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Also Isle of Tone going on about NOS cardboard for their circuit board.
Been uploading old tracks I recorded ages ago and hopefully some new noodles here.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Just because I don't care, doesn't mean I don't understand." - Homer Simpson
A “musical” pedal, in my understanding at least, is one that does that in a way that aligns with what the player wants to hear, and ideally can be adjusted to whatever gear a player is using.
I recently picked up a Klon clone and I would describe the tone control on it as “musical” - it’s one knob, it boosts and cuts and it works well with a variety of pedals running into it, nearly always “improving” the sound to my ears at least.
It's a bit like "nose" meaning "smell" in wine snobbery.
You raise a very good point, though. It would reduce the waffle if manufacturers provided sample waveforms and frequency plots at a couple of different gain levels. A bit like they do for speakers.
But that wouldn't be very rock and roll and we might just choose the pedals that look coolest anyway.
In my mind, it's like this: I have a few Marshalls here - one manages a reasonable facsimile of a cranked 2204 and sounds great to my ears. Musical, I guess. The other day I bought an MA100H head for dirt cheap as a platform for experiments. The drive channel is nasty (and not in a good way). Harsh, grating, generally unpleasant. That's not musical.
Wis'd. Whatever Cormac Battle used in Wilt.