Strymon Pedals

Be a reverent, entertainer, cool, go with me to LA, talk radio. And your message to all of NUTAR, with Jet Talk Gear, where we discover how we can become better musicians in a world of constantly changing technologies, where we take a good look at everything guitar, and sometimes not exactly guitar, but just as important, so we can be more successful as a musician in today's music scene. So sit back and relax, and let's explore all about guitar. Good evening everybody, welcome to All About Guitar.

We have a great show for you tonight. I want to welcome back the gang from Strin' In, they're makers of some of the most amazing petals and effects that you can use on guitars, as keyboards, whatever. And this is our third show together. And I just want to welcome Pete Selly, Ethan Tufts, and Jack Heinoff camera.

Pete's the co-founder of the company. Ethan's the VP of Marketing, and Jack is artist relations. And he's the guy that's helped me put this together. So thank you, Jack, for doing that.

I want to welcome you guys back. It's great to have you back on the show. And I'm really excited about some of these new pedals that you're using, especially today. We're going to talk about one of their newest ones, the Iridium.

So Pete, I'm going to let you just go at it and start explaining everything. All right. This is a technical difficulty of the tough way to start the show. But I believe the flint is set up to be in stereo, early.

I'm only hearing one channel. Let's take it out of the equation for now. OK. That's a good thing.

That's a very good thing. We're just going to go right ahead and make some changes here. We're going to deal all the Iridium. So we're into the Iridium now, and I'm going to show you this little guy.

And I'll let him explain exactly what it is, because it's more than just a cab simulator or whatever. It does away a lot more. Yeah, the Iridium is our newest product. It contains three classic iconic amplifiers.

And each is paired with three individual cabinets. And it uses the latest IR technology impulse response technology to allow for very high fidelity, 500 millisecond, 96 kilohertz impulse response, which is state of the art and allows for all the detailed nuance of the cabinet captures to be faithfully recorded. And then on top of that, we have a room control to set the amplifier in the cabinet in the environment of a physical space. And that room control also makes use of impulse response technology for the early reflections to give you a very accurate sense of spatial cues that creates a very natural environment.

So how big does the room get? Can you go from a small room like this to a stadium? Not probably. Stadium doesn't go that large.

The idea is that it's really to be the ambience and the reflections of room. So the small room is very small. And then the medium one is a little bit more space and size. And the largest room is, I'd say, it's probably a small hall.

OK. Yeah. And so the amp and cab in room setup is really, this whole product is the main purpose of this is to have great amp and cab tone in any direct situation. So if you're going direct to a PA in a live situation, or you're in a studio and you want some really amazing guitar tones, or you want to play through headphones at home, that's the whole purpose of this product is for going direct.

And leaving your amp at home is not saying you're going to always want to dip ditch your amp, but there's a lot of situations for you when you might not want to use one. Well, besides using as a standalone amplifier with the amp and the caps of the submissions we're going to listen to, can you set this up to put a head into this or something like a line out? Can you run it like that? No.

The main purpose of this is direct situations. And not in conjunction with that. Oh, OK. OK.

So it's kind of its own little standalone, which is very great. Exactly. If you're going into a power amp in of another amp, you can basically take the amplifier tone that's generated here and run that through a powered system. You could run that into the factory turn or the power amp in of your amp.

But you wouldn't want to go into the front end of your amp. But like for example, what you have set up here, you were going to run the flint into it. So because there's like these, they're not pedals, but there's like synergy makes this whole preamp front end that you can use that goes into a loop like that. So I was just wondering if that would work like that so you could use a high gain amp.

To be honest with you, I'm anxious to hear the flint, but the flint's a reverb tremolo. But your Riverside would do fine. Right. Yeah.

I really was designed to work with pedals in pedalboard formats so that it responds and reacts to boosts and overdrive and fuzz pedals in front of it just like the ramp. We can bring it down. Yeah. Yeah.

OK. Well, let's take a look at listen to this thing. OK. So what we've got here, the first amplifier, we have is the round amplifier.

And that's based on the Fender Black Pan, the Fender Black's Reverb, which is very well known, probably the most famous of the Fender amplifiers. And it creates a very nice, it's got a top end, but it still gets more to it. And it's got a nice range of clean tones. And then it gets some break up towards the end.

And we've applied our matrix modeling, which is what we use to capture the various elements and circuit topologies of the amplifiers. And it creates a very faithful reproduction of the tone stacks, which are the most important tone shaping elements through an amplifier. So here, so that's just the amplifier with no room control going on. Now, you have bass, middle, and treble.

They're all straight up right now? Yeah. Yeah, we're all 12 o'clock. And I'm going to add a little room on there so you'll see how that can really just, when you're listening to an amplifier in a room, or you know, making it basically, you know, it's not in an an anacope chamber.

You know, there's always going to be some reflections. So that's why we've added the room control to kind of fill in that last part of the sound. It's subtle that you can hear it. Yeah.

So that's the idea with it off. It sounds much more kind of, you know, just isolated. But. Now let me ask you, what you're on Cab A?

That's right. So what's Cab A for the deluxe? Cab A is a Cab A from own hammer. And it's from a blues deluxe with a fender speaker in it.

Deluxe, let's see. That one's the deluxe reverb of a 12. Yes. So that's open back with a ceramic 12-inch speaker in it.

Even those. I know because I'm reading it. Right. That's cool.

So that's A, Cab A. Yeah. And it's important. We haven't gone through many cabs yet, but obviously you can load in your own IRs here.

Right. Now let me ask you, so you're talking about the cabs for this amp because it's different for each amp, right? Yes. Yeah.

So what's B? So B, blues junior one by 12. That's from Cab I R is the company that made that. So that's a blues.

The first one's a regular deluxe open back. Yeah, I'd like to reverb that open back. OK, blues deluxe. And that's a close back.

Blues junior. That's this. That one, let's see. It's actually partially open.

Yeah. Partially open. OK. And then what's C?

Viberlux 210 from Cab I R. Very cool. Very cool. Now people forget the Viberlux.

That's a great sounding. A little amp with two tens. OK. I'm sorry.

Go ahead. So yeah, we've got the, so we're on cab C now. We have Viberlux. So the, the, uh, a deluxe reverb had a, just had a bass in trouble control.

There's no mid-control. So we've added, you know, we have a middle control on radio and what that does is at 12 o'clock, it gives you the same response as the, as the, um, the deluxe reverb. So that's the kind of classic deluxe reverb sound. But with the middle control, you can scoop it out further to get more of a, you know, kind of a cleaner, uh, less mid-range tone.

Or if you go above 12 o'clock, it adds mid-range, which also adds, um, essentially adds gain to the whole structure at maximum. It's, it's the same level of, um, of mid-response that the old tweed deluxe is had. So you kind of go from, uh, you know, the black metal deluxe to tweed deluxe by turning it, you know, yeah. Very cool.

The mid-boost like just on a, like the older fenders with the mid, it acted, some people would just crank that up just to boost. Yeah. Because in addition to kind of filling in the mid, it also increases the, uh, tire signal level going to the next day. So here's the base middle treble right here.

And then he's, he's got the switches here for the amp and the cap. Here's your level, output level, the drive for distortion. And then here's that room switch. So you see what's going on.

And then you have two, uh, foot switches, ones for on and off. And then the other one is what is a, it's a favorite. Yeah. So you can, you can set up, you know, the controls, any way you want and then, um, you know, store it to the favorite and then it'll, you know, just instantly switch it back to that, whatever.

So you basically have two settings that you can switch between. Very cool. Yeah. And then we also have, um, our, uh, expression, uh, that'll input on the back, which will work with our multi-switch plus where you could get three more, uh, incident settings.

And then of course it also will accept MIDI through that, that TRS connection and you can have 300 presets to recall for MIDI if you have a MIDI switching system. Oh, very, very cool. 300 presets loaded. We don't have 300 individual, sure rate of presets.

Yeah. But you could tweak whatever you want. Um, since you're going through this, the pedal itself, let's go ahead and just talk about this back panel. So he has left and right, right in and out and you can switch it mono stereo or some, right.

And then you have, uh, uh, it was in out left and right and then the expression MIDI and then you have a USB port or plug so you can program it. Right. The USB is when you're, um, uh, we have a software impulse response loader software. Um, that's part of the system.

So if you just plug your USB to your, uh, uh, from a reading to a computer, then you load up the impulse response. It'll tell you what currently is loaded. We also have some other collections of impulse response. We can add stuff to it.

Yeah. There's nine on board, but we ship, you know, you have more. Yeah. There are some more free ones available on that, um, on that software for you to experiment with that provided by own Emmer and, uh, yeah, by our now I get mono and stereo somewhat.

Is that just basically to channel mono? Yeah, this is, well, this is, uh, it's basically an input control. So mono, you always, um, so if you have a mono input and you started to mono, you'll get us, you can get a stereo output if you have a stereo, you know, but so mono input, uh, in the middle, it's stereo. I mean, if you're sending a stereo input into a radio, it's, uh, uh, all the amp models and the impulse response and everything is, is actually full stereo.

So that if you had a ping pongolay or something before that, and I'll say true, but so that's for a stereo input. And then the sum is if you want, if you have a stereo input, but you're only going to use one output and you want to sum that output to mono. Okay. It'll sum the, so this input here has a stereo jack too.

So if you have a stereo out from one of your stereo, right in there, yeah, and then you set the switch to stereo and then very cool. That's something is, the sum is really a cool thing. That's a handy thing to do. Because if you have your pedal board set up where you've got it, you know, set up for stereo, but then you're just going to have some gig of practice with just a single amplifier or something, you might want to just, you know, set that to sum and, uh, because that happens even when you're bypassing the pedal.

So you, if you're going into a regular amplifier, you don't have to like re-route your pedal board to what are your, yeah. So that's very, very cool. Yeah. And then on the front, you've got a headphone jack.

So that you want to, uh, you know, rehearse or try some stuff out there. It's really, it's really nice to, you know, if you have your pedal board set up and you want to play at home and just get your whole pedal board tone on writing your headphones, that's a really convenient way to do that. Also, if you're auditioning, you're setting up your pedal board, you want to audition different cabs. That's another, another great way to do it when you're, by your computer, loading up new, new IRs.

Very, very cool. Well, let's go through the different speaker, the cabs on this one. And then we'll go to the next, uh, the next thing. Sure.

Yeah. So here's the, uh, the, um, the Lex River from the owner, where this is slide. So here's like the control of the mid-ringer. So that, you know, you can hear it get fatter there.

Yeah. That, that, that tooling darkness to it. And a little fatter. And then with it, the call the way down your, it already, uh, kind of scoot.

Um, so it's cab B is the blues junior, which actually got a, um, a little bit of, uh, you know, kind of a boxer sound to it. It's a smaller cabinet. Um, and it actually kind of works well with kind of the, the tweet style type of sounds. Now push the, the mid down all the way over.

No, so it's like the old one. Right. And it should get that. It's good.

That's good. That's good. That's good. That's good.

That's good. That's good. That's good. That's good.

That's good. That's kind of rasping stuff. Drive is nice. It's, it's, it's a little more subtle than, but it works.

Right. It blooms good. That's that distortion. Yeah.

So then the, uh, the vibrallex 210 cab, um, it's a little deeper and it's got a little bit of more of a natural scoop the way the, you know, speaker's kind of, um, you know, uh, interfere with each other. So that's the three speakers that we have for the, uh, the round. Okay. Those are nice caps.

Well thought out. The, uh, okay. So now the chime, what's the chime? The chime is based on the top news channel of an AC 30.

So it's, um, you know, the, uh, classic, uh, Beatles and, uh, uh, queen and, uh, you know, those, uh, the British invasion and, um, it's got, it's got more gain, uh, on tap and again, the tone stack on that amplifier also was just based in trouble. And the base controls are very kind of a multi-faceted base control. They'll talk about it. And then, um, the, uh, there's also a high cut control on that amplifier.

The more you turn it up, it would roll off the high end. So we use the middle knob on a rhythm to implement that high cut control. Okay. And then before you start playing, what are the caps for A, B and C?

Yeah. A is a, uh, from own hammer and it's a, um, a 112, uh, no, a 212, um, with, uh, El Nigo. Open back. Yes.

Do you double open back? Uh, El Nigo, uh, blue with the selection, El Nigo, blue speakers, which is kind of a classic, um, you know, combo combination in there. Okay. And then what's B?

B is, uh, one 12. So the quits, I can remember. It's a 112 closed back also with that selection. Uh, El Nigo and it's from selection, isn't it?

Uh, yes, you're correct. Correct. Two points. So, the question is it a blue?

Yes. Yeah. And it's a closed back 112, which, um, I've got a, um, one of a handwired. Um, AC 15s with, um, with a kind of oversized 112 closed back, um, speakers.

It's a great cabinet. Yeah. Oh, they're popular. Yes.

The Frank Stallone swears by the AC 15. Yeah. And then what's C? C is a, oh, it's a Mesa boogie cab, uh, four 12 with the tops loaded with the Celestia in, uh, V 75.

Right. Uh, the black shadow MC 90s. Oh, that's, that's the, my wrong, the EVs. Are there?

I'd be like, oh, yeah. Yeah. You're right. You got it.

Yeah. Yeah. So the black shadow electric boy speakers on the bottom and then the selection is on top, which was very big. When I went to guitar institute in the late 80s, um, that was the rig to have was the, uh, the, uh, Mesa boogie speakers with the, uh, the EVs on the bottom, the selection is on the top.

So which, which Celestia is blues? No, there was, would be 75. No, I forget which ones are selected. Selections were MC 90.

That's what. Oh, okay. Yeah. Oh, the MC 90 is the selection.

Yeah. That's interesting. That's an interesting stack. Yeah.

Right. You get like kind of the projection of the higher, um, you know, the presence of the selections and then on the bottom and you get the kind of handled cabinet. So the selections are shooting up. Yeah.

Yeah. Yeah. Yeah. That was the idea.

All right. Oh, listen to this is interesting. So the base control on the, um, on the box is an interesting one because it's really, it's really like, um, base and middle wrapped into one. So when you turn the base down, it's also you're, you're turning the base down and you're turning the middle up is really what's happening the way they use instead of using a resistors, a variable.

They basically use the middle part of people understand resistors. They use the wiper to basically kind of, um, go from the range from what would be full base to full middle. So, um, when you turn the base up, you're turning the base up, but you're also turning them down. And it's, it's one of the reasons that the amplifiers, you know, are so versatile and can do so many different styles is because, um, it's just kind of like, um, you know, consent from, from, Basie and, and, and, and, and, and, and, and all to kind of add and mid-range.

So I'll just, you know, play a chord and then kind of move the bass. Okay. So it's all the way down right now. Right now it's not.

So it's, you know, it's very, you know, mid-range sounding there. That extreme, you can be here really or just like, it's completely scooped. Yeah. Yeah.

And we've got a little more gain on tap and I'm wondering if this is set up in the line level and potentially, I don't remember. Because it seems like it's a little bit shy on gain compared to what I'd be. How do you switch that? It's a, it's a power-up mode.

I don't remember. But I actually know maybe we're okay. Yeah. Yeah.

That's good. Yeah. I think I, I, I've just not used to, I've been playing a different guitar through it for, you know, at home. And I think I was just kind of, my expectations were a little bit, uh, interfered by that.

But so yeah, this is, this is what the gain all the way up, which is a little bit kind of hot rotted. The Eridium has kind of its input and there's two of them because they're separate channels, but we have our, our JFET analog input stage, which basically acts as the, you know, it's kind of, it's involved in the first stage of the, of the tube modeling. But it's also a shaped analog gain. So it allows us to, like, you know, we can kind of map it how we want to with the gain control.

So at the very end of the travel of the, of the game here, we, we had essentially kind of like a trouble booster pushed to the front end. And then it makes it really easy to hear the effect of the different caps when you've got that much gain because, you know, you know, there's a lot of things to work with. So, so this is a, you know, cab A from a honing hammer and a switch. Just like a regular amp, if you have guitars with interference, you'll amplify the input.

You're getting them. Yeah, that's right. Sarsens getting their, yeah. These sound plackers, I like them, but I think one of the reasons I like them is because they're not hacks, the coils are kind of imbalanced, which means it gives it a little bit higher brighter tone, which I like, but also means it does a lot more.

Cancelling, but. And that's with the 212 cabinet with the on nickel blues. That's correct. Yeah.

That's nice. So now we can hear the, the effect of that high cut, which is implemented on the middle control. So that was at 12 o'clock. And this is full down, full down, which actually means the brightest signal that's weighted on the box.

Like when you turn it up, it's cutting more high. So this is cutting, it's not cutting any high. So you really get kind of a top end presence. So you can use, you know, you can use the trouble control with the high cut.

They're really kind of scaling the high end there. Now if I turn the high cut up. So now I can the trouble up and it's going to bring like, basically the high cut is really working on the presence frequencies of room. So it's really high ones.

Yeah, it's a presence control. Yeah. So you can turn the trouble up and the high cut up and kind of like, you know, get some definition to it, but lose some of the high end sharp. Now I want you to go ahead and play.

I'm going to do something to kind of show what that, those, well, do the mid one first, or you can go ahead and do it. While he's playing, just sweep it from all the way on, all the way off and all the way on, just go back and forth. And you place it, I can hear what it's doing. Sure.

So he's turning it down. So you can hear the presence. It's acting like a presence, which gives that sparkle. So do it, sweep it again, but faster.

So get an idea. Okay. Now try the bass control. Keep playing and sweep that slow and then yeah, that one.

So go all the way down and then sweep it faster. Now it's interesting because what he's doing when you start turning it down where it's almost off, you're getting a mid boost, but it's kind of a resonant boost. So it gets like a little home, which is a characteristic of the box. It needs a really cool sound.

Yeah. So that is very, very good. Go ahead and play for a second. It's around nine to eleven.

So it gets that squawk out of it, which gets that really cool sound. Yeah. So that's a cab A and what's the one by twelve. Yeah.

So that was the two twelfths that we're going to go to go to the one by twelve. Close back. Yeah. So you hear it different, different low end response, not quite as deep.

It's tight. It's tighter. Yeah. It's a nice sound.

It's tight. Yeah. The box turned out, you know, they're fun to play with that. The problem even with that AC 15.

The only time it can turn that up is when the building is empty. It's the fifteen watt amp. Yeah. It is so loud.

Yeah. That blue is a real fish. Yeah, for sure. So it's nice you can do this in the privacy of your own home.

And not kicked out. That's got great tone. Yeah. I like this one.

Hopefully these bubbles are okay. Yeah. Yeah. Yeah.

Yeah. We can dial it back a little bit. This is a good one for the sparkly. Use most pickups to get the effect of that kind of out of face.

But it's interesting because you have the gain up enough where when it breaks up nice, but you're playing clean, so it's still clean, but it gets a nice little dirt to it. Yeah. It is very dynamic. Like if you respond well to volume controls and you know, playing dynamic.

The response is very natural, like a real amp. So then, cab C, this is the Mesa chord 12. A little fuller. Yeah.

It's got that girth to it, but it also has that brightness. Yeah. That's what those cabins are here. Of course, you know, you can really clean it up.

I think I've experienced this before. I'm hearing a little bit of acoustic strings through the microphone, which kind of changes the tonality a little bit. Yeah. Let me when you play on mute, I'll meet your mic so it's a little easier.

I know it's quiet in here. Yeah. Let me mute it. Go ahead.

Oh, yeah. Makes it feel better for my end. Yeah. That's fine.

That's just I was. You're there. It sounds great. It sounds really good.

Okay. Now the third. Yeah. The third amp is the punch amp, which is based on the Marshall Super League 1959, which is not the year of the amplifier, but the model.

And it was 100 watts and, you know, a lot of the box even, I guess. But it has more. That model has more gain than the box. It does.

We do the same thing where we kind of go like in that kind of hot rotted at the end of the end of the travel. You know, those amplifiers, if people could, the idea was like, you turn all the knobs off and that's one of the thing really kind of things. But it wasn't, it's not high gain, like in the modern sense of like the JCM 800s or that. It's like a plexi.

Exactly. That's what it is. So it's, again, it's a nonmaster volume amp, which all three of the amplifiers in a radio or nonmaster volume. And so it's got, you know, it's, it's gained, but it's not like, yeah, but you have the, what they don't have is you have the game boost.

Right. We've got a game boost. And then also, you know, we, you know, a lot of people, of course, you know, have their own, you know, over drives and distortion pedals that they like. And then we want to make sure that, you know, we're really in place well with those.

So, you know, if you ever want, you know, to kick in the extra gain and, you know, it will work really well with it. So now the, one of the cabinets on this guy, the first cabinet is a four, 12 cabinet from own hammer and it's one of the speakers and those selections. So yeah, we got a, yeah, selection G12 and the greenbacks or the blue. Yeah, they are the green back.

I think that would be. Okay. Yeah, the G12 M. Yeah, the G12 M.

Bring back. It's black, green, but so many different colors. That's okay. That's a G12 M.

Yeah, that's a four by 12. And that's an angled cabinet model. A model. A four by 12 Marshall cabinet.

Yeah. Yeah. Okay. And then what's the B?

The B is a two 12 cabinet with a selection of vintage 30s and that impulse response is from selection. And now it's open back. Open back. It's 30s open back.

And that's a two 12 Marshall cabinet. Yeah. The reason I'm asking is there is a different the way the thickness of the wood and of the way the cabinet affects that sound. So, okay.

And then what's C? C is a Marshall eight 12. Yeah, this is a kind of a rare cabinet. Yeah, it's actually an eight 12 cabinet.

It's provided by a caviar. And yeah, it's a 65 with that. Yeah, it's a less than Ellego speakers. Which ones are does it say?

The T. 52. Yeah. T.

62. T. 62. It's a eight 12 cabinet.

Yeah, it's fun. I like that one. And it's a lot lighter. Yeah, that's a sure.

Okay, let's take a listen to this guy. All right. There is kind of clean settings here. And the base trouble of middle controls are standard Marshall.

Is there anything weird going on there? Nothing weird. Yeah. This one, our matrix modeling, we put the Tonk's Act values in there and pretty much you get the identical response.

Yeah. It breaks up. Nice. Yeah.

So there's the middle just like on the deluxe amp. But when you push the middle, you can get a little more gain. But yeah, there's really it's also a really the way it interacts with the other tone controls. It really changes the character of the game.

Like I'll start with the middle up and then bring it down. Or go ahead and turn it down. What's playing? That's a nice sound.

Okay, then then cabinet B. Let's see what that thing sounds. All right. So not as much low in on this one, but it's got a nice presence to it.

Okay. We want to get like a real aggressive kind of mid tone. My balance, I mean, it all depends what sound you're looking for, but the mid control and the Marshall when you have to gain up is really important. Yeah.

Well, it's interesting because when you use, it doesn't have the low end response, but in a mix, it'll cut. Right. Yeah. It's very, it's, you got to think that way too in a recording environment.

There is a difference in it does stay out of the ways. Yeah. Very cool. It's got a great sound.

No speaker mod. The IRs are just killer. Well, that's one of the things that, you know, we worked with the IR guys. We wanted to get a good variety of sounds and the ability to run their highest quality impulse responses at 500 milliseconds and 500 milliseconds.

Yeah. Yeah. Sorry. Oh, yeah.

But 96 kilohertz for 500 milliseconds, really, you know, any of the interaction of the mic and the cabinets and the reflections, like all of that gets to be captured. So that, and I think it makes a difference that just in the experience of playing it that ultimately translates. Okay. Let's listen to the third capital.

Okay. So the H12, and now it also depends, you know, where I was being captured, but the, it's, it's actually brighter than you might expect the way, but it's got this great top end to it. Wow. So that would really, you know, cut through nicely.

That's nice. It's really aggressive. Yeah. Exactly.

Yeah. Even when you turn the trouble back, it's still a lot of top end, you know, that's where like the mid control, just like the stone sacs, they're very interactive. You know, in the original, so you can get really wide range of sounds. And this also cleans up, you know, pretty nice.

Again, you're just in playing some. Yeah. That eight, that eight, 12. It's just sparkles when it gets a chime years down.

And then you can go into the using the USB, you could actually put the eight, 12 in the chime, right? You can move them around because this would sound good with the box. Yes. You can do an experiment with that.

And even, there's some, there's some more impulse responses that are provided free with this software. So you can audition other ones that are already available through the interface of the software. And speaking of auditioning them, especially when you have high gain, Marshall stuff, it's kind of fun to switch back and forth between the cabs while you're playing. Yeah.

That might be kind of something fun to do because you can really hear the difference in the cabs. You know, it's eight, 12. It's like very distinct flavors. Yeah, it definitely affects the overall tone.

Now we're almost out of time. I'm going to have to, we were going to cover the flint, but we just didn't have enough time. So I'm going to ask you guys to come back and we'll do this one. Give it, I don't want to short change it if it's okay because there's, there's a lot on this thing too.

And judging from all the other pedals that you've done, there's so much depth in them. I don't want to, I don't want to short change it. So this is out now, right? That's correct.

Yeah, we started chipping in very into walk over, I guess. Yep. And this is, this is amazing. It's a great pedal.

And explain real quick, you were talking, can you chain more than one of these? Were you talking about where you were doing the MIDI? Were you mentioning, I forgot what it was at the beginning of the show. I wanted to understand that a little better.

Or you just, it's set up to, if you have a MIDI controller, you can access up to 300 presets. Is that what you were referring to? That and then with the expression, what does that expression input? You were saying something about it a while.

You could use it for MIDI or you could use it for, we have something called the multi-switch plus which has three foot switches on it and that allows you to access three additional presets. So it can be used with many of our pedals. Okay. So the, the, that, that switcher allows you to, so you'd actually have four.

Sure. It's like a little, it's a little smart switch. So it's a little, it's got three foot switches. So that would add three more in addition to the one that's on board, which is also in addition to the one that isn't, you know, that currently is just set up on the amp.

So you can have access to five sounds. So without going into MIDI and that kind of stuff. Or you can also plug in an expression pedal and use it as a volume pedal, which is really convenient. Very, very nice.

Now one other question is, in using this in a pedal board setup with other strum and pedals, you had brought in the blue sky, which has its own speaker emulator out. Where would you put this in the chain? What would you recommend in your pedal board? Would you put this like, it would switch between this and the blue sky?

Or would you put the blue sky, the blue sky before this? Or I would probably, it's the big sky that has the cap. So I would say if I was, had a big sky that I was going to use in the rig, I would switch the cap off on the big sky because you want to be, you know, use the big sky caps in as utility, but like the radium is a different level of implementation. So use the radium and then I would go out of the radium into big sky and then big sky then can go direct to your board.

But so basically that's like adding post effects, you know, you've got your amp load based on and then you're going to add a reverb. Right. No, because the, the, these amp simulators are so superior. I mean, it's great.

I mean, I was impressed with the, with the big sky and how that sounded. Yeah. And that sounded really good. Yeah.

And we still love it and it still does sound good. But if you have an radium, I think you'd be better off to use the radiums, you know, really kind of sophisticated cabinet, plus you've got all the different options of switching with them and then just, you know, run that into, into the big sky. Well, everybody, we're already out of time and you definitely have to come back. We have to talk about this guy.

And there's, there's even more. There's more fun is going to go. But it's www.strimon.net and check this out and they're going to be showing this at NAMM this year and first of the year. So check it out.

It's, this thing's amazing. I'm really impressed with the sounds of the cabs and the amps, the gains that you just got it. You tweaked it right. And I want to thank you guys again for all coming down.

It's always a pleasure and I look forward for the next show. We'll be, we'll be doing more. There's much more to be explored with Strimon. So everybody have a great evening and we will see you next week.

Take care and thank you guys again. Thank you, and thank you, Jack, for putting this together. Alright, everybody have a good night.