Pre-owned The Effector 13 Truly Beautiful Disaster. Amazing fuzz tones and feedback machine. Has some scratches and signs of wear ,but works as good as ever! No box or power supply. Revision 3 update and noted on the inside and also scratched into the side of the pedal.
the tbd consists of two effects in one pedal. first, there is the feed back loop (with photo-sensitive eye), which enhances effects placed in the send and return loop of the tbd. second, there is the oscillating fuzz, which adds an amazing amount of texture (and if needed, chaos) to the effect in the feedback loop. the feed back loop runs _before_ the oscillating fuzz, and they are both seperate, which means you can have one on at a time, or both.
feed back loops and oscillating fuzz's have actually been around for the past few years, but i'm sure a lot of you are still a little confused as to what exactly a feedback loop is (as well as how it works), and what the hell and "oscillating" fuzz is. below is feed back loop information taken from the current text-based instructions for the tbd.
the feedback loop in depth:
the feedback loop of the tbd is where some amazing stuff happens. to insert an effect into the loop, simply connect a cable from the send of the tbd to the input of an effect, then connect a cable from output of the effect to the return of the tbd. now, turn the feedback switch on to engage the self-oscillation.
after much experimentation, i've found there to be three categories of effects that tend to be effected consistently:
1) distortion / fuzz / overdrive - for the most part, these effects will generate a feedback tone that adds both depth and slight fluctuations to your guitar's signal depending on how, and where on the neck, you play riffs and chords. the feedback knob tends to alter the pitch and intensity of the feedback tone.
2) delay / reverb - self oscillation and delay go hand in hand. have you ever heard of a delay, that as you increase the feedback knob on the effect, the delay keep going and going, louder and louder, until all you hear is a wall of pulsating noise? well, not all delays can achieve this, but with the help of the tbd, many can. for the most part, the feedback loop will make delay effects feedback into aforementioned wall-of-noise.
3) chorus / phase / flange - many modulation effects have a knob labeled "resonation" or sometimes even "feedback". the feedback loop of the tbd has been known to act in the same way as this control, adding a bit more resonance and sharpness to modulation effects.
the photo-sensitive eye:
next to the foot switch, is a small clear covering that houses the photo-sensitive eye. make sure the feedback switch is in the on position. now turn on the eye switch. there will most likely be an alteration in the sound of the feedback loop when the photo-sensitive eye is on.
the photo-sensitive eye effects the intensity of the feedback loop just like the feedback knob. being a photo-sensitive device, the eye can vary the intensity of the feedback loop depending on many factors involving the lighting condition of the room you are in. it is generally suggested that it be used in a setting with a decent amount of ambient light, but with a direct light source positioned over the photo-sensitive eye.
with the above set-up in place, you will find that by moving your hand or foot over the eye, you can alter the sound of the feedback loop in a very manual and organic way.
though the above set-up is recommended for maximum control over the feedback intensity, it has also been suggested to try alternate setups such as a dark room with a single spot light over the tbd, or complete darkness and a strobe light or other flashing light source angled towards the photo-sensitive eye.
hints and tips:
though most pedals tend to self-oscillate fairly well with the tbd, not all pedals will. this might seem counter-intuitive in some cases, but electronics can often be mean and tricky things.
with the feedback loop on, pedals become different kinds of devices, which means you may have to re-learn their controls. for instance, the tone knob of a distortion device might act more as a feedback pitch control, or the volume knob will actually help increase the amount of feedback. in many cases, you will find yourself with "sweet-spots" where certain very specific knob positions will create just the sound you are looking for.
don't be afraid to put more than one effect in the feedback loop of the tbd, but realize when you do, it becomes a whole other world of complexity and experimentation. for instance, you may find that your favorite delay self-oscillates beautifully by itself in the feedback loop, but when you team it up with your favorite fuzz pedal, nothing happens! on the other hand, there are some insane combinations of effects that can creates sounds as diverse and complicated as the best analog synth machines out there.
The Old Blood Noise Endeavors Expression Slider is a fader for use with any pedal that has an expression input. Simply use a TRS cable to plug the Expression Slider into the Expression input and use the slider as you would a knob or expression pedal. Suggested uses: strap it to your mic stand to adjust your favorite setting without bending down, keep it at your studio console to control a parameter while tracking, use the indicators to mark your favorite settings, or simply replace a knob control with a slider because let's face it: sliders are cool. Unsuggested uses: Unintended excess weight from use with foot while standing may cause damage to the device. Read: Don’t use your foot.
Ernie Ball Music Man Cutlass Charcoal Frost. Cutlass Case.
Based on the original 1970s Music Man designs, the 2018 Cutlass RS has been re-engineered to deliver unparalleled playability and performance featuring a brand new premium roasted figured maple neck with ebony, rosewood or maple fingerboard. The Cutlass delivers classic rich tones thanks to its lightweight alder body, vintage spec electronics, and super smooth modern tremolo system.
Cutlass Guitar RS
Cutlass Guitar RS
12-7/8" wide, 1-5/8" thick, 38-1/8" long (32.7 cm wide, 4.1 cm thick, 96.8 cm long)
High gloss polyester
Music Man® Modern tremolo with vintage bent steel saddles
25-1/2" (64.8 cm)
10" (25.4 cm)
6-3/8" (16.2 cm) long
22 - High profile, medium width, Stainless Steel
1-5/8" (41.3 mm) at nut, 2-1/4" (56.9 mm) at last fret
Pre-owned Schecter Demon-6 FR Transparent Black Burst, in like new condition. Shows little no signs of play or wear. No case or gig bag is included.
Brandishing a wenge fretboard with 24 extra jumbo frets, a bolt-on maple neck, 14” radius, 25.5” scale length, thin C neck shape, grey pearloid gothic crosses, Floyd Rose Special “hot rod” bridge (Schecter exclusive), Floyd Rose locking nut, and Schecter’s famed C body shape, the Demon-6 FR embodies all the aggressive characteristics of a guitar ready to unleash fury.