Відео

Appreciate the kind words! I’ll do an edit where I crop it so it’s way off centerline 😁 Since I play lefty and a lot of my expression/volume pedals are oriented right, dead center gives me the lowest chance of bashing it with my guitar neck. It can totally unbalance a dead-on camera shot though, you’re right.

That’s super kind of you, thank you! Mayer’s a definite electric influence, as is Gilmour, Knopfler, etc. I’m self-taught over many years, with a piano background. Since I play a righty guitar upside-down, I haven’t really considered technique or lesson videos for guitar, as it’s hard to gauge how applicable my tricks are, but you’re surprisingly not the first to ask in recent history. Might have to be my next series of videos…

Prophet 6, OB-6, Wave2 and Mellotron Micro on the right stack, and Matriarch Dark, Alpha Base, and System8 on the left. If I had to keep just one, the Prophet 6 gets it - no question. I love the OB-6 and Matriarch for many applications, and the Mellotron is instant classic and SO fun through pedals, but I am addicted to the Prophet and how massive and emotive it gets.

@@TannerCundy nice collection! I just picked up a matriarch. As a film composer, I’m slightly worried about the lack of presets, but love the idea of exploring crazy sounds with the patch cables. On the other hand, I have been on the hunt for a nice poly, with my eyes on the OB-6, Prophet 6 and Prophet 5 for the longest time! Such a tough decision. Also wondering if I should have gone with one of those first! But I saw the matriarch Dark was still available at guitar center so I picked up before they sell out of it forever

@@joshtackett ​​⁠ The Matriarch is an absolute sub/bass/LFE machine, and throwing an external sequencer into it has been a lot of fun. I lean to it for bass and “that” Moog sound, with the P6 doing nearly all of my pad/chord/lead heavy lifting. The OB-6 is, as BT calls it, a modern classic with versatility I haven’t fully explored, and an attitude to the filters that exceeds the smooth Prophet vibes. Presets are nice, but then so is a WYSIWYG patch setup that sounds the same. Happy composing! If you have anything you’re working on with the Dark that you post up, please do share!

@@TannerCundy thanks for all of your insights man! I would love to see videos of all your synths if you ever feel that would be fun to make. In the meantime keep rocking those awesome guitar vids. I’ll definitely post something eventually once I get a hang of it! It’s a beast of a synth to wrap your head around but I want to learn it really well

Great question! The short answer is, I like all three of them for different applications. Of the set, the Studio Tall Bird gets the most use simply because it’s amazing in a lot of mix situations and I’ve been using it in combo with a long plate for my primary verb sends. The Milkman is my first choice for any cleans or barely-breaking-up rhythm, and the Benson collection is where I go for all the drive, crunch, virtual re-amping, or to add more “Benson” to my Monarch when I’m recording the actual amp and maybe didn’t get enough drive or hugeness captured properly. The Milkman clean is so good, though, that I’ve had the Creamer on my Reverb watchlist for ages and if one pops up that I can go check out and buy in person, it’s coming home.

I just got all three! Hah

Nice! The presets are great, especially the Chimera set from Chris himself, but there’s a lot of room to move on them. For this demo I’m pretty sure I used the Massive Clean preset and rolled the gain/highs back and boosted the volume/lows to match my usual style and it responded perfectly. Hope they work for you!

@@TannerCundy thanks so much! I will check them out very soon

Thanks for stopping by and having a listen! If I recall right, all three of the Hotone Skyline pedals I tried out are fully analog with true bypass.

@@TannerCundy I only have the tape echo hotone pedal and I presume it's digital? For it's size it does reverse delay too.

@@patrickmcmanus5373 I believe the Eko, if it's that one, is a digital delay circuit. Everything I can find on this Djent seems to describe it as an analog circuit, though I am now seeing that the Harmony I tested is a digital circuit too. This might be a good question for Hotone but there's a good chance they were able to keep pure drive pedal like the Djent as all-analog and save the digital circuitry for the more complex effects.

I buy through Eurotubes (fantastic local-to-me shop that stringently tests their tubes) for JJ and Tube Depot for anything I can’t get there. At the time of the video, I paid about $180 for the set of four 88CC gold pin, with tax and shipping. Hope that helps!

Thank you, This video really helped me to understand how good it can sound.... :)

@@littlepacificstudios Glad to be of help! It is a...complex unit, that's for sure. I find the high-gain circuit to still be a little noisy for super detailed work (like solo acoustic with a ribbon) and am using an inline booster instead, which gets it into the sweet spot and sounds glorious without as much hiss. The exception is DI bass, where I'm perfectly happy with a higher noise floor in order to get into that Avalon U5-type crunch-and-saturate mode. I've also swapped in a NOS Telefunken in the compressor stage which gives it a little more gloss and character when engaged, especially on vocals. As I called out in the video, this one likely ran on the original tubes for many years and the difference has been pretty striking as the tubes before were very old, very noisy, and probably should have been swapped out years ago :)

Thanks buddy!

I’ve probably done even worse demos, feel free to throw my playlist some plays and go find em 😁

Thank you so much for checking it out!

That’s great to hear because I just posted it, so maybe it’ll ride the ol’ algorithm and get around. Nice to meet a fellow lefty-reverse player through the random feed! I know of only a handful of other players that know what it’s like to have a useless cutaway on top 😁

Thanks for watching and leaving such kind feedback, I appreciate that!

VT737SP hiss is a pretty hot topic, especially if the high-gain circuit gets engaged. As someone with an ear for noise level and monitors that'll absolutely notify you if there's a floor present, I do notice it with the R-121 on high-gain with no Cloudlifter or inline +48 powered boost - especially compared to my BAE preamps, which love delivering more clean gain than I could possibly use. It's not there if I'm using my FleA 47 (which has such hot output, I have to inline attenuate going into some preamps lest I drive the input stage) or line-in bass, which is where this unit has seen the most work here. It does seem that if you're relying on the 737 high gain to get you into useable gain territory like with a vintage ribbon, the noise floor isn't great on some (many?) units, though you'll find strong opinions out there that state otherwise. Whether that's user bias (haha) because it looks nice, or the person isn't as noise sensitive as others, or the unit is actually super clean, or they've figured out the magic mic/preamp match that works flawlessly - I've no idea.

@@TannerCundy I appreciate this additional info very much. I feel the need to add that the noise was miles from subtle, and perceived as identical in three sessions a day apart from each other. I’d love to tell you I can hear the sound of the earth spinning on its axis but no such discernment was needed. Everyone in the session had a look on their face that spoke volumes, a bit like stepping into a fart-filled elevator. I made apologies all around, played the psych game to the best of my ability, and finished the session. Don’t misunderstand me, I appreciate your video here very much, Tanner. Thanks. 👍🏽

@artysanmobile I totally understand, and respect the professionalism in that situation! I feel that if a piece of equipment is disrupting a session to that extent, for any reason, no amount of prestige or sunk-cost should take priority - which can be a tough sell to clients who *have* to use a particular brand/unit, or even us engineers who are sometimes super excited for our own reasons. It's a mistake I've made and the work to un-do that mistake in post is tenfold over just rotating to something that actually does the job. As for the video, I appreciate you stopping by! If anything else, it won't solve an inherent noise issue but re-tubing a unit - especially one that runs HOT in Class A config - is one of those maintenance things that will get progressively more impactful the longer it's put off. The noise floor on the 'before' part of this video is just horrid and that's my fault :).

@@TannerCundy Right you are. The music cannot wait.

Thank you for stopping by to check this out!

@@TannerCundy i have 2 used Vt737sp and your video gives me a good sense when i should change my tubes, thankyou

I should have done mine a while ago, simply judging from the noise floor. I have since swapped the compressor tube for a NOS Telefunken that subjectively feels a little weightier, which I love for vocals, but probably won’t look to re-tubing again for some time unless the noise comes up or one starts to go microphonic. I think they last quite a while in this unit!

I’m not sure I’d recommend it to new players - a lot of common voicings and moves just don’t work upside-down, but it sure forces some creative thinking on how to get sounds out of the axe. Continuously knocking the volume knob with my wrist can be a bit of an issue…

I'd love to do an ambient album but figured I'd be the only one listening to it, so I've never put the work in...a single track would be a smart way to get into some zone-out scapes though! I will hit you back if I put one up 🤘

Thanks for stopping by and checking it out!

You’re gonna dig it! Red Panda makes some incredibly powerful stuff and it all sounds so musical. A lot of bitcrush effects don’t do well with guitar and just sound super crunchy but this keeps the vibe. I regret not doing some synth or piano through the Bitmap before I had to give it up…

Thanks Tronik!!

Thanks for checking this out! Fun pedal, it gets super warbly and I regret not running Mellotron or something through it for that deep phase-y tape feel.

Thanks for checking this out! MINIM is one of the OBNE pedals I had to keep on hand, I love the idea of setting EXP reverse in conjunction with my Big Sky mix control, and using one pedal to switch over to reverse and super-wet verb. I’ve got my pedal handling feedback on my Timeline currently, but have added a G3 switcher since I made these videos. Easy enough to use the G3 to control expression on all three at once and go wild…😮

Thanks for checking this out! I've yet to run into an OBNE pedal that didn't sound totally amazing. I wish I'd kept a couple more around after trying them out...

Thanks for checking this out, fellow DLS-er! I actually let this pedal go last year, in favor of keeping a Tumnus on my board, but it’s on the short list of pedals I keep an eye out for. I played through this one before I swapped the Mesa for a Benson and I’d love to hear the range on it in a different context.

Thank you! We’re glad you enjoy our sound 😊

Glad to hear the UA-cam powers are getting my channel out to people who might dig it 😊 Thank you for checking this out!

Thank you for checking it out, you might enjoy the full track when it drops next week!

Less than a week! 🤘

@@TannerCundy Woo! Let’s go! 🤘🏻

While I agree, this is less of a clinical test and more of documenting a necessary maintenance process. I do lean into hoping for some subjective changes based on tube selection, but the difference in noise floor alone is objectively and measurably different. I couldn’t truly double-blind this if there’s a 10dB difference in noise due to replacing a bad tube.

I’m not in the business of testing gear. I use it under the red hot pressure cooker of a recording session costing me thousands of dollars a day with a skittish artist losing confidence in the process by the minute because three Avalon preamps failed in a span of three days with the very same microphone, that went on to function perfectly with stock, low-cost preamps. That is a far more compelling test than anything you could possibly dream up.

@@artysanmobile It may be compelling to you, but it won't be more accurate. There's a reason tests are done double-blind. I gave the reason.

@@chansetwo You created the topic of testing in response to a video with an entirely different perspective. I can see now you are doing a fine job debating yourself. Carry on..

@@artysanmobile That does not address the issue...but...ok...i guess.

Sure am, good eye - all the guitars I play are righty just flipped over. The only thing I typically change is I desecrate the electrics by drilling another straplok point on the opposite side of the factory one.

I would need two pedals to recreate what this one does, both angrily and harmoniously, in one go. I regret not having the chance to lean into some other instruments with it - Mellotron, I expect, would be glorious destruction and I’m sure the circuit would hold up beautifully.

@@TannerCundy No question, the more stable the signal, the more it would tear it down.It's an underated pedal by a brand that largely missed out on the proceeds of the market boon they helped create.I've tried all the more expensive emulations, but I still dig the Belle Epoch.

Great suggestions - I was, as you identified, specifically profiling a mild crunch config with my Benson. I’ve since sold the Kemper so I can’t re-run with different flavors but will keep this in mind the next time I’ve running demos. Thanks for stopping by!

That's very kind, thank you for watching!

Right? As I’ve used the unit more, it’s clear the old tubes badly needed replacing. I love what the fresh set, and especially the gold pin clarity and low noise floor, has done for material I’ve recorded since this video was made.

I appreciate you stopping by and giving it a shot anyway!

Thank you! It does, actually - one of the modes I played with (before I settled on this weird fourth thing) was a Whammy-esque fifth-up chordal effect, and it tracked well enough that I went looking for something different (there's enough Digitech demo videos out there for that specific effect, I felt). I didn't try to push it with complex voicings to see how it responded, but I can at least confirm it either does true polyphonic tracking, or pitch-shifts the input signal accurately enough that it sounds like it's figuring each note for chords. Hope that helps!

The fresh tubes really make that apparent! At this weekend’s gig, even people I’ve played music with for years noticed the difference - and the amp was easier to place in the mix at FOH. Two thumbs up, highly recommend 😁

Thank you! I appreciate you stopping by 🤘

I’m glad you think so! Thanks for stopping by and checking this out 🤘

Thank you for checking this out! It certainly feels like you could go way deep with it versus where I went for the tryout - using it as a tone generator into a pedal path is a great idea. That sounds like it would fit really well into a parallel path board layout, something I’ve only trifled with using the G3 switcher, routing the Rainger to a dedicated output with a MINIM or Cloudburst or Microcosm messing with it. Thanks again for stopping by!

@@TannerCundy This was just a quick experiment with running it through an envelope filter pedal: ua-cam.com/video/w3Bnnv3QEHc/v-deo.html

Hey thanks, I’m glad you checked this out! It’s a super fun little bitcrushy box.

Merci beaucoup d'avoir regardé!

It’s a rare one and even more rare that we hit it when I’m capturing video. This one snuck in so late in the set, my main camera had run out of batteries 😂

If you call what I’m doing “djent”, you’re braver than I.

@@TannerCundy all jokes aside, few parts of what you played could be related to that style and that's fine with me, considering this pedal is seen as a one trick pony... That being said, thanks for using single coils to showcase how this pedal actually reacts, for all the demos for this pedal I have seen so far are oven Humbuckers and playing specifically Djent, with no space for experimentation... I bought this pedal recently and as much as I like it, I can't cloud the fact that it's kinda hard to get sweet spots here and there.

@@onerandombruh I appreciate you checking it out! It's a style I respect mightily, but as a light n' sweet (mostly single-coil) player, I wasn't going to faithfully navigate the necessary skill gap to be able to pull off some real work for a demo video. I could see a player like myself using it for layering or sound design, but probably not for a featured riff that a djent aficionado would really get into, at least not without pulling out the Ibanez and woodshedding some real drop-tune work. I do regret not having time to run the Moog through it, or a drum machine, just to see what happened...

Dang, thanks for checking it out and commenting so quickly! I appreciate that 😊