Distortion Pedals Chandler AZ

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. Read on for more detailed information in the following article.

Hollywood Custom Drumshop
(480) 227-4234
3165 S Alma School Rd # 244
Chandler, AZ
Types of Instruments Sold
Sound Reinforcement

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Broadway Music, Inc.
(615) 403-0155
Po Box 12395
Chandler, AZ
Types of Instruments Sold
Print Music

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Karaoke Sing A Long Systems
(480) 491-3333
3016 N Dobson Rd
Chandler, AZ

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Mcknight Guitar Company
(480) 782-9600
1940 W Chandler Blvd
Chandler, AZ
Types of Instruments Sold
Print Music
Store Information
Instrument Rental: Yes
Website Sales: Yes
Lesson Information
Lessons: Yes
Clinics: Yes
Instrument Repair Information
By Bronsons Guitar Works and Mahoney Guitars
Hours
Monday - Thursday 11:30AM to 7:30PM
Friday 12:00PM to 6:00PM
Saturday 10:30AM to 5:00PM
Closed Sunday

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Music And Art Center
(480) 898-1499
891 E Baseline Rd
Gilbert, AZ

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Fletcher Music
(480) 883-3680
10325 E Riggs Rd
Sun Lakes, AZ
Types of Instruments Sold
Organs, Print Music

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Tjs Music
(480) 635-1100
3002 N Arizona Ave
Chandler, AZ
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Chandler Music
(480) 732-0439
590 N Alma School Rd Ste 26
Chandler, AZ

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Brindley Music Center
(480) 963-1468
Po Box 719
Chandler, AZ

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Weber Reeds, Inc.
(480) 726-6800
Po Box 1807
Chandler, AZ
Types of Instruments Sold
Drums & Percussion

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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). http://www.guitarplayer.com/uploadedImages/guitarplayer/Stories/Metalloid.jpg

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...

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