Holy crap the Sonuus g2m is fun into an A4. Low latency, tracks well pitch wheel or chromatic. Also fun on a 303 but I still just sound like Jimi dammit.
I want to try it will a square wave tremolo in front.
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Have you ever used the MIDI Guitar app or plugin? I wonder how this compares.
I don’t really use apps or plugins, but I’m sure it’s quite good.
Another really impressive thing about the G2M is it’s battery powered. I’m all about minimal equipment.
Now I have a midi controller I can play intuitively.
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Revstar is/was a popular guitar model on this forum. Yamaha released redesigned Revstar models, including the high end Made in Japan Pro line
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Oh and Yamaha got people like Noveller to demo the new Revstars. Posting 10 videos in one post is not my style so just go here
Lovely stuff! Those late 70’s Yamaha 6 stringers are very nice. As well as the BB I’ve got a couple of Matsumoku era Aria basses, an SB1000 and an SB900 as well as a Lawsuit Antoria ES335 style semi. Love those 70’s Japanese guitars. My mate has a couple of Tokai LoveRocks. I’ve read their 70’s SpringySounds etc are very good too.
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The best. A friend from the US just contacted me the other day asking about “lawsuit” guitars. He let his Greco go a while ago and really regrets it, but the prices have skyrocketed.
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Here’s the Antoria. Lawsuit giveaway is the headstock shape. Post Lawsuit era the shapes was changed so as not to be the same as Gibsons. Lost of folk claim to have a Lawsuit guitar but only the ones with the correct shape and built in a handful of factories before a specific date are genuine.
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I have two Grecos and they are my favorite guitars hands down (and I’ve owned a lot of Gibsons, Fenders, etc.). I bought them a couple of years ago before the prices started to rise. I have a 1978 Les Paul copy and a 1989 SG copy.
EDIT: I’m thinking about selling this SG…
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So @DimensionsTomorrow (and anyone else who might be interested) I’ve done a bit more side by side comparison with the mfz1 and the black fudge. I put a little time in running them at closer to gig volume through two heads; Yamaha t100 which is essentially a soldano slo prototype (high gain, tube) and a 70s carvin super lead (high wattage solid state). Three different cabs; two different ampeg v4s (4x12 cabs, one with celestions and the other with a mix of speakers) and a 15” Marshall silver jubilee bass cab with a peavey black widow.
I’d say the fudge gets about 85-90% of the way there. The mfz1 is a little more transparent and less “tight” for lack of a better term. I’d also say that the mfz1 is more responsive to dynamic control. None of this necessarily means that the mfz1 is better, just different, and if I had been playing with other people I might not have noticed these differences. The extra volume available on the fudge is absolutely welcome too, especially with the Yamaha t100 as it can seriously push the front end.
Both of these stack well with other dirt boxes (and each other). I’ll try to test it with some synths this weekend as this is one of my favorite uses for the mfz1.
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That’s great news. Seems like you should be able to gig with it and leave your OG at home. I’m not sure how close they got to the original circuit/parts, but much of the 10-15% difference could probably be explained by part tolerances. Also, there is a chance that Maestro wasn’t 100% consistent with parts when building those back in the day, so the copy might sound closer to the unit owned by the builder. JHS’s videos on the DOD250 and Rat are great for showcasing this kind of stuff.
Also, man, you have some awesome guitar gear. 
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My thoughts exactly. I’d bet 10 of the og pedals tested against each other would have more variation than what I found comparing mine to the fudge clone. And it wouldn’t surprise me if mine has changed a little bit over the decades, it’s older than me. I’ll pop it open and look at the circuit soon but it sounds so similar (and we know the op amp is the same) that I bet it’s a pretty faithful clone, board-wise.
The practical verdict is that the og is never going to a gig again. The fudge is more than close enough. Thanks so much for the tip!
If it’s of further interest for testing data, the guitars used were;
-70s guild s100
-original esp M1 custom
-epiphone dot studio
-no name tiesco style guitar
-my band mate’s g&l asat w/p90s
And yeah, I’ve spent a ton of time scouring flea markets, pawn shops, garage sales, etc and come up with a lot of great guitar gear. It’s been a near obsession since I was about 12 years old. Also helps that one of my biggest hobbies is fixing broken gear, it’s how I can afford most of this stuff, plus lots of flipping. I’ve owned a couple hundred guitars but most of them only for as long as it took to fix and resell them. I couldn’t even guess how many amps and pedals cycled through.
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Here’s my lawsuit, but I’m not sure if it’s a real lawsuit (I’m not a lawyer). If could be a fake fake. It’s allegedly an early era lawsuit, when they were just straight up forgeries.
It’s a “fender” but has no sn. It is very similar in almost every way to my authentic 77 tele. It’s very heavy, warm, nice action, nice aged finish, stays tuned, full of character. Even has the same irremovable greenish stuff on the frets.
I got it in pretty bad condition, all the hw was ruined / rusted, so replaced all the electronics. Pick ups are “dirty blondes”. Love this guitar.
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Love the Red Llama and that Princeton is lovely! Killer setup.
This video was the final straw for me. I like my guitar just fine, but I wanted to try a different sound. After this video I stopped shopping for guitars and bought a set of Seymour-Duncan JB/Jazz pickups, a three-position switch, and a push-pull volume pot. The pickups are great, and now I have all the humbucker and single coil combinations I’ll ever need.
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My acoustic collection slowly assembled over a long time:
93 National Style O 12 fret
99 Bourgeois A 500 Archtop
99 Santa Cruz dread
2014 Miles Henderson Smith Classical
2019 Lowden S35
Bourgeois:
Santa Cruz
Lowden
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Over the last year or so I’ve decided I really want to get better at improvisation and become better at playing “in between” lead and rhythm, not just doing either huge strummy chords or single-note lead lines. I’ve always been a “good enough” player, but I would usually learn songs by rote memorization rather than “feeling”, and I’ve always felt like it was a big weakness of mine preventing me from improvising.
I started by revisiting a lot of theory that I skipped or failed to truly comprehend when first learning to play and also studying a lot about functional harmony, chord progressions, and a lot of the fundamentals of how progressions work, and realized the biggest thing I needed to practice was CAGED, triads, and voice leading. I’m also a programmer by day-job, so I’ve been slowly putting together a practice tool for myself and wanted to share it here:
https://porkloin.github.io/progression-roulette-mk2/
The idea is that you put in a chord progression (I, IV, V, for example) and it tries to color/shade the notes in a way that helps you visualize shared notes between each of the chords, which can be especially helpful when practicing voice-leading. It’s also just a decent tool for practicing scales and modes by understanding which notes are chord tones from the progression or not. You can also randomize the progression in the current key to mix things up.
I’m still hoping to get more feedback from people, so if anyone else is actively studying this stuff and ends up using it, feel free to let me know if there’s things you’d like to see added, things that are confusing, etc.
The interface is really not suited to phones unfortunately, and I’m not quite sure how to work around that at the moment, but it tries its best to remain useable at phone-like sizes.
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Nice tool! Don’t quite understand the blend colour scheme?
It’s trying (and maybe failing 
) to reflect how “related” notes are across chords in the progression.
If we’re in key of C and playing a progression I=>IV=>V, then when we’re choosing a color for the note “C” we blend all of the colors of the C triad (C, E, G) and all of the notes of F triad (F, A, C) because C is found in both of those chords. Likewise if it’s found in three chords across the progression.
Each note has it’s own base color (which you can see by toggling off the “blend?” checkbox) –– those are used as the base colors for mixing.
One way to test it out is to toggle between two different two-chord progressions, one that that has lots of notes in common between the chords, and one that has very few notes in common between the chords.
Here’s I and VI, which share 2 of their 3 notes with each other, and are very “similar”, so all the notes get shaded toward blue/purple:
Here’s I and II, which have no common notes at all, so the notes from the I chord still gets shared purple-ish, but notes from the II chord get shaded green:
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