satoriforsale's Country Pedalboard

I have been looking for just the right wah for years now.I started with the original Vox v847, loved the tone but not the tonesuck... moved on the a Buda Wah, which lacked the lower frequencies I was after. Then the CryBaby Mini, it's small frootprint wasn't ideal but at its Lower setting it came closer to the sound I was after (but not quite, beside it drained the battery even when the pedal wasn't engaged). So here's my fourth wah the new Voc v847-C and I love it! The only thing "wrong" with it is that it does not have a LED indicator light to show when the pedal is engaged. I have had that build in and now it's the 5 star pedal I was after, without this mod I would rate it 4 1/2 star

set at 45ms and placed at the start of my chain (after the tuner and before my wah) the Slap-Back Echo thickens and softens my guitar tone just a bit. In this place it isn't so much as effect as it is a subtle change to my core tone. I do not hear when it is on, but feel the difference when it is not.

I have never played over a real converted movie projector amp so I won't try and compare it to that sound. What it does for me is give me a unique, raw, overdrive tone that reminds me of Neil Young. It is organic and authentic and works well with other gain pedals (I use an ODR1 as a boost into it and can run both with my Brown Acid fuzz)

Released as a limited edition pedal by the MXR custom shop this pedal had all the magic of the original ColorDrive but with volume control that allows you to fine tune your sound. No "blend" knob to dial in your clean sound, but who would want to when your fuzz sounds like this

Jim Dunlop introduced a limited edition of the Way Huge Echo-Puss Analog Delay, which was designed by Way Huge founder and delay expert Jeorge Tripps.

The pedal was designed for players who want an organic analog delay pedal that lets fine-tune their delay sound with a simple user interface. It serves up 600ms of delay with a pair of gravelly voiced bucket-brigade chips.

A fully tweakable LFO modulation circuit allows you to add a liquid texture to the sound of the repeats. This edition is graced with custom artwork from artist Alan Forbes and is limited to 500 pieces. And I am glad to own one of these!

Prior to using the Artificial Blonde I used the Big Tone Music Brewery Maggie, that got me the lush stereo vibrato of a Magnatone but when changing amps or guitars it was hard to adjust the input/output levels (there are trim pots in the pedal but those are hard to get to and to fine tune). The Artificial Blonde gives me that same lovely warble but adds a volume control knob and a secondary bank to set a second vibrato setting. Having two presets at the push of a button has proven to be an unexpected bonus that opens up a whole new world of possibilities.

The Flint is a modern classic and its reverb settings are superb, the tremolo however leaves something to be desired mostly because all three tremolo settings are not true stereo but the harmonic tremelo doesn't measure up to a dedicated pedal such as the Jam Pedals Harmonious Monk. The only reason I didn't get that pedal is because it is mono only but since the Flints tremolo is more of a wet-dry effect than a true panned stereo effect the comparison seems valid... Strymon has now released a V2 version of this pedal but I don't think these issues were dealt with. For V3 I would like true stereo tremolo and an option to pan the high and low harmonies of the harmonic tremolo. But until then this pedal is staying on my board!

Pedaltrain boards are just a matter of finding the right size. I added two rubber feet to the board, increasing the angle for better access of the pedals and to give me additional room under the board for power supplies and splitter.