favorite gear

The discussion revolves around favorite guitars, amps, pedals, and other musical equipment. They mention specific models and brands that they like best, such as the Fender Telecaster and Gibson Les Paul guitars, Fender Twin and Marshall JVM amps, and Boss and Keeley pedals. They also mention their preferences for different types of effects pedals, like fuzz, overdrive, boost, compressor, flanger, chorus, phaser, and analog delay. Agua rolling, less broken, I fixed it. Yeah, I didn't break shit. Hey, that's a lie. You broke a lot of stuff. I didn't break anything. Bones, rules, gear? Okay, bones and rules, yes. Come on, you've done the John Belushi smacking the guitar over the guy's head thing. I know you have. I've wanted to. I've wanted to. All right, should we do our intro? Yeah, we'll go ahead and do the intros. I just want one on there that we can patch in if we miss one like we did all day today. Yeah. Hey, this is Les. And this is Jim. And you're listening to Music Institute Putting Theory into Practice podcast. On today's episode, we will be talking about our favorite gear. Right, and we're going to start with favorite guitars. So we'll start with electric. What's your favorite electric, Les? Fender Telecaster, without a doubt. And why is that? What sings to you about the Telecaster, man? Looks cool. It's a very versatile guitar, you know? Two pickups, three positions, love the sound, love the look, love the playability. I can play it clean, dirty, in-between, everything, every genre. Enough said. What about you? My favorite is absolutely the Gibson Les Paul. Similar reasons, it's classic. Two pickups, still three positions, the same kind of thing. Very versatile guitar, you know, depending on the mods on it or the way the guitar is built, sometimes you can even get the single-coil sounds if it has the taps. Some of my favorite players played them. Probably the best electric guitar player of all time really probably was Les Paul. If you think about it, I mean, he basically invented the thing, or if not invented it, he really made it what it is today. And, you know, the sound. I mean, let's say, just like the Telecaster has a sound, Les Paul, when that power chord is hit in rock and roll, there's nothing that sounds like a Les Paul. Except, you know, and I get the Tele, it's due, because the Tele can kind of mimic that in that middle position. Sure. You can kind of do a little semi-Les Paul thing that, you know, most people wouldn't notice. Oh yeah. What about acoustic guitars? It would have to be a Martin Dreadnought, you know, one of the Rosewood guitars, you know, like, you know, D28, D35, D45, you know, one of those. Just classic. I love that Rosewood. Good singer-songwriter guitar. Just, you know, I think is a fantastic guitar. And then the other one that's kind of tied with it is a D18. Just, you know, mahogany back and sides. Great for recording. Just overall, just fantastic guitar. So those, you know, those two are just, you know, they're tied for first for acoustics for me. What about you? Well, for the for me, I would lean, boy, it's a tough one. You know, for the Rosewood guitar, the D28 kind of wins. That's kind of the one. Some of the other models from Martin are, you know, similar upgrade models are right in there with it. It is a dead heat with the J45 and the D18, though, on the mahogany. Okay. Both of them have unique sounds. Both of them can cover some of the same territory. Sure. Both of them are phenomenal to record. It kind of depends. All those guitars are versatile. If it's a rock tune, I tend to lean a little bit more toward the Gibson. Has a little more of that mid-push. Exactly, exactly. But if, you know, if it's a more of a country or pop song, I think the D18 works a little. I think the D18 has a little bit more flat response. As far as recording, I think it's the better guitar. I agree. I mean, like I say, unless you want that little bit of push. So, like I say, for me, it's kind of those three guitars and acoustics. And, you know, what about 12-string? Where do you fall on 12-string? You know, I do like the classic, you know, Martin D12-28, you know. But I do like, you know, things that Gibson have made. And I like one of the ones from Taylor and some of those, you know. So, I can't say I have a favorite. But if I had to go buy one right now, I would buy the D12-28. Now, for me, it's the Takamine, hands down. It's the one that was used by the Eagles on a lot of those classic recordings. Yeah. You know I'm a big fan of the Takamine neck anyway. They just have a great feel. And, you know, obviously, I prefer the Japanese-built. But even their Chinese-built imports, 12-strings, they just have a great sound and they record really, really well. Not knocking the Martin. Martin's a fantastic choice. But 12-string is sort of an out there thing because for me, it's, oh, I need a 12-string. That doesn't happen that often. Yeah, I would agree. Okay, what about bass guitar? It's got to be a Fender P-Bass all the way. For me, it's a Fender J-Bass. So, similar, probably the same reasons, but just a different flavor. Yeah, I love the low end of it and just how it responds. And it's classic. It was the first bass. It's on, you know, thousands and thousands of recordings. And to me, that's the classic bass sound. And I love a J-Bass, but P-Bass all the way. Yeah, I'm actually going to modify what I just said. A PJ-Bass is what I actually like the best because it gives you the best of the two. You've still got the classic sound, but you've got that little bit of smoother, a little bit less in-your-face of the jazz bass as well. But yeah, that's interesting, you know. And I love a lot of other brands. I own an Ibanez bass. It's a fine bass for, you know, it does everything I need to record. But if I'm going to go out and spend, you know, buy a really good bass, I'll give Fender this. I would absolutely go to them first for a bass. Wouldn't even think about it. I would agree with that. All right, so we've got that down. What about guitar amp? Oh, well, if we're talking super clean, you know, Fender Twin. I love my Fender Twin. It just, you know, has a little bit of a character to it. It's not like super sterile like some amps can be. It's loud as crap and just I love to push pedals through it. You know, does that clean thing, especially with a Tele. Do that chicken picking, you can't beat it. For dirty, Marshall JVM. Yeah, I would say for me clean Roland Jazz Chorus. Just, you know, absolutely crystal clear sound. You can get that cool stereo chorus, records well. You know, and then the JVM series, you know, basically the original design Plexi Marshalls are where I go. The new, the more modern Marshalls with the master volumes are okay, but I really like the original four input Plexi where, you know, you can jump the two channels together. It just, literally, that's what, you know, modern rock and roll was built on that. Sure, yeah. Yeah, so you like the 87X, you know, around that kind of era of Plexi? Yeah, I really like the early original. Early? Yeah, I really like the JTM-45. Yeah, exactly. JTM-45, I think, really are the better sounding ones. I mean, don't get me wrong, any of the Marshalls will get it done. You know, every one of them has their spot, but I think that, you know, really the JTM series was, you know, in that era, really the best sounding. Some of the modern ones like the Vintage Studio actually kind of nailed that sound down very well now, but all they're doing is recreating the old circuit, so I'm gonna go with the original. Okay, yeah, and I want to give a shout out to the Jazz Course as well. Like, if I'm just playing, like, super clean, you know, like jazz kind of stuff on a semi-hollow, Jazz Course all day. Gotcha. Okay, well, what about semi-hollow body guitar? It's got to be the Gibson Custom BB King Legacy Lucille ES-355. And you have one, and it is absolutely stunning. It is stunning. Absolutely hands-down, you know, almost, like, almost my favorite guitar overall. Like, it almost beats the telly. It is so good. Yeah, for me, it's gonna be a Gibson as well. I'm kind of torn. Really, the 345, 347, you know, the original, you know, that Chuck Berry guitar, you know, it all ended up kind of floating into the 335. So, they're all related, but I would say overall, but overall, I probably have to say the 335 Gibson, because everything from your, you know, your Chuck Berry era, although he didn't play that specific model originally, but then you've got Larry Coryell, your jazz guys play them, Alvin Lee from 10 years after, much more rock and roll played the 335. Super versatile, just a fantastic guitar all the way around. Sure, yeah, nice choice. All right, so what else? What about... What about fully hollow? Fully hollow body? Yeah. Boy, that, I'm just going to call it out. It's the... It's a tie between the Gretsch White Falcon and the Gretsch Chet Atkins. Kind of the same guitar, just very slight differences. Yeah, I own a White Falcon, love the guitar, fantastic. That's what I would pick. I mean, if Sweetwater wants to give me a Chet Atkins, hey, I'll take it. Absolutely. Well, you know, and they're great, because it's everything from, you know, your Chet Atkins, but all your rockabilly, your Brian Setzer stuff, your real early, like your Bill Haley in the Comets era, you know, so yeah, I mean, great choice. It's super flexible, you know, and there's actually some modern stuff. I don't know if you've listened to the stuff called Psychobilly, which is basically the rockabilly, but it's a lot heavier, kind of taking modern metal and, you know, acid rock era influences, put them all together. I was surprised, because I listened to it on a laugh, and it's really, really good. Nice. Okay, so we've covered that. What about... cover that. What about... got a favorite, favorite snare drum, and how about drums in general, but how about the snare drum, because that's kind of a... put a man in it. Yeah, I'd have to go with a, you know, 6.5 by 14 Bell Brass. I can't clearly name a brand, because I own, you know, I owned over 20 snares, but I do have a custom one from Drum Tech Services. The guy's name is Steve Morrison, so, dude, shout out. Love my snares. So, yeah, I mean, that's probably my favorite one. For me, and not a drum per se, but sonically, my favorite is got to be the Ludwig. I believe it is a 6.5 by 14, but the stainless, the John Bonham drum. Okay. That sound, that, you know, that basically flip rock and roll on its head at the end of the 1960s going into the 1970s. Okay, nice. Good choice. All right, so what else we got here? What about, and we can dig in quite a bit here, but I want to talk a little bit about pedals, but we probably need to do them, you know, by type here. So, let's start out with, let's start out with, you know, how about, how about you and fuzz pedals? So, I know we've been riding around on fuzz pedals, and I'm kind of in your camp that there's a lot of pedals called fuzz pedals that aren't really fuzz, but what about fuzz pedals? Yeah, so the Catalan Bread Fuzz Riot. Okay. Yeah, the, not the germanium, what's it called, the other one? The FET? No, it's not a FET. No, what's the other resistors? Germanium and... Drawing a blank here, but... Yeah, me too, but you know, the non-germanium one. Yeah, gotcha. Really great, and I like the, who makes the Kangaroo? Oh, Walrus Audio, the Kangaroo Fuzz. Yeah. That thing goes so over-the-top and gets all spitty, and you know, Octaveen, just, man, just massive pedal. Just, I love it. So, what about you for fuzz? So, for me, I'm not really a big fuzz guy, but I would say that if I'm really after a vintage fuzz, it's pretty simple, it's a fuzz face. I mean, it does fuzz. The other one I like, I'll give a shout out, because they make a bunch of different ones, but I'll give a shout out to Beatronics. They've got some really cool fuzzes, particularly in that octave fuzz thing. They've got some crazy, crazy fuzzes that aren't, they're really fuzz, but they're a little bit unique. But honestly, you know, if I want a true fuzz sound, I mean, I just go for the fuzz face, and to be fair, there are kind of noisy, but I'll just deal with the noise and roll on. Okay, I also want to give a shout out to the Way Huge Swollen Pickle. Yeah, that's another, that's definitely another one to bring up. That, that's a classic. I own that one. Great pedal. Yeah, great pedal. Okay, so we did fuzz. What about overdrive? Are we talking low overdrive, mid overdrive, or high overdrive? Well, so I'm breaking it up as basically overdrive, and then when you get to a certain point, you're kind of into distortion. Okay. So for me, it's pretty simple. It's Boss OD1. Okay. It's a classic overdrive pedal. That's all it does. No bells, no whistles. Put the battery in it, and yes, I said 9-volt battery. Put the battery in it, put on your pedal board, and move on. Okay. It would be the Archer Icon by Dre Rocket. Yeah, now you know I love that pedal as well, and, and, you know, but I consider that a, I mean, it's an overdrive, but I would almost call that a, that's kind of a hybrid pedal, really, just like the original Klon. You know, it's really a hybrid pedal. It's really a boost. What I call it, well, you know, I guess, honestly, I guess you would have to call it overdrive, but it's kind of a boost drive. You know, it's kind of a boost pedal, and it goes into overdrive. Yeah, I mean, it depends on how it's set. I mean, because you can make a lot of other overdrives, and you can make them turn into boost like a Tube Screamer. You know, like you can turn that into a boost, a clean boost. So, yeah, I mean. But yeah, well, I'm gonna, I'm gonna amend that, then. I'm gonna, I'm gonna say for overall, I got to go with the Archer Icon overall. Archer Icon, for sure. I mean, I call it my favorite pedal, period. Absolutely, what a great pedal. Yeah, yeah, you know, Les bought me one to prove his point, and honestly, it's the best pedal I own. You're welcome. But, but I will say that, that we'll give an honorable mention to the Ogee one. I agree, yeah. Because that pedal was used on so many records. Yes. All right, what about full-on distortion pedals? It's got to be the DS-1. Yeah, I mean, you know, I, this is where it gets a little tricky, but I would say that the DS-1 is definitely right up there. Sure. The other two I would throw in the mix, and both of these are arguably not strictly distortion pedals, but I would say the Proko Rat. Okay. Because it definitely will do distortion. It will actually do... And kind of goes into fuzz. Yeah, it actually floats all the way from fuzz through overdrive to distortion. Yeah. Pretty flexible. The other one, and I would say that it kind of almost floats into, almost into a compressor pedal, but not really, would be the the Big Muff. Okay. Now, the Big Muff, specifically the Big Muff Pi. Okay. You know, the, whether it be the modern Mini Pi or the original Big Pi, that particular one is the one I like. They make dozens of those things. They make Russian ones. One thing about the, about the Big Muff pedal is you can literally, if you don't like one, there's like nine others. You will find one you like. Sure, yeah. And the other distortion pedal that I would choose would be, you know, the Shred Master from Marshall. Oh, yeah, the, yeah, the modern Marshall pedals. Yeah. Yeah, they're definitely, they're definitely in that honorable mention category for me. They just brought that whole line back. I think, for me, the one I probably, I'm not, I like it, but I don't love it, which is the Blues Breaker. Yeah, not for me. I like it, but I don't love it, and it probably wouldn't in my pedal board. Shred Master is a great pedal. I probably would end up with the Governor out of those pedals, which was the original. Yeah. And they brought it back pretty much as was. I mean, I think the only things that have changed in the new one is, it probably isn't the same company providing the capacitors inside it, and I know they changed the output jacks because the company that made the original output jacks, I believe, is gone. They are. But, but that's, that, the output jack, as long as it's quality, that's a trivial thing on a pedal. Exactly. Yeah. Okay. What about a boost pedal, clean boost? A couple of good choices on that. I actually tend to use my Harchar Icon as a boost a lot, but probably the EP, the EP Boost is probably the, it's a nice clean boost on a ton of people's pedal boards, and it really does that one thing. Sure. It just boosts. It doesn't do anything else. Yeah. For me, I have two. It would be the J Rocker Archer Clean Color Boost and the Vertex Boost, I think the Mark II version. Yeah. I think, yeah, both are really great at just, like, a pure clean boost. So, I highly recommend both of those pedals. That's what I would choose. Okay. So, we did boost. All right. So, next up would be compressor, and this is a dicey category because compressors cover a lot of territory. And there are many different types of compressors and... Yeah. Just say overall, favorite compressor pedal. It's got to be the Empress Mark II. Really good pedal. Really good pedal. I'm going to say that, well, that's right there. That's right there. But my old Keeley, basically, my old Keeley 2-knob, it's basically a Dynacomp. And I'm going to say that just barely edging out the Empress would be the Dynacomp, or pretty much anything built on that circuit. The Empress is way more flexible, but I actually don't like flexible in a compressor pedal. What I want out of my compressor pedal is I want it to be able to do a little bit to a moderate amount of compression to the point where I could do chicken picking if I want to, but I don't want a whole bunch of knobs. I don't want a bunch of extra controls. I just want a simple pedal that does the job for the guitar. If I need to do more than that and I'm recording, I'll fix it and, you know, I'll do that in, you know, in the mix rather than do it playing live. But playing live, all I'm really trying to do is tighten up my dynamics a little bit and give a little bit more sustain. Okay. Yeah, I mean, basically, because like I say, that Keeley I've got is basically a Dynacomp. Okay, so a simple pedal for a simple man? Something like that, yeah. Okay. Yeah. What about a flanger? This is a fun one. Oh. I know you're not really a flange guy and I'm not necessarily a flanger. I'm not, yeah. I would choose the old Boss flanger that was out in the 90s. I can't remember what it was called. I know it's one you're talking about. That's pretty much with the flanger, you know, if I suddenly felt the need for a flanger, I would go the same route. I would buy the Boss. Yeah. One thing, and I'll say this, you notice there's already been a couple of Boss pedals pop up here. If you don't know what to do and you need a pedal and you're a guitar player, just buy the Boss. It'll get the job done. And they're made well. Yeah, and they're built like tanks. They are. Okay, so we got flange. What about the chorus? It's got to be the Boss Waza chorus, without a doubt. Yeah, for me it's the CE-1, CE-2, the Waza. I'd give a shout-out to, what was it, the TC. The one they had out in the 80s. I don't remember the model. I know what you're talking about. Yeah, that first chorus pedal they had out in the 80s was just phenomenal. Okay, what about phaser? I know what your answer will be. Go ahead and give your answer, because you know it. Well, it's got to be the Phase 90. Whatever you think of Eddie Van Halen, I say he had that right. I would agree with that. That's a pretty easy one. Yes, it is. There are some other cool ones out there that do fun things, but, you know, it's kind of hard to beat that. Absolutely. Okay, now here's a wide-open category. Okay. I'll break it into two. Okay. Favorite analog delay. T-Rex Replicator Analog Tape Delay. Okay. Okay, for me, tough for me, because generally I've always done delay, you know, in the recording or in the rack. So I'm just going to go ahead and say, for me, probably going to have to say the Memory Man. Okay. For me, I mean, if I had to put it on a pedal, the classic Memory Man or one of the derivatives would probably do it for me. Real flexible. If you're trying to get that fix or U2 kind of thing, it does it really, really well. Okay. All right, what about digital delay? It's got to be the Boss. Okay. Yeah. Yeah. For me, I'm going to say, I think it's the DD7. That's probably my favorite. Yeah. For digital delay, I mean, that one, that's a little tricky. I don't typically use a delay very much. Not there. I mean, I'll add delay in the recording process. Oh, I did think of my actual favorite digital delay. Okay. The Lexicon 224. Okay. Can't argue with that one. I'm just going to say Eventide H90. Okay. The new one, the H90 that can do even more. Okay. It can actually do more than delay. But yeah, for digital, yeah, I would go there. Interesting choice. Okay. Wasn't expecting that from you. Yeah. Well, I'm saying that I'm not necessarily a delay guy, but sonically, you can't beat it. They're crystal clear and super flexible. All right. And you need a power station to run them. Okay. What about reverb? Because you know what my answer is. Oh, well, so can we break this into different types of reverb? Yeah, let's break it into different. All right. So let's start with spring reverb. If we're talking like, you know, real spring reverb from an amp, it's got to be like, you know, something out of like a 65 Deluxe Reverb. Yeah, yeah. Well, they get more pedals here. But yeah, I agree with you on that as far as built in. Yeah, you know, the Boeing Reverb by JRocket Audio. For me, the Spring King, it's an actual spring. It even has a pad, you can kick it. So if I wanted spring reverb, I'll fall down on that side. Okay, pretty well made pedal. I mean, all right. What about what about room reverb? It's the Catalan Bread Cloak Room Reverb with Shimmer. Okay, okay. I actually am going to agree with you on that one. All right. For a pedal that that's the best sounding one I've heard so far. Would agree. Okay, and plate reverb. That's an easy one. It is. It's the Catalan Bread Talisman Plate Reverb. Best sounding pedal reverb, plate reverb that there is. Yep, I agree completely. I love it so much that I will actually use it over a room reverb a lot of times, just turn it down. I would agree. Basically, if you want to know what it sounds like, there's a lot of examples. But the guitar on Golden Earrings, Radar Love, that light metallic-y reverb, that's it. And that was actually done on a real EMT 140 plate that the Talisman duplicates. But yeah, Catalan Bread, or however you actually say their name, is fantastic pedals, particularly in the reverb and delay area. They make great, great pedals. Sure, yeah. All right, so we've covered most everything. What have we not covered? Volume pedals. Volume pedals? Yeah, okay. I'm going to throw one a little bit out of left field. I actually like the Morley Volumes and Volume Wah, the spring-loaded ones. Because, let me throw this back. So let's just stick with volume first, not combo pedals. So volume pedal, for a volume pedal, I'm going to have to say the, probably just a Dunlop straight volume pedal. It does the job, nothing fancy. Yeah, Dunlop DVP-4 Mini Volume Pedal is what I use. Okay, great pedal. Now, to the Wah pedal, the Morley. Because I like the spring-loaded Wah for a reason. You can use it, if you let go, it goes back all the way off. And no, you can't do that half-cocked Wah thing. But if I'm going to do that, I would use an auto Wah pedal and turn the rate down to zero, or as close to zero as it'll go. All right, yeah. For Wah, I would pick the Xotic FX Wah pedal. Okay, okay. That's a good one. Xotic's another company that makes really, really good. That was the one I was thinking was the Xotic EP-1 Boost, is the one I was thinking of earlier. I couldn't, it wasn't, I don't think I said Xotic. But yeah, that's the boost I like. Yeah. So that kind of covers most of the pedals. I don't think there's really any other... Like Univibe's envelope filters? Oh, we didn't really talk about Vibrato pedals. I can't say that I'm really into, so I don't... Yeah, I just have to say probably Univibe or the clones thereof. You know, I mean, there's a bunch of them. Honestly, if I want Vibrato, I'm just going to plug into the Fender amp and get the tube-driven Vibrato and be done with it. Yeah, I would agree there. There's not, I mean, the Univibe does a little bit more than that. There's some of the Chorus pedals, the... Is that Walrus that does like the Julia? I think so. Yeah, let me look that up. Could be someone else. Yeah, but that one goes from Chorus and it goes nicely into Vibrato if you want that. And I just have to mention Rotary Speaker FX. Yeah, the Julia is Walrus, I thought so. Yeah, that's it. The Julia and then Juliana, they've got a couple of them in that series. If you need that Vibrato, they do a great job. And, you know, you can push back into Chorus territory. Or if you've got your Waza Craft Boss, you know, Waza Chorus, that one will do Vibrato as well. Sure, yeah. Okay, so what do you think of Rotary Speaker pedals? Bunch of them out there. I think my favorite so far is probably the Lex, which is the Strymon. Yeah, the Strymon Lex. Not quite a true sound because it's very digital. I mean, you can tell it's digital, but it's kind of clean. And I kind of like that effect. I'm not much on the Rotary sound myself. So that's kind of where I fall on that. Yeah, I like the NEO Instruments NEO Vent, too. Very good pedal. Oh, fantastic. The Vent pedals are really good. Yes, they are. And they sound proper. So they're just, they're fantastic. Not cheap, but they're fantastic. Well, I mean, we're not looking at price here. You know, I'm gonna say, you know, bang for the buck, you know, is a whole nother factor. Sure. And there's probably some other great pedals we haven't even mentioned. If you think I'd be like, Oh, wait, let me change my vote. But I think it kind of covers it for pedals. Yeah. And anything else we want to go over? We'll do another podcast specifically on, you know, how to pick a pedal, how to get started with pedals. I know you want to do one on building a pedal board in general. I do, yes. Because there's a lot of tricks to it. You know, the order of pedals does matter. I know you've been doing a lot of research and playing with the two cable method, four cable method. We were talking not too long ago about dry, wet, dry, wet, dry, wet. Definitely want to do a podcast on and just blow away the smoke from that. Sure. Because while wiring it up can be a bit complicated at first, conceptually, it's so much simpler than everyone seems to be making on the internet. They're making out like it's rocket science or some sort of mysterious cult thing. It's like it really isn't. You know, it's just the concept is just so simple. But it's made into this giant mountain, which it really doesn't have to be. Yeah, I agree. And, you know, I help people build pedal boards and stuff and, you know, like find pedals for them, you know, because I do gear consulting and stuff. So, you know, I help people like find pedals for their pedal board or amps or guitars or whatever it is. And I've helped people put pedal boards together. So, you know, I have a certain way that I like to do it. And because I've done it so much, you know, I get really into it and I kind of geek out on it. So, you know, I love pedals and, you know, I think there kind of is a way to do it. But if there's a way you like to do it, just, you know, if you find the sound you like, just go ahead and do it. Yeah, yeah, there's definitely a I will say there's definitely a correct order to hook your pedals up. But a lot of great recordings were made long before effects loop existed. Yeah, people got around it. And sometimes you do some cool thing about pedals. As long as you have your in your inputs or inputs and the outputs go, you know, as long as your inputs go to your outputs, then, you know, you can't blow anything up. You may blow your ears out if you do something wrong. But, you know, play around. I mean, find what works for you. And, you know, if you get a chance, you know, the one thing I will give you, you know, you can still go into most guitar centers and they still have a lot of pedals set up to try out. I know if you if you ever make it to Fort Wayne, Sweetwater, in their showroom, they've got a cool deal where you can actually they have little stations where you can plug pedals and plug a guitar in with headphones and like literally compare pedals, you know, one after the other, which is really cool. So a lot of great options out there for doing it. And a lot of the small shops will do the same thing for you, too. Yeah, awesome. And I think there are some honorable mentions for pedals that, you know, kind of are like multi pedals in one. And that goes to Universal Audio, the Dream 65, the Starlight Delay, and the Woodrow 55. Well, that's one thing we didn't really talk about was amp in a box pedal, you know, all in one amp pedals. We didn't really talk about that. We didn't. So and I think we're going to be pretty much dead in agreement on these because, you know, for the Marshall pedal, while there's some much more fancy ones, much higher dollar ones, Wampler, that Mini Plexi, or if you want a little bit more flexibility, the Plexi Deluxe, pretty much takes care of my Marshall sound on that. And you just mentioned, if you want that that classic Fender sound, the 65 Fender, the Dream 65 from Universal Audio, you're done. I would agree. And it even has the reverb in correctly, you don't have to fiddle around with it. Yeah. And if you're wanting, you know, that old 5E3, you know, Tweed Fender, the Woodrow 55, fantastic pedal. Yep. They also make the Ruby, which if you're after that Vox sound, they got it. I would say, I think, yeah, I would say the Ruby needs, it's the best solution out there for that sound. I don't like it quite as well as the other two. I would agree. That's a really, the Vox ends up being the hardest sound to duplicate, I think. I would agree. Because I will say, if you're after that top boost, the Ruby does a great job with the top boost sound. Some of the other versions, I think, maybe not quite as good. But bear in mind, what they do is they basically captured and modeled everything off of real amps. And with any of the vintage amps, if you take a 65 Deluxe and you take another 65 Deluxe, you know, from the era, no two amps sound exactly the same. And Vox were really, really different depending on what amp you had and, you know, when it was made, how old it is, how it's been repaired, how it's been modded. People always think of Fender amps to be the ones that got modded. But honestly, the Vox stuff, the AC30s got modded more than any other amp probably ever made. And they changed year to year, like literally, and 63 was different than 64, 65 it changed again. So, yeah, Voxes are all over the place. Yeah, there's even high gain Voxes or 63 Voxes that were turned into high gain Voxes by Brian May from Queen. Yeah, of course. Hey, the guy literally is an astrophysicist and a great guitar player, so he can do whatever he wants, right? Absolutely. All right. Well, I think we're going to wrap this one up. Anything else on this one, Les? No, that should be it. You know, go out and play a bunch of pedals and buy the ones that sound good to you. Yeah, we'll do another podcast doing a much deeper dive on pedals and pedal boards. In the near future here. And yeah, so thank you for listening. Give us five stars if you enjoyed this podcast, and we'll be back soon with another podcast.