boom-er-rangerssssssssssss

["anti:clockwise" <anticlockwise@tensionheadache.org>]

At 04:38 PM 11/6/2003 -0500, Scott M2" <scott@dreamstate.to>
  wrote:

 > So you'd say that your boomerang is noisier than your headrush?

unquestionably. but to be fair -  i am not sure whether that's cause the 
headrush might top out at unity, while possibly the boomerang gives some 
additional output oomph. i'm not up on my spec's enough to know if there's 
extra amplifyin' goin' on in the box from texas, and it certainly does 
allow for input level adjustments.

in the studio, with the "heat of battle factor" not an issue, we have the 
luxury of all the careful gainstaging we can want, and we've clearly heard 
a difference between the 2. but the headrush (which i love, btw and makes 
an awesome companion to the boomerang in a few ways) don't give you no 
MINUTES of meander! so both have their pluses and minuses. in performance 
the boomerang is very easy to use and has certain... characteristics that 
basically make what i do able to happen the way it does.

the one thing neither box offers is pitch or rate adjustment which i do 
long for. the old digitech sampling pedals had it. in fact, i was looking 
for one when i got turned on to the boomerang as an available alternative 
to the digitech models.

hey - i'm not unhappy!

a:c

all this was cause a:c had said:
 >> obBoomerang:
 >>
 >> love mine, it's the whole show. well... i do play a headrush in the
 >> backfield, but the boomerang (2nd gen) takes the front line all the 
way. in
 >> a live-performance context, it's the disney magic at my shows.
 >>
 >> however - while working on my current record we discovered that it's 
firmly
 >> on the noisy side. especially when it's not "doing anything" at the 
moment,
 >> it cranks out a bit more than its fair share of hiss. so we've been
 >> reconfig'g my setup for each overdub using ONLY what's engaged for each 
one
 >> & that means pulling the boomerang out of the chain for many o/d's.