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.
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.
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.
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
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.
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:
Yep, makes sense that blending depends on chord progression rather than more dominant notes in the key. Like it.
Also adjusting the open strings for different tunings would be useful as I tuned mine to DADGAD yesterday. And I’m lost where anything is on 3 strings 
Great idea! I’ll try to add support for it. Also, I haven’t played around with DADGAD in a while, but it was a ton of fun when I did
I always have a guitar in DADGAD, then drop the G for open D.
Double-stops are a good entry point for rhythm-meets-lead playing. I held off on working on them for years but I’ve been having fun practicing them as part of various groove exercises from the Neo Soul Guitar book, as well other stuff.
Pentatonic double stop lesson by Tim Stewart
Do I adjust the truss rod in my acoustic or just wait for spring? 
I’d take it to local pro unless you have experience. Winters are brutal on acoustics.
Make sure to use a humidifier, they work but need time to reverse the effect.
I have a humidifier under my guitars and the hygrometer has been reading 20–25% humidity for months. This happens every year. I’ve got a little fret sprout on my electric, too.
I’m not afraid to adjust the truss rod or file the frets myself. It’s just spring is so close. I’ll probably just wait until the humidity comes back naturally.
I recently took down the fret sprout on my electric with a small file after kinda just enduring it during the winters for years. My hope is since I filed it down to near-flush at the peak of winter dryness it shouldn’t crop up again unless I somehow manage to have an even drier indoor humidity than I have this year (which has been in the neighborhood of 15-20%!)
20-25% is super low for long periods of time for an acoustic. Is the action super high or low?? You may have a sunken top and/or bridge lift
Action is a little low, but the guitar is just fine. This happens every winter in Minnesota. It’ll come up in a month or two.
Yeah, I also live in a place that gets bitter cold in the winter. The weather plus all that heating required to keep spaces warm leaves so little moisture left in the air 
It’s one of the big reasons why I’ve never wanted to buy an acoustic guitar above the 500-1k range, it just seems cruel an unusual to bring it into an environment like this 
Humidifier + roasted maple neck = no truss rod adjustment needed, for me.