That Pedal Show – We Visit AnalogMan HQ In The USA

[Applause] hey guys welcome to that Pella shutter down here Mickey hello so we are in Connecticut we've just arrived at analogue man's I don't know it's like an evil genius lair I've been here before this is the first time for me there are amazing things everywhere it's the most extraordinary place so I was really excited to do this because I wanted to show you guys this phages we've finally been out of tee it up with Mike so nice to find a stairwell that's handy so how are you doing man good to see you again Nick so the man in the flesh analog man Mike here very good very good okay so I mean we haven't even got out of the doorway yet we look at this old tube screamers from random people Scott Anderson Kenny Wayne Shepherd and some of the pebbles the Rick Danko busted this old 808 and stepped on it and Jim Weider rebuilt it yeah can you lean Shepherds and Trey's got Henderson pebbles I can take things down there here we go maybe good [Music] some of our vintage stuff in the showcases we've got American stuff over here and mix our mute Ron Ross maestro taiko we snow my stride thanks bass master you like the brass mess man that just was watching a Chris Squire rig rundown and he had a really beat one of those you couldn't even tell what it was he was using it up till the end rest in peace blending there's a couple different versions that's the normal four knob version right the most awesome I've known you since our first contact of you in 2004 this was um a quick story I was rude to started the company then the gig Greg and I had no idea what I was doing and I had some questions and I thought because I've I've been a fan of your stuff since the mid nineties when a band I saw in Sydney had a cup of your fuzz pedals and I just thought that sounds awesome and so became a fan and then anyway sudden become in 2004 and I had a couple of issues I thought I've got no idea who I can contact to ask about this I thought I'll send an email off to analogue man you know the worst that can happen is he would just delete the email and tell everyone I think I've got a stalker beware of this guy but then you apply the next day and it was it was so cool so um you know just gives you a little bit of a person we're dealing with beautiful human but so when did you start the analog man brand your first started shipping pedals when was that well the we start I started doing this full-time in 2000 but um as you know in the mid 90s I was building a lot of pedals myself doing modifications doing a lot of guitar shows and we started off as analog man vintage guitar effects right I would sell buy and sell vintage pedals go to the big pedal shows back then before the Internet guitar shows were just fantastic that was the place you would go and see all the great guitars and my and sell things it's gotten a lot weaker now but that's how we started is vintage guitar effects right okay and then in 2000 you opened up here yes I quit my day job because I was you know keeping pretty busy that night building pedals and modifying pedals so I opened the shop I went full time with just myself and started doing the modifications and a few pedals like the Ross compressors no I like that the compressor and then we just kind of grew from there and took over half of this building slowly like so if we can rewind a bit I I want to find out because you are an engineer and where was the where did you go I actually I can make a better fuzz yeah the thing was um when I started in the vintage guitars it was just really getting big in this country and especially in Japan they had all the money in in the 80s so the American guitar dealers like greens guitars they would send their stock lists to Japan before they even released them here and really magazines and the Japanese dealers would pretty much buy almost everything they had so I kind of started doing the same thing I was working in Japan I would bring guitars there and sell them and then started catching on in this country the vintage guitar magazine came out and people started realizing how valuable these were and theirs started to get a lot of people hunting down the guitars so it got really hard to find so I started finding the pedals and then the pedals started catching on - there was a lot of articles in like guitar player had a guitar FX issue and I started getting big and when I could no longer find the pedals I really you know I was buying and selling them and fixing them and learning how they worked and I realized you know why don't I just build these things rather than trying to find them and that's kind of how it started I've told you I've been in here two minutes the board just destroyed yeah so we replace in the vintage pedal but then walk away they're all the mute Ron's I think all the meet Ron's are down there putting arrest purple bi-phase okay that's sorry I need to just pull something out for a second I've never seen one of these in the flesh thanks for showing us around Mike dancer in all the cupboards oh my I'm gonna stand up run away look at this thing so what is that then come on listen you're in the main this was from the mid-70s and they used an Italian Pirelli rubber pad on these that you would find in stairwells and schools and industrial buildings but it works that's that is so cool that's Pirelli I don't know my glasses yes yes that's Pirelli PZero just okay Japanese cupboard this one's got someone it's Japanese pedals off sideways no AuSable rubbish in there that time Bobby you know it's seen better days but it sounds great okay right then we've got more prediction American things some larger effects harmonics Wow electronics actually the Box univibe mitten the Box Rangemaster which is very rare an original gizmo Chung yes and like most gizmo Tron's it's completely broken all the little vintage analog me in pedals bag custom bag as used by Jeff Beck have you seen this this is okay this is no this is the custom bag and you would strap it around your back with a thing and then it has a bypass switch on it to send the signal to this speaker or to your amp speaker and then you'd have a tube going up into your mouth and Jeff Beck seem to like it yeah yeah I remember seeing the show that Jeff Beck was doing demo yes on YouTube yes very funny like every corner is just something that's right just let me just play this year references that people don't like how I treat my fuzz faces so that I just keep piling them up okay what can I ask you of all this lot what's your favorite all of the old fuzz faces I have I would say about 80% of them don't work at all and the 20% that work none of them really sound that good all right and so I'm just keeping them for now eventually i'll you know tune them up i can't get these on trade and collected these over the past 20 years and none of them really sound too good so what what guys the resistors drift the capacitors yeah pretty much everything drifts will see that the transistors will die but yeah the resistors drift a lot right capacitors get dry we're gonna get into this all right we're gonna get into the whole fuss thing because it's it's a fascinating subject and there's probably no one else on the planet who knows more about darling in the perfect first tone than Mike so yeah that's that's a big subject so so the old stuff is loads of fun but really want to check out how the pedals made here and you know the whole process so could we have a look in there we have a backroom where we have most of our production although we do modifications in some production in this room we have a second room that we've rented out cases over here in there no rocks dy yeah of course it doesn't work but the guys sound gasps this is a nighttime show that's a very interesting little yep I saw like an AC 30 and we got Justin building up some King tone pedals over here pop it with some Ford's into cases there it is that's you've never seen as many kingpins in one place before genuinely excited about this because my beloved Neutron has developed a quirk shall we say and I'm on the hunt so I'm going to play this this it's just it's beautiful it's beautiful that part there's a conversation that we need to have about all parts because we had this last time as here Michael might have a most fascinating conversation about this stuff about help every little bit matters about this thing about you know why Mike spend so much time hunting down his old parts and even our capacitors and things and it's just think down a brilliant bit of anything we could probably cut to that right now one of the things that I found fascinating there so you know we are sat in front of your parts storage area and the meticulous detail with that goes into the petals is also apparent with the way that you source the components now a lot of engineers would argue a capacitor as a capacitor or resist as a resistor it doesn't make any difference but that's not the way things are done here so at what point did you did you realize so you started building your own fuzz phases when did you say only this very particular component will do well well things have really changed a lot in the guitar effects industry when I started out everyone was really interested in finding exact tones these subtle differences in the pedals which is you know I started modifying TS 9s before the reissue even came out into ts808 sand and finding the perfect fuzz face and everyone was really interested in these details and allowing your exact guitar tone to come through so one thing all of our pedals you know if you don't like a guitar tone you don't like your amp tone don't buy our pedals because it's not going to change it yeah I want to preserve those things nowadays it's more about you know the the look of the pedal and and the marketing and things like that which I don't really care about that much but I've always been into the the fine details unlike working with a guy like Jim Weider these guys who have been playing the same guitar in the same amp for 50 years and at that level their ears are different from well you know you're an excellent player too but they're different from a normal person they can hear things that no other people can't hear so and he'll plug into a pedal that everyone likes and five seconds I'll say I can't use that right that's not that's not my sound and in order to get that preserved sound like we had talked about before everything matters and um love that the capacitors you know even if it's the same spec there are there are other differences resistors from people say carbon copy resistors add noise well the noise that they might add is 0.01 percent of what noise you get from the best op-amp so it really doesn't matter yeah yeah so all those things we just um we just try to use absolute best things we can get as long as we can get them it's funny you know because like a lot of people I guess let's think quite a lot of time on the analog man website and you see all these things mentioned so Jeff in these transistors from the sixties or seventies all this stuff just amassed over here just gonna go sorry if it's used to shake you down today we've got some bc1 annoys this a lot tested put in a spreadsheet and these are some russian transistors we're using for the sun bender mark for these are tested and ready for sorting and there's a bunch of other transistors the cv 7005 and these maybe threes and everything else all tested and ready to put in pedals that are built to order look let's just spend a couple minutes on this because like this is fascinating what is it about you know when you're designing a buzz you know so why a particular these transistors and and I you just find them random and trying them out in circuits and seeing how they sound or these specific ideas do you have in mind for a specific type of pedal some of these I've found randomly and tested and found that they were really good but normally I'll look for the the ones that were used in the vintage pedals right and if I can't find that exact one I'll find out the military equivalent which is like the CBS series 2cv 7005 is the military equivalent of an OC transistor and then we'll get a bunch of those in and test them but the number on the transistor is not that meaningful because you actually have to test them and see what they are because a lot of them keys have either been changed or they're just they've been picked over the last several decades all the goodness have been picked out and the ones that are left are just junk right Wow so that both ways we use to decide which transistors to use and these are becoming scarce yeah I mean there's there still people are coming out of the woodwork finding these things but that they're definitely gonna run out eventually not the count offerings of pedals we got at the moment the new envelope filter would you play with yesterday which is awesome fun and that's based around the MSR oh yeah and that's a really weird circuit the way it works on it's very odd because it uses some some chips that were never really designed for that purpose but an engineer who designed it did a great job and they're very hard to build because if you buy one of those chips from from the store and build that pedal it probably won't work there's a specific manufacturer of that chip and you have to use their chips or it doesn't work because they aren't really designed for that purpose so I don't think there's any other clones of that pedal around or certainly not many and I don't think it makes our can even make them because I don't think they can source theirs chips sausage oh one of the things we were thinking my last visit a couple years ago you had was at an mxr pedal but mxr didn't even realize room remember they'd made you have the wok box or the talkbox and yeah there's there's quite a few things like that the you know the company like that can can build so many things and those people are gone and there's no records of them that's just plus I have I have Amex our workshop manual that shows the the colors they need to use for the logo and the styles of the logos for different things and all this really interesting stuff that's amazing in the day these are things that you've collected over decades yeah and luckily I was able to buy most of the amazing gear you see it you know pennies on the dollar as to what they sell for today um so it was good to get an early start and and you found a lot of these locally or because you're saying is you spend a little time in Japan mm-hmm can I ask what you're doing in Japan for stuff yeah I was a software engineer in the late 80s mid late 80s over there in Japan and that's how I actually learned about vintage guitars was I had spare time in Japan so I would walk around Tokyo and you go to Akihabara area or other areas with the guitar stores back then were just unbelievable that as I said rune which pretty much ship all his inventory to Japan and I would go there and see them and smell them that just the smell of these guitar stores yeah was phenomenal and then I saw what prices they were going for over there was just phenomenal and that's that's why I've decided to sell the guitars in Japan right which led to the pedals in there so and you're hunting for these vintage things and you're finding but interesting is that the pedals that you've got at the mint they are their classics and it seems that you've got them before they became classics it's like you just knew there's something about right and so you're playing these things and listening for them going okay I'm gonna gonna grab these or well I am a huge fan of of classic rock in Prague blues psychedelic and so these are the sounds I like and that's kind of how I choose the pedals all the pedals that we build you probably have seen them my pedalboard I used them because those are the sounds I want so I mean those are kind of in our DNA now and pedals I build I try to try to get those sounds um a lot of the new pedals that are out are coming out with you know interesting pedals interesting sounds and things but not necessarily going for those classic sounds that were on all the records that we love so that's kind of the difference between our pebbles and a lot of the new pedals not saying you can't use our pedal for for new and unique sounds but we're really trying to get those classic sounds I've had your king of tone and it's been a nice day on my board for I've wow it's a 10 years when did they kill me out yeah oh they came out in the early 2000s 2003 I think and this is so you develop this like it was with Jim yeah yeah because we we got a marshall blues breaker from guy who was working it a court marshal marshal vox at the time not he said it sounded good and it did sound good but you knew it needed something so we just kept messing around with it and came up with some ideas sent my ideas to my partner in japan obayashi son and he found some things that he likes because he's got an amazing ear for for tuning capacitors especially and he's and then we just came up with one and jim-jim liked it and we said okay let's start making them it's I mean it's an amazing pedal and this definitely something about them so all your pedals that there's a there's a characteristic that you can tell the we talked about it all the time how much thought and care goes into the building process but the same ethos goes in behind the designer thing and sitting down playing it and listening to it in real-world applications you know which is why so many you know Pro players use your stuff because they're using it and in the mix you know and they're always just managed isn't around in the band it sounds amazing we were at Mike's last night and Mike has mazing in his house where the band comes in and plays and so Mick and I were with you last night and I mean it was so much fun but this is kind of like where your road testing things you actually get the banding you get the pedals and you have shuang and you know so you can and and you're you're testing these things live that's the way to do it yeah that is really the way to do it sometimes I'll have something in the shop that'll sound pretty good but I'll get it out there and it's like you can't really hear it right it just does it's not it's not really working some people will get it and try it in their bedroom and you know it the ramp on to and they'll send it back because it's how good and I agree it probably won't sound good like that but right that's not what we designed the pedal for unfortunately okay [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] [Applause] you [Music] [Laughter] so what I thought we'd do is we'll have a quick look at some of the classic some of the new things that you've done before we go deep diving into funds because that's you can get very deep in folks yes for sure yeah yeah you've already got pretty deep in the intro man I mean yeah it it's amazing right so the summer beginning of the chain we have your new envelope filter yes now what I'd like about this with everything just set at 12 o'clock [Music] fantastic the got the the threshold the attack the emphasis knob so that's like a filter range that's more or less of the filter e sound no something we added to the original MX are along with the up/down so you can get that Neutron out sound wrong in addition to the wah we're right in a position and I'll go down after okay [Music] [Music] [Music] awesome awesome I just want to hear that with the killer hello now your compressor you've we just met four years and this is a new take on it yes five after four previous revs we finally added a mix knob and I think it came out really good the cool thing is if you turn the mix down all the way you don't get any compression and there should be no difference on or off when you're playing all your frequencies there and not change your tone at all so that's your basic sound and then you can add as much of the compression as as you want the mix you get your chicken pickin [Music] or a three o'clock is good get a little bit of the dry in there right [Music] yeah that's great and the mixed nut was only for the Ross yes only for the Ross side I know the juicer side is one of you one of your favorites that just has the volume and the internal control for the for the bias and the juice are just a beautiful sound that this the attack on that is just so unique it is amazing okay for anyone who doesn't understand yes so the the Ross is the it's the compressor that it's like the grandfather of all of those starla compressors well the Dinoco came up first and the Ross was a slightly improved version right and that got quite popular due to Trey Anastasio and a few others right but it's very similar to a Dinah comp okay right and the orange squeezer so that's that's the denim strong orange box and that would plug directly into the guitar yes and I'm sure you can see that in some of the video he did going through our vintage collection you can see that one in the Ross - you've got those in the collection obviously yeah awesome awesome now this is fascinating this the the Astro tone we have a quick look at this because it's it's just it's really interesting the the original astro town had this amazing enclosure yeah and but do two versions there was there wolf triangular one had knobs that were kind of recessed and the other and had knob just stuck out the back both very cool looking right but really rare yeah hard to get I was really rare and it's it it's a really interesting fuzz because it's not it's not crazy amounts of fun no but [Music] [Applause] [Music] beautiful beautiful thing I like about is you can play chords through it rhythm everything everything comes out clear and it's also great to stack if you want to get like a Gary Clark jr. sound like running into like a prince of tone with the drive up and listen nasty dirty [Music] sometimes it's better to stack in different orders - yeah yeah Oh wonderful okay you've printed time we've obviously we've had this on the show quite a bit this is half half of the king of - half of the king of time right with a couple of dip switches inside so you can get a little more mid mid lows we improve the distortion the distortion and this this pedal actually sounds quite a bit better than the king of tone distortion which is loud because it takes the clipping out of the circuit right wonderful wonderful now well of course obviously viewers of the show will have seen this quite a lot I have it it's my favorite course it's the one that I use instead of the c1 and what I love about it it's you've got the two different controls that you can just switch between so if we have just a nice deep slow chorus [Music] and then we switch to the faster right [Music] so cool it's so cool it's like this is almost got a weight modulates is also a unified type thing when you get the rate up really quick that's sort of rotating speaker string thing yeah well this definitely sounds very close to a Leslie at the high speed yeah where'd you as far as your modulations are concerned and just interested you always have your chorus after your gang stages yes I gave myself the rise phases oh yeah I think my phaser phaser is kind of fun to put in front of the dirt hmm to get a more pronounced sound but I have mine personally a lasts for a normal more of a classic sound right okay awesome again we've had this on the Xolos because it is my favorite sounding analog delay it's just amazing and with the way the Amazo is right that's a really interesting unit hmm so unique yeah so that is the modulation section yes so how does that how does that work it's sending messages to the to the ship to alter to alter the way time delay time yeah right because the analog delay is a hundred percent you know there's no there's no digital chips in there so the controller basically just sends a control voltage to the analog delay and you could plug an expression pedal into there to do a control voltage also and change the delay time with like a boss expression pedal so the controller takes your taps and calculates the control voltage that would be for that tempo and then you can also of course have dotted eighths or quarters or and it also has the modulation which takes that delay time and just like moving the expression pedal up and down gently that's how it does the modulation is when I change into lay time and you can change the speed the amount of modulation and also the type of modulation we have one which is just a nice sine wave and we have one that's kind of random to sound kind of more natural right like a tape delay kind of with glitches in its cycle and again you've got this great you know a bee thing so you can have two different settings with it and a lot of delays have a EB but it only changed a delay time which to me is kind of useless I've tried one of those years ago and if you go into a long delay for your solo you want it to be louder usually too you want to maybe want to have more feedback so we switched all three knobs not just the delay time so great so [Music] and then I switched to a quick one here [Music] it's country day oh man I'm I've been fascinated with analog delays and we've got some really amazing digital stuff that's coming out but whenever I plug into a great-sounding analog delay there's something about it that's just the it's something about the previous two think of the guitar and the way it works with the analog delay it's just right I mean do you have as far as analog delay as a concern is there is there a reason that you know with especially with the so with this for example is it is it a frequency thing or is it is it more fundamental just as the did you think the thing about the analog delays is it's easy to make a dark analog delay by filtering off the top but we try to make it as bright as you can up to that point where it starts getting too much noise and that's the trick well if you filter out too much of the noise and it gets it too dark well a lot of people like the deluxe memory man I love them too that one has a higher frequency they let more of the noise through which adds to its its beauty if you ask me but some people just can't deal with an deluxe memory man is it's just too much noise yes and if you listen if you play like a low e-string you'll hear the hiss because it's so separate from the frequencies and some people just hear that and they think that pebble is broken but that's that's the way they are right right awesome okay finally let's have a quick look at this this is your modded ds1 that's the pro mode with the mid-range Now option which we added the the mid-range and if you put it at nine o'clock it's just like a our stock pro mod on it with the stock frequency right okay so this is the stock one [Music] justysia distortion and then you can turn up the mid-range and get rid of that kind of scoop sound you can play I'll turn it up while you're playing and [Music] and scoop it back out again [Music] that's that this one gets a I wouldn't say necessarily a short shrift but the when I hear an original like made Japan mmm you know one of the original eighties and and and a new one the do sound quite different they do what's that down tooth uh most of it is the chip they changed they used a really good chip in the old days and it was discontinued so we started using a jrc chip in ours years ago and then boss realized it really did sound better and boss started using our our garrison a than the production ones which they still do except now the orange ones that you get have a tiny little surface mount board which we can't modify anywhere with the black ones the 40th 40th anniversary or something anniversary those still use the full-size boards and we've got um I bought like several hundred of those so we have those in stock so we can continue to modify those for a while wicked wicked okay let's go fuzzy a little boosting okay action to see what the boosters do this is rocking things okay so this is the bad Bob this is this is this is Bob Bert is that no this was um Robbie Wallace from our rgw electronics he came out with these back I think in the 90s and it's it's a booster made off of Jack Orman's mini booster right it's a very nice little FET booster which actually kind of uses similar to fetes to the to the juicer okay mom but without the compression and it definitely gives you crunch and volume boost and we took over production from him either in the normal size box which is like an mxr or the or the mini box awesome okay [Music] yeah that's a low-end want to hear that with the fuzz [Music] [Applause] [Music] [Applause] [Music] that's some quality or something somehow after yeah before it would probably cause a lot of mush yeah that's amazing there's a different kind of a booster where it focuses your frequencies people call it it's a trouble booster but it's not just adding high-end it really is a nice focus I use mine in the high mode all the time mm-hmm with my being but we have the mids and lower settings too and that's a great into these amps it might sound a little thin but once we start adding a pebble or two to it or if these amps are up loud enough it should sound pretty good we haven't mentioned the app yet we're running this this the cleanest super reverb I've ever seen in my life it's amazing and the little fender Pro jr. in front of our jr. and that is going into the marshal cab so let me just do it this is the this is the super [Music] and then the Virginia [Music] okay so that's the clean tone if we put the Beano on straight into the answer [Music] come on so you're gonna hear that in the mix I mean I don't care how dense that makes it but that's gonna be punching people in the face I love it now where is this in the signal chain oh this should be before the prince of tone which is where I like it could stack together they're just that's my classic rock sound right [Applause] [Music] [Music] we've got a deli downstairs so it's like the noisiest room in the world for free for a t'elp for poor telecaster but we'll deal with that that's ice that's ice awesome okay Mick let's explore some fuzz that was a very quick look through some analog man classics and the couple new things but what we want to do now is mackanolly are gonna go deep into phasers [Music] you in the video yesterday we had your that the by Khorasan which is again one of my favorite pedals and Mick and I've been through this thing with some digital modulation stuff and I find like this really good digital delays and reverbs because they have that analog dry signal and then you can mix that stuff on top and when it comes to modulation I've never found a digital modulation pedal that you know if I compare to an old phase 90 or your chorus pedal or something so you know your name analog man you know what is it about this analog process why does it work so well for us guitar players well what one reason I think is because because of that the history of the sounds that are in our head two bands and the songs that we loved were pretty much all made with with analog or maybe some really earth early digital things but for some reason like you said modulation it digital just does it doesn't have the the same feel it's gotten a high end which is nice but sometimes it's old too much it tends to be harsh right especially if you're running them into other things like a distorted amp or a booster or something something about the digital sheen on some of the modulation effects just just isn't great but digital is getting better all the time if you buy a digital pedal now you know it probably pretty good but you know two years it's gonna be obsolete by analog pedal now it's it's gonna go up in value or it's not going to be absolutely better sure it's the interesting isn't it because they the the digital stuff is always trying to be as good as analog and it'll get ya closer and closer and closer but the analog stuff it's just awesome from day one and will continue to be awesome for as long as you play it you know the I just found it really interesting and again using those things in context as we can you know with done shows and we'll sit down it's like you know it's amazing but then for some reason when you in that dense mix and what you want is an electric mistress and then you know trying to find a digital replica of that it can sound fine actually you can maybe these things and they can sound fine but for whatever reason when you put them in that mix and then you plan them it's like it really is talking cheese mmm does that one say in UK the USA talking cheese we're learning it from you from you from your show yeah so it's it's as fascinating okay massive thank you we've had the banknote I'm hanging out with you it's just we had a great time and loves it when I bring great guitarists over to play and you guys are so much fun this is the part of my job that one of the few parts of my job that I really enjoy so I'm so glad you guys made it here how it's been it's been an honor just quickly what's new in the pipeline I've seen some breadboards around with some really interesting things is anything you can tell yeah we you know we love fuzz so where can i my my my boys from Texas they love their fuzzy love their octave buzzes they like the fuzz it sound like your amp is is falling apart so we're working on some octave buzzes also we're gonna try to expand our tone bender line up right now we have the 1.5 in the mark 4 we're working on a mark 1 now and I think it's great because it's it's nastier it's gnarlier sounding you can just hit a string and it just just enjoy that note so we've got a good version of that we're working on and and I've got a few new employees now so we're able to to get more pedals out and get some new pedals out awesome awesome so from Bethel Connecticut at the analog man Kevin of dreams and hopes and glory yeah we're gonna wrap up thank you so much again it's been absolutely amazing so yeah goodbye from me goodbye from Mick he's been on the camera and I will see you soon cheers guys [Music] [Applause]

Channel: That Pedal Show

Views: 176,885

Keywords: Analog Man Envelope Filter, Analog Man Bi-Comprossor, Analog Man Prince Of Tone, Analog Man Bi-Chorus, Analog Man ARDX20 Delay, Analog Man Astro Tone Fuzz, Analog Man Boss DS-1, Analog Man Bad Bob Boost, Analog Man Beano Boost, Mike Piera interview, Mike Piera, best delay pedal, best overdrive pedal, best chrous pedal, Ross compressor, best Ross compressor clone, Orange Squeeze compressor

Id: CHtG8C5xmSk

Length: 50min 50sec (3050 seconds)

Published: Fri Nov 10 2017

Reddit Comments

[u/[deleted]]

Having a free Friday night after 13 days straight working night shifts, bought some expensive crisps, let's go.

[u/Muffinwizard87]

Theyre going to weirdly stare at Analogman while playing, arent they?

[u/KK2691]

I just want to know why he is wasting time making this (very cool) video when he should be helping with all of our KoTs!?

[u/Mauve-Sloth]

I loved this episode. Especially the bit where they mentioned how vintage Fuzz pedals can sound like shit due to component drift. I think people don't appreciate that fact about pedals and amps and electronic gear in general. Components from 1968 are unlikely to have held the same values for all those years, and as a result they're gonna sound different.

I like vintage gear, but I'm not one of those guys who refuses to replace parts. If it's broken it's broken, doesn't matter if it's "all original" as far as I'm concerned.

[u/mr_mufuka]

That’s got to be one of their best videos. I don’t love all of their videos cuz they can be a little long and sometimes full of wank, but seeing all of those great pedals was pretty rad. Now we just need Andy to demo some this stuff!

[u/mtg4l]

Really hoping they did an Earthquaker video!

[u/dbdnt]

That was a great episode. Dan was really nailing it today too. Very cool to see the inside of one of these places.