Distortion Pedals Andover MN
Coon Rapids, MN
Digital Piano, Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Print Music
Guitars & Fretted Instruments, Print Music
Mounds View, MN
Sound Reinforcement, Guitars & Fretted Instruments
New Hope, MN
Band & Orchestral
Forest Lake, MN
Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music
Acoustic Piano, Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music
First Impression: Roger Mayer Metalloid Dual Path Distortion
Ever since the dawn of the distortion pedal, manufacturers have taken a single-path approach to the job of generating filth. Meanwhile, in the studio, producers and engineers have long used dual-path techniques to record big guitar tones: the signal is split to two amps, or one amp and one DI, where different frequency ranges are EQ’d and treated independently before being blended back together to create the desired tone. Inspired by his days in the studio with Jimi Hendrix in the ’60s, as well as his work as a designer of high-end recording systems in the years that followed, Roger Mayer has applied this dual-path approach to a first in the pedal world, the UK-made Metalloid Dual Path Distortion ($319 retail/$269 street).
In short, this rectangular black metal box contains two entirely independent distortion circuits that are fed by an internal splitter that separates them into high and low frequency bands; after their individual distortion treatment, the two bands are mixed back together at the output, to the user’s taste. On the top face of the Metalliod, each band has its own Drive control to govern the distortion content, and an EQ control that’s individually tailored for its frequency range, and which determines the tonal emphasis within the band. The front edge of the enclosure carries controls for Mix and Output level. Here we also find the input jack, one jack for hard-wired (true bypass) output, two for buffered outputs, and a jack for 9V converter input, while a sliding panel on the driver’s-side edge conceals the easy-access battery compartment.
How do we approach this new concept in distortion generation? Mayer tells us, “Look at the Metalloid as two distinct distortion units side by side, acting on different parts of the guitar’s notes, then mixing them back together to form one sound. For example, the Low Band can control the bass string riffs for a tighter cleaner sound, while the High Band can be set for solo work as you move up the neck.” Tested with a Stratocaster, a Telecaster, and a Les Paul into a TopHat Club Royale MkII, I found the Metalloid worked brilliantly at doing exactly this: creating a big heavy-rock sound with firm, piano-like lows with just a hint of hair, married to sizzling, saturated highs. Reversing the settings makes for grungy low riffs with clear, jangling top strings, and there are countless gradations in between. Also, however you set each band, the balance between them that you select with the Mix control adds a further stage of tone shaping. At higher Drive settings the distortion character is gnarly and filthy, with a jagged, asymmetrical edge that really cuts through. With this knob anywhere past two o’clock it’s not for timid souls, but lower settings reveal a pedal that easily crafts blues and classic-rock lead tones in addition to its heavier distortion (the user’s manual suggests several starting points for different styles). All in all, the Metalloid demands extended experimentation if y...
UST Executive Conference on the Future of Health Care
Dates: 11/5/2020 – 11/5/2020
University of St.Thomas Saint Paul
2260 Summit Avenue
Discover how you can play an active role in shaping the future by what you do within your organization and network with other health care leaders who are dealing with similar issues. The pace of change in health care has increased exponentially since our inaugural health care conference. And by the time the second annual conference convenes, Congress will have passed its bill for health care reform. We’ll have officially begun a new journey.Fortunately, visionary leaders have been helping to shape this next phase of health care. Investments in innovation and quality have led to some very effective – and often surprising – ways to cut costs, reduce errors, increase service and satisfaction, and improve access and outcomes. Bold initiatives such as these should be shared – especially during this transformative time, when we are all looking for fresh models of excellence. The University of St. Thomas and its partners invite you to participate in an inspiring day of learning, sharing and strategizing about how we can leverage innovation and quality to thrive in the new health care environment. Book Club:November 4, 2010Thursday, 5:00 p.m. - 9:00 p.m.Conference:November 5, 2010Friday, 8:00 p.m. - 4:00 p.m.Please visit the University of St. Thomas Executive Health Care Conference website for more information or copy and paste the following URL: http://ustfutureofhealthcare.com