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With its three-band EQ and semi-parametric mid control, the Metal Zone offers a wide range of distortion textures, providing long sustain and plenty of gain. It is also quite common that customers throw outTry Google Search! Manual - Coles Microphones 4038 Stereo Mount for Studio Ribbon 4038 SM Posted by: Ruth 2020-08-10 18:00:04 Coles 4038 stereo mount. Peavey Peavey Delta Blues 115-Tweed 30 watt Guitar Amp - Peavey Delta Blues 115 Tweed Tube Guitar Amplifier 03327810 Posted by: 2020-08-08 23:50:04 please pdf the manual on this amp. MT-2 Metal Zone Music Pedal pdf manual download. The MT-2 Metal Zone is one of BOSS' most popular pedals. This stompbox provides some of the most over-the-top, insane distortion tones in the world—with Thank you for purchasing the BOSS MT-2 Metal LEVEi EquiaitzER Dist. Zone. To make the best use of the MT-2, please () c?) read the instructions carefully.Reload to refresh your session. Reload to refresh your session. Trademarks and Copyrights are property of their respective owners. Login Registration is disabled. We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it. Ok. Pushing the knob alternates between the two parameters. Values are from 0 to 12. In fact, it provides a more complete equalization section with a dedicated knob for mids. Therefore it turns out more flexible and versatile. The lower noise level than the original version, the high quality of every component, the superior bass response and the more robust gain are the main characteristics. In addition, it adds a 3-way switch with three modes for the distortion. Let's see them.It is particularly suitable to the use with a 4X12 cabinet. The most important characteristic is, undoubtedly, the flexibility and the excellent sustain. A bit of experience with the equalization is necessary. The price of the MT-2 is, in my opinion, much valid. A good pedal.
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The high-voltage circuit preserves the guitar tone. This stompbox provides some of the most over-the-top, insane distortion tones in the world—with huge mids and lows and an ultra-saturated sound. As a 15 year old playing an MT-2 into a broken stereo, cranking the gain all the way instantly gave me that feeling of playing into a raging, fire-breathing wall of stacks. Which, undeniably, is awesome. But also, when you do that (not just with the MT-2 but with any high gain amp or pedal) you just lose all sense of definition and clarity in your tone. Don’t even go past 12 o’clock if you ask me. There’s SO much gain on tap that you really don’t need all of it on at once. Try the MT-2 with the Distortion sitting around 10 o’clock. Get closer to the 12 o’clock mark and you should be rewarded with thick, high-gain goodness, while still retaining a good amount of note definition. Don’t worry, there’s still plenty of juice to help those pinch harmonics fly off the strings. Here’s a really great video which uses the MT-2 to transform a clean AC-30 into a riff monster. You’ll notice that neither the rhythm nor lead tone settings use Distortion over 12 o’clock. Makes sense to try and do the same with your new metal pedal. So why isn’t it a good idea to scoop the mids with your MT-2? There are a couple of reasons, and here’s the short version: Guitar is a mid-focused instrument. That’s where it lives, so if you completely dial the mids out of your tone, it’s no surprise that it disappears. On the record, you can get away with more scooped tones because the engineers can EQ it such that all instruments have their own place in the mix (so the guitars don’t get drowned out). You’ll have a tough time doing that live so it’s best not to cut yourself out of the mix before you’ve even started playing. What exactly does this mean. We don’t want to hack out a huge hole out of the mid frequencies (see previous section) or boost the living daylights out of the highs or lows.
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Try setting all the EQ controls at 12 o’clock for starters. Adjust the High and Low controls to taste to get a baseline for how you want your tone to sound. Since the EQ controls are so powerful, small changes make a big difference. Then, turn the tables and apply a slight CUT to the Mid setting, eliminating the worst of those pesky frequencies. Don’t forget to note down the settings that work well with your rig. It’s more versatile than you think Despite what it says on the tin, the Metal Zone can do more than just metal. And because of the extremely powerful EQ range, you can totally use it on bass to get a downright nasty (in a great way!) chunking, grinding metal bass tone. Experiment with small changes to the EQ to find your sound, and don’t be afraid of dialling the gain down. HOW TO USE THE BOSS NS-2 NOISE SUPPRESSOR IN YOUR RIG Related Products While you may never get tired of the classic sound of Roland How about the difference between a Vibrato and a Tremolo. This FX-101 is a resource that categorises Technology has reached a point where pedals, synthesis, amplification and effects can all work. Items must be returned in original, as-shipped condition with all original packaging.Please check the fields highlighted in red.Currency. This may happen as a result of the following: Javascript is disabled or blocked by an extension (ad blockers for example) Your browser does not support cookies Please make sure that Javascript and cookies are enabled on your browser and that you are not blocking them from loading. Please do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them.
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These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant AUDIO forum topics: LINE-6 FLEXTONE III, elobb torzitani kezd, majd elhalkul. (megoldva) Sziasztok! Adott ez a ( ) masina. Bekapcsolaskor minden rendben, de (hangerotol fuggoen) nehany perc elteltevel torzitani kezd, majd elhalkul. Ilyenkor (is) minden merheto feszultseg jonak tunik, (stabilizatorok, vegfokok tapja, stb) rendellenes melegedes nem tapasztalhato. Amennyire tudtam kimertem minden kondit.Kerdesem naivan egyszeru: ismeri valaki ezt a keszuleket es esetleg talalkozott mar ilyen hibaval? Koszonettel: Kiss Z. Kepeket az ismert okokbol nem mellekelek. A fent nevezett radio tuner aksija megadta magat. Aksi tipusa: VARTA 100 RS 129. Nem talaltam doksit errol az aksirol mint feszultseg, kapacitas. Esetleges helyettesito. Tudna nekem segiteni valaki. Segitsegeteket elore is koszonom. Udv: villkarcsi. lg s33a1-d subwoofer primer oldal felrobbant Sziasztok. Kezemben a maradvany es sorolnam ami felismerhetetlensegig megsemmisult. A 3BR0665 az megvan de a C911 a ZD906 a ZD901 ami ismeretlen. Nezelodtem segitseg utan de csak azt talaltam ami nekem is van. Hatha valaki tud segiteni, elore is koszonom. Udv. AUDI CONCERT 2 keyboard illumination (Grundig) k bus nelkul Sziasztok! Nemreg kezembe kerult egy Audi Concert 2 autoradio. Sok minden info nincs rola a neten, de talaltam egy oldalt, ahol a gombok vilagitasaval foglalkoznak, mivel az csak a K BUS csatlakoztatasaval kapcsolhato be. Ott bemutat egy megoldast, mely nem epp a legelegansabb, de mukodo valtozat.Eljutottam a processzorig, ahol ket kimenet volt, egyik a gombok vilagitasat kapcsolta, a masik az LCD-jet. Mivel 22kOhmon keresztul kapcsolta a tranzisztort, igy biztos voltam benne, hogy egy kimenet elbirja mindkettot.
http://experience-hr.com/images/boss-metal-zone-2-manual.pdf
A keszulek megvilagitasra erzekeny, es nagyon szepen mukodik a vilagitas.Mivel a processzoron megvolt minden tapfesz es a reset jel is magas volt, megmertem a kvarcot, es biza nem rezgett. Csere utan elindult. You can write in English language into the forum (not only in Hungarian). It’s also quite a divisive beast, with some loving it, and others hating it. This article is a technical analysis of the different stages in the pedal, finding out what each part does to the tone. This process should suggest various ways you can tweak it to get your own high-gain version of heaven. We’ll break it down into functional blocks, and to keep things reasonably simple, we’ll ignore the power circuitry and the typical Boss noiseless FET-bypass. That’s another thing for another day. All this is finished off with an output buffer. See, I told you it was complicated. Let’s have a look at those parts one by one. It’s a FET buffer. The input impedance is largely down to R058, so we’ve got 1MOhm.These two components form a highpass filter with a cutoff at 106Hz, just enough to reduce any mains hum a little without heavily affecting the input signal. Op-amp 3b is a non-inverting amplifier, but instead of a simple potential divider to set the amount of feedback to the negative input (and hence the gain) there’s a lot of extra stuff and a transistor.As usual, Rod Elliot has the best page about gyrator filters. Here it acts as a bandpass filter, centred around 1KHz. Either side of this, the gain starts to drop off. This rolls off the highs even more, and helps smooth things out a little bit. If you try putting a wah pedal in front of a distortion pedal, you’ll find you can alter the tone of the distortion by moving the wah.The gain is provided by another non-inverting op-amp, 3a. R051 and VR1 give a minimum and maximum gain of x2 and x252. Its role here is to limit gain for noise outside the audio band.
Note that with a typical guitar input of around 1Vpp, there’s no way an op-amp running on 9V can provide an output of 252V when the gain is turned up to full. Instead the signal will get heavily clipped by the op-amp as it hits the power rails, usually at around 8Vpp for typical op-amps. Since different op-amps handle this differently, the choice of op-amp here might have some bearing on the tone, although given everything else that happens to our poor abused input signal, I doubt it’s a major factor. Following the gain stage is another AC-coupling cap and then a pair of clipping diodes.Even at minimum gain (x2) there’ll be just enough signal to make the diodes conduct, so we can expect a light crunch. As the gain gets up to x8 or more, the op-amp will start to clip too, and its boosted output will be clipped hard by the diodes. And that gain control doesn’t just go to 11, it goes way up to 252. By that point, all that is left is a very heavily clipped signal. From here on, it’s a question of trying to sculpt that sound into our final tone. The maximum effect of this filter is only -10dB, so it’s not a huge effect. It’s a more sophisticated version of the pre-distortion tone shaping circuit. This one has two gyrators, and therefore two peaks in the frequency response. We can plug the component values into the everso-helpful Bandpass EQ calculator over on Muzique.com and we get the following: In practice, the transistor’s gain isn’t sufficient to achieve such a boosted response. It may have been designed to allow for some slack from the transistor. Plotting the frequency response of the stage in LTSpice is instructive, and gives a reasonable result. To be honest, I’m not sure what this is doing here. Perhaps Boss were concerned that the pedal should be non-inverting overall (is it. I haven’t checked) or perhaps they had one op-amp left over. Suffice to say, it doesn’t add anything, just flips the signal the other way up.
agrobrasilia.com/userfiles/files/canon-color-management-tool-pro-manual.pdf
The first part of the tone control circuit is the High and Low controls. As the controls are moved away from the centre position, either the positive or the negative signal will dominate, and there’s a resulting cut or boost.The Low control is another gyrator, this time with an op-amp as the active element rather than a transistor. It’s more of a broad brush, and not such a “peaky” sound. It isn’t a fully parametric EQ because although you can change the amount of cut or boost and sweep the frequency, you can’t change the “Q factor”, which determines the bandwidth, or how wide the effect of the stage is. We can call it a “semi-parametric EQ” if you like, but “Sweepable Mid control” is just as good. A Wien bridge network always needs a dual-gang pot to alter its frequency. If you want to know more about Wien bridge circuits, you could read the ESP page about Wien Bridge EQ. Most of the stuff about them deals with the Wien bridge oscillator, which is a standard sine wave oscillator circuit. This is probably why they chose the Wien-bridge circuit rather than use another gyrator. It’s hard to keep Q within reasonable limits when you make the gyrator’s frequency variable. Note that there is a slight asymmetry between boost and cut. The “Mid Freq” control goes from 240Hz in both cases, but when boosted the top end is 4.7KHz, whereas when cut it is 6.3KHz. The plotted values above are 0, 5K, 10K, 30K and 50K for the Mid Freq dual-gang pot. If you’re building one, a reverse-log taper would perhaps give the best response.The four controls (High, Low, Mid, Mid Freq) give you a huge tonal variety to explore, but also make it difficult to find your perfect setting unless you know from the outset what you want. This is a pedal which maybe doesn’t reward random knob twiddling. It’s a bit too complicated for that. Another simple one to finish off. This is a simple emitter follower buffer.But it’s not the only thing defining the sound of the pedal.
The pre- and post-distortion tone shaping circuits have a massive influence, and beyond what you can tweak on the EQ, they are the sound of the pedal. Swapping the gain op-amp or changing the clipping diodes might have a subtle effect, but changing the frequency-determining components in those two tone shaping stages will give much more radical results. Whereas on many other distortion or overdrive pedals, the op-amp used or the clipping diodes have a major influence on the final output, in the MT-2 it’s really all about frequency response. It’s heavily shaped every step of the way, and those frequency responses determine the sound of the pedal, much more than diode choice ever would. Add to that the high degree of tweakability that comes from the powerful EQ and you’ve got a successful pedal. Thanks for reading and I hope it inspires you to have a tweak at this remarkable pedal, or maybe design your own with a little inspiration from those clever Boss engineers of the 1980’s. Thanks to Paul R in particular for his help in understanding the post-distortion tone shaping. I’ve always thought that this pedal has way more potential than people give it credit for; nice to see a similar argument and the analysis to justify it. Much appreciated! The fizzy fuzzy treble sound is bit lower than the stock MT2. Very eloquent. I’m an MT2 fan and it completely blows the MT3 away. But it’s a great 303 mangler, listen to some chemical brothers! Thank you for saving me from that horror! The ESP audio pages have moved, so I’ll have to correct all the ESP links, on this page and elsewhere. This was very helpful to show my students in my Audio Electronics class, and it’s motivated me to cut into my own old MT-2. Those stages are basically a non-inverting op-amps, if you ignore the gyrator. So clipping C34 out disconnects the gyrator and leaves you with a unity gain op-amp buffer, more or less. I’d certainly give it a try.
The post-clipping gyrators can be disabled the same way, but certainly have a listen (and record a sound file for posterity!) without the first gyrator stage before you attack the other two as well. Another approach would be to experiment with a few values in the Musique.com gyrator calculator and make the gyrators very low Q (wide and shallow, instead of very peaky). That would effectively boost most of the spectrum, but without becoming completely flat. That’s a very wide range. The other Mid control then sets the cut or boost at the frequency selected.Truth be told. Myself MT-2 has always been a favorite. But, even with more modest gain settings and careful eq use I think just about anyone should be ale to get a punishing metal tone out of the ol MT-2. The curve of that post distortion EQ remins me of james hetfield’s settings on the graphic EQ of his favorite amp.Would that work even with the signal inverting eq input? I don’t know how easy it would be. It’d involve cutting some tracks and wiring some jumper wires in here and there.I put the sweepable mid-range pre-gain but kept the treble and bass controls post-gain. This combination makes the pedal very useable in a live set-up (using a valve amp pushed to break-up); IMO this only works properly if you disengage all the gyrators and start with a good quality flat base tone. I will put the details of the entire mod I did below as I believe it is too good to keep to myself. It was super interesting and informative. Reducing the value of R51. Also if I jumper the the buffer between R28 and R14 can I jumper also one of those resistors? You do not need to buy any more components for this mod; you just need a soldering iron, solder and some good quality wire. Ideally you need to start with a first or second generation MT-2 (M5218AL ICs) as these sound best in my opinion: It refines the top end of the distortion and provides a good base tone. Please note: this will decrease the gain of the pedal.
www.china-vitai.com/userfiles/files/canon-color-imagerunner-lbp5970-manual.pdf
This sounds great with bridge pick-ups but is a little too flabby-sounding with neck pick-ups for my tastes. The third stage tightens this up and recovers the gain nicely. Removing the diodes boosts the output significantly too, which is great for pushing a valve amp to oblivion. It will make single coils sound like humbuckers and vice versa, as well as outrageous sounds I have only ever got by stacking gain pedals together. Keeping control over the presence helps add clarity when playing with a band. Thanks Tom! This pedal is now my drive pedal of choice, it easily trumps all the other Boss distortion pedals and a good number of boutique overdrives and fuzz pedals I own. Thanks for sharing it. DS-1 for example. So try unsolder the diodes and connect them to pin 2 and 3 of op amp 3a. Yes, this is a tube screamer configuration. But it allows the tone controls to do their job fully. The sound is clipped after the diodes-to-ground. There’s no unclipped sound in the signal. It might be a customised taper too.I’m pretty sure the op-amp on the right is a voltage follower but really not sure how that fits with the Wein bridge network. Any tips? I definitely recommend that article if you want to know more: At low frequencies, the capacitors can be regarded as open circuit, so the resistance of the top of the potential divider is much larger than the bottom (since it contains an open-circuit cap). So no output signal is produced from the mid-point of the bridge. At high frequencies, the capacitors can be regarded as short-circuits, so the resistance of the bottom of the potential divider is now zero (since it is shorted to ground by the cap). So no output signal is produced from the mid-point of the bridge then either. Does that help make it any clearer? After going through it that makes a lot more sense, but I’m still a little confused about the interaction between R050, VR02b, R049 and C037 and how C038 is used to feed the signal back to the first filter. Thanks again!
Yet the graph of the low tone control right above those computations show the low tone control affecting 350Hz at maximum boost or cut, with the center frequency maybe moving down to 150Hz for small amounts of boost or cut. There don’t SEEM to be any other components in the tone circuit that could be affecting the resonant frequency of the gyrator. Explain? I’ve now corrected the graphic. Thanks for bringing it to my attention. This inspired me to make a mod to atenuate the pre-distortion mid boost which I find really annoying, with great results. I also made a video tutorial on Youtube here: with before and after sound samples and added the link to this page in the description so more people can find it. Thanks and keep up with this great job!!! If the trimmer value goes below 1K, then the gain goes up, and if the trimmer value is larger than 1K, they both go down. Since the gain at the minimum end is so much smaller, changes to the minimum will be less pronounced, and the equation shows that the gain cannot go lower than 1 whatever we do.C24 is the higher peak, C20 is the lower peak. Remember that taking out a higher peak will probably make the sound darker, and taking out a lower peak will probably brighten it. But these are peaks, not overall tone controls, so it isn’t really as simple as “brighter” or “darker”. I can’t think of a way to do the switch selection you suggest, except with a (somewhat rare) 3 position DPDT, like I used in the FilterFX pedal. No matter what I do with its tonal knobs it seems like this nasal effect just don?t go away. So: 1- What are the options to get rid of that nasal tone or at least attenuate it? 2- What is a simple way to reduce a bit the general gain of the pedal (turning it to a more versatile drive)? The pre-distortion gyrator would be disabled by removing C034. The post-distortion gyrators are C020 and C024. That still leaves the actual tone controls unaffected, so you still have a lot of scope for tonal modification.
Experiment with 2K2, 3K3, 4K7, or even 10K and see what you like. Removing C035 gets rid of the nasal tone (yeah!), but puts some hiss in. So far I let only C035 out and changed R041(1k) for a 18k trimpot that I canibalized from a dead pedal, set around 3,5k. This gave me a fairly versatile pedal. Turning the gain knob clockwise from there it goes from a low gain overdrive to a nasty distortion similar to the original metal zone! Do this up and down the fretboard You could do better, but it’d probably involve changing more components. After some rough measurements of the blue curve shown here and some rough curve fitting for filters, I came up with two sets of filters, each is an attempt to match the blue curve with differing levels of success. Somehow that was expected since most literature says “pre Frown, post Smile” equalisation for Metal. The frown is quite “Peaky” while the smile is relaxed. For the buffer, the 1M resistor R058 provides the bias. Have a look at this: New link is Will it make the pedal better or worse? I want to get rid of that high frequency that cannot be eliminate by tone knob and by removing the C35, C25, and C24. thanks. The High tone control provides 20dB of cut to all high frequencies, so if that isn’t altering the tone you’re hearing, what you’re hearing isn’t a high frequency. Taking out C35 alone will turn the pre-distortion EQ into an amplifier with a bass roll-off like a tube screamer, but I haven’t checked the frequency. That means, to my ear, the high tone knob doesn’t have any effect to that “high frequency” i heard. So I assume there is some part somewhere in MT2 that can be change to cut that “high frequency” out. I suspect that “high freqeuncy is above 10khz. That should help tame fizziness. Try our projects! We’d love to hear your feedback about the site, our chips, and your ideas for new stuff! Grab a copy of the schematics and tweak away to your heart’s content.
If you don’t have a PIC programmer, you can order a chip from the shop. Check the legal stuff for more details. If you’d like to use Electric Druid chips, code, or circuits in your commercial product, we’d ask that you buy chips from us to help support the development of further projects. We can supply programmed, labelled chips in whatever quantities you need. If this isn’t suitable, please contact us to discuss your requirements. Thanks. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Used: Very GoodSerial No:xxx3154 Please refer to all photos for reference of condition. Note: No box or manual.Something we hope you'll especially enjoy: FBA items qualify for FREE Shipping and Amazon Prime. Learn more about the program. Please try again.Please try again.Show details. Ships from and sold by 502 Store.In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Register a free business account Please try your search again later.This stompbox provides some of the most over-the-top, insane distortion tones in the world—with huge mids and lows and an ultra-saturated sound.Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness. Please try again later. Benjamin 5.0 out of 5 stars This pedal has been named in so many 'lists' as one of the most essential pedals of all time. It is very easy to get classic metal sounds Metallica style, Anthrax, Megadeth, etc. Classic metal tones at your fingertips for less than hundred bucks. What else could you ask for. This pedal has great sustain also, which I was looking for.
I use it in combination with a delay and a chorus pedal. It improves the tone from good to great, trust me. Anyway, if you are looking at this item online, it means you want it. Just get it. You have to have it. You will also see your practice improve, because this gives you a tone that motivates you to go back to your practice room more often. I have other pedals in my pedal board, and this is one of my favorite. If I lost it, I would buy it right away. I like it better than the BOSS DS-1, for example. BTW. you play this on a clean amp, although I have a good Marshall with two channels, I play my amp clean and use pedals to color my tone.If you dime it out, yes it sounds like hell. The eq section is actually really great.If you dial back the gain you can get everything from a warm hard clip overdrive to crushing chug or scooped squeally Dimebag stuff. The other thing I found is that if you use this as a preamp, that is directly to the power section of your amp through the effects loop return, it sounds way better. Something about an extra gain stage after this pedal just thins out the sound and accentuates the fizziness.You can dial in a ton of tones. The mid control is the key to this little beast. Many a band used the Metalzone silently for years. Knowing how awesome it was. Also knowing the guitar community would hate them for learning its secrets.While the Behringer was ok, the distortion level always seemed either too high or too low. Almost no middle ground. This Boss pedal seems to have better adjustability on the distortion level. The Behringer would work for leads, but not a whole lot else. This Boss pedal is way more versatile and sounds better doing it.This pedal is great and you can get tons of great tones from a good Metallica, Black Veil Brides, Megadeth, Avenged Sevenfold tone, and several others. Just don't crank up that distortion to full blast and you will be good.
Comparing between this and the Mxr fullbore metal, I felt this had a better quality sound overall and the fullbore metal actually had too much distortion (even from a zero position). I do slightly miss the noise gate, so I guess I’m in the market for a good noise gate now.Times have changed, taste has changed. It's my new exclusive distortion effect. Very high quality pedal, very solid design. Love that it interfaces perfectly with my new Boss pedal board.But it has been outdated unless you are looking for the old Metallica or Megadeath style sounds then it is perfect for you.If you are sensible with the gain level and don't go for extreme EQ settings you can get some half decent tones out of this. My tip is to use an EQ pedal AFTER the MT-2. I use the Boss GE-7 and with the powerful EQ on the Metal Zone, combined with the GE-7, I can get pretty much any tone I want.Sorry, we failed to record your vote. Please try again Only one niggle the buttons are tiny my husband has big hands but once you've set the controls just leave it as it isSorry, we failed to record your vote. Please try again Prompt delivery. No problems. Would use again.Sorry, we failed to record your vote. Please try again Sorry, we failed to record your vote. Please try again Wollt ihr Metallica-Sound. Check! Wollt ihr KORN-Sound. Check! Wollt ihr Slipknot-Sound. Check! Das ist der oldschool Analog-Allrounder schlechthin. Ich hatte ihn jetzt schon zum 5. Mal. Alle anderen wurden mir on-stage geklaut, so begehrt war das Teil in den 90ern. Kein digitales System kann diesen Klang in Verbindung mit einem Orange- oder Marschall-Verstarker bisher ersetzen. Wer auf Authentizitat im Metal-Bereich steht, sollte sich dieses inzwischen rare Ding unbeingt mal ansehen. Mehr als ein Geheimtipp!Sorry, we failed to record your vote. Please try again Es gehort zu den meist verkauften Pedals uberhaupt. Wer sich fur heftigen Metal-Sound begeistern kann, dem sei dieses Pedal ans Herz gelegt.