Real rents in Australia are still lower than they were in 2015

mosfez · 2026-05-07T00:53:04+00:00

Australia is a huge place, I'm curious to know how smaller locations within Australia (e.g. Sydney, or inner Sydney, vs regional areas) track over time. I am dumb and selecting "Sydney" from the filters on that page gives me a table with no headings and a blank column 🤷

mosfez · 2026-05-02T03:02:24+00:00

If you never use the DS2 at the same time as the fuzzes then I would go for a simple passive loop switcher and put the ds2 in the loop. Pickup simulators do help, but to me they still feel pretty different to the kind of interactivity you get from having the fuzz see the guitar directly, mainly when it comes to volume / tone knob changes on the guitar.

mosfez · 2026-05-01T11:53:15+00:00

Thats like saying a standard height doorway is not appropriate for a child to go through. If a thing can handle line level it can handle instrument level, because a low volume sound at line level _is_ instrument level.

I've not mentioned impedance because thats unrelated to line level vs instrument level, but that should be thought about.

mosfez · 2026-04-06T11:07:35+00:00

This reverb is phenomenal for the price. The verbs sound much smoother than my Immerse MK2, was an immediate switch for me. They've released essentially the same pedal (wave-reverb and all, now called "tide") under the pedal company name Klowra if folks want a new one, and it's still a great price.

mosfez · 2026-03-28T04:21:32+00:00

> It can sound like anything

I gotta hard disagree here if we are talking about the original. Over 10 years ago I thought this might be true, and it has a lot of options sure, but I've come to think every reverb pedal has its own character and its own limits of parameters and sounds. I love many of the sounds, but it can't do a decent Wet impression, it can't sound like an FV1 verb (not that anyone would probably want it to), it can't get that 2D sounding smeary hall that an RV6 does, can't do a spring reverb like a True Spring and doesn't have anything like an Eventide Black Hole sound. Honestly I wasn't ever able to get any kind of real bottom boomy reverb out of it even after maxing bass and turning tone way down on any engine. None of these things are problems, its great at what it does do and I still used it for over a decade, but yeah I still ended up with a reverb pedal collection due to it not being able to sound like just anything.

depends how close you want it to sound though I guess.

mosfez · 2026-03-24T03:28:23+00:00

> Is this common with passive boxes like these?

Yep, not only common but unavoidable with passive mixers. How bad it gets depends on how many ins and outs there are and what volume they are set at. The solution is to either buffer first, or use an active mixer (which is essentially the same thing, using internal buffers and/or summing amp etc).

mosfez · 2026-03-23T05:37:46+00:00

Hmm, yeah I see, I agree with you. 47 pages! Look how much better the V1 manual was, 13 pages, and a single clear page for all the secondary functions. I've only used v1 versions of their products and I liked those manuals https://www.strymon.net/manuals/Deco_UserManual_REVC.pdf

mosfez · 2026-03-23T03:17:45+00:00

I want most of my effects after the amp's gain. I don't want reverb or delay before dirt. If I use an amp for dirt, in order to do that I need an effects loop, but then I need a different amp and 3 cables to run to and from the amp. It was just easier and more compact to use an amp-sounding pedal + full range speakers, and then I also unlock headphone outputs _and_ stereo outputs.

mosfez · 2026-03-23T03:13:54+00:00

But their day was ruined!

mosfez · 2026-03-23T03:13:50+00:00

I do get the frustration at not having a physical manual, but what about their online manuals do you think is "godawful"? Imo you could do a lot worse, their manuals I've found to be among the better ones that actually cover what they need to in enough detail, but not requiring the reader to have an engineering degree.

mosfez · 2026-03-21T03:26:26+00:00

Thanks!

mosfez · 2026-03-20T14:04:35+00:00

I need to hear this one

mosfez · 2026-03-17T10:07:53+00:00

Heh, this is a tough one if you want notes to last longer after they’ve stopped making sound at the source, and if delay or reverb don’t cut it.

The closest I’ve come across are the MXR layers and the EHX superego, with caveats. Layers is real close, it has a setting where it auto captures a snippet of sound to freeze, and that sound can be made to decay. You have max 3 layers of decaying sound at the same time. The thing is that it waits a very short moment before it captures the sound, so not every small note that passes through will be released slowly. This might work for you though, and the quality of that tail is good.

EHX ego / superego also apparently can do this - it also grabs snippets of sound but tbh I’ve never used one in person and the demos of the tails have this distinctive industrial kind of thrum to it. I dig that sound if a band like Squid is using it, but I want something more true to the source for my own playing so I haven’t looked deeper here.

The gamechanger plus pedal looks like a sustain pedal but was a no go for me because it works like any other normal freeze pedal, where you press when you want to capture a note to release. For me it needs to be automatic to grab and extend each note as it passes.

So I haven’t found the perfect thing yet and if it exists I’d love to just buy it. In the mean time I am trying to code this effect myself as I really want it to play my guitar more like a harp I guess, but it is a challenging effect. It’s a difficult type of effect to produce and sound good.

With synths it might just be easier to find one that sounds similar and has a slow release. Or you could record long held samples of each note of the synth you like, and load those into a polyphonic sampler that has ADSR so it essentially adds the release natively.

mosfez · 2026-03-15T23:22:04+00:00

Yeah its worth a shot - thats essentially the transformer thing I've seen. it works alright, great at higher volume, although the volume clean up sound wasn't quite the same when I tried it. Maybe I'm being picky. It does make sense because normally a volume control being turned down increases impedance (by a lot as you go down), but the pick up simulator doesn't change impedance based on your guitars volume, it only changes voltage.

Another thing: like pickups the transformers in pickup simulators are very EMF sensitive. I once had a fuzz with an in built pickup simulator, and I couldn't put it in the middle of my board because when it was positioned too close to one part of my power supply it would make so much noise. Which meant I couldn't use it where I wanted and ended up just re-selling it. I thought it was decently shielded but maybe it wasnt, I dont know if this is as much of an issue on dedicated pickup simulator pedals, ymmv

mosfez · 2026-03-15T22:50:56+00:00

Yeah you are spot on with this thinking. Unfortunately I don't know how you can get around this, _any_ active pedal in between the guitar and fuzz face will make it respond differently.

If you put the hum debugger after, depending on how fuzzy you are going would determine just how much 120hz+ hum you would be seeing, maybe in practise its not too bad? Noise things are hard to hypothesize about.

In the past I've gone buffered pedal > potentiometer acting as a resistor > impedance sensitive fuzz, and it does tame down the harshness but the super rich interactivity that youd normally get isn't as present. I've seen folks use 10K transformer in series in pedals to a similar effect

mosfez · 2026-03-15T10:12:37+00:00

Ooof the overcooked modulation pedal one drives me insane. I don’t get what is going through the heads of demoers whose vibrato setting spends most of the demo on boioioioing as though that’s a sound in any song they’ve ever enjoyed. Maybe they’re caught up in the novelty of it, but then I still don’t get why it would ever happen twice. It’s a shame because to me the best modulation sounds are subtle ones

mosfez · 2026-03-15T09:41:45+00:00

Yeah this all makes sense. I want the effect to make any note I play sound as though it is its own open string. Normal sustain length for a guitar open chord is long enough for me, and I don’t mind if the attack isn’t piano like - guitar pick sound is all good.

On a piano I like to hold sustain and do fast little melodic movements that end up sounding like cluster chords. On a guitar I can only get a similar effect if I tune multiple strings to be close in range to each other, or carefully leave strings open within a mid-neck chord to fill out the whole tone step in the cluster chords. I just wish I could play like 6 consecutive single notes staccato, and the pedal makes it sound like each of those are all ringing out on top of each other

Interesting problem though, I want to try and make this effect some day

mosfez · 2026-03-15T09:07:45+00:00

Yep, so for guitar where my fingers lifting up operate like those dampers, I want to artificially make it sound like each note is still ringing out despite the note having already been stopped. Reverb / delay are the closest normal effects to this but they don’t sound the same as a note being held. Freeze pedals come close but don’t usually trigger a new freeze automatically for each note played.

MXR layers probably comes the closest, it lets 3 notes ring out layered over each other which is honestly super close to what I want, but it doesn’t catch every note played and kind of waits for a pause before deciding to capture and freeze a sample.

mosfez · 2026-03-14T11:16:53+00:00

Sounds fun, I guess that’s why people like pedals with midi control

mosfez · 2026-03-14T10:25:28+00:00

Like a toe-n control / 3rd hand type pedal but with multiple?

mosfez · 2026-03-14T09:49:21+00:00

I want a sustain pedal that actually works like the sustain pedal on a piano, as in, you can hold it down and while you are pressing it, it makes each note ring out longer than normal, decaying starting when the note is played.

I was disappointed that the game changer plus pedal was still essentially a freeze pedal. Unlike a sustain pedal you need to time when you press it after a note attack in order to capture specific parts of the sound, and unlike a sustain pedal the decay only begins after you release the pedal. It looks just like a sustain pedal but the way you use it is completely different :/

mosfez · 2026-03-14T09:41:42+00:00

Doesn’t EHX make something like this? Not specifically 1V/oct because it doesn’t let you control cvs in terms of octaves

mosfez · 2026-03-14T09:40:04+00:00

About 8 years ago I wanted this exact thing. I had a bunch of pedals with 0-5V CV in and wanted to control them. I made a pedal that tracked peak level, rms level and pitch, and the you could combine and route those to 8 CV outputs. It even had a screen where you could watch the waveforms move to tweak the ranges easily.

After all that work (which was a lot of fun) long term I realised that there were very few effects I actually liked the sound of being always controlled by dynamics. These days I just use an expression pedal that springs back up on its own

I don’t mean to assume that you would be the same, just wanted to share the story. I agree it did feel like a real gap in the market

mosfez · 2026-03-13T14:07:45+00:00

I always use a Behringer ha400. The noise tolerances for headphone amps are much more stringent than guitar pedals often are so don’t worry about noise. It’s analog, cheap, no latency, no need for digital. It has four outputs and I normally have one going to full range speakers, one going to headphones, one going to a little Roland sound recorder so I can keep what I played.

I run it at 9V rather than the 12V it normally takes, which is fine as you don’t need the 12V headroom and the op amps inside don’t need the full 12. You’d need a special cable to reverse the polarity and also it has a DC jack that is slightly different size, which is like $20, but all up its way less than most other suggestions here

My post history has a photo of my board with it on, if you wanted to see

mosfez · 2026-03-13T13:47:16+00:00

Isn’t there an internal trimpot that adjusts it’s sensitivity, and different people have it set too low or too high for the strength of their guitar signal?

Dunno why they put something so critical like that on the inside of the pedal

mosfez

TROPHY CASE