Metropoulos Forum

Let's be real Good Guest. Economies are not going to crumble because some guy named "good guest" said "Ed used this pedal". Ted Nugent played through Eds rig and it sounded like Ted. Most people will try your magic pedal and say "That's not it". If you were really just here to fight the good fight with Nitro, all you had to say was "I think he did use a pedal". You didn't have to get the whole forums panties wet with your "I know what he used and I'm never telling but here's a clue" bullshit. If you want to contribute and help others cool! But don't get everybody spending there hard earned money on a goose chase to find the "secret" pedal, because you need some attention this week.

Teasing guitarists with tone is pure torture!

My dad used to always say that he could always tell when a guitar player came in his shop because "money would be burning a hole through their pockets". Seems we're most always ready to spend and sacrifice if it means better tone.

Reading this thread is hilarious as well as frustrating. Someone post the secret before someone has a panic attack.

i seriously doubt anyone has any solid proof of this pedal. if they did, we would all have a message from nitro in our email inboxes saying "I told you so" or something to that affect...

its tough for me to say since i have lots of respect for Good Guest but i think he is simply BS'ing us here, in an attempt to keep the flame lit for this theory. i cant blame him, he feels bad that nitro was shunned so unanimously, but it's not helping his image or the image of this idea.

for me, i know that there are only so many different ways to amplify a guitar signal. its been 30+ years so if nobody has found or modded a box to properly deliver a sound that one man produced alone all that time ago then it probably wont happen at all

This would indeed be the FIRST EVER VH Distortion pedal ever........ to be actually named. If he does tell.
Which isn't gonna happen. I can't tell you why or how I know this. But I know its NOT gonna happen.

mightymike wrote:Hey everyone,

I f'd up deleting that thread. Nobody was even close to being banned. Especially not Good Guest lol.

...

Hope you all can understand where I'm coming from, and accept my apology, Mike

I forgive you!

vh junkie wrote: Thank you for being a little more constuctive instead of telling folks they will have to go broke to figure out what you are talking about. I still don't understand why you need to experiment with both "thingys" if you lnow what it is? They seem like completely different animals to me? Seems like finding the vintage parts will be the hardest part. Please keep pushing this forward in a positive way. BTW, there are secrets still out there (at least 1 or 2) about the amp itself that only a few of us know! They all fit in with the "stock amp" theory... you just have to research what was done with the various amps that went out the factory...

Well, at this point no progress yet. What I fear is that we more or less end-up back at square one.
I am discovering old pedals I had never paid attention to and some are a bit different from today's pedals.
They do not follow trends or "standard formats" and can be "out there", some are borderline "pedal killers" boosts.
This could destroy the hot-Plexi scenario we have all entertained so far.
Maybe when Ed was "retubing" every week, he was retubing pre-amp tubes?

dazzlindino wrote:So am I. But it's NOT the Colorsound pedals, MXR distorion +, MXR Micro Amp, Tubescreamer, Boss SD-1, Jordan Bosstone, Rangemaster, Fulldrive, MXR Blue EQ, Boss GE-10, EH LPB-1, Big Muff , EP Booster, MXR Distortion III



the Boss OD-1, left off your list, came out in late 77, guess it would have been
very close timewise for Ed to have been able to use this pedal...

No the Boss OD-1 is no good for the job either. Tried that one many moons ago.

Why do you say definitively it's NOT the Colorsound? That Overdriver sounds pretty incredible. I wanna hear it into a SL.

.

vh junkie wrote: Thank you for being a little more constuctive instead of telling folks they will have to go broke to figure out what you are talking about. I still don't understand why you need to experiment with both "thingys" if you lnow what it is? They seem like completely different animals to me? Seems like finding the vintage parts will be the hardest part. Please keep pushing this forward in a positive way. BTW, there are secrets still out there (at least 1 or 2) about the amp itself that only a few of us know! They all fit in with the "stock amp" theory... you just have to research what was done with the various amps that went out the factory...

Actually they both do the same thing ..remember I was saying "tone shaping" adding sustain, compression, edge etc ..not FUZZ...well the mystery pedal and possibly the colorsound pedal may do that also, and that's what I want to hear...there are no magic or secret parts required either....
Stock amp theory???
The only stock amp theory that gets my goat and this is a true story.....many years back I was building an marshall amp from scratch with a schematic they gave me at the local music store..I wanted a Marshall so bad ..so they gave me this schematic for a 2204 master volume...I didn't know how a plexi schematic or jcm 800 schematic at that time..

So I build this 2204 master volume and am quite happy with this sound ...later I'm selling off some pedals and the gal friend at the time is entertaining(I'm at work) these semi pro guitarists...and they are testing these pedals thru my 2204 diy amp..All they could talk about was the EVH tone they were getting from the amp and they all wanted to buy was the amp.

If any of you run into a schematic for one of these amps do check them out..they are like hot plexi's out of the box..they aren't cascaded like 2203's or jcm 800's they are the JMP type of 2204..very unique...Funny I never really remembered the story till the stock amp post. These amps were made during the 70's also..never hear anything about them.

Now the amp is a 50 watt with 6550 tubes..but all I had at the time was 6ca7's and they worked. Note the lack of a mixer with 470k resistors and the whopping 330K plate resistor..talk about crunch and gain city..that isn't a typo.

so - the usual mixer is replaced by the 2 100Ks?

wonder what the resultant resistance is on 470K bypassed with a 500pf. probably more than 100k and less than 470k. going hotter right there can cause blocking distortion at v2 = cymbal crash effect. i think.

hmmm... and at the same time the 330K plate resistor is on that same half of the tube. am i reading the schem correctly? so the extra hotness seems to be focused on V2a and the signal that feeds it. i think.

all these tone junkies and nobody has a Colorsound Overdriver to stick in front of a plexi for us to hear? i want to hear a hot plexi doing 90% of the work and Colorsound Overdriver just pushing it over the top with a little nudge. you know? maybe ted and donn heard ed and said, hey pal, check out this little baby and see what you think. they recorded the album with it - ed hated it BECAUSE IT WAS A DISTORTION BOX and so we never heard it again. how's that for a little theory based on NOTHING but pure conjecture and misdirective circumspection.

rgalpin wrote:all these tone junkies and nobody has a Colorsound Overdriver to stick in front of a plexi for us to hear? i want to hear a hot plexi doing 90% of the work and Colorsound Overdriver just pushing it over the top with a little nudge. you know? maybe ted and donn heard ed and said, hey pal, check out this little baby and see what you think. they recorded the album with it - ed hated it BECAUSE IT WAS A DISTORTION BOX and so we never heard it again. how's that for a little theory based on NOTHING but pure conjecture and misdirective circumspection.

Who knows what they reamped it through.

vanhalen5150 wrote:

rgalpin wrote:all these tone junkies and nobody has a Colorsound Overdriver to stick in front of a plexi for us to hear? i want to hear a hot plexi doing 90% of the work and Colorsound Overdriver just pushing it over the top with a little nudge. you know? maybe ted and donn heard ed and said, hey pal, check out this little baby and see what you think. they recorded the album with it - ed hated it BECAUSE IT WAS A DISTORTION BOX and so we never heard it again. how's that for a little theory based on NOTHING but pure conjecture and misdirective circumspection.

Who knows what they reamped it through.

true - but my far flung theory is that we hear ed's tone 90% there in boots and even in the WB demos - and we know he is using plexis, SL, whatever 1959 general spec of some sort - and so i'm saying that this distortion box is something that an outside influence brings in - ted or donn - since the Colorsound OD had a reputation (from what I am gethering) with ed's contemporaries of the period. and ed being a kid working with the big wigs on the record ALLOWS them to add this DISTORTION BOX to his existing setup - later on claims he dislikes it - and so we never hear it again - not even live.

I guess I'm thinking a slave setup with something in between. Much more controlable than something directly in front. Saturation and compression control all day.

Actually they both do the same thing ..remember I was saying "tone shaping" adding sustain, compression, edge etc ..not FUZZ...well the mystery pedal and possibly the colorsound pedal may do that also, and that's what I want to hear...there are no magic or secret parts required either....

oh, okay, so use an MXR compressor and jack the volume and dial in the tone. sustain, compression and edge.

If you're not talking about the ColorSound pedal, then what.is.the.mystery.pedal. help.me.help.you.