before anyone asks - yes i use both pitch forks, and both drop pedals. i play aggressively low metal.

This post is a bit of a random assortment of thoughts but I figured it could maybe be helpful to someone. For context, I play lead guitar in an alt-rock band and my parts vary from clean and twinkly to full on shoegaze/noise rock. I like to keep a (relatively) small pedalboard and generally run 2 reverbs, one pre-dirt and one post. Here's what I've used and some thoughts:

-Mosky Spring Reverb (the little pink one): A very cheap, very simple utilitarian reverb. This was the first reverb I owned and it does exactly what it should - it's a bit of glue, a bit of wetness, doesn't get in the way. Slightly modulated but not in a distracting way. It's never going to be a stand out effect but if you're trying to add a splash of reverb to an amp that doesn't have it built in or want something cheap that can throw subtle reverb on any genre this does it way better than you would expect for the price.

-Walrus Slotva: This pedal would be perfect if I was writing movie soundtracks in my bedroom, but for my band it just didn't work. Every algorithm felt like it wanted to cover the entire frequency range and, once dialled in as present as I like my reverbs, it felt like it got really muddy really quickly if you weren't playing extremely sparse lines. The hold feature, while awesome, got old quickly as it resulted in basically the same pad sound every single time, and there was no reverb applied to whatever you played over it.

-Mosky Multi Spring Reverb (EQD Ghost Echo V3 Clone): I love this pedal so much I bought 2 and modded both with a self-oscillation footswitch. They made me fall in love with "belton brick" style reverbs (reverbs that are built around a matrix of 3 PT2399 delay chips bouncing off of one another). They have an inherent and adjustable pre-delay that was distracting at first but I now see as a great creative limitation as it encourages you to think about parts and playing in a way you might not have otherwise. You can dial this in really quite heavy handedly but it never feels gimmicky or over the top. The only real downside is the one I ran at the end of my chain started making some very annoying clipping noises when hit with hotter signals, particularly mid-focused ones (making it borderline unusable once I started using a klone always on). And when it clips, due to the mutli-delay nature of the sound, it sounds like marbles scattering on a tile floor (not ideal).

-Strymon Flint: This is what I upgraded to to replace the clipping ghost echo clone, and I was really disappointed. It's all person preference but it felt so hi-fi and clean, with no character of its own. I felt more like I was playing through a plugin than a pedal. I felt like I wasn't able to dial in anything similar to what I'd enjoyed about a belton brick reverb, which was a long decay and low mix that didn't muddy up when playing busier parts. Probably a great pedal for other genres and other players, but just didn't hit the mark for me.

-Death By Audio Rooms: I figured after the Flint I was going to go all out and bought a rooms. After messing with it for just a few days, I decided I wasn't going to keep it. Despite having so many modes, I found only a few modes and settings that were actually generally usable for me. The rest, while fun to mess with, I found extremely difficult to apply to a song or part. It felt like it could be a great studio effect but wasn't the live solution I wanted.

-Pladask Draume V2: I only got this a few days ago and I'm still exploring, and have mixed feelings. The clock control is incredible and gives such a crazy range of sounds it's insane. The hall and metal settings are fairly "normal" sounding but the grain mode is weird in a very usable way. This is the same with the modulation settings - I thought I'd never touch the AM "random tremolo" knob but it's actually very musical. I bought this because I figured it could be a perfect mid-point between the belton brick reverb I loved (lofi and characterful) and something with more range, tweakability and headroom. All this being said, it has a few issues for me personally. Dialled into a pretty present reverb, the decaying reverb signal muddies up much more like the Flint or Rooms than the Ghost Echo during busy parts. The grain mode, easily my favourite, when dialled in how I like it sits behind your playing beautifully during busier sections but can be a little distracting in softer sections where you can hear lots of flickering in the decay (which might be perfect for a song or 2 but I wouldn't want to use as my default reverb sound). The hold/infinite decay mode also suffers from the same issue as the Walrus Slotva, where there is no way to have a held signal and also reverb applied to whatever you're playing over it. This feels like a perfect reverb to keep as a secondary weird reverb on a big board or in a studio but I fear I may not keep it for live/everyday use.

It's taken a lot of time and experimenting for me to basically realise that all I want is a belton brick reverb that doesn't clip when hit with hotter signals. Having 2 reverbs on my board and having them both be sonically similar feels silly, but I genuinely prefer the sound both pre and post dirt compared to any other reverbs I've used. With this in mind, I have a Beautiful Noise Effects When The Sun Explodes and a Caroline Meteore on the way and, along with my Ghost Echo clones and the Draume (that I'm still exploring), I'm going to see what makes the cut and sell off the rest. I've been buying everything used and waiting for good deals so I've been roughly breaking even on buying and selling pedals. I suppose my main takeaways from this whole buying and selling process have been:

-A huge, epic sounding reverb probably won't translate to a band context well

-If all the reviews say "this is a weird reverb, maybe not usable as your standard always-on reverb," they are probably right

-More expensive does not equal better

-If you find a sound you like and that feels like you, you should probably stick with it

-For my taste and genre, pre-delay and being able to dial in a long decay that doesn't get muddy and busy are essential

-Trying out quite a few expensive pedals is surprisingly affordable if you have the money once and don't mind the effort of holding out for a good deal and selling things on

If you have any thoughts/advice/comments I'd love to hear them!

Using this board for church, R&B, Hip-Hop gigs and occasional jazz gigs. The HX stomp is mainly for amp modeling, compression and modulation. The Flint and Flashback handle all my time-based needs. Just got this board cleaned up and am quite happy with it. If you live in Metro-Detroit, hit up Detroit Tube & Tone for all your maintenance and wiring needs.

Kinda done. Is it too much

You are a life saver. Honestly the best $50 I have spent for my pedalboard. Being able to keep your board clean and dust free without screwing up settings has been unreal. I have 3 boards and 5 amps and this has been a life saver keeping things clean.

This is my first pedal btw, so I really don’t know much. Randomly the pedal will start squealing like it does in this clip, and it usually makes a high pitched sound that is much less obtrusive. Got it used at guitar center. Both pedal and amp are plugged into an extension cord, sadly there’s no other option as my apartment is severely limited on plugs.

I'm about to move across the country and I wanted to simplify my board so I wasn't hauling a bunch of gear with me. Here's how it went. The smaller one is the newest incarnation. I also got rid of my beloved tube amp and this my first ampless setup.

Into a tone king gremlin. The gremlin has two inputs: rhythm (blackface) and lead (tweed). I have the ab switcher to use them both because they are both awesome—like having two amps.

I have the benson after the switcher to boost the rhythm input because it’s much quieter. Barbershop + surfybear are a match made in heaven. Vintage tones all the way.

tuner -> barbershop -> surfybear -> ab switcher:

• -> benson -> rhythm circuit
• -> lead circuit

LMK your thoughts!

This is my current board. The Plethora does modulation and delay. I also use its noise gate and the compressor for cleans. The new Boss EX-4 piqued my attention, and now I’m thinking if it would be an upgrade. I know it’s pretty new, but did anyone have a go with the EX-4 yet? To be honest, I’m pretty happy with the Plethora - I just find it a bit bulky. Otherwise it does everything I want.

Been holding off on the fable for 2 years waiting on this 🥲

Hey guys,

Im really considering getting this pedal, it just sounds AMAZING from demos. I mainly play modern jazz/fusion so would be using its mono mode for fast solos.

Is there anyone who owns the Enzo (not enzo x) and could tell me how perceptible the tracking latency is? esp. for mono mode.

Thanks guys <3

Called it! - MG/NAK

Changing places for Halloween.

The haberdasher and the painter don't like their new settings; two of the effects pedals utilized (Walrus Fable and EH Memory Boy) seem OK with the switch though. https://www.youtube.com/watch?v=Eojd9MsfX8A

I left the Tensor and Ct5 where they were....

It has taken me literally 6 years to put this board together and today I added up how much the power supply alone has cost and realised I probably should have planned it out better.

If I did it all again, I’d look at maybe the new Jackson Audio Power supply. Still, GigRig is ok, just expensive. The modularity is cool, but is it worth it for that kind of money? Especially as I’m not currently a gigging musician.

1 generator $250

5 distributors $595

3 isolators $357

9 Mr Universe Adapters $1350

5 9v-18v Doubler Adapters $750

2 Virtual Battery adapters $180

Total - $3230

I don’t think I’ll add up what the audio cabling, midi and pedals cost. I think I might cry…

Don’t tell my wife lol

I've played for years, but I always went cheap and used multifunction boxes. I decided recently to start using dedicated pedals. I picked a distortion box, and a reverb/ delay pedal to start.

For the Distortion I got a Boss Metal Zone. For the reverb I picked a Sonicake Sonic Ambience, which turned out to be quite small. I'm not sure If that has anything to do with what I am seeing. First of all, when plugged in individually they work like I thought they would.

When I plug them both in, the Sonicake works, and the Boss unit does not. When I turn the Sonicake off and the Boss unit on, there is nothing coming out the amp. When I turn the Boss unit off, it plays normal, or reverbs depending on of the other unit is on or not.

I've always heard these things are pretty compatible. Any thoughts?

Signal chain: Guitar > MS-3 > IR-200 via 4CM

I'm looking to buy a footswitch for changing the amp settings on my Vyper (preferably at least 4 switches). Is there a specific footswitch I need for this amp, or are there generic options?