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Virtual Decadence « The overdrive to rediscover the guitars »
Published on 06/12/11 at 00:48We must take time to see the different settings that are not all independent of each other. Understand that the so-called "Boost channel" merely replaces the setting "overdrive" by setting "boost" so that the latter is a gain setting much larger than the overdrive.
If you want the sound of the solos of Angus Young is on this channel we have to go (for gain, this pedal is no longer in its field).
Other than that between the three modes "Comp Cut / Fat Mids and Vintage" and switch "Mosfet / Standard", it was a very nice range of clean boost to big crunch.
UTILIZATION
Easy editing, knobs very reactive to find the right sound for relevance: the guitar, the different microphones at different styles. The man page has no interest. Better to watch videos of demos found on Youtube to understand the effects settings and try to find their use on different guitars.
SOUND QUALITY
Tried it with two guitars that have nothing to do:
- Duesenberg Starplayer TV +: Vintage Mode (FM) for microphones handle (sort of P90), not too much drive, the sound is great for rhythmic rock / pop very punchy. Boost channel, with a knob nearly full (say, at 5), I have a classic lead sound on the mic Bridge (humbucker) that is both bold and very detailed (characteristic of the Duesenberg). I like the standard mode (a classic overdrive) but the sound is full in "Mosfet". A treat. The problem is that between the first "round" and the second "bridge", I like to adjust the TONE. Not easy to find the setting that goes for both for the stage.
- Danelectro 59 Reissue: while there I almost rediscovered the guitar. Now I use it in situations where I would choose one if I had a Telecaster. It has a grain to it and position "two pickups in series" is one that produces the best sound. In "Overdrive" / Standard, playing the TONE knob I got a bite interesting, even with the neck pickup alone who usually sounds a bit too nice for nervous licks.
This guitar (which is my spare) I do not use usual in micro bridge acute for crunch sounds in saturated and in position "middle" for clean sounds. And this was an issue of difference in level (fatal versus single micro micro series) Here I have beautiful Crunch / Lead position with two microphones. And what a sound. I think when the designer advises on its website to try the mode Flat Mids with the neck pickup of a Start, he knows whereof he speaks.
Otherwise its "light" mode CompCut (which wants a clean boost) also provides a valuable potato. But then we must choose: use the clean boost pedal in overdrive or buy two.
With this Fulldrive 2, it is clear so that the grain of the Danelectro a little cheap (the guitar not the grain) attracts many people (not just the fact that Jimmy Page played it).
So for classic rock styles, old 70's hard, brit-pop, early punk or stoner, this pedal is a marvel. In fact, everything but the bulk metal. Put a very light (a Vox AC15C1 for me), but also made the test with an amp that sounds cardboard: Pod XT amp transistor as the Vox Pathfinder or worse a Marshall MG (set in his clear, the crunch is still horrible on these amps) and suddenly you feel that your amp sounds better.
EDIT: After two months, this pedal is almost always alllumée when I play other than its really clear. The first channel I use as a boost (yes it is called overdrive) as one would use a tube screamer: Overdrive is set to almost zero, and Mosfet switch Mids Fat Tone and according to his research and I used the microphones on my guitars. To live, I go in the Top Boost channel of my AC15C1 with a gain around noon (11 am I have a slight crunch but withthe well Voxéen e scratching my P90 it gives a clean one dirty little of beauty for rhythmic pop, to 13h I have enough potatoes to play full).
The second channel I use to have a good overdrive classic except that the MOSFET makes all the difference (and it's called Boost, must follow) and I use mostly humbucker lead with very Gibsonian of my guitar. It works wonders with an octave (EHX Micro Pog for me). And if not, I have a friend who lent me an old Big Muff 70's, and with just the first boost channel, it tears his granny.
Recording, often late at night impossible to put a microphone in front of the Vox, I use the plugin from Waves GTR or even Logic Amp Designer settled on a clean his "imitation Vox" (and an EQ to fine-tune) and it looks pretty good. The Fulldrive is again a difference. I became allergic to models (but still practical in some situations), and is the boost adds a nice dynamic and credible.
I could compare with the latest as of distortion in Fulltone, the Plimsouls: NOTHING TO DO. This seems to be a stage with a OCD level approximating a Marshall Plexi. This gives large distortions for those who love the stuff like Proco Rat, but it does not replace a tube screamer. Personally it's not really my thing, preferring either outright or classic overdrive fuzz (or similar like the Big Muff).
OVERALL OPINION
Most: versatility (although it remains to overdrive in a spirit Tube Screamer, not a big one and even less distortion fuzz. Not against it must deposit a distortion boost mode CompCut) and adaptability to my different guitars. Mode "Mosfet" beautiful to the point of saying "why the overdrive does not sound all like that?".
Cons: Hard to choose the palette of possible sounds. Especially not having to touch it on stage or two between uses different guitars. We can not have all digital presets either. It would take at least two
Of course it's expensive but if you have already spent a fortune on TS, DO, Disto of all kinds and are looking towards Fulltone is that the price argument is not so disturbing it.
Until this purchase, I used the drive of my Sansamp Character Series pedals. Well it sounds. I remain a fan of Tech 21 products. Especially since it seems that small room in Paris to accept less that brings its own amp, then to walk around with models of this quality is nice if you want to avoid having to use a numerical modeling horror Fender and Roland from home.
But there I was looking for something that allows me to have the same pedal a slight crunch like TS in a rhythm and solo boost or other use of a simple Clean Boost. This pedal is perfect for this. It is because I do not want two pedals m'embarasser why I did not choose the OCD which would have forced him to have a boost pedal as well. But I confess that I understand that both the Fulldrive and OCD. Even if it is a luxury when you do not need so many different sounds it controllable to toe.
EDIT: I said that but then I ordered a Big Muff clone in Civil War Stomp Under Foot. if I read all my reviews for AF, I think this kind of contradiction must be legion in my opinion, having gone through all the periods in selection of guitar gear. That said, if I was looking for a good classic rock sound to AC / DC, fulldrive is sufficient.
If you want the sound of the solos of Angus Young is on this channel we have to go (for gain, this pedal is no longer in its field).
Other than that between the three modes "Comp Cut / Fat Mids and Vintage" and switch "Mosfet / Standard", it was a very nice range of clean boost to big crunch.
UTILIZATION
Easy editing, knobs very reactive to find the right sound for relevance: the guitar, the different microphones at different styles. The man page has no interest. Better to watch videos of demos found on Youtube to understand the effects settings and try to find their use on different guitars.
SOUND QUALITY
Tried it with two guitars that have nothing to do:
- Duesenberg Starplayer TV +: Vintage Mode (FM) for microphones handle (sort of P90), not too much drive, the sound is great for rhythmic rock / pop very punchy. Boost channel, with a knob nearly full (say, at 5), I have a classic lead sound on the mic Bridge (humbucker) that is both bold and very detailed (characteristic of the Duesenberg). I like the standard mode (a classic overdrive) but the sound is full in "Mosfet". A treat. The problem is that between the first "round" and the second "bridge", I like to adjust the TONE. Not easy to find the setting that goes for both for the stage.
- Danelectro 59 Reissue: while there I almost rediscovered the guitar. Now I use it in situations where I would choose one if I had a Telecaster. It has a grain to it and position "two pickups in series" is one that produces the best sound. In "Overdrive" / Standard, playing the TONE knob I got a bite interesting, even with the neck pickup alone who usually sounds a bit too nice for nervous licks.
This guitar (which is my spare) I do not use usual in micro bridge acute for crunch sounds in saturated and in position "middle" for clean sounds. And this was an issue of difference in level (fatal versus single micro micro series) Here I have beautiful Crunch / Lead position with two microphones. And what a sound. I think when the designer advises on its website to try the mode Flat Mids with the neck pickup of a Start, he knows whereof he speaks.
Otherwise its "light" mode CompCut (which wants a clean boost) also provides a valuable potato. But then we must choose: use the clean boost pedal in overdrive or buy two.
With this Fulldrive 2, it is clear so that the grain of the Danelectro a little cheap (the guitar not the grain) attracts many people (not just the fact that Jimmy Page played it).
So for classic rock styles, old 70's hard, brit-pop, early punk or stoner, this pedal is a marvel. In fact, everything but the bulk metal. Put a very light (a Vox AC15C1 for me), but also made the test with an amp that sounds cardboard: Pod XT amp transistor as the Vox Pathfinder or worse a Marshall MG (set in his clear, the crunch is still horrible on these amps) and suddenly you feel that your amp sounds better.
EDIT: After two months, this pedal is almost always alllumée when I play other than its really clear. The first channel I use as a boost (yes it is called overdrive) as one would use a tube screamer: Overdrive is set to almost zero, and Mosfet switch Mids Fat Tone and according to his research and I used the microphones on my guitars. To live, I go in the Top Boost channel of my AC15C1 with a gain around noon (11 am I have a slight crunch but withthe well Voxéen e scratching my P90 it gives a clean one dirty little of beauty for rhythmic pop, to 13h I have enough potatoes to play full).
The second channel I use to have a good overdrive classic except that the MOSFET makes all the difference (and it's called Boost, must follow) and I use mostly humbucker lead with very Gibsonian of my guitar. It works wonders with an octave (EHX Micro Pog for me). And if not, I have a friend who lent me an old Big Muff 70's, and with just the first boost channel, it tears his granny.
Recording, often late at night impossible to put a microphone in front of the Vox, I use the plugin from Waves GTR or even Logic Amp Designer settled on a clean his "imitation Vox" (and an EQ to fine-tune) and it looks pretty good. The Fulldrive is again a difference. I became allergic to models (but still practical in some situations), and is the boost adds a nice dynamic and credible.
I could compare with the latest as of distortion in Fulltone, the Plimsouls: NOTHING TO DO. This seems to be a stage with a OCD level approximating a Marshall Plexi. This gives large distortions for those who love the stuff like Proco Rat, but it does not replace a tube screamer. Personally it's not really my thing, preferring either outright or classic overdrive fuzz (or similar like the Big Muff).
OVERALL OPINION
Most: versatility (although it remains to overdrive in a spirit Tube Screamer, not a big one and even less distortion fuzz. Not against it must deposit a distortion boost mode CompCut) and adaptability to my different guitars. Mode "Mosfet" beautiful to the point of saying "why the overdrive does not sound all like that?".
Cons: Hard to choose the palette of possible sounds. Especially not having to touch it on stage or two between uses different guitars. We can not have all digital presets either. It would take at least two
Of course it's expensive but if you have already spent a fortune on TS, DO, Disto of all kinds and are looking towards Fulltone is that the price argument is not so disturbing it.
Until this purchase, I used the drive of my Sansamp Character Series pedals. Well it sounds. I remain a fan of Tech 21 products. Especially since it seems that small room in Paris to accept less that brings its own amp, then to walk around with models of this quality is nice if you want to avoid having to use a numerical modeling horror Fender and Roland from home.
But there I was looking for something that allows me to have the same pedal a slight crunch like TS in a rhythm and solo boost or other use of a simple Clean Boost. This pedal is perfect for this. It is because I do not want two pedals m'embarasser why I did not choose the OCD which would have forced him to have a boost pedal as well. But I confess that I understand that both the Fulldrive and OCD. Even if it is a luxury when you do not need so many different sounds it controllable to toe.
EDIT: I said that but then I ordered a Big Muff clone in Civil War Stomp Under Foot. if I read all my reviews for AF, I think this kind of contradiction must be legion in my opinion, having gone through all the periods in selection of guitar gear. That said, if I was looking for a good classic rock sound to AC / DC, fulldrive is sufficient.