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If I'm trying to think like a scientist
when designing a pedal, you want to have
as many controls as possible. One of
those controls is the sound of the
guitar that you're using. I got into the
NYXLs. They last longer, they work
better, and they stay in tune for
longer. Just a lot of things that make
my life easier. Hey y'all, we love
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on everything. We
promise. All right, we are on the pedal
board again on the, you know, we we are
abbreviated in this sense that we
included deagle this time, but uh a lot
of these pedals have been on your board
in the last rundown. Check that one out.
Uh but there is something that you
wanted to show us specifically to this
time. What are we talking about, Carlos?
It's called the
636. Um and it's made by this company
called Sound Gas who do a lot of like
sort of reverb studio gear. And I mean,
I think they started as just like fixing
studio gear, vintage stuff and and then
they sort of started making some of
their own stuff. And this was taken out
of um an old spring reverb tank called a
I think it was a Grampion 636. Okay. And
I think it was I think it was used by I
can't remember who I don't know. I think
maybe the who used it as like the main
thing, you know, Townsen. Yeah. just
that on the amp and it's so he used the
reverb in it but you figure that the
gain in it whatever you know thing it
uses is unbelievable you know so they
kind of like started reverbing a load of
those sort of spring tanks and then they
sort of realized this gain thing is
crazy you know and they made these units
that are just I mean they're they're a
preamp but it's it's a distortion pedal
you know it's like the sort of biggest
distortion I've heard and it's like it's
insanely expensive um I got it after I
saw who did I see on YouTube. I think it
was Ed O'Brien from Radio Head, okay,
was showing like his new board or
whatever and he had this thing and it
kind of like played through it and I was
like, "Wo, this is immense, you know."
And then I looked into it and you go
into Sound Gas and they like they show
it like using it through drum machines
and all this kind of stuff and it just
distorts everything in such a incredible
way, you know, and I thought like, you
know, I need to I need to I need to hear
that myself and then well, I need to
hear that my for myself. I picked it up
and it's a hell of an introduction.
Yeah. And it's I mean it's an amazing
thing. Um so that's just the amp. So
that's the amp. I've got like this
little MXR micro amp that I've always
had there that just pushes it a little
bit, you know, and
then the 636.
And I've got I've got a gate put in the
back cuz it kind of like, you know, it's
quite a bit noisy, you know. So I just
for when whenever it's not it's just
there, you know. It's quite the it's
that MX smart gate. So it's like it's
really like you don't hear it, you know.
It cleans it out quite a lot and it's
like this but this thing sounds
incredible on like everything, you know.
I've been using it in the studio a bit
when I produced a couple of albums last
year and like I have it in a chain sort
of like out of the board and you can
feed like kick drums into it or like
anything. It just like it just it's just
incredible cuz it's like it's quite
dynamic, you was like if you play like
sort of
Is that just with a single core or the
humucker? That's with both of them in
there. Yeah.
And cuz the indicator light's kind of
showing how you're attacking. Exactly.
Yeah. So you can see it just
And I mean it goes quite mad, you know.
It's
like then you then just a bit of a
preamp if you don't have too much going
man. And this I've been and then it also
it bas it changes a lot not just like
this how much you bring out of it but
also if you push the front end which is
something I do like with the with the
melatron quite a bit for like romance
and stuff when I want something to be
super dirty if you just push the front
end it starts like dis distorting a lot
more you know and it kind of like it
very much squashes the sound a lot you
know so
So that kind of that's what I really
like about it. That's sort of like the
way it just squashes the sound low, you
know, and that's the thing that works
especially well in the studio and stuff
like that with like but it's like it's I
mean it's you know they built it as a
guitar pedal but really it is like a
studio sort of preamp, you know, and
it's got like it's got it's even built
with an XLR input, you know, sort of
like to use in the studio sort of. It's
versatile even though it has one knob.
Yeah, it it changes a lot depending how
much you push through in the front or in
the back end, you know, kind of like
That thing is like a sound man's, you
know, nightmare or dream depending on
where you're setting it. Totally. Yeah.
Yeah. Yeah.
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