How to Avoid It:**

- Always tune your guitar before each take, and check the tuning periodically throughout the recording session.

- Use a reliable tuning pedal or app to ensure precision.

- Consider using a guitar with good tuning stability or locking tuners to avoid frequent re-tuning.

2. **Choosing the Wrong Mic Placement**

Microphone placement plays a crucial role in how your guitar sounds on the recording. Placing the mic too close to the sound source may result in a boomy or overly bass-heavy sound, while placing it too far can make the recording sound distant or thin. Experimenting with mic placement is essential to capturing the best tone.

**How to Avoid It:**

- For acoustic guitar, start by placing a condenser microphone around 12 inches away from where the neck meets the body of the guitar. Adjust the distance and angle depending on the sound you want to capture.

- For electric guitar, place the mic (usually a dynamic mic like the Shure SM57) off-center from the speaker cone to avoid harshness.

- Always monitor your sound as you adjust the placement to find the sweet spot.

3. **Overloading the Gain or Input Level**

Recording with the gain set too high can lead to unwanted distortion or clipping, which causes unpleasant, distorted artifacts in your sound. On the other hand, setting the input level too low can result in weak recordings with too much background noise. Striking a balance is key.

**How to Avoid It:**

- Use your audio interface’s input gain controls to ensure that your signal peaks between -6 dB and -3 dB. This gives you headroom without risking distortion.

- Monitor levels during the recording to ensure consistency.

- Remember, it’s easier to boost a low-level signal during mixing than to fix a clipped recording.

4. **Using Old or Worn-Out Strings**

Guitar strings lose their brightness and sustain over time, making your guitar sound dull or lifeless. Recording with old strings is one of the most common mistakes that can negatively affect your tone.

**How to Avoid It:**

- Always change your strings before an important recording session, especially if you haven’t changed them in a while.

- If you want a bright, punchy tone, opt for new strings. For a warmer sound, you can record with slightly broken-in strings (but not too old).

- Keep a backup set of strings handy during long sessions in case of breakage or wear.

5. **Ignoring Background Noise**

Background noise can be a major issue, especially when recording in a home studio. Noises such as hums, air conditioning, street sounds, or even the sound of your chair creaking can be captured by sensitive microphones, compromising the quality of your guitar recording.

**How to Avoid It:**

- Record in a quiet, isolated space where you can control external noise.

- Use noise gates or high-pass filters to eliminate low-level hums and background noise.

- For electric guitar recordings, eliminate amp hum by using balanced cables and grounding your equipment.

6. **Not Double-Tracking Guitars for Fullness**

Recording a single guitar track often leads to a thin sound that doesn’t fill out the mix. One common mistake is forgetting to double-track (recording the same part twice on separate tracks) guitars, which can add depth and fullness to your sound, especially in rock and pop music.

**How to Avoid It:**

- Record the same guitar part twice on separate tracks, panning each take hard left and right. This creates a fuller, wider stereo image.

- Be sure that both takes are as tight as possible for a cohesive sound.

- Experiment with slightly different tones or guitar settings for each take to add more texture and dimension.

Final Thoughts

Avoiding these common guitar recording mistakes can significantly improve the sound quality of your recordings. Whether you’re working on an acoustic track or a full electric arrangement, proper tuning, mic placement, and attention to detail can make a world of difference. By following these tips, you’ll be well on your way to capturing clean, professional-sounding guitar tracks that stand out in your mix.

Happy recording!

[slackcoalition]

The Glue

I’ve released a lo-fi psy EP, Rat Cellar Tape and showing you the equipment used to make it through this series of posts. You can stream it for free on BandCamp!

Electro Harmonix Platform

The compressor/distortion for the DrumBrute’s kick and snare. It’s not a clean compressor to my ears, which is why it was perfect for spicing things up. It can be a bit tricky to set up if you’ve never played with a compressor before, so take your time learning it. Also, the distortion doesn’t get really gnarly, but it’s good for pushing things over the top when needed.

TC Electronic Hall of Fame MKI

The only stereo reverb I have. I used the “LoFi” setting (natch). You can do some really cool stuff with it, like load extra reverb settings through your phone. The MKII version adds a “mash” button for creating swells, but I never felt the need to upgrade.

Voodoo Labs Pedal Power ISO-5

All of the pedals, except the Line6 are powered with this. The Line6 requires more current than this can put out. It does have an 18 volt output, needed by the MXR flanger.

I’ve used those OneSpot adapters before. They’re great! But I do get ground hum sometimes with them and this keeps everything sounding clean.

[musicianstechhub]

The best clean boost pedal for you depends on your specific needs, playing style, and the type of guitar and amplifier you're using. Clean boost pedals are used to increase the volume of your signal without adding distortion or changing your tone.

[fuzzkaizer]

John Colle Rogers

“ 5 pedals, all circuits are from JedsPeds in the UK. ... Wings are forged copper or brass, legs are 1/4" and 5/16" all-thread. Octagonal enclosures by Hammond. Clockwise from top: Gekyme (Modulation), Irish Harp (trilling thingy), Phases of the Moon (amazing phaser), Flump (wacky distortion). Center: Box o' Crunchies (distortion) “

cred: facebook.com/John Colle Rogers

[effectsdatabase]

Weekly overview (2023, week 05): 79 new brands and 20 new pedals

79 new brands

903 Effects

Atmosfera 6

Audio Fox

AxcessAbles

Berry FX

Berry Pedals

Big Monk Electronic Device Co.

Bispell Audio

Bookmark Pedals

Buzztone Audio Effects

Chaos Audio

CMC Audio

Colfax Recorders

Cosmic Terror

Critter Electronics

DadShoeGazers

David Ross Musical Instruments

Dirty Sock Effects

Disruptive Music Tech

Dk Pedals

Dog Brain Effects

Dominion Electric Effects Co.

Dr. Payne Effects

Echo Fix

ElectricNim Pedals

Fish Circuits

Glowfly

Grelbatron

Happening Effects

Humanoid Pedals

Interstellar Audio Machines

Jett Electronics

Killing Floor Effects

Lichtlaerm Audio

Long Island Sounds

Madlove Audio Devices

Madsen Amplification

Mezcal Handmade Sound Starships

MJS Pedals

Monkey Riot Pedals

Moreland Magnetics

MRB Analog Engineering

Onkel Amplification

Otis Audio

Palmetto Pedals

Pedal Pawn

Pedal Tree

Pedalest

PHD Pedals

Rabid Audio

Red Mist Effects

Renzo Sound

Safehouse Audio

Seeker Electric Effects

Sex Cult Friends

Sketchy Sounds

Skyshatter Audio

Solar Guitars

South Obolon FX

Squid Ink Audio

Steggo Studios

Sundance Electric

Sunrise Effects Pedals

Supercool Pedals

Sutton Instruments

Tark Audio

That New Pedal Company

This Heavy Earth

Tweakable Parts

Unsound Circuitry

Van Diemens Effects

Victory Amps

Warm Audio

Whimsy Machines

Winnipeg Electrical Company

ZeroFive Audio

Zeta Sound

ZTA Devices

Zuta

20 new effects

Boss RC-5 Loop Station

Boss RC-500 Loop Station

Boss RC-505mkII Loop Station

Boss SD-1-4A Super Overdrive - 40th Anniversary Limited Edition

British Pedal Company Rangemaster Fuzzbug MkII

Caline CP-71 6-Band Graphic EQ

Caline CP-72 Bass Wah

Caline CP-73 6 Band Bass EQ

Caline CP-81 10 Band EQ

Caline CP-83 Bass Chorus

Caline DCP-01 The Artemis - Compressor/Boost

Caline DCP-04 Easy Driver - Distortion/EQ

Caline DCP-05 Key West - Compressor/Overdrive

Caline DCP-06 Sundance Special - Boost/Overdrive

Caline DCP-07 Brigade - Dual Overdrive

Caline DCP-08 Nightwolf - Overdrive/Fuzz

Caline DCP-10 Steller - Compressor-EQ

Chase Bliss Audio Bliss Factory

JD Analog Tone Of The Gods V2

Trio Ch-203 Chorus

1 new article

Last week's top 20 videos (2023, week 04)

Overviews of the previous weeks: https://www.effectsdatabase.com/updates/weekly

from Effects Database https://bit.ly/3YsWvDO

[mobtism]

IDs 1-6: Screenshots of mobtism's Mob Psycho 100 themed carrd. The main background is a purple & blue gradient, starting from bottom left (purple) to top right (blue), and it has a diagonal line pattern. The background of each page is a color similar to a lilac purple. Each section has a still gif accompanied with it.

ID 1: The first page has a brick wall pattern, with a still-gif from the season 2 opening displayed. It shows Teru, Reigen, Mob, and Ritsu, all standing next to each other, posing differently. Dimple is also there, posed above Ritsu. The button on this page is labeled "Get ready! Wake your psyche up Mob!"

ID 2: The gif is from the season 2 opening. Teru is set toward the back-left, stanced with his arms outstretched at his sides and his legs apart. The ground he's standing on is blue, and the background is red, yellow, orange, and green in stripes. There are multiple different repeating hand gestures in the background, shooting out away from Teru and toward the right of the image. The description reads:

"Nick - 20 - Vi/Vis

Hi I'm Nick and I'll be your wizard mutual🌠

I love posting my thoughts and talking a lot <3

I'm passionate about voice acting and music. 🎶

I also enjoy videogames & anime🫶"

There's a button with a left-facing arrow that reads "Maybe you can be..."

ID 3: At the top, there is a button that continues "What you want to be!" with a right-facing arrow.

Description:

"STUFF I LOVE

My favorite colors are red, yellow, and light neon blue. Winter is my favorite season, and snow feels like home to me. I love dogs & reptiles!

Bug type Pokémon are my favorite, especially Kricketot and Kricketune!"

The gif is from the season 1 opening. The background has a psychedelic rainbow pattern. The Telepathy Club members are each standing beside each other at the bottom of the gif, and the Psychic Lab kids are at the top of the gif, upside down. Both groups are holding hands with their respective members, doing a dance similar to "the wave."

ID 4: At the top, there's a button with a left facing arrow that reads "Your life is your own!" The header for this section reads "Music" and the description reads:

"Music is my special interest!!! I can play key instruments. I own a keyboard piano, melodica, kalimba, and a pocket synth. I want to learn to play the violin, cello, and harp!

My all-time favorite band is Good Kid!!! My favorite song ever is Drifting. <3 Currently listening to: FAKE TYPE." The gif at the bottom of the section shows Reigen stepping on a guitar pedal that says "Distortion" which is from season 3's opening.

ID 5: The section starts with a gif of Tome's colorful thought explosion, with multiple different characters and creatures "exploding" out of the top of her head. This gif is from season one's opening. This section is titled "Interests" and reads:

"Mob Psycho 100 is my biggest interest!!! I love it with my whole heart. My favorite characters are Serizawa, Tome, Teru, Minegishi, and Mob!

Other interests:

Gokurakugai - Link Click - Hell's Paradise

Ace Attorney - Trigun - Demon Slayer - Sk8 the Infinity

Dragon Ball - Naruto - Fire Force - Life is Strange" The button at the bottom has a right pointing arrow, and it reads "Exist... Exist..."

ID 6: This page has a horizontal chevron pattern, and the gif is from season 3's opening, which shows a bunch of hands doing different gestures. The most prominent one in the gif is Ritsu and Teru shaking hands. The button reads "one and only one." and there are three links below it: Back to Tumblr, Greatest Hits, and Pronouns Page. End ID.

ID 7 & 8: Screenshots of skylightz pronoun page.

Profile picture is a round icon of Tashiro Gonzaborou, an anime character with dyed yellow hair which has grown out to show his brown roots; he has green eyes and is wearing a green jacket. He’s smiling, and pointing up towards him. The background behind him is a light yellow, and there’s a little red star next to his finger.

The description says, “if you refer to me by my neos im kissing you on the mouth. if you dont? well… good luck charlie [starts beating u up]” Age 20.

Flags shown are: Autigender, Nonbinary, Transgender, Bisexual, Ace-Spec, and Gender Avoidant.

The flag for Ace-Spec was added in by the user, and instead shows a png of a box of Dean’s Country Fresh Christmas Trees ice cream. The Gender Avoidant flag was also added in, and shows two cartoonish human-shaped silhouettes, lined white on a black background. The one on the left is fully scribbled in white, and is labeled “gender 100%”. The figure on the right is not filled in, but has “0% gender” and “Me!” labeled on it in red.

Names column:

Favorite: Nick, Holly, and Any Nicknames!!

Close friends only: Nicholas

Likes: Hollis or Apollo

Pronouns column:

Favorite: vi/vis and star/stars

Likes: he/him and they/them

Dislikes: she/her

The next screenshot shows four lists of words that shows Nick's comfortability with each word.

First list shows:

Favorite: Myst., Mr., sir, and [no honorific]

Likes: Mx. and comrade

Joke use only: Madam, Ma'am, Ms.

Dislikes: sai, mir, shazam, zam

Second list:

Favorite: Guy, man, dude, bestie, buddy, pal, bro, king

Likes: Person

Joke only: boy, girl

Dislikes: sib, woman, lady, sis, queen

Third list:

Favorite: Pretty, handsome, hot, queer

Likes: Cute, fruit/fruity, gayass

Close friends only: F slur

Joke only: sexy

Fourth list:

Favorite: Partner, boyfriend, husband, beloved

Likes: Joyfriend, friend

Close friends only: Darling

Dislikes: Wife, kissmate, girlfriend, boo. End ID.

[alexsmitposts]

MiG-3 test drive: the opinion of a modern pilot

Following the results of the flight of the reconstructed MiG-3, test pilot and Director of Sibniia Vladimir Barsuk described his impressions of managing the famous fighter of the great Patriotic war. This is an interesting professional view of the plane, which required much more skill and dexterity from the pilot than the current winged cars stuffed with electronics and automation.

Takeoff It is recommended to perform with the flaps in the second position. To maintain the direction is made in two steps:

1. at the engine speed of 2800 per minute, acceleration to separation at a speed of 130 km / h and a set flight speed of 160 km / h, the right pedal is completely on the stop — compensates for the jet moment from the propeller. At the beginning of the run-up after increasing the engine speed, it is recommended to raise the tail wheel by 5 cm by recoil of the control handle from itself to improve the view and prevent longitudinal swinging.

2. after reaching the flight speed of 160 km/h, increase the engine operation mode to take-off, remove the landing gear, take an altitude of at least 50 m and after reaching the speed of 220 km/h, remove the flaps. After setting the take-off mode of the engine, you may need to cover the right Bank of 3-5 degrees to maintain the direction. Maintaining a height of 15 m is very difficult due to the limited forward view and distortion of the air space by exhaust gases coming out of the pipes, so it is recommended to occupy a height of at least 50 m as vigorously as possible. At an altitude of 100 m, after cleaning the flaps, the aircraft should be switched to climb at a speed of 300 km / h, setting the nominal engine mode.

Pilotage The plane performs well all the figures of direct aerobatics: a coup, loops, half-loops, a turn on the hill, a combat turn, barrels, turns. Vertical ascending figures are performed from initial speeds in the range from 400 to 550 km / h with overloads from 3.5 to 6.5 units. For example, the loop is performed both at a speed of 400 km / h with an overload of 5.5 units, and at a speed of 550 with an overload of 3.5 units, while significantly increasing the maneuver radius. On I-16 at a speed of 300 km / h and an overload of 3 units. the plane broke into a tailspin, and after accelerating it to a speed of 450 km / h, the overload must be kept at least 4.5 units, since the speed drops rapidly in the climb. The MiG-3 with a loop speed of 400 km / h and an overload of 5 units has a figure diameter of 600 m, and at a speed of 550 km/h and an overload of 3.5 units — 1300 m.

Controlling the plane is easy and enjoyable in both cases. The aircraft has such capabilities due to the high power and low drag of the fuselage midsection, stability and handling in all modes is provided by automatic slats and very well-balanced rudders. The ability to steadily pilot an aircraft in this range on verticals in aerial combat, apparently, made the aircraft a rather dangerous weapon for the enemy. There are very good characteristics of acceleration during a dive, when performing a downward barrel at a speed of 160 km / h and from a height of 1100 m at the top point of the beginning of the figure. The output after the end of the figure was carried out at a height of 150 m end-to-end. When performing a similar figure on the L-29 during training, the aircraft confidently reached 350-400 m with the same initial flight parameters. Such characteristics of acceleration during the war more than once helped our pilots to escape from the enemy.

Especially noted is the balance of pitch control: the forces on the pitch channel control handle are the same at all flight speeds (1.5−2 kg), which allows you to perform the entire set of figures with one hand at speeds of 350 and 550 km/h, almost without getting tired. This feature allows you to dose the overload at the limit allowed for the pilot (the so-called lowering of the blinds) and continue piloting even after losing sight at the overload, which is probably what our pilots have repeatedly used in combat.

Low-altitude piloting Very limited down view, high flight speed and equal effort on the control stick regardless of speed significantly complicate the assessment of altitude at low altitude. The only source of information about the flight path is barometric instruments: altitude, speed and variometer, which, unfortunately, are very late. Given these circumstances, piloting at low altitudes should be carried out with extreme caution and not less than 150 m of true altitude. Very good data during acceleration and great difficulties when piloting at low altitude during the war became a big problem for young pilots, which is why the books note the advantages of enemy aircraft over MiGs at medium and low altitudes. However, for an experienced pilot, these difficulties are not dangerous, which allowed even at low altitude to gain advantages in battle.

Landing For all the simplicity and pleasantness of piloting, the plane is very strict on landing. On the glide path, we recommend a speed of 230 km / h, release the flaps to position 4 (50 deg.), and trim the aircraft. It is better to approach on a steep glide path, which allows you to see the landing strip over the hood. From a height of 15 m, reduce the vertical speed to 1 m / s and smoothly approach the ground so that at a height of 2 m, the speed is set to 200 km / h by the device. From a height of 2 m, align the aircraft to a position different from the landing position by the raised tail wheel by 10 cm, set the descent speed to 0.05 m / s and wait for the ground to touch. The recommended touch speed is 160 km / h or more. After touching the ground, hold the control knob to reduce the speed to 130 km / h, then gently take the control knob and start braking. The most dangerous section on landing is maintaining the direction when braking the aircraft in the speed range from 160 to 100 km / h, which is due to the weak efficiency of the aerodynamic rudder without blowing it with a screw and low efficiency at speeds above 100 km/h of the landing gear brakes.

Landing is recommended to be performed with an open lamp in the middle position of the pilot's seat — this position improves the view, allows you to more accurately determine the height on alignment and direction.

The overall impression of the plane is very good. It is pleasant to pilot, has excellent aerobatic and maneuvering capabilities, and is stable. However, this blunts vigilance and can interfere with landing. Great respect is due to the pilots who fought on such a complex machine, because there was no navigation, on the first machines used for night flights in the clouds, there were even no air horizons. In General, it is quite obvious that our grandfathers were real heroes.

[princeguitargear]

On top is Prince’s set up for the Sign ‘O’ The Times/Lovesexy Tour so on the left we have: Vibrato VB-2, Octaver OC-2, Flanger BF-2, Digital Delay DD-3 (or DD-2 it’s unclear which one it is), Super Overdrive SD-1, Power Supply & Master Switch PSM-5. On the Right : Colorsound Wah, Stompbox might be used to switch amp it’s unclear though. On the bottom This was Prince’s last set up everything is pretty much the same with 3 new pedals and with which looks like two direct box it might be to spit the signal. Messa/Boogie HeartBreaker, Line 6 MM-4 Modulation Modeler, Vibrato VB-2, Flanger BF-2, Digital Delay DD-6, Octave OC-2, Turbo Distortion DS-2, Blues Driver BD-2, Chromatic Tuner TU-3, Dunlop Original Crybaby Wah, Digitech Whammy Pedal (5th Gen), MXR Micro Amp M133, Hohner Madcat Telecaster. #princeguitars #princeguitarpedals #princeguitargear #princerogersnelson #lovesymbol #newpowergeneration #therevolution #princepedalboard

[nidhoggssoultrap]

Headcanons/Vingettes/snippets part 2

Oh lordy...this is it. Love Nikki has the longest list of headcanons EVER...or well, that I’ve written. Jesus...never thought a dress-up game would inspire this much...

I peg Nidhogg as four years older than Louie. So, in 680, Nidhogg is 31 while Louie is 27. Nidhogg's actual age is never stated, but I sensed that he may be older. He was orphaned at the age of 8 and he spend two years alone in North Kingdom having to fend for himself. He was found at the age of 10 by Louie's father. He loved the fact that six year old Louie preferred to keep to himself. Nidhogg considered himself "the only friend you need." Or "I'm the only friend you'll ever want." As time goes on, Nidhogg planned to become the only lover Louie would ever need/want and well...didn't happen.

2. Louie is the only person Nidhogg ever obsessed over on the level that he has. As stated in part 1, this is the sole reason why Louie is still alive.

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            3. While I don't take too much stock in the Zodiac, I do feel that Nidhogg fits many of the scorpio traits to a tee. Same with the King of Swords. Fun Fact(or from what I've read): The Scorpio is actually compatible with the Capricorn if they're the same sex. Heh. Then again, the Scorpio is also compatible with the Pisces and Virgo. Yvette is the former and I am the latter. Ahaha. Still will not be shipping Yvette with him and I'm not sure if I would get along with him well if he existed in real life.

4. Nikki/Kimi? I am ALL ABOARD! Am for this a lot!

5. Orlando reminds me a lot of Camus from Suikoden II. They seem quite similar. However, Orlando is also a lot like Harry Hartwin "Manners Maketh the Man" of Kingsman. I guess that's why Orlando was my first husbando. While I can understand Orlando/Flynn, I'm not sure if I'm on board this ship. I don't mind it though.

6. Between Nidhogg and Louie, it's obvious(at least to me) who the leader would be if you had to choose. However, when on a motorcycle or aircraft, Louie is the one "in charge".

7. Nidhogg loves sandalwood cologne. His favorite combination is bergamot and sandalwood and his scent is frequently powerful. "Like a knock out punch." Louie wears a rose musk, which surprises a lot of people.

8. Louie spent a lot of time blinded by his hate and he isn't the only one. Because of this, Louie, Nikki and others see him in a very distorted light and doubt his intentions.

9. "At this moment, Yvette never hated anyone as much as she hated Heinrich Nidhogg now. His hair with the white streaks, his golden eyes that darted constantly as he calculated where to turn, when and where to switch lanes, when to look at his cell phone that sat on the dashboard and when they glanced at her before flicking back to the road. She hated the rattling sound his shoulder chain and medals made every time he moved. They sounded like ghosts and she never liked ghosts. She hated his voice, that tenor voice made of elegant steel with the whisper that can shred or soothe even the most stalwart of souls. She even hated his breathing that sometimes staggered with occasional sharp intakes. Even his breathing stood out! She hated his smell, that bergamot and sandalwood that he frequently wore the way someone had a signature. She hated it.

She hated his black fur cape that doubled as a coat, his elaborate, sleek, black, silver, and white uniform that others no doubt loved. She hated his striking face, his full lips that sometimes pursed when he calculated his next millisecond move behind the wheel of the powerful black sports car that she also grew to hate. She hated his sword, the dreaded Dark Verdict that made rattling sounds of its own on his left hip. She hated the pistol that sat on his right hip, but she did not dare make a move.  She hated his onyx kerchief with his matching earrings. She hated his black gloved hands that held the steering wheel, handbrake, and gear stick firmly under his control. And above all, she hated, hated, hated his black leather boots. Those heavy jack boots with silver boot jewelry right on the top and on his ankles. She hated how they stepped, slammed, hovered, and kicked against all three pedals with insane precision and always the right amount of force. She didn't doubt that someone would love to watch him drive, would love to listen to him, would dream of him, and who knew what else over his plainly obvious skill behind the wheel combined with his looks and what he wore. She, however, hated it and instead thought of Louie, Nikki, Kimi, Bobo and Momo who she considered her "White Knights." She remembered the phrase "sometimes you have to be your own White Knight." But, she didn't know when. She only knew now and now those amber gold eyes flickered over to her and she looked away. She could see his reflection on the passenger window and she looked down. When all was said and done, she never wanted to see him again.

She wanted Louie. She wanted his scent, his skills, the sounds of his white car, his voice, his white hair. She wanted her desires to matter even though they didn't matter to Nidhogg. But when? She wondered. When could she be her own White Knight?

10. While Yvette was imprisoned in North Kingdom, she watched a show about bunnies and how they can be "bad ass." She learned some very important facts about rabbits. She also saw someone come up on the TV and say "Sometimes you have to be your own White Knight." (This was from the show Burn Notice and I thought of this before the actual Yvette glow up and it's one of the other reasons why I LOVED the coincidence). She also saw the movie (or equivalent of "Planes, Trains, and Automobiles") and identified a great deal with Dale Griffith and what he said to Neal Page in the "I like me" scene. She even tells Nidhogg those words (well, paraphrased) soon after he kidnapped her for the second time.

11. When Nidhogg found out about Louie and Lunar, he was not happy. He had "that look" for about a second, and then acted happy. This is not why he killed Lunar though. Yvette has also been a target of “that look.”

12. Whatever awful things Nidhogg did, he took no pleasure in any of it. To him, it was all about doing "what must be done".  In this sense, he is very much like Griffith of Berserk. The look in his eyes isn't from being hollow, but rather grim determination, sorrow, and focus on the task at hand. He believes 100% that he is doing what is right and he believes that history will look upon him favorably and that “you’ll thank me in the end.”

13. After Yvette is rescued, a lot of time is spent between Nikki and her friends. Of course, Nidhogg is discussed a great deal. Louie admits that Nidhogg was actually his "first kiss" as "practice" for Lunar. Louie DID agree to it, but stopped when Nidhogg attempted to go a bit further. Louie regrets the act to this day. Soon after that kiss, Louie leaves to eventually become a Knight while Nidhogg moves to Lilith to eventually become Prime Minister.

14. "When Kiki went out to get some tea, Yvette stayed behind in her office to clean her desk. She had never been happier at her new job and she couldn't have been more grateful for the pardon she received from Prince Royce. He understood. He understood everything and she in turn understood why he had to be careful about his thoughts on former Prime Minister Nidhogg. Colonel Nidhogg...that's what he was all along. She should have known, but then again, who really did? Image is everything right?

The doors behind her burst open. /Kiki?/ The sounds of boots said no, the scent.../NO! How/? Bergamot and Sandalwood. She turned, and Colonel Nidhogg walked in briskly and with so much authority that he could declare himself a god and everyone would agree. He was in full uniform, just like he was when she last saw him. His cape flowed behind him and then stopped when he did. He stared down at her, his arms folded across his chest. He the wolf and she the bunny, at least that's how she felt.

"What could you possibly want now?" Yvette demanded as best she could.

"You're coming with me," He simply stated, his voice like steel.

"I don't want to."

Nidhogg's eyes matched his voice. "I spent my entire life dealing with things I did not want. They happened anyway, I dealt with them anyway, I did them anyway. What you want is irrelevant."

Yvette shook her head, "No...no...please...I have nothing you could possibly want." Tears fell down her face. She couldn't help it.

A shrug of his black fur cape revealed his weapons, REAL weapons, not fashion accessories used in styling battles. "I have a sword and a sidearm and I'm afraid not to use either." He took a step forward. "Three things are going to happen: You will come with me, you will cooperate, and above all," his voiced hardened, "you WILL stop crying." "

15. /Everytime I think of Louie, my discipline falters/.

He slowly paced at his desk, listening to the sound of his boots echo against the tiled floor. Nidhogg had just finished entertaining his "guests" and poor Yvette had no idea as she was fast asleep on the nearby couch. Gloved chin in hand, he watched her, seriously doubting that she knew anything at all. He made sure to tire her out so much that she couldn't even go home. He wanted her with him, asleep or not.

"Louie..." Nidhogg whispered when he finally stood in front of the window that overlooked Cicia City Square. When a "guest" mentioned Louie, his heart fluttered and the only the widening of his amber eyes indicated any emotion.

The "guest" noticed. "You should have let me kill him. He will be a threat later."

"You will leave now," was Nidhogg's whispered reply and "Shade", being a reasonably intelligent man, did as he was told.

He remembered the battle three years ago. Dr. Grey Raven had been captured by the Nameless knights. Nidhogg led the rescue. Louie was there, dressed in white and black. Never a shadow, all light and one who carried a spear. Not that he was the only one. The leader, Lionel, also carried a spear and he used it to stab Grey Raven, only to get shot by Shade.  Immediately, Nidhogg called off the attack and retreated with the doctor. He ignored Shade's could haves and would haves. Nidhogg didn't and he knew that he never would.

/Louie, you fool. Why do you insist to holding on to your lofty ideals? You are flying far too high and you, of all people, should know that such a thing is dangerous. I am not opposed to idealism, but it needs to be tempered with pragmatism. You look at what is real and go from there. This is how lasting change happens. But, you never listened.../. Memories of Louie flooded him, of their childhood together, how they fought together, how they lived together, and how Nidhogg's chest ached when he wanted something more than just brothers.

"Stop!" His whisper cut through the air as he planted a hand against the window. "Stop...you are stronger than this." Yet his heart fluttered against his chest. "Victory not vengeance...I will win, but I will not kill you. I..." His hand became a fist. "I once said that we were fated to be enemies because of you, because of your own beliefs, because you would not hear me...but that didn't mean I didn't love you. It didn't mean I wanted you to leave.  I shouldn't even call it fate. It's you...all you...life bows to my control and yet you-" and then he saw Yvette in the reflection.

She was awake.

Nidhogg turned and she quickly put her head back down, but too late. He hoped she didn't notice. /How much have you seen? What have you heard?/

16. Yvette is a pescatarian. She generally does not like the texture of meat, except for seafood. She likes sushi and fish/chips.

17. TBH, one of the reasons why I view Nidhogg as vulgar in his “true form” is because, well, I grew up with military(Air Force) and swearing is as common as breathing for a lot of those people(I’m being very general, but I know that my father and, to a lesser extent, my stepfather had some mouths on them when provoked). Also, I find myself enjoying the sharp contrast between the largely “clean” Prime Minister and the “filthy” Colonel. Poor Yvette was shocked at how foul-mouthed Nidhogg actually was. Louie is generally not so “potty mouthed.” When Nikki heard Nidhogg swear, she said that she would like to wash his mouth out with soap. None of the other male characters swear the way he does.

18. I predict that the “Final Battle” will be with Nidhogg and it will have seven themes representing each nation. That being said, I think that Nidhogg has some critical fashion weaknesses in that he isn’t all that flexible. Put it this way, a “Beach Theme” would annihilate him. Louie, otoh, would have no problem.

19. Nidhogg does not dream. He plans. He knows the reality of Louie’s actual feelings towards him, but he thinks “I can change that.”

20. Bai Yongxi and Zhu Yuxian? I like these two together. I’m not sure about a romantic ship, but a friendship is pretty clear and I like it. As Prime Minister, Nidhogg kept his distance because he suspected that Zhu viewed him the same way Royce did. As colonel, he accepted Zhu’s assistance, but nothing beyond that.

[learnhowtocreatemusic]

Maintaining Music Gear 101: Troubleshooting Common Instrument Issues

For musicians, instruments are not just tools; they are extensions of creativity and expression. Keeping your gear in top shape is crucial for ensuring that your performance is always at its best. However, like any piece of equipment, instruments can develop issues over time. Understanding how to troubleshoot and maintain your gear can save you time, money, and frustration. Here’s a "Maintaining Music Gear" guide to help you keep your instruments in peak condition.

1. Stringed Instruments (Guitars, Basses, Violins, etc.)

Common Issues:

- Buzzing Strings: Often caused by low action or uneven frets.

- Out-of-Tune Strings: Can result from old strings, improper tuning, or a faulty tuning mechanism.

- Dead Spots: Areas on the fretboard where notes don’t resonate well.

Troubleshooting Tips:

- Adjust the Truss Rod: If your neck is too straight or bowed, it can cause buzzing. A small truss rod adjustment can help, but if you’re unsure, seek a professional.

- Check and Replace Strings: Old or dirty strings can lose tone and tuning stability. Regularly replacing them will keep your sound fresh.

- Inspect Frets: Uneven frets can cause buzzing. Minor issues can be fixed with a fret file, but severe cases may require a professional setup.

2. Keyboards and Synthesizers

Common Issues:

- Sticky Keys: Keys that don’t return to their original position after being pressed.

- Distorted Sound: Unwanted noise or distortion when playing.

- Unresponsive Controls: Knobs or buttons that don’t respond correctly.

Troubleshooting Tips:

- Clean the Keys: Dust and debris can cause sticky keys. Carefully cleaning around the keys with a soft cloth and mild cleaner can help.

- Check Connections: Distorted sound can often be traced back to loose or faulty cables. Ensure all connections are secure and cables are in good condition.

- Calibrate or Reset: Some issues with controls can be resolved by recalibrating the instrument or performing a factory reset.

3. Brass and Woodwind Instruments

Common Issues:

- Sticky Valves or Keys: Valves or keys that don’t move smoothly.

- Air Leaks: Loss of air pressure can affect sound quality.

- Cracks or Damage: Physical damage to the instrument body can severely affect performance.

Troubleshooting Tips:

- Oil Valves and Keys: Regularly oiling valves and keys will keep them moving smoothly. Use the correct type of oil for your instrument.

- Inspect Pads and Corks: For woodwinds, check that pads are sealing properly and that corks are not worn. Replace as necessary.

- Check for Cracks: Small cracks can often be repaired with specialized glue or by a professional. Avoid exposing your instrument to extreme temperatures to prevent cracks.

4. Drums and Percussion Instruments

Common Issues:

- Loose Tension Rods: Can cause heads to go out of tune quickly.

- Damaged Drumheads: Worn or torn drumheads can negatively affect sound.

- Rattling or Buzzing: Unwanted noise from loose hardware or parts.

Troubleshooting Tips:

- Regularly Tune Your Drums: Tighten or loosen tension rods evenly to ensure a balanced sound. Regular tuning will keep your drums sounding their best.

- Replace Worn Heads: Drumheads wear out over time, especially if you play frequently. Replace them regularly to maintain a consistent tone.

- Tighten Hardware: Check and tighten all hardware regularly to prevent rattling and buzzing during play.

5. Amplifiers and Effects Pedals

Common Issues:

- No Sound or Weak Signal: Can be caused by a faulty cable, connection, or internal component.

- Humming or Buzzing: Electrical interference or grounding issues.

- Non-Responsive Controls: Knobs or switches that don’t seem to work.

Troubleshooting Tips:

- Check Your Cables: Faulty cables are a common cause of no sound or weak signal. Swap out cables to diagnose the issue.

- Isolate the Problem: Disconnect everything and add one component at a time to find the source of noise or interference.

- Clean the Pots: If your controls are scratchy or unresponsive, cleaning the potentiometers with contact cleaner can often solve the issue.

Final Thoughts

Routine maintenance is the key to extending the life of your gear and ensuring it performs at its best. While some issues can be easily fixed at home, don’t hesitate to seek professional help for more complex problems. Remember, a well-maintained instrument not only sounds better but also feels better to play, allowing you to focus on what truly matters—making music.

[jazzviewswithcjshearn]

In depth live review: Pat Metheny Side Eye at Sony Hall, September 13, 2019

Pat Metheny Side Eye, Sony Hall, 9/13/19

Pat Metheny: acoustic, and electric guitars, orchestrionics, guitar synth; James Francies: acoustic piano, keyboards, electronics; Marcus Gilmore: drums.

Over the past few years guitarist Pat Metheny has been extending the tradition in jazz of mentoring young musicians on the band stand the way Miles Davis, Art Blakey, and currently, the way Wallace Roney, Herbie Hancock, Gary Burton and Chick Corea have done.  It's a practice that is rarer and rarer in the music as some of the  legends who have done so have passed on, and because the music got a boost in the 70's from academia, the kind of university of the street aspect of playing on the road has been minimized.  The guitarist's Side Eye project premise is simple: play with young musicians who've grown up on his music that have caught his attention and see the ways in which they can approach his massive catalog.   It is thoroughly in the tradition, albeit his own unique tradition and spawns from his invitation of young musicians to his New York home, and spending large amounts of time with a wide cross section of his own tunes.   On the evening of September 13th at Sony Hall in New York City flanked by cameras for an NHK Japanese broadcast, the group, spurred on by an appreciative sold out audience played a continuous two and a half hours of inspired music making.

Indeed, the sort of all encompassing approach of including his entire catalog under one roof has been in play for quite a long time now. For the past several years with his current quartet featuring pianist Gwilym Simcock, bassist Linda May Han Oh, and drummer Antonio Sanchez, and on the final Japanese tour of the Pat Metheny Group with the core quartet, Metheny explored rarely played classics to the delight of audiences all over the world. Though the cast of musicians has rotated including Nate Smith, and Anwar Marshall, James Francies on keyboards and synth bass has remained a constant. With the trio of  Francies  and Marcus Gilmore on drums for the summer tour not only did he investigate gems from his book of more than 500 compositions, he expanded on them, and wrote new music that took the band's individual personalities to full effect without sacrificing the selfless whole of the superior musicianship on display.

James Francies has been rising quickly on the jazz scene with his Blue Note debut Flight. He is among a cadre of musicians helping bring younger audiences to jazz blending hip hop, R&B, soul and gospel influences along with Robert Glasper, Derrick Hodge, Chris Dave and Unity Band/Unity Group alumnus Ben Williams.  In Francies, not only has Metheny found an ideal partner that pianistically is a huge contrast to Hancock, Lyle Mays, Paul Bley, Brad Mehldau, and Simcock, but is equally fearless in presenting a borderless perspective to the music.  Marcus Gilmore the 32 year old grandson of the legendary Roy Haynes,  has logged valuable time with Chris Potter, Chick Corea's Vigil, and Vigelette trio, David Virelles, and Will Vinson. Like Francies he is deeply immersed not in only Metheny's universe but everything in the contemporary music scene.  

As the lights gradually faded up on stage, the guitarist uncharacteristically, and energetically began the evening by speaking to the audience, about how great his musical compatriots were and they wasted little time, getting into the first of a pair of Ornette Coleman compositions during the evening, the classic “Turnaround” that Metheny recorded on 80/81 (ECM, 1980).  Metheny dug right into Gilmore's medium tempo swing on the basic 12 bar blues form. Around the third or fourth guitar chorus, Francies dropped out so Metheny could stroll with Gilmore's support and with a chordal instrument like piano dropping out, there is no safety net with the harmony so things become totally open. Buoyed by Gilmore's insistent ride, the guitarist  swung harder, and harder.  When it was Francies turn to take the first of several dazzling solos, Metheny demonstrated a rarely shown aspect of his comping by playing four to the bar chords a la Freddie Green in the Count Basie band.  The only recorded evidence of Metheny applying the technique appeared on “The Moon Song” from Beyond the Missouri Sky (Verve, 1997) with Charlie Haden, and in the context of the Coleman blues, showed his deep love of the jazz guitar tradition.

Francies was transcendant on “Bright Size Life” with a turn on Rhodes that displayed some dizzying counterpoint between his left hand on synth bass, and right hand on Rhodes.  He is a very lyrical, melodic player and has chops in spades, but never overwhelms.  At 22 years old he is absolutely prodigious, not only with a thorough knowledge of the jazz traditional but equally at home in gospel and R&B. When the keyboardist moved to Hammond organ (playing a Hammond  XK-5, a digital, compact version of a B-3) for Metheny's rarely played “Timeline” from the late Michael Brecker's Time is Of the Essence (Verve, 1999) he revealed another sterling aspect of his musical personality. Boosted by Gilmore's deep pocket swing, he soloed with the right hand on the lower manual with first three drawbars out; percussion off, and went from the blues to gospel with ease, supported by his own solid left hand bass on the upper manual. The technique is the opposite of the jazz organ style and stems from Francies gospel roots.  The piece was a window into what a Metheny organ trio would have been like, entrenched in the established paradigm but pushing forward in it's own way.  Metheny  was relaxed, swinging and diving into his improvisation with fervor, mid solo, stepping on a pedal to let a note on his Slaman hollow body ring out emulating the shout, or drone pattern. The drone pattern is something  countless organists from Jimmy Smith, Jack McDuff, Don Patterson and Joey DeFrancesco have used.  It involves holding down the tonic (involving only notes proper to the prevailing key without chromatic alteration constructed from a diatonic scale) , and “shouting” with the other notes around it,  a technique originated from the church.  Metheny also used this technique on “Tune Blues” from The Cuong Vu Trio Meets Pat Metheny (2015) a throwback to his days of playing in organ trios coming up in Kansas City, and this exploration of another rarely heard facet of his musical personality was a joy, and shows how his playing is entering a new phase.

Over the first hour as the guitarist examined old favorites with gusto, the most striking revamp was on “Better Days Ahead”. Though the tune has early versions in collector's circles dating back to 1981 or 2, it was first recorded in 1989 with the PMG on Letter From Home.  Taking into account a zone that Francies, and Gilmore are well acquainted with, Metheny turned the sunny Brazilian inspired melody into a dark, smoky, sexy funky R&B backbeat that framed his signature lyrical delivery in a new way with the guitarist leaning deep into Gilmore's groove. The drummer, who had a smoking feature a bit earlier on Coleman's “The Good Life” took a bit from the Steve Gadd R&B feel, playing the kick drum on 1 and 3, complemented by streaming cymbals up top adding to the funkines.  It was easily one of the most radical transformations of a classic Metheny tune, and a highlight over 2 and a half hours.

After a tender “Message To A Friend” which debuted on John Scofield's I Can See Your House From Here (Blue Note, 1994) the center piece of the set was a suite of three new pieces composed for the band.  Metheny explained to the audience that the flexibility of Francies and Gilmore gave him free reign to go into the area that interests him humorously quipping “I can write a piece with 49 pages of written material”.  Francies set the tone with glittering sequenced synths, that served as an extension of the electronics heard on the title track of the Unity Group's Kin (<->) as some trademark Metheny harmonies from synths, wafted into the atmosphere.  The guitarist began with a descending melody line doubled by bass that transitioned into different sections aided by a baby version of the large Orchestrion, the acoustic mechanical instrument ensemble a part of his arsenal now for a decade.  Metheny took two solos on the venerable Roland GR300 guitar synthesizer, with the second in heightened intensity guided by the heavy African flavor of the Orchestrion in tandem with Gilmore's cymbals.  Gilmore demonstrated his fluency in Metheny's distinct bebop based camouflaged ride cymbal approach here, but was still infused with a looseness from his constant interaction with the guitarist.  Throughout, Francies punctuation with gorgeously ambient analog like synth, and organ provided colors not heard in the music since Lyle Mays' tenure in the Metheny orbit, but his use of these electronica spiced colors added something found in the Houston based pianists own music, that is new an fresh in Metheny's oeuvre.  After Metheny reprised the initial melody, the enthralling, cinematic new piece faded into the ether.

From there, Carolyn Chrzan, Metheny's long time guitar tech handed him a solid body electric that has been  rarely seen (though it is spotted in the Orchestrion World Tour 2010 poster) and the trio launched into a moody, blues-rock ballad.  Metheny started alone, playing a melody that at first vaguely seemed to suggest “Travels” but as it turned out was something completely new.  Fans who have seen Side Eye have reported the tune as sounding seemingly un Metheny like, more in line with Eric Clapton or Eric Johnson. While they are correct the tune is somewhat reminiscent of music from them, and improvisation wise took him to less traveled roads, the melody was pure Metheny.   He built into a distorted solo of raging intensity, Gilmore's rock beat and Francies' organ unyielding behind him.  From the shouts in the audience, and heads bopping, the tune was completely satisfying and would be a winner on a recording as would the first new piece. Metheny returned to the GR300 for the final new tune, starting with a Coltrane like meditation, and once more, building up to a slow tension and release, utilizing his favorite double time device with drums and Orchestrion.  His guitar synth playing this night was vibrant, energized, and he played more GR300 than perhaps any time I've seen him.  With the GR300 he can get into the range of an alto or soprano saxophonist and in small group settings, as with the closing, much faster than usual “When We Were Free”  (featuring a gorgeous Pikasso guitar intro) he can really channel the mid to late period Coltrane vibe, mixed with Ornette Coleman harmolodic asides. On both hollow body and guitar synth, the trumpet like aspect of his playing was on display more than ever as well.  The show closed with an evolved acoustic medley of favorites that has been played as a closer since the Kin (↔) tour.

Pat Metheny, like Miles Davis, has been constantly evolving as a musician.  His playing has been arguably better than ever and Side Eye is a wonderful forum to house all his instincts in one place, perhaps moreso than the Unity Group band and tour.  As great as that band and resulting albums were and are, Side Eye offers something undeniably vital.  Jazz is a music that thrives on adding to it's rich traditions and history. At it's best the music reveres it's tradition while moving things ahead into the possibilities of the present and looks towards the future.  While there are a segment of fans who pine for the return of the Pat Metheny Group, which dissolved in 2010 after more than 30 years, Metheny is giving younger generations who grew up completely familiar in his unique musical universe, the chance to make their mark in their voice, opening new vistas.  The thing that everyone loves about him is still there, Metheny can play densely or lyrically-- it's just expanded to greater capacity, eschewing the fat for more concise solos and tunes.  He's doing what every great jazz musician should do and that's move forward.  Side Eye very well may be the finest group he’s lead in years.