Distortion Pedals Lebanon 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.

Two Guys Music
(417) 532-3643
328 W Commercial St
Lebanon, MO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Message Music
(417) 462-3360
9225 Walnut Rd
Grovespring, MO

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Two Guys Music
(417) 532-3643
303 W Commercial St
Lebanon, MO
 
Scottys Music
(314) 427-7794
9535 Midland Blvd
Overland, MO

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Jam Factory
(573) 221-2520
207 N Main St
Hannibal, MO
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments

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Morgan Music Service
(417) 588-1970
689 N Washington Ave
Lebanon, MO
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

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Morgan Music Inc
(417) 588-1970
689 N Washington Ave
Lebanon, MO
 
Springfield Music
(417) 881-1373
3100 S Fremont Ave
Springfield, MO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music
Store Information
Instrument Rental: Yes
Website Sales: Yes
Lesson Information
Lessons: Yes
Clinics: Yes
Instrument Repair Information
Springfield Music is home to the Ozarks' most trusted repair shop. Our shop has well-over seventy-five years of combined experience, and each member of our repair team has their own interests and specialties. We offer brass, woodwind, and stringed instrument repair, at fair rates, great turnaround times and with free estimates. Come in and see for yourself
why we are the Ozark's favorite shop!
Hours
Monday - Friday
10AM-8PM
Saturday
10AM-6PM
Sunday
1PM-5PM

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Palen Music Center
(573) 256-5555
2609 E Broadway
Columbia, MO
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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Haug Music
(573) 221-4319
615 Broadway
Hannibal, MO
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Guitars & Fretted Instruments, 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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