Interesting! I haven't seen a 3-transistor Colorsound Supa before. Does yours look like this one (https://www.coda-effects.com/2015/10/vintage-colorsound-supa-tonebender-1973.html)?
I have a big red JEN Jumbo Fuzz from '73 that elicits the same reaction. It's just a massive sounding fuzzbox. It's based on the V1 Big Muff, though.
https://forum.fractalaudio.com/threads/a-klon-type-drive-block.146319/Also, did anyone mention the Klon Centaur yet? Basically a modded Tubescreamer and a clean boost in parallel, with a balance control that mixes between them. Maybe overrated, but a great sounding pedal. I have a clone I built somewhere (built a few for others that liked it too), and it had a long period as a pedalboard favourite.
Also, did anyone mention the Klon Centaur yet?
Can we get an Engineer/Producer Block (or IR)?
This all sounds entirely reasonable to me. Further, with the many-worlds interpretation of quantum mechanics, Cliff has already implemented this feature, in universes where this waveform collapse has occurred in our favour. In fairness, this notion would be challenged by the Copenhagen interpretation. But it’s entirely possible, that those guys use a Kemper.Great idea, but pretty soon there'd be requests for a global producer function or page because we'd need it on both the front and back end at a minimum. The engineer block would also be needed at almost every step of rig setup and recording so it would need to be global as well, or maybe a tab in each block that automagically makes adjustments.
To do it right though, each Axe should be tied to an AI network of uploaded producer/engineer consciousnesses along with the singularity that results from the quantum entanglement thereof. Cliff would be uploaded too who would heckle the "artists" who still don't know how to solve simple issues on the unit: RTFM or use your f'n engineer tab or producer global settings.
Amp gain can't accomplish the same things as great pedals.
Sorry, but that's not true.Yes it does.
Getting tones.
/Semantics
Sorry, but that's not true.
Gain on an amp doesn't change the EQ of the signal going into the front of end of the amp. It also doesn't compare to the way the mix of wet/dry signals can come from a Drive.
Ok... I can agree with thatIt is entirely true. Both do the same thing: provide an overdriven tone the player finds enjoyable. How they get there is different but the end goal is entirely the same. Hence the /semantics at the end.