#lounsberry

[melsieee]

Seriously, (you’re) disgusting 😊

[5-pp-man]

since the anime started ive really had to get used to Adachi and Kurosawa's voices, cause I imagined them with completely different ones as i was reading.

i dont remember the particular va i had for Adachi (i think the one he has now fits better anyways, my pick was wayyyy deeper) but for Kurosawa i specifically imagined Sho Hayami. and thats really hard to shake off now that im reading the manga again.

so as im reading now its a weird jumble between the anime voices and the ones i assigned them initially.

[hotdogshipping-miwa-enthusiast]

In light of recent events I offer an idea to the go rush fandom:

Yuudias/Zwijo Psychogram

Now I cannot draw so this vision shall stay firmly implanted in my head until the day I die and I'm hoping it gets stuck in your heads too

Thank you for coming to my tedtalk

[dearmahiru-archive]

i promise this is supposed to be a mahiru stan acc

I made something! I'd love to see you guys fill it out :) I like seeing everyone else's opinions (will reblog with my own as well)

[spiritsncrystals]

I read your tags and agree. I didn't realize how many idol seiyuu are in yugioh until my fixation hit. I can't watch zexal subbed because Yuma sounds so much like kumon from A3 😭

I made this a while ago before I actually deep dove on the seiyuus

The Rabbit Hole goes Deep but that image sums it up well srsurs

If I had a quarter for everyone that was in something idol related along with YGO, I would probably have at least 3 bucks (Especially if we're talking say KENN or Toshiki Masuda who are in quite a few)

Wasn't aware Arthur Conan Lounsberry was also in that sphere, too, though that's interesting to learn

[roserunodays]

ARTHUR LOUNSBERRY LMAOOOO

[valentinesweetheartspecial]

hii vinciie im listening to more bands lately n since i play bandori but arent too well versed in music,, do u rec any argonavis bands for me to listen to? also what r some comments on said band if u want to give em?

i generally like pop / pop rock so my taste isnt anything super special but i do like songs that r melancholic n sad!!

HELLO LAB! I’m sorry for being so late to answering this , I was fighting demons and eating my homework . I DO have many Aaside recs heheh, I have a entire Aaside playlist but it’s on apple music which I don’t think you have (? Maybe you do I can send it if so) so I will simply write a list here. I’ll put some bands and songs and a brief description of their styles!!!

For your Main Band, Standard Mobage Music, I’d recommend Argonavis! At times I like their music and at times I don’t. They actually use a large variety of instruments in their songs despite being a 5 man band, so I don’t know where they’re getting these strings and all that but I’ll suspend my belief for the tunes. Their music is like, upbeat inspirational pop rock tunes with an odd amount of strings if you pay close attention. There’s also a heavy focus on piano in their songs! Some specific songs I would recommend are Hey! Argonavis, AASIDE (only listen to the argonavis version. If you listen to the all leaders version your ears will bleed), JUNCTION, Starry Line, VOICE, and my personal favorite of all their songs, Root of Love….Root of Love is not at all like any of their usual music, it’s much more subdued and a bit more…..tender…..? Well, it’s really great anyways, so if I had to choose one of their songs to listen to forever, it would be that one. Their covers of Melissa and Kuchizuke Diamond are also really good! Imo the second one is better than the original

For METAL ROCK GRAHHHH HEAVY DRUMS HEAVY GUITAR HEAVY VOCALS GAAHHGRAHHH I HATE MY DAD music, listen to GYROAXIA! No, I do not know what their name means nor will I ever know. Their music is extremely heavy on the guitar and drums, it’s fast paced, Nayuta is screaming mid song, sometimes he’s rapping, it’s a good time. Occasionally, Ryo is forced to look God in the eyes as he’s forced to play the synth and the bass at the exact same time, and despite the challenge, it always sounds good. Couldn’t they just have one of the guitarists do that? Guess not. Anyways, some of my favorites of their songs are MANIFESTO, SCATTER, BREAK IT DOWN, GET MYSELF, EGOIST, GETTING HIGH, and WORLD IS MINE. And, yes— all of those titles are officially in all caps, and in English. I also really like their cover of Kyoran Hey Kids!!, it’s pretty cool. I kind of hyped them up too much but if you listen I hope you enjoy

I was hesitant to add Fantôme Iris since you said you like more pop rock BUT they do have some melancholy bangers. Their music is vkei! They have a lot of strings in their songs , but in a more…goth way than argonavis. Felix’s va, Arthur Conant Lounsberry, is seriously amazing and I love everything he’s done, in and out of AAside. Yeah I….I don’t know how else to describe their music other than It is Vkei. They also have two guitarists, and sometimes one of them plays the piano. So…here’s some songs: Gin no Yuri, Hitsugi no Naka no C’est la vie, XX in Wonderland, Rhapsodia, and historie. I think rhapsodia is a masterpiece. Also , based on what you’ve told me I think you’d like historie most out of all of these? If you’d wanna hear some of their covers, I recommend 1/3 no Junjou na Kanojo. Um. And only that one. I’ve only listened to the one cover it’s really good I promise.

Next up is HAPPY FUN TIMES MUSIC: Fujin RIZING! They have only had one sad song so far, there’s some crazy lore behind that one….Fujin Rizing is apparently Ska, but I’m a fucking loser and I don’t know what that is or if Fujin Rizing really is Ska. So don’t take my word for that one. What I CAN say is that they have trombone and saxophone in their songs! The focus of the band is to have fun, and that’s exactly what their songs do tbh. You just need to listen to it I like their stuff a lot actually. Some favorites: Banzai RIZING!!!, SWORD!, Run Gun Run, Furareta Otoko No Love Letter, and Jokyou Jokyou Ittekimasu! They also have a cover of HOT LIMIT that goes so unbelievably hard.

Lastly. Epsilon! They are the electronic group yay.….they have the largest amount of songs per band in the playlist, so very sorry if this song list gets long. I was a super big fan of their music even before I got obsessed with Shu so….Yeah….Their music is the darkest out of all the bands, Shu is a emo little fuck and makes sure everyone knows it. They’re the only consistently dual vocal band pre-Kimisute, which is super cool, I love how Shu and Haruka’s voices sound together…Uh, not much else to say honestly , Stream epsilon phi 👍👍👍👍👍 So here’s some songs so you can do that. (Clears throat), Hikari No Akuma, Cynicaltic Fakestar, End of Reason, Play with You, Sake it LOVE!, YUMENOATO, re:play, and finally The song thag gives me diseases: Orthros. They also have a Shu Self Realization song, Raison d’etre. I also wanted to say, Haruka has two solos that are honestly some of my favorite all time AAside songs: Egoistic Sai Phi and Heroic. They both do a really lovely job of capturing Haruka’s most important points as a character….Kanata also canonically wrote a song for epsilon Um. It’s trash. It’s called I’m picking glory, it’s really bad, if you want to listen to a really terrible song listen to that one. Some really good epsilon covers are Enigmatic Feeling, Roki and WATASHIGA MOTENAINOWA DOU KANGAETEMO OMAERAGA WARUI 🫡🫡. Epsilon also has a YouTube channel where they did some vocaloid covers, most of them are bad, but you should check them out anyways. I’m picking glory is on that channel

ONCE AGAIN DEAREST LAB I AM SORRY THIS TOOK ME 40 MILLION YEARS. I do hope you check these songs out and let me know what you think……Love you..!!!!!🫶🫶🫶❤️❤️❤️❤️

[effectsdatabase]

Last week's top 20 videos (2023, week 16)

Top 20 videos last week (April 16-22)

Spellbook Guitar Pedal - Kickstarter Introduction (by David Ross Musical Instruments)

Top 10 Spectacular New Guitar Gear Releases at NAMM 2023 (by TheGuitarGeek)

Solar Guitars 2023 NAMM News (by Solar Guitars)

2023 Winter NAMM Show Recap (by BassGearMagazine)

The Closest Pedal to a REAL Dumble (by Vertex)

Ibanez PD7 Phat Hed - the next Bad Monkey? #bass #overdrive #demo (by Soundfare)

Boris "Vomitself" featuring the Sunn O))) Life Pedal V3 (by EarthQuaker Devices)

Sharp PLASMA Sounds by @lizbrasher ?#plasmapedal #gamechangeraudio (by Gamechanger Audio)

DARTA EFFECTS TV 2023 - REVIEWS DE NOVOS PEDAIS, PEDAIS CLONES, COMPARATIVO ENTRE PEDAIS E MAIS! (by Darta Effects)

PAL800-V3 GOLD Overdrive, Drop D Riffs!!! (by PAL)

This One Is Impressive. All Pedal Slamurai! (by Sasha Ivantic)

Ryche Chlanda (Nektar) is with Greg Lounsberry (Lounsberry Pedals) (by Lounsberry)

Kevin from Oozing Wound loves his ZVEX Woolly Mammoth (by Z. Vex)

EarthQuaker Devices Spatial Delivery (by PJ and the Beard)

Greer Amps Super Hornet - My Goodness This Is Good... OCTAVE FUZZ! (by Buddy Blues)

The Best Univibe under $50? (by Pedalboards Of Doom)

Boss Compressors Through The Years (CS-1, CS-2, CS-3, CP-1X) (by Jason Ayala Spare)

EarthQuaker Devices overdrives battle: White Light Legacy Reissue, Special Cranker, Plumes, Westwood (by We As A Company)

Swirlpool spin cycle. Boss TE-2 Tera Echo and Leslie model 700 Roto-sonic (by SoaringTortoise)

Reply Time #1 - Can the Behringer FX600 Digital Multi-FX? (by Ryan Lutton)

Overviews of the previous weeks: https://www.effectsdatabase.com/video/weekly

from Effects Database https://bit.ly/41DqOda

[pyonzzz]

if i ever go on t i either need to sound like arthur lounsberry or natsuki hanae

[yisanged]

i waswn't expecting futa kajiyama's voice actor to be named arthur lounsberry

[dreamsandroots]

Three-Eyed Truths: Creative Nonfiction as Mixology of Meaning

“Because it is idiotic. Writing when there’s nothing to say.” – Aldous Huxley, Brave New World

I’m living with the ghosts of unsubstantiated doubt. Myriad voices, student debts unpaid, hollow words from the mouths of the talking heads on TV.

Recently I completed a unit for my degree called ‘Creative Nonfiction.' In class we spent a lot of time thinking about and discussing the idea of truth—how it operates, how we approach it both individually and socially, how it’s represented and disseminated. What stood out most to me—and what made it to date one of my favourite courses during the degree—was the extreme diversity with which one can approach something like ‘creative nonfiction.’ Built upon the foundations of a hybrid form of journalism and literary fiction à la Truman Capote’s In Cold Blood, the term has also come to represent a range of contemporaneous pioneers of artful ‘fact writing’ such as John McPhee, Gay Talese and Tom Wolfe in what would eventually be loosely thought of as the ‘new journalism’ movement. Later, critics and writers would grapple with several terms which attempted to convey a more appropriate grasp of its variable core: ‘journalit,’ ‘new’ or ‘high’ journalism, ‘faction,’ to name a few. The practice seemed to be open to a diverse range of styles, including, in the words of Barbara Lounsberry, such texts as "artful memoirs, autobiographies, biographies, histories, travelogues, essays, works of journalism, forms of nature and science writing, and ingenious combinations of these forms." According to Wolfe, what results is

a form that is not merely like a novel. It consumes devices that happen to have originated with the novel and mixes them with every other device known to prose. And all the while, quite beyond matters of technique, it enjoys an advantage so obvious, so built-in, one almost forgets what power it has: the simple fact that the reader knows all this actually happened.

Scene is what underlies "the sophisticated strategies of prose" in Wolfe’s rendition of the ‘new journalism,’ and it seemingly still underlies the impetus of creative nonfiction, or what Lounsberry calls ‘literary’ or ‘artistic’ nonfiction in its current manifestations. We might however wonder about Wolfe’s assertion that an audience places an implicit epistemic trust in these narrative accounts, in knowing that it "all actually happened" despite this being the obvious appeal behind its composition and consumption.

As the decades passed, the once-authentic energy surrounding ground-level narration has become blurred by an unstoppable procession of small, yet increasingly more apparent dissonances: tiny ambiguities, according to Phillip K. Tompkins in Capote’s reporting of facts and quotations regarding one of his portrayed killers, Perry Smith; the seduction and betrayal of journalists, to paraphrase Janet Malcolm, as they circle their subjects and reconfigure their essence into an aesthetic frame; Janet Cooke’s Pulitzer Prize-winning story about an 8 year old heroin addict titled ‘Jimmy’s World’ which was revealed to be entirely fabrication; the proliferation of market-editorial online (have a quick look at most fashion, food or entertainment blogs); or the turbulent permutations of visual authenticity through the rendering of the photograph, film, documentary, news cast and ‘reality television’ show. Today, a program like Netflix’s Making a Murderer exemplifies this problematic relationship between the producer of a representation, its subject and an audience—to speak about certain issues becomes dangerous and potentially harmful, no matter how carefully researched, and filmed over however long a period of time.

And yet, the problem isn’t resolved by simply saying that such a program shouldn’t be made: if that’s the case, then what are we permitted to speak about? And who would (or could) decide such a thing?

Truth is, perhaps, the major issue, and trust in an author, a voice, a director, or any utterance, image or narrative representing a truth-relation—whether intended as casually playful or appealing to extended thought—is in a state of extreme deficit. In her book No Logo, Naomi Klein outlines the intensive market drive to co-opt culture within the confines of branded ideology. In recognition of her long-fermenting existential angst in the absence of an authentic cultural identity Klein laments "[w]hat haunts me is not exactly the absence of literal space so much as a deep craving for metaphorical space: release, escape, some kind of open-ended freedom." We might well recognise here the dark inversion of the self-assured words of Edward Bernays, whose infamously titled Propaganda begins:

The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.

In Aldous Huxley’s Brave New World it was the malcontent-turned-exile Helmholtz Watson—dubbed with trepidation by his superiors "a little too able"—who asks "how can one be violent about the sort of things one’s expected to write about? Words can be like X-rays, if you use them properly-they’ll go through anything. You read and you’re pierced." Much like the dystopian warnings resonating throughout Huxley’s stories and essays, it seems maybe Bernays’ ‘vision’ (and dare we say his misappropriation of the medical intentions behind psychoanalysis?) has over time become realised, ingrained, internalised, and in its final form proliferated so far out of control that no conceivable force exists within either the human appetite, nor our intellectual apparatus, to entirely contain or satiate it.

We have also to wonder about the widespread popularity of such cultural minutiae as the TED talk, the YouTube vlogger, or the standup comic and the many slight variations between these forms. We’ve all felt the intractable pull of marketised double-speak. For the most part, Coca Cola is a brown, (overly) sugary liquid substance, but the conversation surrounding Coke changes our perception of it. Coke is powerful, prestigious, trusted. It certainly doesn’t leap out as the kind of substance that, according to Klein, would cause its producers to co-opt classrooms and university lectures in a demand for "the amount it paid for … vending rights" at The University of British Columbia "to be kept secret for reasons of corporate competitiveness." When I first read Bernays I was troubled, to say the least. I found his unrepentant call for manipulation unforgivable, and every adman and CEO and marketing guru-turned-politician seemed merely a further aberration of that initial spark to control through obfuscation.

I’m still troubled, at least to an extent—but I’ve come to realise this unease is only half of a more detailed picture. Huxley’s dystopian novel was brilliant, not because it merely showed the seductions of manipulation through propaganda, but also because it challenged our ideals regarding a utopian state: at what cost do we uphold the value of a contented and stable population? Where do we draw the line between a stable sense of self and a disproportionate relationship to reality? At what point can we recognise our individual social agency as one which believes things only "because one has been conditioned to believe them"?

The full picture necessarily recognises that we have allowed—and continue to allow—this void of meaning and the increasingly aggressive branding of thought. While it’s one thing to repudiate the kinds of notions that Bernays’ propagation has spawned—for a good example check out his ‘Torches of Freedom’ campaign—it’s another thing to recognise how we co-opt these manipulations, and through this recognition learn to subvert the harmful aspects of a spectacle-driven media setting and its resultant mindset. This tension leads to further questions about whether marketing in and of itself is inherently negative—which of course, it isn’t, at least in no clear way more-so than general communication, rhetoric as a device, or even any representations whose prime function is the play of semiotics. What’s harmful is the underhanded impetus to control the entire conversation, which over time has lead to the complete annexing of the word in its basest form and a compulsion to define self (and by implication social relation) through buying power. But Bernays didn’t invent the game, as much as he may have changed the magnitude with which it’s played. In its very first episode, Mad Men’s mythical conman Don Draper reminds us that "[p]eople were buying cigarettes before Freud was born."

Suffice it to say, my appetite was drawn towards this nexus point of epistemic intrigue evident in the composition of creative nonfiction, and the resultant ambiguities which lead to its demarcations between fact, art and propaganda. During my undergrad majoring in philosophy and english I became focussed on ideas surrounding semantics, semiotics, epistemology and ideology, allowing me to gain some understanding of German Idealism, Psychoanalysis and the interesting mutations throughout continental philosophy that these movements inspired. It also brought me towards a brief investigation of literary criticism with a focus on a few of the more recent movements which sprang out of the 1960s through the 90s. I enjoyed these studies immensely and recognise that one could spend an entire lifetime on any of these particular points of investigation and still never be left in want of wonder. I suppose that’s part of the appeal of timeless—and often unanswerable—questions: they tend to provide for an infinite variation of interpretation and mutation of thought.

Despite this enthusiasm for my undergraduate studies, I couldn’t help but feel that something else was lacking from these investigations. In his Republic Plato talked about the tripartite soul, or psuchê of man, roughly dividing these up into the body, the mind and the spirit as is reflected in his idealised state. Plato may have had his own tyrannical undercurrents evident in the ‘philosopher kings’ he placed as the rulers of his utopia, but it seems his conception of the triangulation of the human experience struck a resonant cultural nerve, an image that has carried Pythagoras’ numerical esotericism as far as the Christian mythos and through to other pioneers of thought including (but not limited to) Baruch de Spinoza, Georg Wilhelm Hegel, Sigmund Freud, Charles Sanders Peirce, and so the list goes on.

I grew up immersed in a family environment that placed exploration—and by implication, a sense of open-mindedness—before anything else. Although schooled and socialised within a Christian setting, my home life, and my teachers, parents, brothers and sisters encouraged a relationship with any form of knowledge, be it through various forms of art, timeless texts, pop culture on television, or the spiritual traditions found throughout the world. This translated into a love of language and an enthusiastic tendency to explore mindsets which directly challenged my own. I took a liking to english in high school, and to a lesser extent art and history classes. I went back and forth between english, psychology and philosophy in my undergraduate, finally to arrive in my aforementioned degree, thoroughly enthused yet without any discernible drive towards a particular career choice.

If it was my studies in philosophy and literary criticism that satiated my intellectual drive, and if my bodily appetite has been thrust towards the changing forms of creative nonfiction, there still remained a question of the third element, the synthetic aspect of Hegel’s formulation, the intuitive approach of Spinoza and the egoistic genesis of Freud. That void of transitory meaning, I feel, can only be approached by focussing on aspects of life which might otherwise be considered too far removed from the realm of serious investigation or consideration, and which resides around my subjective essence—that which balances my sense of self with the wisdom of logos preached by the philosophical canon. Sometimes it’s only by going to the extreme fringes of society and social ideation that we can gain a more adequate picture of the process as a whole.

In this sense, I wonder where is the place for colour in life? Where is the place for mythos? Where’s Rumi and his "fattened bird as food and serpent and snake" and his language which often defied its own meaning, which danced between descriptors and resisted the reductive scalpel of the formalists and deconstructionists alike? What place for Crowley and his mnemonic susurration? What about the poetry of Blake, or Swedenborg’s strange mysticism? Where do Pokémon or the fervid spirits of David Lynch’s world fit into the grand history of ideas? What of the bizarre explorers of science whose names can’t be mentioned? The Tim Learys and Robert Anton Wilsons? What of Carlos Castaneda and his thrust from acceptable anthropology into the truly unknown? I’m interested in the way mindless exposition can be important. The way speaking in tongues might be closer to the language of music. The way you can never write the fire of the mind, only imitate it. Words that simultaneously inspire and seek to put the mind to rest. If we think they’re not important, then it seems we might still not have fully grasped the impact of a culture co-opted towards capital as its master signifier.

This brings us, in a roundabout way, back to that matter of unsubstantiated doubt. Huxley’s savage (paraphrasing his amalgamate Shakespeare) defined a ‘philosopher’ as a "man who dreams of fewer things than there are in heaven and earth."

There’s a sense of reluctance in my attempt to write about my world without recourse to those implicit norms of my (extended) social setting, and in spite of what might be considered ‘proper’ creative nonfiction, whatever that means. The more serious academic might scorn my (sometimes seemingly disproportionate) appropriation of such a diverse range of thinkers and writers and cultural noumena, the more artistically inclined wordsmiths may equally dismiss my writing as lacking in flow and form and a more figurative reading.

In conversation with John the Savage, Huxley’s controller said of God "he manifests himself as an absence; as though he weren’t there at all." While I may not ever fully grasp what ‘truth’ is, what it means to myself and how it relates to others, all I can do is commit myself, with a sense of devotion towards discovering and rediscovering its approximation through my ongoing work. In this sense, no critic is my enemy except insofar as they may wish to impede the act of learning in itself.

To address the emotional spectre of a ghost with a conscious affirmation is not to dispel it entirely, so much as it is to dissipate its haunting presence.

[eddystshirts]

Check out this listing I just added to my Poshmark closet: 90s Vintage Hanes Out All Night T Shirt Photos Single Stitch Made In USA.

[pipippizz]

i need more characters voiced by arthur lounsberry this isnt okay

[violetganache42]

Me @ Studio Bridge: *Launchpad voice* Yes, you and the main characters hate Manabu and will seek every opportunity to treat him like garbage. I get it!

(More quick, miscellaneous ramblings under the cut.)

OH, YEAH. I definitely agree with you on GO RUSH!! going downhill. A good number of characters not being themselves, bad writing decisions, too many overlapping and shoehorned plotlines, catering to the SEVENS fans (speaking as a SEVENS fan myself, but even I can tell it's not being handled well lately), and just an overall decrease in quality. It's frustrating!

The Relic is definitely gonna be pushed in the show even more, and while it's not farfetched to think it'll push Zwijo into the arc considering his connection to it in the season 1 finale, I firmly believe it's an excuse to bring Otes back and push him into either this or the following arcs because SEVENS fanservice and Bridge wants to make him the overarching villain for both shows.

I admittedly didn't notice any problems with the fourth arc, (not that there weren't any; I'm sure it had some drawbacks), but the final episode of the fifth arc and reflecting on what said arc actually got accomplished—which was jack shit—was when I started seeing the jarring problems.

I actually enjoyed the Rovian Bandits arc. It was cool getting to see a different location and some new characters; I also get that the T-shirt Yudias subplot was due to his VA Arthur Lounsberry getting COVID. It was Yuna that I hated because of how much of an annoying bitch she was. I've eventually grown to tolerate her, but she's still not my favorite character.

Considering all the previous two-parter Rush Duels, they're typically a sign that an arc is coming to an end. If the same thing applies for the current arc, then this will definitely be a short, rushed, and flatout messy one.

i did not watch the episode live but and i don't understand Japanese but with my context clues they are still taking jabs at Manabu it's getting boring and lame . i want him to win the tournament but how go rush been writing lately i don't think it will happen. zion known as the providence has turned dinois , Tremelo and alfred into a cheap furniture this episode . zion used a non maximum yggdrago and the duel continued in the next episode. The show has gone downhill . I don't care about the relic but most likely it gonna be pushed into the show even more and they gonna most likely push zwijo into this arc even if it hurt the show even more. for me go rush has gotten worse since arc 4 . i know people hate on the rovian arc but i do think it's better than arc 4 and arc 5 personally . i just want go rush to end soon as possible to get a fresh start and i want Manabu to be treated decently which i doubt they can't even do that. Also last thing zwijo is my least favorite yugioh rival. sorry for the long rant

[valentinesweetheartspecial]

Arthur lounsberry is such a good voice actor

[effectsdatabase]

Last week's top 20 videos (2023, week 02)

Top 20 videos last week (January 8-14)

Danny Mattin with Organ Grinder Fish Paper (by Lounsberry)

Strymon El Capistan dTape V2 vs V1 vs Roland RE-201 & Fender Space Delay (by That Pedal Show)

Playing AC/DC with the #BeatBuddy #shorts (by Singular Sound)

#Ibanez DL10 Digital Delay Quick Pedal #Demo #shorts (by mrtolex)

The Smiley is inspired by the first-era, silicon model Arbiter fuzzes. (by JHS Pedals)

JAM pedals | Red Muck (by JAM Pedals)

Jay P testing EvH sound met cool & SuperDrive (by Lex Bos)

?Vol.58??????? Jake Cloudchair??Myriad Fuzz???????? (by The Effector Book)

Vintage 1970 Shin-Ei Uni-Vibe Repair/Restoration Part 4 "How it Should Sound" (by Argenziano Effetti)

Tube booster TubeZoid-B 12AX7 version (by SviSound)

A portable CD player inside a digital delay pedal? (CSIDMAN) (by Anne Sulikowski)

Playing a $5000 Arbiter Fuzz Face & 1963 Stratocaster #shorts (by Pedal Pawn)

Bien plus qu'un compresseur | Origin Effects Cali76 (Stacked Ed.) (by Tone Factory)

Strymon El Capistan V2 ????? ????? (by String6Channel)

Ibanez EM5 Echomachine Teardown! See what's inside! (by Gray Bench Electronics)

Electro-Harmonix Small Stone v Bad Stone: Which is the swirled champion? (by Dickie's 90-Second Pedal Demos)

The Alpha Omega Pi, the Deluxe Big Muff Pi is the most versatile BMP ever! (by Electro-Harmonix)

Sonicake 5th Dimension 11-Mode Digital Modulation Guitar Effects Pedal (by Sonicake)

Conn Multi-Vider Vintage Multi Effects (Octave, Fuzz, Filter) (by Francisco Sanchez de la Vega)

Texas Square face.. Blue. (by Tone Log Vintage Replicas)

Overviews of the previous weeks: https://www.effectsdatabase.com/video/weekly

from Effects Database https://bit.ly/3XndPtS