Couldn't you just pick up something like this;And put it last in your chain before the amp, moving your tuner back to it's previous location?Also, I don't use many pedals or a super long run of cable, but It's my understanding that both of those can cause loss of certain frequencies or 'dulling' of the overall sound. A buffer acts as a kind of impedance matching device that sends the amp a signal at a corrected Ohm-age that sounds audibly better compared to the signal with all of the suck of the individual pedals and cable runs.Someone else can surely chime in with actual knowledge...mine is the cobbled together kind.

I think that there's a pretty good explanation of the concept here.

Wire has capacitance, and the capacitance in your cables & long wire runs (think of all the wiring in a pedal) shifts the frequency response of your signal, acting like a filter - think of what happens if you use a larger capacitor on your guitar tone pot.The longer cable you use, or the more passive pedals you add, you're making the capacitance value larger.The result of putting the buffer in the circuit is like having active pickups. You're using a power source to bring the signal level back to an expected value - so usually there's a high impedance that your 'weak' signal hits, with a low impedance output - so that low impedance output can then create a voltage divider circuit with the next input (usually amps, which have a high impedance input), and you get a signal level that's 'higher', but not driven, than if it wasn't thereI think

Dr Tony Balls wrote:TylerSavage wrote:Wire has capacitance, and the capacitance in your cables & long wire runs (think of all the wiring in a pedal)I'd clarify by saying that CABLES have capacitance, not wire. Guitar cables are shielded and the gap between the center conductor and the shield acts like a capacitor. Single wires dont do this. So its really more about the length of the cables between the guitar and board, between all the boxes on the board, and between board and amp. Also all the wiring in a pedal wont really affect much. You're only concerned about the bypass wiring, which is generally a few inches of single conductor wire.To the OP: as suggested add a buffer at the end of the chain if thats what it takes to fix the problem. Could be a dedicated buffer as was posted, could be a Boss/DOD/whatever pedal that you dont turn on, etc.Re: a boost to run "always on" I have made a bunch of stuff that includes always-on Super Hard On circuits. Easy, breezy, beautiful shit.yes sorry that's a very good point because it would literally be like two metal plates right? What clears up why that never truly made sense to me as to how a 20 foot cable w/ 22 gauge wire affected the signal frequency more than just running through that wire in a pedal. I wasn't thinking because I measure that on signal wire in professional world, but I'm always working with shielded twisted pair or coax

Going to try this chain:GuitarBoss TU2 (buffered)Keeley Compressor (or similar - going to give one a try)Ernie Ball VolumeFulltone FulldriveBelle Epoch Deluxe (in trails mode so I think it's buffered?)Holy GrailABY boxinto amps.That's nearly a buffer on both ends so in theory that'd work right?

Riff Magnum wrote:Bit of a tangent, but I've also heard the Belle Epoch Deluxe will flip your phase if using it in wet/dry or stereo setups. Only reason i haven't gotten one, because those things sound legit.It does flip phase but I got around it by switching the internal dip switch to "Trails mode" and now it's on all the time effectively so your phase stays the same. Now the pedal "On/Off" is just a switch to allow signal to the delay circuit. If that makes sense. I have a real EP3 that is a magical thing. I've over-used the shit out of it on recordings recently but it sounds sooooo good. The Belle Epoch deluxe gets pretty damn close but my only criticisms are it lacks that 'magic' element of the Echoplex, you're always conscious it's on whereas an EP3 can become almost transparent even when the echo is really loud. It seems more natural somehow.And the controls are fiddly as fuck - I like to mark very specific points on the EP3's slider control to be able to hit speeds of delays pretty exactly. The knobs are very close together on the BED and very small and the graphics of grey/blue on grey are impossible to read onstage.

numberthirty wrote:honeyisfunny wrote:...(and 3. Can someone recommend a decent boost pedal to run 'always on' into my HH combo? So it gives it the same 'zing' you get above 7 on the volume but without rendering me deaf for 3 weeks after a gig)So, about this "Zing"...We talking "Mostly A Less Punishing Sorta Cranked Thing..." or "A Certain Mid/Treble Sort Of Bump Happens..."?I can get the zing with a compression pedal with the level cranked to make-up the loss of gain and the tone knob just on the verge of being trebly. But a compressor seems to introduce noise no matter where in the chain it goes and I don't like the audio artefacts of the way it tails off. But it gives the 'zing'. It's definitely an all-frequency thing - increased sparkle.

Something like this:https://sweetwilliams.bandcamp.com/trac ... swimming-2This is my friend Tom who has a perfect balance of distortion and clean ZING. I can get it nicely for recording but the HH amp I run needs to be a little too loud to get it easily - though when it is loud it sounds incredible. It's solid state so I'm thinking it's not about drive but about compression and frequency boosting. Going to give a Keeley Compressor a bash I think to just even it all out and give it a boost at lower volume on the HH.

honeyisfunny wrote:The Belle Epoch deluxe gets pretty damn close but my only criticisms are it lacks that 'magic' element of the Echoplex, you're always conscious it's on whereas an EP3 can become almost transparent even when the echo is really loud. It seems more natural somehow.I don t have an EP3 but I have a Fulltone TTE and the sound has a similar character. When you re playing loudly it seems to fill the room in a different way. I bought it used for a price I could sell it off again at without being out any money and had planned to get rid of it, but it s still here Plus, the preamp sounds so good with Fender amps. Mine WAS eating tapes until I took it out of our shitty practice space and followed Fulltone s video on how to change them, but I still use it at home all the time. Also used it on our record and it did not sound like a regular delay pedal at all to me.

honeyisfunny wrote:...(and 3. Can someone recommend a decent boost pedal to run 'always on' into my HH combo? So it gives it the same 'zing' you get above 7 on the volume but without rendering me deaf for 3 weeks after a gig)So, about this "Zing"...We talking "Mostly A Less Punishing Sorta Cranked Thing..." or "A Certain Mid/Treble Sort Of Bump Happens..."?