#footswitch only

[fuzzkaizer]

Kitty Hawk - footswitch (1982-1983)

cred: kleinanzeigen.de/Edgar Gutenberber

[worldmusicsupply201]

The Value Of High-Quality Tools When Recording Music

In the event that you are a performer and a guitarist specifically, you will unquestionably require impacts pedals. Assuming you are into recording music, you essentially can't manage without these pedals. It is critical to have the right music gear, however it is likewise fundamental that to add the right impacts so your music sounds really engaging. You may be the best player or guitarist around, however you actually need to add these astounding impacts. Most guitarists generally utilize a mix of at least three impacts for the sound they produce. These are bending, theme and postponement however there are different impacts as well.

What Are Impacts Pedals?

Impacts pedals are otherwise called stompboxes. These are little units made of wood or metal. They are put on a pedal board or on the floor before the guitarist. The client needs to switch it "on" and "off" with the feet. You can get truly straightforward stompbox pedals where there is only one single footswitch, and furthermore more confounded instruments where you will find a few footswitches. However these may be confounded, they offer more impacts and are much of the time liked by numerous artists. A few performers even structure an impacts chain by interfacing together at least two stompboxes. These chains are normally made between the preamplifier and the guitar intensifier. The impacts inside the chain can be consolidated in more ways than one during a presentation.

A few Well known Impacts Made By Impacts Pedals

Twisting - This is a massively well known impact. This is the sound most people contemplate especially on account of an electric guitar. The impact can be in different levels and types. For example, assuming it is metal that you are playing, you can get the crunchy and weighty sound, and assuming you are playing guitar shakes or blues, you can get a hotter sound. The individuals who play blue grass music can likewise add bending. The vast majority of them will add a slight mutilation to the perfect sound of a guitar. This tad of twisting will add a chomp to the sound.

Delay - This is another exceptionally well known guitar impact, and it can sound brilliant as well. For instance, in a colossal room, it can make a roaring difference and in a more modest one, it will sound more unmistakable and more brilliant. The sort of sound a room has will rely upon the reflection from the walls. Anything that might be the size of the room, the music individuals hear will be the first, and furthermore one that gets reflected from the walls. You can figure out the length of the room by the deferral.

Chorale - This is bread and butter stuff in impacts pedals for most guitarists. This will part the sound and defer a sign marginally. To grasp this better, envision two individuals playing the instrument together. The truth of the matter is the two of them can't actually play together. One individual will constantly begin early, even by a brief moment. The ensemble does this.

For More Information :-

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[skeedog]

Blackstar Unveils a Fresh Perspective on Their Amped 1 Pedal

Product Review: Blackstar Dept. 10 Amped 1 Pedal In collaboration with Amy Woodall of Crawlers, Blackstar has introduced the Dept. 10 Amped 1 pedal, a revolutionary product designed to enhance and transform your musical experience regardless of where you play. This detailed review will explore the key features, pros and cons, as well as customer feedback on this innovative piece. Key Features: - Versatility: Built for musicians who are constantly on the move but refuse to compromise their sound quality or technical capabilities. - Response Control: Offers five different valve responses mimicking an actual valve amplifier’s dynamic response which allows players to customize their tonal output significantly. - Power Reduction Switch: Allows users to toggle between three power settings -100 Watts for full band performances; a more manageable setting at about mid-volume gigs would be in its ability at counting through frequencies even at lower volume rates — making it perfect not only big shows Without sacrificing tone clarity The accessibly ingenious yet straightforward option that provides painstakingly hand-wired amp perfection within simple dials could turn bedroom floor noodling into valuable studio-bandwidth presets enchilada–or immensely helpful during live sessions needing quick adjustments without interrupting flow Departetirment also extends Tech prowessfeaturing accurate selections edited-controlled via Architect deep-editing software inclusive realistic hall-disperse sounds from minimalist-to-grandiose reverb scales plus type/tone amendments Moreover compatibility lifting addingExample upscaling simplistic setups art capturing intricacies complex multi-effect arrays friendly ease Furthermore empowering artists individualism dual-footswitch setup promotes instant switching standard configurations personalized seamlessly integrations deeming comfort precision focus solely performance Additionally uniqueness conversation-starter facets involve switchable models emulating legendary US UK amplifiers providing flat state no coloring allowing utter authenticity personal expression variety similarly aimed globally understanding needs diverse music community perceptions Pros: remarkably intuitive user interface simultaneously achieving depth customization first-rates highly appealing those both explorative seasoned realms audiophile modifications Rest assured compactness does detract robust durable build reliably withstand rigors touring Ensuring satisfaction range genres preferences catering new top-lines irrespective geographical locational constraints Tougher brighter recourse against modulations potential dropout considering backstage preparations gig-circumstances evident autonomy professional-quality expectation enthusiast base Enjoy adaptability seize stages scenarios unbound by conventional limitations restrictions warmly embracing liberation condition traditional makeup guitar rigs circuitries expressed renewed interpretations identity reinventions amidst unpredictable thrilling journey modern-day musicianship Cons: Given price point $499 striking significant individuals strict budget allocations perhaps contemplating investment worth noting period adaptation familiarization complexities aforementioned tech aspects intervention acquiring proficiency optimal utilization might instigate temporary setback transition weigh swell annals efficiency versatility compensate substantially long-term gains warrant closer scrutiny valuation respect affordability concerns ismanag Decision-making insightful reflections past-present aspirations addressed align perfectly forming cohesive unity perception enjoyment auspices newly encountered technological advancements Inclusion guidance manual tutorials part package greatly appreciated simplifying steep learning curve fostering greater accessibility inclusivity among wider audience spheres Customer Feedback: Praised widely across forums reviews alike consensus emerges surrounding unparalleled flexibility granted guitarist dream conced knack distilling essence intricate bulky equipment Portable form reliable overwhelmingly positive reports enhanced onstage presence reinforced confidence attribute transformative nature tool arsenal Enhanced notably complexity laying foundation exploration artistic boundaries previously deemed unreachable inspiriting wave creativity ingenuity adoption pathways constructed ideally suits vast majority nonetheless highlights special instances difficulty navigating initially cross-examining interfaces albeit rare occurrence indicated hopefully Address receives manufacturer continuous commitment excellence service ensuring questions queries resolved timely manner leading improved iterations future releases.Overall impression vivid representation groundbreaking direction propelled intention closing gaps permitting freedom localize environments cultivate global resonances deeply impactful ways https://blackstaramps.com/amped Read the full article

[guitarbomb]

If you own a Line 6 POD Express Guitar or Bass pedal, the new Pedalnetics PodExpress AuxPlate could be exactly what you want

[proaudiostar]

MIDI Controllers

MIDI controllers connect via a 5-pin DIN connector. Modern controller seven have USB – perfect for connecting to a computer (which doesn’t have built-in MIDI connections). If you would like to attach to your computer via 5-pin MIDI, you’ll need an interface that translates MIDI into USB, Firewire, or other. that would be an audio interface (with other handy connections for your home studio) or a MIDI interface (which only converts MIDI I/O). The MIDI 5-pin DIN is right for connecting multiple pieces of hardware together –you'll connect a MIDI footswitch to an effects pedal or a MIDI keyboard controller to a synth. MIDI (Musical Instrument Digital Interface) is an industry-standard communication protocol. First announced in 1981, MIDI came into production around 1983. Electronic music was on the up from the late ‘70s, and a requirement was identified to raised control and sync multiple instruments. Modern advantages of MIDI are almost endless –lately you' ll use MIDI to attach and control good range of devices. Recorded MIDI data also can be manipulated after-the-fact within your chosen DAW, allowing you to capture a live performance and edit every single parameter at a later date. MIDI can simultaneously carry up to 16 channels of data, enabling control over multiple aspects of a musician’s performance.

[lonelyasawhisper]

A Guitarist Looks At Drummers

Rob Simbeck, Creem, 1st April 1982

Rock 'n' roll is a team sport, and a guitarist has to keep in mind that he's part of a cohesive unit. On the other hand, there's enough of a place in rock for posturing and egomania that a guitarist can be forgiven for that gnawing spot in the back of his mind that says the rest of the band exists just to let him show off his chops.

Guitarists, after all, are usually the front men, the writers, and the visionaries. Hendrix, Clapton, Johnny Winter, Neil Young, Frank Zappa and countless others have fronted varying collaborations of rockers, and while they may have tempered their visions to play off the strengths of their sidemen, there was never any doubt that these were their bands. A number of guitarists have carried the direction and flow of a career through different line-ups, but with the possible exception of Mick Fleetwood, how many rock drummers have done so? Carrying it one step further, the Who may not be the same Who without Keith Moon, but they're still the Who. They wouldn't be without Pete Townshend.

None of this, of course, is meant in any way to belittle the role of the rock drummer. It's just that drum heroes have never quite sparked the fantasies of teenage females or teenage males dreaming of eventual stardom quite the way guitarists have.

So when a guitarist looks at drummers, he's also looking at the guitarists who have played with those drummers, trying to get a feel for what the man behind the kit offers in terms of embellishment, support and drive. The ultimate guitarist's drummer would have both the technical skill and sense of feel to add coloring and flesh to a guitarist's output, whether it's a screaming solo, fills, or power chords at the same time, he'd have drive and nervous energy to push the guitarist into playing a little better or carrying the vision a little further, and the sense of team playing to refrain from flash for flash's sake. Above all else, he would keep in mind that there has to be a solid rhythmic framework to serve both as anchor and starting point for the guitarist.

[...]

ROGER TAYLOR

Histrionics is also the forte of Queen. The band's approach brings to mind nothing so much as a rococo sledgehammer—moments of sheer piledriving ("We Will Rock You," "Another One Bites The Dust," "Fat Bottomed Girls") balanced precariously against moments of attempted operatic soaring ("Killer Queen," "Bohemian Rhapsody"). A guitarist in this setting needs a drummer who can switch from the ham-handed to the skitterfingered at the drop of a footswitch.

Brian May's got almost everything he needs in Roger Taylor and, setting aside the group's fascist and misogynist elements for a moment, that almost is the reason Queen is an excellent band without being a truly great one.

Taylor can offer the solid backing on both fronts. He can convince you the Fourth Reich is stomping across the world's biggest gym floor during the opening of "We Will Rock You," then add enough solid-yet-colorful texture in "Killer Queen" that despite the phased voices and other attempts at pomp, you're always aware that it's only rocknroll.

As a guitarist, though, you want a drummer not merely supportive, but actually driving you on in a manner designed to inspire greatness rather than mere flash.

At Taylor's finest moments, he does that. In "Dead On Time," he takes a song that could be less than urgent if it was done with a standard approach, and makes it the stuff of dreams simply by double-timing his beat. He adds enough intelligence and nervous energy to drive May through the lead break rather than just accompany him, and takes a beautifully off-balance yet right segue into the ending.

"Somebody To Love" offers another solid Taylor showcase. He uses concise, tasty rolls to string together sections with different rhythmic feels, punctuates guitar and vocal phrases with long cymbal splashes or short, metallic punches, and offers ponderous tom-tom intros that add weight and dimension to the beginnings of searing solos. That's just what a guitarist wants from a drummer. The same strengths show through on "Crazy Little Thing Called Love" and, to a lesser extent, "Bohemian Rhapsody."

But in places where the material is not totally compelling, there is more you could ask from Roger Taylor. In a band where changes in rhythmic feel are so vital and integral, you need to feel a sense of rhythmic command and certainty as a starting point, and a sense of nervous energy and one-step-ahead coloring as a departure point. In songs like "Flash," "Keep Yourself Alive" and "Under Pressure," there's always a solid underpinning of sound, but never the total mastery that says to a guitarist, "I'm in total control of this section. Now, don't waste my effort— get out there and tear the roof off!" It's like the difference between a pitcher who mixes good pitches well and a pitcher who mixes the same pitches well, yet has a fastball that leaves 'em scratching their heads. Finally, with a song as nowhere as "Mustapha" from Jazz, what little chance the song has to spark any interest at all is lost in Taylor's leaden approach.

All in all, Taylor's got the variety to offer a guitarist solid underpinnings in a number of styles, but he lacks that crucial spark of genius that drives guitarists to greatness.

Retrieved from The Creem Archive

[fuzzkaizer]

"likely a Watkins echo switch from the 60's"

cred: reverb.com/Solo Guitars

[thekingofgear]

Why Nobody Understands the RE-20′s Preamp Bypass

The Roland RE-201's preamp was once again the topic of gently heated forum posts after Boss released two new Space Echo pedals earlier this year (the RE-2 and RE-202). On the original RE-201 Space Echo, the preamp was an analog circuit that boosted and filtered the input signal, preparing it to be written to the magnetic tape used to create the infamous echo effect. This meant that the “direct” signal had some coloration from the preamp even when the echo was not in use. The new pedals include a digital emulation of the preamp, and most forum posters seem happy that the emulation can be bypassed (as a secondary function). But these forum posts also revealed that few players seem to understand the way the preamp works on Boss’s older Space Echo emulation: the RE-20 pedal. That’s understandable, because the RE-20 has a bypass arrangement that I’ve never seen on another pedal....

The RE-20 is easily the most-used delay pedal for Thom and Jonny. During rehearsals last December, Thom had three of them spread across his pedalboards for use in his independent guitar and vocal signal paths.

Volume Controls

One must admit that the single “input volume” control on the RE-20 pedal is a bit unusual. On most pedals, the “input gain” control only has an effect when the pedal is active. That’s the reason most pedals also have “output volume” control: you can set the gain control however you like, then adjust the output volume control to match the volume when the pedal is on and when it’s off. So on a standard preamp pedal, you can crank the “gain” for some clipping, then back off the “volume” to avoid shaking the windows.

On the RE-20 pedal, the “input volume” control effects the volume even when the echo effect is turned off. This design decision has some benefits: it allows Boss to leave out the “output volume” control, making the pedal easier to use and cheaper to manufacture. It’s also reminiscent of the input gain control on the original RE-201 tape echo. The downside is that if you want to give the echos a gritty, compressed sound, you have the boost your output volume even when the echos are turned off. So if you’re carefully gain-staging your effects and how you hit your amp’s input, the RE-20 can really throw a wrench in the works. Not only that, if your input signal is boosted too much, you’ll get harsh hard clipping even when the echo effect is turned off. Boss addressed this on the new RE-202 pedal by offering a “saturation” knob that only affects the direct volume if you activate the preamp emulation. But the RE-20 pedal has other bypass oddities too...

With a loud input (such as this synth oscillator), the Boss RE20 can add some harsh hard clipping even when the echo effect is turned off. The clipping only gets more extreme as you turn up the input volume control. Many describe this clipping as “digital”, but there’s nothing inherently digital about hard clipping. Analog distortions like the Proco Rat and Marshall Shredmaster use hard clipping for an aggressive sound. However, the RE-20 pedal′s hard clipping is very different from the multi-stage transistor clipping on the original RE-201.

The RE-201′s Transistor Preamp

The on/off footswitch on the RE-20 pedal may not bypass the “input volume” control, but it does change the sound of the “direct” signal! This is what makes the RE-20 really unusual. But before we delve further into the RE-20, we should first understand more about the input stage on the original RE-201 Space Echo. On RE-201, the input passes through a transistor preamp that is always active. This is great for folks who like the preamp’s coloration: a gentle rolloff of the highs and lows, plus a bit of transistor clipping. But if you wanted to bypass the unit entirely, you’d need a separate bypass loop box.

Most folks, Jonny Greenwood included, decided to embrace the preamp’s sound and instead used a footswitch to disable the echo. A footswitch connected to the “echo cancel” jack actually stops and starts the RE-201’s motor, disabling the echo effect. In an added quirk of analog electronics, the sudden change in speed when the motor stops creates a bend in the echo’s pitch as heard on live version of In Limbo, but that’s another story (and note that “tails” on the RE-20 works differently). When the “cancel” footswitch is used, the direct signal is always passed through the input volume control and the transistor preamp, regardless of whether the echo motor is running.

And for the curious, this info is only true for the RE-201 and RE-101 Space Echo units. Roland’s later Space Echos such as the RE-301 (famously used by Brian Setzer) and RE-501 feature different preamp circuits.

Here's a simulation of the frequency response of the transistor preamp in an late-period RE-201 Space Echo with a buffer before the input (the treble basically disappears if you connect a guitar directly to a Space Echo, so most people put a buffered pedal in front to correct the impedance mismatch). On a real vintage Space Echo, the frequency response could be more dramatic if the aging capacitors haven't been replaced in the past ~40 years.

Jonny with two of his vintage Roland RE-201 Space Echo units during the recording of Radiohead’s In Rainbows (radiohead.com/library).

The RE-20′s Preamp Bypass

Boss understandably wanted to recreate the tone of the original RE-201 unit, so the RE-20 pedal includes an emulation of the RE-201′s transistor preamp. That faithfulness to the original is also the reason the RE-20 has such a gritty, tinny sounding reverb effect (whatever you think of it on its own, the reverb blends beautifully with the echo). But the engineers at Boss must also have realized that many modern players want their direct tone to be unaffected when a pedal bypassed. So when the RE-20′s echo is turned off, the preamp emulation is turned off too. Many folks don’t seem to realize this, since the volume control suggests that the preamp is always active, like it was on the original RE-201. But when you turn off the RE-20′s echo, the “direct” signal is instead passed along with minimal filtering. To sum it all up: when the echo is turned off, the signal is still buffered, and its level is still set by the “input volume” control (which can still cause hard clipping), but the coloration from the preamp emulation is disabled.

To test this, set the volume of the echo and reverb on the RE-20 to zero, and turn the effect on and off with the footswitch. It’ll depend on your setup, since a mids-heavy amp might already cut those frequencies. Even so, you should notice a some cut to the lows and highs, and perhaps a tiny dip in volume.

Here’s a the frequency response of “direct” signal through a Boss RE20 pedal. For the “Effect ON” setting, the echo and reverb volume controls were set to zero.

When the effect is turned on, the high end takes a serious hit above 10kHz. In addition, the direct volume is lowered by 0.5dB, presumably so that the overall level feels the same even when the delay signal is mixed in. In contrast, when the effect is turned off the frequency response is basically flat (there’s a reduction of 0.5dB at 15kHz, but you’d probably never notice it running through guitar cabinet). Notice that the high-end rolloff begins later than on the RE-201 preamp (at about 2kHz instead of 1kHz) but cuts the high-end much more dramatically above 10kHz.

Modern Versions

It’s worth noting that the newer RE-2 and RE-202 pedals do not replicate this behavior. Instead, the transistor preamp emulation can be turned on or off as a secondary function. And when the preamp is selected on the new pedals, it stays active even when the echo is turned off. In that sense, it’s more faithful to the original RE-201. But I find it a shame they didn’t include the RE-20’s style of bypass as an additional option, especially since they offer multiple bypass options. That said, if they did add another bypass option, nothing would beat an emulation of the motor stopping when the echo is “cancelled”! For now we’ll have to make do with the twist feature.

Here’s a bonus screenshot of Thom with a Roland RE-201 Space Echo during the Radiohead’s performance of The Bends on Jools Holland in 1995 (radiohead.com). Note that he’s running the output of the RE-201 directly into his ‘65 Reissue Fender Twin Reverb, and he has a footswitch wired up to the RE-201′s echo cancel input. This performance is pretty unusual, as Jonny was not yet using a Space Echo of his own. However, Jonny started touring with one by the next year, and Thom hasn’t performed with an RE-201 since.

[ketoplusproexunitedkingdom]

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[super-freq]

The Fulltone 3PDT

When I got started in the DIY pedal hobby the switches that were available were the Carling DPDT. These were about $9 but didn’t allow for easily wiring an LED and true bypass. Small Bear Electronics started offering a 3PDT switch labeled “Fulltone”. These switches were $13 if I recall.

I suspect that Fulltone really wanted to offer true bypass pedals with an LED and had them made for that purpose. Since demand was nonexistent they probably had to order enough to make the manufacturing worthwhile. I guess Steve Daniels at Small Bear got in touch and gave Fulltone an outlet for excess switches.

I bought two of these around 2000. I’m usually trying to build things cheap as possible so I only bought two. Small Bear was the only place I know of that had these switches at the time. I guess they were popular and Steve Daniels was able to get his own line on the switches because soon after the blue version that everyone is using today became available and the prices started coming down. These days the cost is $2.50 to $5.00 and there are several versions of the switch to choose from.

This Fulltone switch is a little different from the blue version. First it’s labeled Fulltone. Second the body of the switch is made from a harder Bakelite where the blue switches seem to be made of a softer plastic. Fulltone still sells these switches for $16. Here’s what they say about the switch:

3PDT Footswitch

15 years ago I designed and started manufacturing the best 3PDT switch money can buy. I did it because the available 3PDTs sucked… badly.

Both the Blue ones, and the Black ones.

The rest of the world has copied the look of my 3PDT, but they have not copied the construction or quality!

All others use a plastic body… plastic and heat don’t mix. Apply some heat while soldering wires and the terminals come loose resulting in either immediate or eventual FAILURE.Mine is Bakelite, it doesn’t melt.

All other switches use a plastic internal plunger! Plastic flexes, especially if there is a 200-lb person with army boots on top of it. The plunger collapses and pops right out of its socket.Buh bye switch. My plunger is made out of metal.

Before I started making my own I used the very same as everyone else, and spent many hours a day replacing failed footswitches. Now I’m free and life is good.

Sounds like it’s different on the inside! Seems like if you want a better 3PDT you can get it but it will cost you. I’m not sure that at $16 you’ll sway anyone from those blue switches for $3.50 a piece. Not too mention there’s another super premium switch out there for $15.40. More to come on this switch. For myself I’m not making products that need to live up to quality and durability claims so I’m still making things cheap as possible for now.

I couldn’t find a spec sheet for this switch. It might be more sturdy but it’s hard to say what that might add to the life expectancy. I doubt it would last 4 to 5 times the life expectancy of the cheaper blue switches makes it hard to justify the cost. That said of it did last that much longer it might be worth it.

The Fulltone 3PDT was originally published on Super-Freq

[agape-philo-sophia]

The Russians have managed to remove the nanochips from the Pfizer vaccine and have published a diagram of functions!

The chip consists of only 4 processors and 4 transistors. The signal through the 5 G network enters on the left on the INPUT. That's how they control you Power is done through body heat and all parts are connected to that tension. The signal is processed in the first processor with a frequency filter and transistor that reinforces it. The increased signal continues to move to another processor controlling the MT-2 GAIN or how much impact it will have on your psyche. This control is variable and can strengthen it or reduce it to desire. In the original recording that party is said to have, I quote: 'A heinous sum of income', which is very bad. The silicone diodes control the electrical energy that allows the virus to be activated in vaccines, then it all goes through another step of signal strengthening and filtering out external influences - they prevent doctors from detecting your chip scanner, literally hiding it The TL0 72 is a very expensive processor and is mostly used for military purposes, you can only get it with a mortgage or so. The BASS and TREBLE controls adjust the instructions that can be heard in the head, every man is different and, depending on whether you are a woman or a man, can ask you to adjust the frequency. It is also a 5G FreQ control that shifts the central control for a stronger ′ ′ impact ′ ′ if the immune system is extremely powerful. The VOLUME control is used for the overall power of the chip, which is sometimes sensitive to your frequency. from personal vibrations, it depends on whether you are at the stage of happiness or generosity or sadness. OUT introduces detox toxins into your body as by-products of the chip functioning. You will notice that there is also the FOOTSWITCH control on the graph, it serves to hide in different parts of the body during the daily movement, recognizing the pressure points on the leg. They thought of everything, but they didn't count on good people all over the world! https://1pensierounaparola.blogspot.com/2020/12/i-russi-sono-riusciti-ad-estrarre-il.html?m=1

[miwromantics]

Tattooing Ryan (part 2 soon)

It was a hot summer day in Seattle, but you didn’t mind the heat at all. It was just another day to you, as a tattooer in a popular shop in downtown Seattle, every day was pretty much the same other than working on different pieces. But today was going to be exciting for you. You had an appointment with this guy, Ryan, who was a guitar player in a metal band. Even though your appearance may lead on that you love metal music, you actually weren’t into it. But nonetheless, you were pumped to meet Ryan. His band, Motionless In White, was on tour for the summer and was coming through Seattle for a few days. He had sent you a DM on Instagram a few weeks prior asking if you could squeeze an appointment in and you agreed to it. And a few days after that began the small talk and slightly flirtatious comments. But as a woman tattooer, you were used to people flirting with you and didn’t read much into it. But as it got closer to the appointment, you were getting nervously excited to meet him.

You got ready to head to the shop, throwing on a classic ‘you’ outfit to show off your tattooed body: black ripped high shorts, a white crop top, and your high top Vans. With your blonde hair falling down to your waist, you popped on some eyeliner and red lipstick and stared yourself in the mirror. You smiled and thought to yourself how you normally don’t care about how your appearance, but you wanted to make a good first impression for Ryan.

You grabbed your car keys and headed out of your apartment. As you started driving, your phone vibrates: an Instagram notification from Ryan.

“Hey gorg, still good for our appointment today?” it read.

You smiled and bit your lip. “See ya soon!” you replied.

You thought about flirting back, but opted to keep it chill.

As you pulled up to your favorite coffee shop that was on the way to work, you felt your phone vibrate again. It was another Instagram notification and your face lit up. As you unlocked your phone, you saw it wasn’t from Ryan, but just another inquiry about getting tattooed by you. Slightly bummed, you put your phone away and grabbed your coffee.

You and a few other tattooers arrived at the shop just in time for opening. A few people were already waiting for their appointments, so you helped them with paperwork while their artists set up their stations. You sipped your coffee and waited for Ryan to show up. As you sat behind the desk with your feet propped up on the ledge, you took the time to reply back to emails and DMs. You heard the doors open, making you sit up quickly, to see Ryan walk in the doors. He had dark sunglasses on, his hair was slicked back, and wore all black.

“Well look who it is,” you said, standing up from behind the desk and walking over to him.

He smiled and took his sunglasses off.

“Y/N! It’s good to finally meet you,” he said as he wrapped you in a hug.

You chuckled and took a breath in, you couldn’t help but notice how good he smelled.

“How’s everything been? How’s the tour going?” you asked as you both pulled away from the hug.

“It’s been going really well! We’ve got a few more shows left, but it feels like we just got it started,” he said with a huge smile on his face, “I’m glad we have a day off today and a show tomorrow.”

“Hell yeah, that’s awesome! Where are you playing tomorrow?” you asked.

“It’s at The Showbox!” he answered. “But hey, if you do a good job with this tattoo, I can get you on guest list,” he winked at you.

You laugh and playfully rolled your eyes.

“Well let’s get this started, shall we?” you said as you motioned to the back of the shop.

He followed behind you as you lead the way to your room. The sound of other tattoo machines were buzzing in the air. When you got to your room, you patted on the chair for him to sit.

“Okay so what are we doing today? You didn’t mention anything specific when you hit me up,” you asked.

He sat on the chair and laced his fingers together.

“Well, I was thinking that you could surprise me. Do whatever kind of piece you want,” he said with a smile, “but keep it black and gray!”

“Ooo anything I want, huh?” you said with a sly smile. You could feel your cheeks start to blush.

“Alright, not anything! I don’t want to walk out of here with a huge penis tattoo,” he laughed.

You laugh and shook your head. You reached for your notepad and began sketching. You could feel him watching you. The room was silent as you drew. After about 10 minutes, you flipped your notepad around to show Ryan what you worked up. You held the notepad to your face and let your eyes over the top. You drew a traditional style bat head, with its flesh peeling away.

“That’s fucking sick, Y/N! I can’t believe you drew that so quickly!” Ryan said, a bit shocked.

You flipped the notepad around and looked at it again.

“Thanks Ryan! Alright, let me go make the stencil, I’ll be right back.”

As you walked out of the room, you couldn’t help yourself by looking at him one more time. He caught your glance and smiled at you. It only took a few minutes to make the stencil and when you walked back to your room, Ryan was standing in the doorway.

“This is a cool shop, I can’t believe I haven’t been here before.”

“Your loss!” you joked. “Alright, so where do you want this little bat guy?”

He chuckled. You were enjoying flirting with him.

“I’m thinking this would look good on my knee cap,” he said.

“Whoa, we got a tough guy in today. You sure?” you asked.

“Hey I’m tough! Let’s do it!” he joked back at you.

“Listen Ryan, just so you know, I don’t allow crying in here. No matter how bad the pain I’m inflicting is,” you said as you winked at him.

He let out a sigh as a smirk formed on his face.

You grabbed the stencil and got down on your knees in front of him. With a steady hand, you placed the stencil on his knee. Peeling it off, you leaned back and looked at it. You looked up at him, only to see him already staring at you.

“First try! Take a look at it,” you said as you stood up.

He bit his lip, trying to hide a smile that was too obvious to hide. He walked over to the full-length mirror and checked out the stencil.

“Looks badass, Y/N. Let’s get this started,” he said.

You motioned to the chair, and pulled up your station. He sat down and watched you pour the ink into little cups. You dipped the needle in the black ink and hit the footswitch, causing it to buzz.

“You ready?” you asked.

He shook his head.

You started off with a few small lines so he could feel how the next few hours were going to be. You could see his body tense up a little bit, followed by a small sigh.

“You good Ryan?” you asked.

“Yeah, you weren’t kidding about the pain. Knee caps are rough,” he answered you.

“Well let’s talk about something else,” you suggested, “just let me know if you need to take a break.

Ryan leaned back into the chair with his arms draped over his head. You could see him taking in deep breaths. To take his mind off the pain, you guys began talking about easy things like the weather in Seattle, and cool things to do in the city. The conversation slowly brought up more deep topics like touring and hobbies. And even though you had only officially met him an hour ago, you felt like you’ve know him for years. One hour into the tattoo, the outline was finally done. You wiped away the ink with a wet paper towel. Ryan leaned forward to check it out.

“That’s killer, Y/N. You’re very talented,” he said as he stared at the tattoo.

“Oh just wait till it’s finished,” you said as you looked at him.

He locked eyes with you, and brushed your hair back behind your ear. Instantly, you could feel your cheeks get warm.

“Lean back, Ryan, still got more to do,” you said as you tried to hide your blushing face.

He chuckled and leaned back into the chair.

As you began shading the bat, he started breathing heavier. The buzzing of the machine helped mask the sounds of his exhales, but they kept getting deeper. And even though you knew he was in pain, you couldn’t help but think about how attractive he was.

“Hey can I ask you a question?” he mumbled in between breaths.

“Yeah go for it,” you answered.

“Have you heard of my band before? Did you know who I was when I first messaged you?”

You stopped the machine and looked at him. He picked his head up and looked back at you.

“First of all, Ryan, that’s two questions,” you said with a smile. You started your machine again. “I actually don’t know your band, I’m not really into heavy music. So with that, I didn’t know that you were some famous rock star,” you joked.

You looked back at him, to find him staring at the ceiling with a smile on his face.

“Sorry if that wasn’t what you wanted to hear,” you said after a few moments of silence.

“Quite the opposite actually,” he said quickly, “it’s nice meeting someone who has no idea who you are.”

You stopped your tattoo machine to wipe away the ink. You stayed quiet after he said that; you were a little taken back. This was the most forward thing he said to you yet and it made you question his seriousness of all the flirting. You looked back at him and he was looking right your way.

“I know I’ve only known you for a few weeks now, and have only met you a few hours ago but I really like you, Y/N,” he paused; “wow, I sound crazy right now..” he trailed off.

“I think it’s all done, wanna check it out?” you tried to change the subject.

“I’m sorry if I freaked you out, I’m normally not this forward,” he pressed on.

You pushed your chair back and stood up.

“I really like you too Ryan. I’ve never flirted with clients before, but I couldn’t resist. There’s just something about you that..” you said as you locked eyes with him.

He stood up from the chair to take a step towards you, but since his knee was quite swollen from getting tattooed for three hours, he nearly stumbled into your arms.

“Jesus!” you said as you try to catch him.

He laughed uncontrollably and you were quick to join in.

“Holy shit I totally forgot how much pain I’m in,” he laughed as he caught himself.

You grabbed his shoulder and he looked at you, still having a huge smile on his face from slight embarrassment. All you could think about at that moment was kissing him.

He hobbled over to the mirror to look at the new tattoo you just gave him.

“Y/N this is insane!” he gasped. You stood behind him, watching him check out his art with a smile on your face.

He turned around and reached his arms out for a hug. You threw your arms over his shoulders while his arms wrapped around your waist. As you pulled away from him, he paused by your face and you quickly gave him a kiss on the cheek. You held his face with one hand and put your mouth by his ear.  

“Oh c’mon Ryan, you really think I’m gonna kiss you on the first date?” you whispered before biting his ear lobe lightly.

His hands gripped your waist and it made you giggle.

You walked over to your station and started cutting pieces of clear wrapping to cover his tattoo. He hobbled back to the chair and waited for you to clean and wrap it.

“So, are you busy tomorrow? Would you actually want to come to the show?” Ryan asked while you finished up.

“Yeah I’ll come check it out,” you said.

He smiled and shook his head.

“Well contrary to popular belief, Mr. Sitkowski, you are not my only client today,” you joked.

“Oh I get it, you’re gonna tease me and then kick me out. I see the games you’re playing!” he joked back.

He stood up and started to walk out of the room, you followed shortly behind him. As you both got to the front of the shop, you saw your next client sitting on one of the couches. You gave them a small wave and Ryan turned around to look at you. You reached out and wrapped your arms around him one last time. You loved how his arms felt around your waist.

“Thanks again for the dope tattoo,” he said as he kissed the top of your head, “see you tomorrow, Y/N.”

He put his sunglasses on, smiled at you and walked out the door. And at that moment you realized that this was the first time you couldn’t wait to go to a metal show.

[forgethemaker]

I was hired with my pal MD from MD Guitars to make the reconditioning of an old Silverface Fender Twin reverb. The serial number of the amp dates the amp from 1971-1972. All the original tolex cover was gone and there were only stains of dust and old glue. The stringed instrument maker cleaned all the wood of the cabinet and then put a beautiful varnish. I disassembled all the electronic parts, cleaned everything, re-solder all of the footswitch and reverb plugs; checked the bias balance and then re-assembled everything. It was a pleasant work to do.

___________________________________________ 

Avec mon ami luthier de MD Guitars, nous avons été embauché pour rénover un vieil ampli Fender Twin Reverb Silverface. Le numéro de série date l’ampli d’à peu près 1971-1972.

Tout le tolex d’origine était parti il ne restait plus que des traces de colle et de saleté. Le luthier a nettoyé tout le bois du cabinet et a refait un vernis magnifique. J’ai démonté toute l’électronique, tout nettoyé, ressoudé les prises de la reverb et du footswitch, vérifié la balance du bias puis tout remonté. C’était un boulot vraiment chouette à faire.

[ankinskywalker]

21 Questions!

Tagged by @lafemmedemon, thanks!!!

Nickname: I don't like sharing them, but it's either "lovely balls" or "pint glass" (don't ask.)

Zodiac: Aquarius

Height: 5’11”

Last Thing Searched: "Marshall Avt150H footswitch cable"... Exciting I know 😂

Favourite Musicians: Uh, me? Jk, but it’s too long a list to get into, tbh. (I liked this answer so much I'm keeping it 👍)

Song Stuck in Head: Care - by Dance Gavin Dance (Tilian Pearsons's voice is INSANE.)

If you had a time machine, would you go back in time or visit the future? I'd visit the future, to see if we've managed to fix the world by 2050.

Do I Get Asks: occasionally, I do (although I'd always welcome more!)

Following: I have 425 followers at the present moment.

Would you rather be rich or famous? I’d rather be rich so I could buy my own house and music equipment, not be tied down with a mortgage and the constant dread of "Can I afford this?" also it could come in handy for charitable needs. Fame is unimportant.

Amount of Sleep: What’s sleep? Literally sent home from work the other week because I slept 7 hours in an entire week.

Lucky Number: 4, I think. Ironic as its unlucky for so many other people.

What I’m Wearing: underwear and a very big blanket (it's early, I'm still in bed.)

Dream Job: Musician/singer/session musician.

Dream Trip: Either Japan/Scandinavia (I've always wanted to go to Finland)

If you were an animal, what would you be? I dunno, maybe like a duck? Everything is calm above the surface but beneath my feet are going wild to keep me afloat.

Favorite Food: Spicy chicken tonkotsu ramen with soft boiled eggs, spring onions, sweet red pepper and egg noodles

What are some of your favorite books/films/shows/games/etc? Books: A lot of stuff by James Patterson, I think the first book that got me into him as an author was judge and Jury. Also I don't like cricket but the book "penguins stopped play" is an absolute riot and you should read it now.

Films: I know it's common but I very much like the marvel films, especially spiderman (ironic I know) but also anything by Edgar Wright.

Shows: I watch a lot of anime so I won't list that, but the last TV show I really enjoyed was mindhunters, it was fucking great 👍

Games: I've been playing a lot of the Yakuza games. I think the juxtaposition between being super serious and absolutely ott ridiculous being a certain charm I enjoy. As for tabletop games I have a large number I keep at home, and am hoping to top up the collection with more stupid card games.

Play Any Instruments: I sing and play guitar, drums, piano, bass, ukulele, trumpet/cornet, euphonium, among dabbling in another few.

Languages: I only speak English fluently, and I can hold a conversation (with great difficulty) in Welsh. I also have this weird thing where I can read a romance language and understand what it's saying, I just don't know how to respond.

Describe Yourself as Aesthetics: I genuinely don't know how to, I don't particularly have an aesthetic, I just like what I like, enjoy making other people feel good, and valued, treating people like human beings and with the love they deserve.

... Music, instruments and anime???

@i-didnt-know-better @lalunetranquille @chubbawubbadubdub @wounded-but-deadly @weirdturned-pro @treborn @the-perksofbeinggrace @ultraryolence @petty-davis @glimpseofsanity @howdykayla @kiss-me-just-once-for-luck @sarawr-saurus @samstimpson @abheithsasta @sleepyvampiress @withouttheweightofbeingwhole @daniellathemaidenofiron @lonewolfcoldsoul @jamthepxmp @alittlebitridiculous

Only if you want to!

[davybe777]

Pedal of the Day: Fender Bubbler Chorus - This is fairly new offering from Fender. They have released a whole line of pedals over the last couple of years, and I have a few, and they are all top notch. Not only is the construction superb, but they all have a lot of functionality, and sound great. Today we are looking at their Chorus pedal. To my ears, if you are only going to have one modulation pedal in your chain, it should be a chorus. This goes for both guitar and bass, IMO. Of course more is more, so a flanger and a phaser would be welcome, but chorus is numero uno. . The Bubble Chorus has two wave options: a sine and sawtooth, that can be selected via a mini toggle switch. There is a level knob, a bypass footswitch, and a footswitch to select between Slow or Fast occilation. There are two sets of Rate and Depth knobs which correspond to the two speed settings. In addition, there is a Sensitivity knob, that allows the pedal to react to the intensity of your pick attack. It works, so I keep it turned down, so it doesn't!! There may be a case where I would want this, but I typically run a chorus as an "always on" effect. When turned fully clockwise, every hard hit is rewarded with a fluttering liquid warble. Cool, but...only in small doses. There is a jumper on the back to disengage the LEDs if you want, and it is powered with a 9V adapter. . . 🎶🎵🤘 . #oldschool #guitarist #bassist #musician #originalmusic #metal #rock #heavyrock #heavymetal #gothic #doom #sludge #prog #shoegaze #blackmetal #ambient #popmetal #pedals #originalmusic #cruellogic #cruellogicband @fuzzlordeffects @behringer @blackhawkamps @marshallamps_uk @voxamplification @peaveyelectronics @bossfx_us @jimdunlopusa @ehx @tcelectronic @fender @nuxefx @catalinbread @fulltone @darkglasselectronics @schecterguitarsofficial @joyoofficial @orangeamplifiers @moonrootlogos @redbeardeffects @incendiumonline @snakeoilfineinstruments @walrusaudioeffects @earthquakerdev @oldbloodnoise @pedaltrain @focusritepro @m_audio @presonusstudioone @toontrack @fender (at Ocean County, New Jersey) https://www.instagram.com/p/B92fAQfHgT3/?igshid=108unbp391gl8

[fuzzkaizer]

Lot of keyboard sustain pedals as-is parts or repair Yamaha, Roland, Moog, On Stage VFP2, Tascam.

cred: reverb.com/Charlies Music/Cape Cod Pro-Audio