What effects pedal

Chris-Mason

Hi all
I usually play without effects.
Looking to drag the note out as long as possible, what suggestions do you have on this, what pedal should I get?
I am using a Marshall 2x12 tube 50w.
Thanks

ezietsman

I believe a compressor/sustainer is what you need. And a guitar with good sustain...

Bob-Dubery

Saddle and Nut wrote: Hi all
I usually play without effects.
Looking to drag the note out as long as possible, what suggestions do you have on this, what pedal should I get?
I am using a Marshall 2x12 tube 50w.
Thanks

Buy ear protection for the wife and nipper and turn up the volume to "patent pending"

Warren

Saddle and Nut wrote: Hi all
I usually play without effects.
Looking to drag the note out as long as possible, what suggestions do you have on this, what pedal should I get?
I am using a Marshall 2x12 tube 50w.
Thanks

Ezietsman is right: compressor/sustainer pedal will work a treat.

I use a BOSS CS-3. You can set the level of sustain with a knob, although you have to try and find the right balance to avoid heavy feedback. Works like a bomb though. Bit of a noisy pedal when it's on, so a noise-gate might be a good idea.

It can make legato playing sound a lot more fluid too, which helps when you're, um, challenged like me ?

It can also be used as a limiter depending upon how you play with the settings, so there are many uses for a pedal like this. The effect can be nice and subtle.

singemonkey

The MXR Dynacomp is a perennial favourite

http://www.jimdunlop.com/index.php?page=products/pip&id=244

Bob-Dubery

Saddle and Nut wrote: Hi all
I usually play without effects.
Looking to drag the note out as long as possible, what suggestions do you have on this, what pedal should I get?

You should also examine aspects of technique. A lot of players with a good singing tone are making use of guitars and amps with good sustain characteristics and maybe pedals, but they are also using vibrato and other techniques to keep notes ringing.

I have been experiencing this listening to Martin Simpson - who plays mainly acoustic (thus amps, overdrive pedals and so on are out of the picture). He can keep notes ringing and singing on his guitar via his actual technique. I'd think left hand is important but right hand can come into it too. I remember the first time I heard Martin Carthy (exclusively acoustic these days) playing and being very struck by the way he could make a note ring for a long long time - and I suspect that in his case right hand technique (maybe just the way he puts energy into the strings) is involved as well.

So go down to your friendly local guitar store and put money down on one of those "much-mojo technique" kits ?

Warren

X-rated Bob wrote:
I have been experiencing this listening to Martin Simpson - who plays mainly acoustic (thus amps, overdrive pedals and so on are out of the picture). He can keep notes ringing and singing on his guitar via his actual technique. I'd think left hand is important but right hand can come into it too. I remember the first time I heard Martin Carthy (exclusively acoustic these days) playing and being very struck by the way he could make a note ring for a long long time - and I suspect that in his case right hand technique (maybe just the way he puts energy into the strings) is involved as well.

Definitely agree!

A good vibrato definitely aids sustain, and there may be other aspects of technique which are equally important. I find that the pedal helps me just that extra little bit - too much setting on the sustain tends to make the notes bleed into each other, and just generally sounds terrible ?

Chris-Mason

Thanks for the advice. Guitars with good sustain I have no problem there. Technique always a problem, learning never ends. Will pop into Andy's to try out some compressors. S&N

MIKA-the-better-one

Go with that DYNA COMP, thats quality... Boss cs3 is no good, very hissy and never heard much good from it... Really for comps there are better pedals than boss.
The ehx whote finger, or back finger

AlanRatcliffe

I have a CS-3 I use for my electric 12-string ...albeit a Monte Allumns modded one. Like drives, comps all have their own character and there is no right or wrong model. Personally, I'd like a Urei 1176, but they're a bit hard to fit on most pedalboards. ?

Danny-B

Alan, what exactly do the mods do to the CS 3? I also use a Monte Allumns modded CS 3.

Riaan

What do you guys think of Keely's compressor?

AlanRatcliffe

Danny B wrote: Alan, what exactly do the mods do to the CS 3? I also use a Monte Allumns modded CS 3.

The stock CS-3 gets maligned a lot, but it's a great "compression as obvious effect" pedal, rather than a studio-style "transparent dynamics problem solver" and is my go-to comp for 12-string. My biggest problems with it are the way it muddies up the midrange and adds in noise - both of which Monte's mods fix. With the mods it also responds more like an optoisolator based compressor than stock, giving it a softer knee (smoother response with compression level changes).

Riaan wrote: What do you guys think of Keely's compressor?

I haven't spent much time with one, but it's an impressive comp of the "transparent" variety - smoothing out volume levels without any obvious pumping or breathing.

Rescator

Riaan wrote: What do you guys think of Keely's compressor?

I have one , and it is awesome for playing cleans , being "classic" compressor .
For gain /overdrive sounds Barber Tone Press is more appropriate device , where one can play with desired amount of (sometime unpleasant ) "squeezing " , mixing it with natural signal .
Anyway , for both of them BB preamp is very good partner in the pedal chain 8) .