Overpriced and useless or innovative and scintillating

I was just browsing the web for pedals and demos as most gear people do when something struck me:

Why are people interested in spending 300 pounds on something like a reverb that adds lofi and distortion, with a sequencing interface to change polyphonic pitch gurgles, that by the way you can't control apart from turning it on and selecting which noise you add on? Do people see these as useful, because I am struggling to work out how you could use it apart from just messing around?

hell if I know! I usually run this signal chain: good guitar----> polytune----> vox ac30

if a pedal costs more than 200 bucks I won't buy it. That much money can be the nest egg for a new guitar or can even buy a fixer upper amp at the guitar shows! I would sooner buy upgrade speakers than a fancy effect pedal. purchasing a good celestion or vintage Jensen will do more for your tone than ANY stomp box. I can't believe the kind of money I made when I started liquidating my vintage fuzz pedal collection last year. They were all fun, iconic 60s and 70s effects, but they're just gimmicks. People go crazy for talent-boxes to stomp on.

I would sooner buy upgrade speakers than a fancy effect pedal.

inb4 Rainbow Machine Master Race

inb4 Rainbow Machine Master Race

WTF?

inb4 Rainbow Machine Master Race

WTF?

Inb4 Rainbow Machine Master Race

I think I ALMOST get it now, dude. I feel so old when I have to follow links like the second one.... so old.

Haha, don't, It's a forum thing found in the deeper side of the internet. Don't go there, you'll be scarred beyond belief.

Like myself

Stay away, I barely survived that.

hell if I know! I usually run this signal chain: good guitar----> polytune----> vox ac30

But how many plugins are on that recorded signal? ;)

If you are recording in the studio, and you are looking for a unique sound to stand out on the track, or make that song unique, then maybe a boutique pedal is what you seek. Or maybe a plugin, with some crazy sounds on it.

But like Jimmy says, if you are seeking a boutique pedal as a collector's item or as a supplement for practicing and talent (not YOU, but the proverbial "you" readers) then just avoid them at all costs. Your wallet and your talent will be better off.

Kinda reminds me of this: http://www.amazon.com/DAngelico-Jazz-Pedal-by-Pigtronix/dp/B00CD4WB3U

I actually kind of want this pedal, it's like a Swiss Music Knife. You got your boost and compression, an FX loop, and a line out. I would love that, but I would rather use an actual amplifier line out.

Jim, would you ever be caught with one of those D'Angelico pedals?

Jim, would you ever be caught with one of those D'Angelico pedals?

Hahahaha, if it sounds good for what I am trying to do? Sure I would. Though I have a less is more approach to my signal chain usually, I think my enormous instrument/gear horde should tell you that I know there are times when MORE IS MORE

But like Jimmy says, if you are seeking a boutique pedal as a collector's item or as a supplement for practicing and talent (not YOU, but the proverbial "you" readers) then just avoid them at all costs. Your wallet and your talent will be better off.

Listen, if you can't make the track special with hand technique and inspired writing then you are fucking it up. Effects are the icing on the cake, but first pretend its not nyone's birthday and let 'er rip old school. I love the crazy sounds Geoff Emmerrick cooked up with the fab4, or that Holdsworth and Floyd pioneered on Dark Side, but that music holds up on acoustic and piano. Examine your motives and only then will I grant you a 'caveat emprtor' in reference to your over-the-top paper weight.

Remember this, few of you have owned more effects than I have. And when it comes to universal classics? Probably NONE OF YOU. I once possessed every tone bender but a mk 1, 2 fuzz faces (60s and 70s), 2 Maestro fuzzes (FZ1 and FZ1a), boutique versions of some of these classics, a univox superfuzz, a modern take on the FF I designed and made (still own it), a coloround overdriver, an original Boss SD1 (might still have that in storage), original tubescreamers? 2 TS9s, 2 TS5s, a turbo and a TS808! A Roland Echo-Chorus from the early 80s, an ecoplex EP3, an old WEM copicat tape delay, the venerable Yamaha SPX90, multiple Alesis units, a Lexicon Alex, TC G major 1 and G sharp, an original DM1 and DM2 by boss, an Ibanez AD-80, a Boss CE-3, a Boss purple flanger from the 80s (BF2?), a rare Mu-Tron 'foot' flanger, a second series EHX small stone from the 70s and the late 80s green Russian version, fulltone fulldrive 1 and 2, 2 OCDs, a couple early zvex and catalinbread boxes, DOD OD250s and an MXR Dist+from the 70s, vintage script-logo dynacomp, rangemaster clones, a Brian May touring booster, DOD bifet preamp, and just in the muff camp I have had a Ram's Head, Skreddy mayo, early black Russian, green Russian, BYOC large beaver, 80s IC powered version.... probably more! Tip of the iceburg. Rarely used any of it, even in the studio. Want a standout studio tone? Slam your guitar into an old Telefunken or Neve pre, then take the direct out of that preamp into another channel on the board, EQ to taste and HAVE AT IT!

AMEN! Preach it brutha.

Most bassists are willing to spend the dough to get a high end pedal so long as it adds to their tone. We don't usually invest in flangers, delays, and octovers due to our nature being in finding the perfect clean tone.

Rack gear is usually more expensive than the average pedal. I've got my share of rack units and they average around 300 a piece. I've never liked the idea of having to kneel to the floor every time I wanted to change a setting so I've always gone with racks. The RIGHT pedal is worth it's high price though. Listen to the difference you get with this DarkGlass B3K

https://youtu.be/fJQX4Ow2NHQ?t=1m38s

AMEN! Preach it brutha.

I try Nick, I surely try, but I am preaching to the converted in a world where tone has become a commodity and not a product of technique that is built with a relentless will to kill it every single night regardless if your audience consists of 2 people or 2 thousand! Did Scotty More rely on pedals? HELL FUCING NO, there weren't any. He and Elvis relied on eachother and the driving might of their rhythm section. Maybe a little master bus tape delay from the other 2 track at Sun dumped into a killer mono radio mix! But they just ripped it with passion and authority singlehandedly defining the voice of rock n roll. Anyone who denies is too young to appreciate their roots and needs to go back and learn the truth, shed and then return to shredding or downtuned metal madness. I am not saying these are invalid idioms, I m saying you can't take our music where its going until you are versed in where its ben from chamber music to delta blues! Do the fucking math, kids. Connect the dots and fade away only to return stronger and more individualistic. Please, AMAZE ME!

Please, AMAZE ME!

Steve Vai

Bam, son.

I agree, as a fan of Steve Vai. I'm also a fan of Satriani, and Andy Timmons, and other cats in that category of guitar soloists / solo artists. But I'm probably a bigger fan of Vai than the others.

One of my favorite things about Vai, is that he's admitted many times in interviews that guitar did NOT come naturally to him. He "had to work very hard at it for a long time..." I love this because a lot of his fans probably think he's just an alien or prodigy. But no, he had to work and put in the hours just like the rest of us. He has also said that he's not that great of an alternate picker. But clearly he is pretty great at it. I think he means compared to someone like Steve Morse who is known for picking every note super fast. Vai does do a bit more legato articulations and whammy than Morse.