I've had this pedal for about 4 years. The honeymoon is DEFINITELY over.... and I still love it. Tried a few different pedals before this..this being the only Keeley modded pedal I tried (sight unseen). Mmmm..value, well, that is very subjective. You can get close to this tone without the mods...but let's face it...sometimes it is worth paying an extra 50 bucks to get an extra 7% of tone on an already good pedal...pushing it into an exceptional pedal...
As far as buying a distortion pedal again...I would definitely buy this again..although I may consider the Keeley DS-1 if my financial situation was restricted...it has less of a midrange thing going, and a bit smoother gain...less gritty, but that is more of a distortion pedal..as opposed to overdrive. Hmmm... I might have to go get one anyway!

Using it for about 6 months now. So..the honeymoon is still sorta on..but I feel objective about it. Given that I am a musician...and am always searching for my "ultimate" tone....I give a solid "9"...and really...These will NOT produce the brutality or scooped tone of a Vintage 30 on their own...BUT using your e.q. controls..you can easily dial in an even more versatile scooped tone. Still scooped..but with more presence and girth. The basic sound is so much more versatile..you are not limited to an e.q. characteristic that you cannot get away from. With any Celestion product..I have always fought with the tone. Now I just tweak my sound according to the room..and find those sweet highs that save my teeth from grinding.
A tremendous value at the price. $70.00 as opposed to Celestion V30's or Greenbacks at $110.00.. with twice the versatility (in my opinion).
Of course.. I will keep searching... (yes, it IS a curse ) But these are the best I have heard so far!

Using this for a bit over 2 years. Love the classic wah tones and True Bypass. For years, the only options where tone draining washed out Morley or Crybaby options..To be truthful, the boutique guys like Fulltone, RMC,Budda, etc did everyone a favor. They raised the bar for quality. The wah had become an almost passe' effect.. brought back to life by the likes of Slash and Joe Satriani..(thanks guys!)... hence, the demand for better quality bypass... and a more pronounced effect.
I don't like the fact that it is getting scratchy...I will investigate my options and try some contact cleaner. We'll see.. should do the trick!
I find the value to be acceptable in the $150.00 price range.. although, being that I am not exactly a "gear snob" I would probably opt for the Crybaby Classic.. which I believe is also True Bypass and equipped with the Fasel inductor as well...At about $50.00 less. Other considerations would be the new Morley George Lynch model wah.. or perhaps the Vai Bad Horsie stuff, although these may not cut it for classic tones.

I've had this for about a year and a half and there is no going back from it. Although I wish it had more built in pre-amps, it does everything I really need it to do (most of which is to run Pro Tools with). The 002 is a bit pricey but since Pro Tools is the industry standard theres nothing that can really be done to control the price of it. All in all, I'm very happy with my 002 and I would recommend it to anyone looking to do multi-track recording with Pro Tools.

I've been using the LA610 for about 6 months. The thing I like most about it is that it is a compact channel strip that I can use over and over again for my overdubs. I haven't had any complaints, although I wish there were some 1/4'' connections in addition to the XLRs. I've used all sorts of other Universal Audio products (LA-2a, 1176, LA-3a, etc) and this definitely can hold it's own. If I lost it or broke it I would definitely buy a new one. Being that I work out of my project studio mostly and I am on a limited budget, I couldn't have asked for anything more.

I still manage to glean a lot of inspiration from this board after over 3 years of owning it.

There are several things you should be aware of, however.

1. There is a tiny screen contrast knob on the back of the board, which is very necessary, especially if you are going to be using it outdoors. If you try taking this keyboard to a gig in a soft case or with no case, I promise you that you will eventually break that knob off of the circuit board that it is soldered to. It will get pushed back in to the body and the screen will be rendered unreadable. After the 2nd time this happened to me, I glued a large rubber grommet around the knob to prevent this from happening. I'm not the most mechanically inclined guy to come down the pike, but this girl was a bear to get inside of to solder that control knob back on to the circuit board. It took 3 of us wrestling with it to get the job done. This was a terrible engineering oversight.

2. Another completely idiotic afterthought is the fact that you have to scroll down through 16 pages of the global menu to find the transposer. Fortunately, I can make all the setups I need prior to a performance so that I can just keep the screen set on page 16 of the global settings. For someone who plays with the same band all the time, this might not be a problem, but I have as many as a half dozen different gigs, many times having some of the same songs in different keys. A transpose button is a Godsend in those instances. What were they thinking??

3. You have to periodically go around the keyboard and tighten all the screws. It seems that they come loose rather easily.

4. While I haven't broken any yet, the 4 multi-task rotary knobs I mentioned earlier are very spindly and I know quite a few guys who have broken them off, so that is another thing which requires a little TLC.

Well, nothing's perfect. But, overall it is a great board. Mine is over 3 years old and I will likely buy a new one soon and keep this old girl around for a spare. I ride 'em hard and have put 'em away wet more than once and this one has yet to let me down. Kurzweil has had some hurdles in its transitions between companies, and hopefully they have been able to maintain the integrity. Those questions aside, it's a fine tool.

Hello,

So the real significance of BFG is Barely Finished Guitar

In recent months, following various changes in my life, I went back to the guitar after a ruling 15 years ...

My first visits to shops instruments greatly disturbed me ...

The Fender Mex at a price of US (at the time) and other increases, modelling and many other things made me realize that I had a few time behind.

In fact, I wanted to return to her that I had at the time with the Gibson Les Paul, a Deluxe Pro of the year 1977 (two P-90) in a good Fender amp tube.

After extensive research and hesitations and especially given that the model in question is not found at that time, I resolved to take a PRS Singlecut Soapbar.

But it still was not what I was looking for, in the meantime, my game had changed and my tastes are more affirmed (Cotton Blues until more modern blues of different types, Texas, Chicago, the Louisiana brief rally starting Delta (Highway 61)

My main access to news, test and criticism being the net, I had already seen this BFG which could respond to my mind my expectations (I play with the neck pickup only on all my guitars) So the P-90 in handle perfect position on a Gibson Les Paul.

Unfortunately, after having read many opinions who criticized especially the poor finish, the race's 50 qualified as "not comfurtable" and also big problems of noise. That scared me because my electric facility is not equipped to take ground (I am a tenant, I can change the installation)

After some time, I did acquire a Faded SG Worn Brown at a price promo at an open-door day. I was really amazed by the satin finish, the absence of varnish thick wood allows better "breathed"

I was on my hunger for a Les Paul and resold after having several things in my old hobby, I made several purchases including an LP Standard Faded in Honey Burst series that I discovered while reading various post on the net.

I think that people who qualify for the Faded "sub-Gibson" or "gibson of the poor" are not objective, I had also been misled in response to their opinions and also on the weight.

Finally, I found a Les Paul with whom the feeling passed.
But I had still not found a real LP with P-90 (and Historic collection is too expensive)

In recover from a guitar that I tabled for review at my luthier, I saw the BFG, which I had heard so hard.

In Trans Black, the finish did not matter to me, I found it rather mild compared to the view that I had read. The neck satin well fluid, transparent plates are nice, well-polished and frets without being trendy, guitar sounded good, remained the problem of "buzz"

Plug in a Fender Blues Junior identical to mine, no noise except for the P-90 which responded well to my games, in such a drive, the combination of two excellent pickups, Burstbucker 3 easel later as well, but less used in my game

(This is the most powerful of this series to vintage structure, not dipped in wax, it includes a single magnet gross ALNICO II and enjoys a slight little more winding. Both coils of wire size 42 do not have the same number of laps, phénomêne current at the end of 50 years. micro That makes the less effective against interference but gives him a bite compared to a creamy its models equal to two coils)

The P-90 is not impregnated with wax too.

In terms of sound, after some time, I sensed that it was with this Les Paul that I found my sound, while taking into account the fact of my "maturity" more sophisticated level and blues music of my expectations.

My wife had already understood that the guitar was made for me, just by listening, in addition, I was virtually isolated from the outside world, immersed in the sound coming out of the amp. With the 50's neck, no problem despite my small hands ...

After discussions with my wife who had completely changed his mind about the finish of the guitar (as she said, the photos did not undermine the value) Game comfort, weight, etc ... We decided to make the acquisition.

Back at home, I set a black truss-rod cover that I had in reserve. The buttons add one side "wooded touch" guitar. For the switch to change a microphone, I ordered a black on the net.

Plugged in my Deluxe Reverb, not unpleasant buzz (thought to acquiring quality cables!) On the contrary, curves, deep, powerful and respected attacks, and sustain medium in front ...

It is amazing with Maxon 808 or OCD with or without the Fat Boost upstream, the DP-1 in the Junior Blues is great for a good Texas blues, Maxon OD-9 provides crunchs well bluesy ...

In the end, I am very pleased with my purchase, I found what I was looking like his guitar and does shock not in the middle of my material more "classical"

On this Gibson has been in the hunt for costs, combining artistic creativity, value analysis, marketing and boldness ...

Certainly, it does not please everyone, and from experience, I know that many people have easy criticism.

I think that when he formed opinions and made a critical, it is preferable to see a real and give it a try and after only give an opinion or criticism.

For me, with the truss-rod cover I added that, in my view, it is perfect.

My only regret is that it took into account the opinion that in the end are not appropriate in my case.

Like what tastes and colors ...

Kilroy