Chromaticdeth19XX wrote:Though the dynamics aren't as subdued as the shredmaster...This video shows that there is very little control over the gain. The pedal seems to be full bore or slightly less full bore.
So I went back and listened to the audio in the video more closely, and don't think it's probably much of a Shredmaster variation, despite the limitations of the gain control.
One thing that all of the Marshall pedals seemed to have in common was that they'd sound pretty dull with the gain turned down. That makes sense since they all had passive tone circuits that were post-gain. I guess the contour control in the Shredmaster is a slight exception, but not really.
Anyway, this pedal doesn't suffer from those treble losses at lower gain that the Marshall pedals did - the presence control makes that pretty clear. I think it's probably just a simple post-gain lowpass filter.
Unless I missed it, it seems like the bass and treble controls weren't really adjusted much? Maybe down to 10:00 on the bass, and maybe up to 1:00 on the treble, but mostly both kept around 12:00. With both the Shredmaster and the Guv'nor, the tone controls are pretty subtle through their ranges, due to being passive filters. But other 'metal pedals' seem to have active EQ circuits, which is pretty obvious by the large change with just a small twist of the knob - many of those have a bass range that is useless for anything other than bedroom playing. So it's going to take another video with comprehensive adjustments to all 3 tone controls, to give an idea of what they might be based on, without any tracing of the pedal. But 3 op amps? That's certainly enough for lots of EQ shaping.
The Barber Dirty Bomb dumps the contour control of the Shredmaster, and I hear no indication that this pedal has anything similar to it, either. I think it's also kind of telling that there's no midrange control, but there is both treble and presence? That almost seems more like the Guv'nor's tone circuits, which some have said are like a modified Big Muff. So maybe Muff-style treble and bass are split into their own controls, and then presence just rolls off some high end after it?
I think that the values of the gray-box caps might give some fast ideas, too.