Відео

BUT THEN I FOUND THIS ONE

@@josephpickard3108 I always think it's important to show other sides to the sounds gear makes. Yes, the surfy bear is amazing at surf sounds, but it's soooo cool for so many other types of sounds, too.

That's a good question. I haven't tried that. I'm going to try that this week and report back. I'll use my Marshall.

That'd be great and much appreciated...I'm looking to run it through the back of a Marshall myself. Dirty amps kind of need that to be post preamp section if they're going to be dirty.I love the way these sound. I love analog.

I have it running through the back of a Marshall Plexi (has return/send on the reissures) and it sounds freaking amazing. It's the, hands-down, best reverb on the market. I absolutely love it.

@@bbbro34 I just tried it through the effects loop of my Marshall yesterday and I agree it sounds amazing! So it works great in effects loops as well.

you're welcome. The Surfy Bear can do so much more than surf. Don't get me wrong, I love surf, but to only focus on that would be narrow compared to the flexibility of the pedal.

He's literally the only person on here that's not just done a surf demo, and I appreciate that a LOT

@@josephpickard3108 I decided to buy it after watching this video and I don't regret it. And I DON'T PLAY SURF! hhahahaha

Love Muddy!

The mic stand is a Samson. They make them for broadcast applications a lot. I have two of them in my studio for moving mics around. It can hold a condenser. But, I would be a little carful if it's a heavier tube mic. Or just epoxy the metal stem that connects to the movable arm on the spring. You'll see when you get it. It can come off with enough weight. The mic I'm using is not that heavy. Getting used to new gear takes some time. I think you're gonna love the MC77 when you get used to it though.

Hi Quentin, which plugin are you using? Some compressors have a parameter called ceiling which allows you to adjust the point where compression starts. So, it can be set to compress below 0dB. But, traditional compressors like the LA-2A or 1176 won't really compress below 0dB. Make sure to check your input signal and that you are in fact at 0dB. There are also some compressors like in the SSL channel strip that won't show it's compressing in the meters, but it will be compressing.

@@GuitarLessonsNYC1I’m using the Arturia Comp FET-76. I’ve double checked that the VU meter is displaying the signal going through the FET circuit and not the bypass circuit (this is done by pressing the button below the out button on the unit in the video). Compressor isn’t receiving anything above -3dB, yet I’m getting up to 3dB of gain reduction. So unless I’m missing something it seems the statement is false.

@@quentinjames981 You're assuming a plugin reacts exactly like an analog compressor, which is only sometimes the case. For example, I don't use the Arturia Fet-76. But, if you hit the compressor at unity gain and the needle isn't moving, but you're still getting 3dB of gain reduction, then the plugin is not gain staged like a real 1176. I would check to make sure there aren't any hidden controls to set the threshold or ceiling of the compressor. Regarding compression plugins, I mostly use Universal Audio plugin compressors. They've done a pretty good job of emulating the real units' gain staging. However, they still don't react 100% like a real compressor. I find I can hit an analog compressor harder than I can a plugin without it becoming so noticeable. For whatever reason, many plugin companies have disregarded proper gain staging practices. I suggest trying to get some time with a real compressor. It's easier to learn and than easier to understand when dealing with plugins.

@@anatomyofguitartone8874 Thanks for the reply. Yes I am making that assumption and perhaps the Arturia behaves differently than the real thing in that regard. What do you mean exactly by "hitting the compressor at unity gain?"

@@quentinjames981 By unity gain I mean that the needle is hitting 0dB. Gain staging can be a bit confusing at first. Back when we all learned on analog gear it was something we had to learn immediately. But, it's getting lost in the digital world or shall I say overlooked. However, it's still important because some analog modeled plugins (you have to check the specs of the plugins you use) model the gain staging of the real gear. So the level you send to the plugin can change its saturation, compression, etc.. Also proper gain staging ensures that a compressor will react in a somewhat predictable manner each time and keep the noise floor low. For instance the input knob on the 1176 is a preamp. The more you crank it up, the more you induce noise. So, it's better to not have to crank it up just because you recorded a signal too low. This is why we use meters to make sure our levels are consistent.

well it's subjective, but I think there is a glassiness to the delta term that other pedals just can't get. That tube sound. The flint is a good pedal. I def think the Delta is elevated as it's real trem. The difference won't be quite as much as if you were coming from another pedal though. But the Flint lacks color in the tree I think and the Delta is dripping with vibe.

Also, remember that the Flint is fully digital (A/D > D/A conversion) when using the tremolo section. Honestly though, I always thought that pedal sounded great. I'm struggling a bit to get my head wrapped around the Effectrode pedals, but I know it's just me. I had the Tube-Vibe years ago, and it was amazing.

@@JDHutson i enjoy the flint for a bit of stereo mojo of the old analogue effects built into those early amps, be nice to try the real thing though. Although i think once its gone thru my amp it would be hard to tell the difference. I love the overdriven sound of my valve amp & effectrodes tube drive is exactly that sound & feel. There built to a very hi-spec , been able to quickly swap out different tubes is really cool to. Hopefully i'll try some N.O.S ones at some point!

@@anatomyofguitartone8874 your right id love to try one at some point. Enjoy 👍

Thank, really appreciate that! You’re gonna love the pedal.

I know right? It's really a game changer with capos.

Oh yeah synths love the Surfy Bear! I either reach for the Surfy Bear Metal or the Chase bliss CXM-1978 often with synths. I honestly think the Surfy Bear is the best spring I’ve used.

Also, it’s fun to run a digital synth like the hydrasynth into it as well.