Hmm, well it’s still a pretty new pedal, so let’s See. Will be some months before I try one I think.
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So I may have just bought a hybrid Hyde/EFC with CV control thanks to you reigniting my love for these guys. Will report back on how it sounds on drums. 
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Decided that I’m ordering both the Jekyll&Hyde (for stereo) and the Electron Fuzz Retro (for mono parallel processing)…
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Not a distortion really but I’m waiting for the JoMoX T-Looper to come out so I can use it alongside my distortions. The filtering + feedback + fx + follower adds a lot of taming and destructive possibilities.
Edit: I ended up buying another T-Resonator II as I couldn’t wait and my mixer already has limiters.
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Looks like I get to report back early next week since RML is just down I-5 in Portland.
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Digital… Alesis Bitrman set to decimate with the inbuilt compression and distortion 1/2 way…brutal…similar resaults to the wmd Geiger counter above.
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Tube… EH lpb 2ube - all drive cranked and signal ganged firstly through the left tube then back into right tube for a double dose…velvet…
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Analog…ARmkii distortion on master adds weight and can be nasty… but unlike many other distortions can be subtle if you want without running on an aux or level matching with reamping etc.
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Gain…channel gain on an old tascam portastudio 4 track cassette recorder cranked to 11…
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I tried a T-resonator once. Not my cup of tea. Feedback way to early for what I dare messing with. But I did find og quite useful for stereo processing. And I’ve seen several users on Youtube getting amazing results out of it. Maybe I’ll be good friends with it one day, who knows? But I’ll need a limiter right after. I guess the stereo one from EHX would work for park limiting?
I just got myself a T-rex Alberta today to use on a send for saturation purpose. Sounds pretty good. It’s similar to a Tube Screamer, so it doesn’t add as much harmonics as my other pedals. I Also have my EHX Flatiron Fuzz on a send. Using that one sparengly can give a Nice crunch.
A thing I noticed is that what you crank the distortion/overdrive (whatever) pedals tone knob up, it adds a nice definition to the mix by definering the higher frequencies more, obviously, and makes it stand out more. Especially Because it’ll make more of the signal mono, so it’ll sound more together and not as flat. I actually tried that on several professionally released tracks from other artists (Just shuffled through my Spotify playlist), and all seemed to benefit from this technique. Without they sounded flat and dull like they weren’t even mixed or mastered. Or maybe it’s the small Jack out from the phone that filters Some of the definition off?
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Hey everybody, I took the freedom to change the name of the thread, since it naturally became about other sound sources than kick drums anyways.
as this thread has popped up on my feed again.
my fave things STILL (after a few months) …
bram bos NOIR + eventide Crush Station on IOS.
and a bit of reverb/gate and a tape delay.
and maybe run it through scatterbrain and put bit maestro and a delay on a few individual out of sync steps.
I really like what the rytm distortion does to kick drums. Used subtley you can get some really good punch. I’m not that big a fan of really crushing kicks.
I use two rytm channels for my kicks. One benefit of this is being able to individually drive each channel. The top for normal gets some extra drive.
In this scenario rytm overdrive is one of the best I have in my arsenal.
Aarh yes of course. I didn’t think of layering in that way. I was really narrowmimded and only thought that I could layer with the sample engine on the same track. But of course I could layer with other tracks just by sequencing the note in the same place, just as you could with any other piece of gear in the studio as long as it’s synced of course. The Rytm has the flexibility of having filters to keep one kick in the lows and the other in the highs though. You could use the bass tom or any of the other perc tuned low enough to use for the bass part. And the overdrive really is great in moderate amounts. It really kicks in on the kick. And AR is also good for sub bass parts by using any of the perc engines, especially the toms and bass tom. Hmm all this makes me feel that I shouldn’t have sold my Rytm mk2 haha. But I really want to try out the Bass Drum from Erica Synths. It seems to have some meatyness that I haven’t heard from the AR. Hmmm.
Though this thread was intented for hardware examples, Noir does seem like a very cool piece of software. I didn’t know about it until now
Can anyone post audio examples of how T-rex Mudhoney sounds on synths and specifically Acid Basslines? I can’t seem to find any audio examples anywhere.
I’m digging digital distortion for kicks atm, I really like the on board distortion on the MD for kicks as well as the distortion in the filter of the OCTA, banging.
Well I have 3 analogue distortion/overdrive pedals and they don’t sound better than some plugins. Or did you mean digital sounding distortion?