Distortion Pedals Hazelwood MO

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.

Dale S Music
(314) 895-3403
6235 N Lindbergh Blvd
Hazelwood, MO
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Classic Guitar Center
(314) 721-3646
2125 Blendon Pl
Saint Louis, MO
Types of Instruments Sold
Guitars & Fretted Instruments

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Goez Instrument Repair
(314) 647-1211
3103 Sutton Blvd
Maplewood, MO
Types of Instruments Sold
Guitars & Fretted Instruments

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Music House,The
(314) 839-4400
3421 N Us Highway 67
Florissant, MO
Types of Instruments Sold
Acoustic Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music

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Fred Pierce Studio Drum S
(314) 423-7137
9537 Midland Blvd
Overland, MO
Types of Instruments Sold
Drums & Percussion

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Guitar Center
(314) 738-0500
11977 St. Charles Rock Rd.
Bridgeton, MO
 
Eddies Guitars
(314) 781-7500
7362 Manchester Rd
Saint Louis, MO

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Drum Headquarters
(636) 928-0235
7241 Manchester Rd
Saint Louis, MO
Types of Instruments Sold
Drums & Percussion

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Scottys Music
(314) 427-7794
9535 Midland Blvd
Overland, MO

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Piano Gallery Inc
(314) 344-1133
12033 Dorsett Rd
Maryland Heights, MO
Types of Instruments Sold
Acoustic Piano, Digital Piano, Organs

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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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