BJFE / BearFoot fx Guitar Effects Community

melodichaotic , I've always thought that having the amp pointed at my ear, tilted or ear level was best. I figure, that is what the mic is hearing so thats what I want to hear, then I can adjust. I find that guitar players ( and monitors change things!!), if they have an amp pointed at thier legs they over compensate for treble as thier missing that upper freqs and just getting low and mid-lows to the ear. Just my thoughts...
On the EGD, I can see using two, one set for low gain and one for high.

I didn't see that last comment!

jdandry wrote:melodichaotic , I've always thought that having the amp pointed at my ear, tilted or ear level was best. I figure, that is what the mic is hearing so thats what I want to hear, then I can adjust. I find that guitar players ( and monitors change things!!), if they have an amp pointed at thier legs they over compensate for treble as thier missing that upper freqs and just getting low and mid-lows to the ear. Just my thoughts...
On the EGD, I can see using two, one set for low gain and one for high.

Well, I always know what my set-up is doing from the microphone perspective...it doesn't necessarily mean I want to hear that pointed and my head...that's just me.
Wherever you're playing is some form of acoustic environment(some better than others or course), and I want to hear my rig in that context, and in context with the rest of the band.
I don't like to run things very bright myself(thankfully I've protected my hearing over the years), but I will bump(not excessively) the upper mids/presence if need be in a dense onstage mix.

And ditto for the EGDM X 2 for the same reason.

So yeah-- I had my EGDM, played with it, preferred my SHOD/DRD/HBOD stack, and was going to sell the EGDM since it didnt make the cut.... then toyed with the EGDM extensively about a week ago and found its magic after further tuning of the internal trimmer and discovering the magic of the VOICE control.

Last night I brought the EGDM along to rehearsal to give it a shot at volume in a mix. Holy s$%*. Got a few comments on how killer my tone sounded last night in particular.. it was killer. So, I added a pedal to the stack.

EGDM -> DRD -> SHOD -> HB

Working backwards:

• HB is always on, all controls pointing right up at 12:00 is where I like them. Acts as my "power amp", coloring the tone and adding the HB feel no matter what drive I throw into it. I only use this alone for clean parts, which I dont do often.
• SHOD is on for my basic rhythm tone for 70's medium gain rock sounds. Focus at 1:00, gain at 12:00
• DRD is engaged for parts where I need a boost in gain for solos (not just a volume boost/EQ which i use my SBEQ for). I use it to get a rhythm tone with my LP volume at 8.5, and bump it to full volume for added gain in a solo. If I dont need the dynamics, I used EGDM.
• EGDM is for heavier rhythm needing a bit more gain & compression than what the SHOD is dialed in for. Gain at 10:30, Voice at 11:30.

Was a great night.

bsic wrote:So yeah-- I had my EGDM, played with it, preferred my SHOD/DRD/HBOD stack, and was going to sell the EGDM since it didnt make the cut.... then toyed with the EGDM extensively about a week ago and found its magic after further tuning of the internal trimmer and discovering the magic of the VOICE control.

Last night I brought the EGDM along to rehearsal to give it a shot at volume in a mix. Holy s$%*. Got a few comments on how killer my tone sounded last night in particular.. it was killer. So, I added a pedal to the stack.

EGDM -> DRD -> SHOD -> HB

Working backwards:

• HB is always on, all controls pointing right up at 12:00 is where I like them. Acts as my "power amp", coloring the tone and adding the HB feel no matter what drive I throw into it. I only use this alone for clean parts, which I dont do often.
• SHOD is on for my basic rhythm tone for 70's medium gain rock sounds. Focus at 1:00, gain at 12:00
• DRD is engaged for parts where I need a boost in gain for solos (not just a volume boost/EQ which i use my SBEQ for). I use it to get a rhythm tone with my LP volume at 8.5, and bump it to full volume for added gain in a solo. If I dont need the dynamics, I used EGDM.
• EGDM is for heavier rhythm needing a bit more gain & compression than what the SHOD is dialed in for. Gain at 10:30, Voice at 11:30.

Was a great night.

Sounds cool...yeah, the magic of the voice knob is realized when you properly set the treble trim-pot to your amp. Any sound clips so that we could hear what your hearing( I will shortly be uploading a couple myself)?

No clips Marty- but I really want to take some video of this stack in action.

OK just got a Line6 BackTrack/Mic, seems like a neat little device. Gonna bring it to rehearsal tomorrow and record. Will post clips soon...

BSIC, I am running the same chain (currently) though I don't have an always on pedal. The BJF part goes SWAW > MH > EGDM > DRD > SHOD > HBOD > orbit flanger > Nova Delay > DBD The DBD is off the board but connected as a pedal test. I don't think the DBD going to replace the Nova, but I may use it on the small jam board I might be making as either an always on (to smooth out the treble heavy borrowed amps) or as an echo like Red House.

I did change the trim pot again on the EGDM so it points at about 12:30 ish and love it more than ever as it sounds great on all pickup positions and stacks better.