Distortion Pedals Fayetteville AR

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.

Ben Jack's Arkansas Music
(479) 442-7021
719 North Drake Street
Fayetteville, AR
 
Ozark Mountain Music
(479) 756-3388
19021 Shoreline Way
Fayetteville, AR
Types of Instruments Sold
Organs, Drums & Percussion, Recording Equipment

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R & H Inc Sound Warehouse
(501) 442-4822
17 N Block Ave Ste 12
Fayetteville, AR
Types of Instruments Sold
Drums & Percussion, Guitars & Fretted Instruments, Print Music

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Saied Music Company
(479) 571-2400
2880 North Point Circle
Fayetteville, AR
 
Sigler Music Center
(479) 751-5961
4401 S Thompson St
Springdale, AR
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Blue Moon Music Inc
(479) 521-8163
3107 N College Ave
Fayetteville, AR
Types of Instruments Sold
Guitars & Fretted Instruments

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Ben Jacks Arkansas Music
(479) 442-7021
2719 No. Drake St.
Fayetteville, Ar., AR
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

Data Provided by:
Saied Music
(479) 571-2400
2880 N Point Cir
Fayetteville, AR
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

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Keyboards Unlimited
(501) 444-9986
244 Carver Dr
Springdale, AR
Types of Instruments Sold
Acoustic Piano, Print Music

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Sound Investments Inc
(479) 968-8879
Pob 310
Rogers, AR
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

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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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