Distortion Pedals Hibbing MN

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.

C E Rupar Music Inc
(218) 263-4286
313 E Howard St
Hibbing, MN
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Bb Organ
(763) 571-8284
133 76Th Way Ne
Fridley, MN
Types of Instruments Sold
Acoustic Piano

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J.W. Pepper - Minnesota
(952) 938-0028
4777 Shady Oak Rd S S/300
Hopkins, MN
Types of Instruments Sold
Print Music

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Al S Music
(320) 253-2154
609 E Saint Germain St
Saint Cloud, MN
Types of Instruments Sold
Acoustic Piano, Digital Piano, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

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Northern Concert Audio
(218) 724-1955
404 W Toledo St
Duluth, MN
Types of Instruments Sold
Sound Reinforcement

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Rupar Music Inc.
(218) 263-4286
313 E Howard St
Hibbing, MN
 
Music Mart
(507) 752-7312
Po Box 326
Lamberton, MN
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Print Music

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Waseca Music Co
(507) 835-2980
111 S State St
Waseca, MN
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music
Store Information
Instrument Rental: Yes
Instrument Repair Information
Band Instruments
Guitar Repairs
Hours
Mon-Fri 10AM-6PM
Sat 10AM-2PM
Sunday CLOSED

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Down Town Sound Music
(952) 758-5166
104 Main St E
New Prague, MN
Types of Instruments Sold
Acoustic Piano, Digital Piano, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Carole Js Studio Music
(320) 543-3509
Po Box 306
Howard Lake, MN
Types of Instruments Sold
Print Music

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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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