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The release updated the Chromium engine used by Torch and introduced an embedded player to stream torrents downloaded before the download is completed. Reception. Early versions of the browser have received mixed reviews, with some praising its interesting feature combination while others pointed to the lack of add- on support (an issue which has been resolved in newer versions). If you like to browse the web while grabbing various files this might be the perfect browser for your arsenal of web applications. Overall I have been pleased with the Torch Browser and I only hope it continues to grow so more social sharing features can be experienced and more files can be grabbed. While it has options that make sharing and social media a breeze, Torch Browser just isn't unique enough to win people's hearts. It lags in performance and its major features aren't worth making the switch.. Torch Browser tries to carve out its niche by being an all- in- one Web browser.. However, it doesn't do any of those things well enough to replace what you currently use. Once you get over the novelty, it becomes obvious that Torch Browser isn't that powerful as a Web portal. It's noticeably slower than other browsers and it doesn't have the same sort of add- on support. The layout is just a rip- off of the open- canvas setup of other, more popular browsers. None of this is to say that using it is all a bad experience. Torch Browser still runs circles around Internet Explorer and would be a major upgrade there.. While not a threat to Firefox or Chrome, Torch Browser is easy enough to use and might just impress Internet Explorer users. Heavy downloaders might enjoy the torrent downloader and media player that come with it, too. It’s well worth trying out. Users may be asked to install search toolbars or adware programs during installation. These bundled programs commonly do one or more of the following things: Change the user's browser homepage to a page with ads. 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This piece was created through Wright's reflection on childhood and her relationship with her mother, serving as a sort of necessary step for the designer to accept this new situation. Wright says her memory is driven by colour and shape, and through using the jacquard loom she was able to translate a personal photographic collage into a thick woven fabric, tangible and soft. Each cut square serves as a physical and material reminder of sweet childhood memories; the organization of which is unfixed and ever- changing. This work was created by collage and painting, and translated through Point Carre software to become woven pieces created on a Staubli jacquard loom. It is a 7- wefted weave, and has been cut apart and reconfigured. Many pieces were painted after weaving with bleach or dye. Christian Frank M. He perceives that design has a crucial influence on our lives. Good design improves our everyday lives and should be sustainable in terms of long lasting, timelessness, the use of the right materials and flexibility in use. And of course it should look good in every situation. Design is not pure decoration, it is the right ingredients mixed together in order to create a new, unexpected experience. Some people would say boring, but boring is in my opinion not bad. It’s just the absence of excitement in a world that is full of exciting things and where every new object is just trying to raise the level of excitement.”In this experimental collection, fabrics are made with different unconventional dyeing, weaving and knitting techniques. Injection dyeing is used on folded, woven fabrics before they unfold to reveal a placed pattern of bleeding spots. Dye is also injected into bobbins and knitting spools before moir. Supported by Promperu, the Autumn / Winter 2. New York at D& A, an innovative ready- to- wear trade show for coterie collections. 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Marcella Echavarriaphoto Marcella Echavarriaphoto Marcella Echavarriaphoto Marcella Echavarria. TALKING TEXTILES 2. Caroline Angiulo . Based on creativity, innovation and aesthetics, finalists will be selected by a jury and have their work featured in an exhibition at Wanted. Design in New York from May 7 to 1. America’s leading carpeting and flooring company MOHAWK is generously providing $5,0. TALKING TEXTILES CONFERENCE on Wednesday, May 3, 2. DEADLINE FOR SUBMISSIONS is April 1. Dorothy Waxman's jury is made up of the following additional industry experts: Royce Eptsein (Director of Design Segment, Mohawk Group), Paul Makovsky (Editorial Director, Metropolis); Helen Oji (Creative, Inspiration & Research Director, Eileen Fisher) and Mathilda Mc. Quaid (Deputy Curatorial Director, Cooper Hewitt). Started in 2. 01. TALKING TEXTILES is an initiative to discuss textiles, highlighting the importance of innovation and education. Exhibitions have taken place at Spazio Gianfranco Ferr. Mills around the world are vanishing one by one and educational institutions are downsizing their textile departments or replacing looms with computers, therefore soon textile talent may have no place to go. Creativity is the only solution. Since textiles have the power to reflect the fabric of our society, the TALKING TEXTILES initiative provides an alternative solution to the problems of last century, with optimism and fantasy to transform our nomadic lives. The TALKING TEXTILES CONFERENCE is an inspiring and educational half- day seminar to talk about textiles for fashion and interiors – exploring the important trends, fabrics, yarns and techniques for the seasons to come. Hosted in New York, the event elevates textile education for both students and professionals alike and is offered free to students and faculty, while tickets are available for purchase for professionals and textiles enthusiasts. NEXT SEMINAR IS ON MAY 3, 2. 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This quote, from Meditations, is one of the many instances where Aurelius writes on the concept of overcoming pain and other disagreeable sensations: “Whenever you suffer pain, have ready to hand the thought that pain is a moral evil and does not harm your governing intelligence: pain can do no damage either to its rational or to its social nature. In most cases of pain you should be helped too by the saying of Epicurus: . So when you find yourself complaining of any of these, say to yourself, . Indeed in the case of most pains let this remark of Epicurus aid thee, that . When then thou art discontented about any of these things, say to thyself, that thou art yielding to pain.” - Marcus Aurelius, Meditations 7. What It Means. Physical pain, drowsiness, hunger, heat, cold, and other uncomfortable or unpleasant feelings should be separate from your rational mind and spirit. Basically, just because you feel something you do not like it doesn’t mean that’s all you should focus on. 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In general, quality is not sacrificed for speed, and the standards will usually opt for the highest quality possible, even if this takes much longer. We changed to new address: http:// DOWNLOAD LINKS: 112db.Big.Blue.Compressor.v1.0.0-R2R.rar - 11.0 MB 112db.Big.Blue.Compressor.v1.0.1-R2R.rar -. Video Converter, Video Downloader, VOB Converter and Ringtone Maker help you enjoy easy digital life. Download free product trials of fast, high-performing software. Free online file hosting. Host your large files with one click. The easiest way to upload, download and host files. For example, releases using the Xvid encoder must use the two- pass encoding method, which takes twice as long as a single pass, but achieves much higher quality; similarly, DVD- R releases that must be re- encoded often use 6 or 8 passes to get the best quality. When choosing the file format, platform compatibility is important. Formats are chosen such that they can be used on any major platform with little hassle. Some formats such as Clone. CD can only be used on Windows computers, and these formats are generally not chosen for use in the standards. Packaging. Allowed package formats today are limited to RAR and ZIP, of which the latter is used only in 0- day releases. The sizes of the archives within the distributed file vary from the traditional 3. These measurements are not equivalent to traditional measurement of file size (which is 1. KB to a MB, 1. 02. MB to a GB); in a typical DVD release, each RAR file is exactly 5. In binary prefix that's 5. This allowed for 1. For example, a DVD- R image (4. Gi. B), split into 1. MB. The new RAR naming format, name. MB for historical reasons and because the old RAR naming format is still being widely used. Different compression levels are used for each type of material being distributed. The reason for this is that some material compresses much better than others. Movies and MP3 files are already compressed with near maximum capacity. Repacking them would just create larger files and increase decompression time. Ripped movies are still packaged due to the large file size, but compression is disallowed and the RAR format is used only as a container. Because of this, modern playback software can easily play a release directly from the packaged files. These releases have content that is not further compressible without loss of quality, but also have small enough files that they can be transferred reliably without breaking them up. Since these releases rarely have large numbers of files, leaving them unpackaged is more convenient and allows for easier scripting. For example, scripts can read ID3 information from MP3s and sort releases based on those contents. Rules for naming files and folders are an important part of the standards. Correctly named folders make it easier to maintain clean archives and unique filenames allow dupecheck to work properly. There's a defined character set which can be used in naming of the folders. The selected character set is chosen to minimize problems due to the many platforms a release may encounter during its distribution. Since FTP servers, operating systems or file systems may not allow special characters in file or directory names, only a small set of characters is allowed. This can happen automatically by site scripts. It is outlined below. ABCDEFGHIJKLMNOPQRSTUVWXYZ. The best known example is a. XXo. Standards documents have often a date defined when the rules take effect. The warez scene typically follows the UTC time standard. Depending on geographical location and the timing of releases, release sites receive software releases at slightly different times. Release times in any single source may vary by as much as two weeks. This proper usually requires a sample or a detailed explanation to prove the flaw in the material, unless the flaw was clear enough for the release to be nuked at releasing time. These sanctions are social in nature and can be initiated by anyone within the community. VCD releases use the less efficient MPEG- 1 format, are low quality, but can be played back on most standalone DVD players. SVCD releases use MPEG- 2 encoding, have half the video resolution of DVDs and can also be played back on most DVD players. DVD- R releases use the same format as retail DVD- Videos, and are therefore larger in size. Finally Div. X, Xvid, H. MPEG- 4 AVC and recently HEVC releases use the much more efficient MPEG standards. Generally, only middle to top- end DVD players can play back Div. X or Xvid files, while Blu- ray players are required to handle H. There are many different formats because the whole thing was always a function of players, codec development and the pursuit of the best possible quality in terms of size. This results in a series of evolutionary stages and improvements that have been introduced gradually. The only film format that hasn't changed since the early days is the DVDR. The Scene still holds on to this format but it's becoming less important due to Blu- rays being the main source for retail releases. Although often the CD size is dictated by the length of the movie or video. One movie typically uses two CDs, although length may force the release to be a 3 or 4 CD release. The source of these theatrical releases is typically analog, such as CAM, telecine or telesync releases (movies recorded by a camera in theatres, often with external audio sources). VCDs from other sources such as DVD, VHS, TV, Pay- Per- View specials, Porn or Anime may also be released in the . DVD and VHS rips are only allowed if there was no screener released before. VCDs are often larger than these higher quality files, making VCDs even less attractive. VCDs once used for music videos got their own set of standards on October 1, 2. Content source is sometimes analog, such as Cam, Telecine or telesync releases. Also R5, DVDSCR or retail DVD is used as SVCD source. Around 2. 00. 7, the stream of SVCD releases from the scene died out. This group consisted of the leaders of the top 5 Div. X releasing groups, topsite operators along with rippers and encoders. It was formed because they thought the new Div/X scene was a bit unmoderated, sloppy and pretty much a free- for- all. Earlier, on March 1. Div. X section on their website. Movies are released in one, two or more 7. Mi. B files, so that they can be easily stored on CD- R. Two or four TV show episodes usually share one CD, hence 1. Mi. B releases are common. Mi. B (three episodes per CD) are more rare but not forbidden, and are often used for full 3. Mi. B is more used on whole season rips from retail sources or on single episodes that have a longer runtime. Div. X with SBC was retired. VCDVa. ULT was the pioneer in promoting Xvid to the scene. There is a rebuttal. Higher resolutions are not allowed. More efficient formats such as AVC and AAC have not been adopted yet, but are still being pushed by some release groups. There are also considerations to replace the old proprietary AVI file format with a modern container such as MP4 or MKV that can include multiple audio streams, subtitles and DVD- like menus. However, few standalone DVD players support these formats yet, and cross- platform playback is an important consideration. Nonetheless the introduction of MPEG- 4 playback capabilities in standalone DVD players was a result of the huge amount of TDX- compliant movie material available on the internet. Multiple CD releases aren't necessary anymore, but most release groups keep following the tradition. The maximum width of a rip is lowered back to 6. WS releases, the movie length versus file size rules and many other sections of the ruleset are redefined or extended. While the 2. 00. 5 rebuttal made some valid points, this one is regarded as being pointless by other sceners. The reason for lowering the resolution is that some cheap Xvid players don't fully support resolutions above 6. Other points made in the rebuttal are too hard to enforce, while still being backed by the releasing groups, or that the TXD is mainly meant for retail sources. Not all rules can be enforced on non- retail sources. Div. X and Xvid for television sources. SDTV, PDTV, HDTV and their dupe rules were being defined. Nuking had always been an issue in the TV scene. Due to a missing standard these releases follow different rules. They are usually tagged as HR HDTV and use half the resolution of 1. Some releases also use a resolution of 1. Occasionally, shows (usually animated shows) aired in Standard Definition (PDTV) are often uploaded as HR (high resolution) PDTV using the H2. Xvi. D, allowing a higher resolution in a file the same size as an Xvi. D encoded video using a Standard Definition source. It is mandatory to support file streaming and playing from RARs. CRF must be used. A photograph as proof must be included. According to the document x. H2. 64 video encoder and compared to Xvi. D it is able to provide higher quality and compression at greater SD resolutions. It also allows better control and transparency over encoding settings. With CRF (constant rate factor) in the mix it can be ensured that a diverse array of material will get the most appropriate bitrate and not arbitrary fixed file sizes. The video container must be MP4 and AAC is used for the audio. Thirteen groups, ASAP, BAJSKORV, C4. TV, D2. V, Di. VERGE, FTP, KYR, LMAO, LOL, MOMENTUM, SYS, TLA and Yes. Humbucker Pickups . Today's line of humbuckers is a lot more extensive than it was 5. From Gibson '5. 7 Classic Humbuckers to Seymour Duncan Hot Rodded Sets and even EMG signature models from Zakk Wylde, you've just hit the mother lode when it comes to humbucker pickups. Before the humbucker was developed, there were only single- coil pickups, (essentially, magnetics) which contained wire that was wrapped around a series of magnetic poles. No matter which company manufactured single- coil pickups, they all faced the same issue: unwanted frequencies and hums. The creation of the humbucker solved this dilemma; by pairing two pickups together, they cancelled each other out and the hum was eliminated (ie: bucked). Not ideal but you’ll get the idea. Setup: CS69 pickups > Boss CS-2 > Boss BD-2 (modified. Perhaps no other guitar is as closely associated with Metallica's massively influential lead guitarist Kirk Hammett than the ESP KH-2 Vintage. A special adaptation of. Among guitar and bass. Agile Harm 3 Solid Archtop,,. If you're looking for an easy to play guitar, the action doesn't get any lower than this baby. Get the guaranteed lowest prices on Humbucker Pickups instruments at Musician's Friend. 20,000,000 Visitors and counting - fix my hit counter and earn credit$: We salute our Nation’s military, past and present. IN WONDERFUL ALBANY, NY, USA. The EMG 81 is a popular active humbucker guitar pickup manufactured by EMG, Inc. It is usually considered a lead pickup for use in bridge position, paired with EMG's. Left Handed Bass Guitars available online at Gear4music. All the best left handed basses collected in one place for you to explore. Find your perfect bass today. Posted July 22/17. Yamaha Motif-Rack ES for sale. Currently hooked up to an old M-Audio Workstation 88 Everything on the Yamaha works great. Make me a reasonable. Ibanez RG Electric Guitars for sale at Gear4music.com including the Ibanez Gio, GRG, Prestige and RGD. Save money on Ibanez RG Electric Guitars today. Another upside to the humbucker's design was that they produced more output, which is why so many guitarists who favor a heavily distorted sound use them. Of course, every guitarist has their preferences when it comes to pickups: some only use single- coils or humbuckers exclusively, while others prefer their axe to have both single- coils and humbuckers (which can be combined for creating any number of cool guitar tones). To better understand which humbucker pickups are right for you, you'll need to know how each humbucker design will influence your guitar sound. In this section, you'll find both active and passive pickups. If you're a metal guitarist, your best bet is to go with an active pickup because they have a higher output. Need some suggestions? Try the EMG- KFK Kerry King 8. Humbucker Set or Seymour Duncan Livewire Dave Mustaine Active Pickup Set. While active pickups deliver a very balanced sound no matter how soft or hard you play, passive pickups respond to your playing technique. If you want a more versatile sound and play a variety of genres like jazz, blues or early rock, passive pickups are for you. There are many best- selling passive pickup options here, including the Di. Marzio DP1. 55 Tone Zone Humbucker Pickup and the Gibson 4. T Alnico Humbucker, amongst others. There are so many humbucker pickups that deserve a closer look, you'll definitely want to spend time here. Swiping out your current pickups for a set of new humbuckers is an excellent way to upgrade your axe and get the tone you've always dreamed of. Just remember that when you're ready to make the change, practically every humbucker pickup you can imagine is waiting in these pages. Some close to the original models. Others with new features and variations. It can be a real challenge to choose the right model for your setup. In this feature, I’ll share my experience and thoughts on the models I’ve played over the years, with David Gilmour’s tones in mind. At the time when David Gilmour joined Pink Floyd, in early 1. Like Hendrix, David would also employ the Dallas Arbiter Fuzz Face. A germanium transistor model between 1. David got his first Big Muff around 1. The pedal was used on the recording of Animals and subsequently on evey Pink Floyd and solo album since then. Read more about David Gilmour and the Big Muff. Fuzz or Big Muff? Big Muffs are often referred to as fuzz and although that describes the tone, a traditional fuzz and Big Muff are soundwise and technically two different effects. While fuzz pedals are based on a very basic two- transistor circuit, producing an uncompressed and raw tone, the Big Muff has a more complex cuircuit and a much more balanced tone with rich harmonics and sustain. It is perhaps more accurate to place the Big Muff in a category between fuzz and the more modern distortion. In terms of recreating David’s tones, you’ll be able to cover all the fuzz tones with a Big Muff – at least the bright and aggressive silicon tones from Obscured by Clouds, Live at Pompeii and Dark Side of the Moon. However, a Big Muff will be hard to tame properly for those warm overdrive tones of the germanium fuzz David used for the early post Syd era up to Meddle. I don’t recommend using fuzz to replicate the Big Muff tones. Although a silicon Muff can do a fairly good Animals tone, neither the germanium nor the silicon works that well for Wall and later tones. A good tip is to feature at least one fuzz and one Big Muff on your pedal board for a versatile setup. Big Muff on the pedal board. I recommend placing Big Muffs first in the line of gain pedals (after wah and compression). This will allow the pedal to dominate the chain and tone when you stack it with boosters or overdrives. Although Big Muffs doesn’t react to buffers as severly as fuzz pedals, they do prefer to be placed as far away from them as possible, to maintain the character and harmonics of the pedal. Big Muffs also needs an amp with enough compression and a bit of mid range, to sound smooth and warm. Fender Twins and other scooped and uncompressed amps, will make a Muff sound like a very agry bee. Read more about choosing the right pedals for your amp here. Vintage Big Muffs VS modern clones. Before you start searching Ebay for a vintage Big Muff you should keep in mind that unless you are very aware of what you are about do to, you can end up getting very disappointed. In most cases, you’re better off with a clone. Back in the early 7. Electro Harmonix were quite inconsistent with their designs and components. Add forty years and heavy abuse from former owners and it’s quite obvious that these pedals won’t sound as they once did. It’s also a well known fact among collectors that there’s very little difference between the so called “triangle” and “ram’s head” models other than the chassis (and placement of the knobs). Aged parts and the inconsistency between circuits, means that two seemingly identical pedals will sound quite different to each other and you might very well end up with a “ram’s head” that sounds like a “triangle” or vice versa. Visit The Big Muff Pi Page for all there is to know about the classic Big Muff models. All pedals listed below were tested on typical Gilmour inspired setups, including Stratocasters and Hiwatt and Fender amps. Pleae note that the pedals may sound and behave differently on your setup. All scores are purely subjective. Triangle, Ram’s Head, US reissues and clones. The triangle and ram’s head era stretches from the late 6. These are known by their bright and aggressive tone, very little mid range, fat lower end and singing sustain. Ideal for combining with boosters and overdrives but some pedals might be a bit of a challenge on smaller amps and setups. The mid era OP- amps and current US reissues has a slightly darker tone, more gain and are perhaps not that suited for Gilmour’s tones, although some of the new EHX variations and spin- offs sports new features for a more versatile tone. Electro Harmonix “triangle” Big Muff 1. The first Big Muff model is considered by many to be the most musical of all. The pedal has a smooth and warm tone with rich sustain, fat lower end and a crisp attack. Its mild gain makes it easy to tame and ideal in a combination with a booster/overdrive. The “triangle” covers all of David’s Muff tones but you might want to add a hint of mid range for authentic PULSE tones. Noise level: N/AIn combo with boosters/overdrives: 1. With smaller amps/bedroom level: 8/1. Gilmour tones: DG7. Wall/Final Cut/Gdansk/Rattle. Gilmourish. com score: 8/1. Electro Harmonix “ram’s head” Big Muff 1. Compared to the average “triangle” the “ram’s head” has an overall more aggressive tone with more gain and brighter top and that classic mids scoop. The pedal stands well on its own but a transparent booster/overdrive adds to its already monstrous tone. The “ram’s head” is ideal for Animals and Wall but a hint of mid range boost makes it incredibly versatile for any era. Personally I prefer the later “violet ram’s head” for a bit more gain. Noise level: N/AIn combo with boosters/overdrives: 1. With smaller amps/bedroom level: 8/1. Gilmour tones: Animals/DG7. Wall/Final Cut/Gdansk/Rattle. Gilmourish. com score: 8/1. Electro Harmonix Big Muff (transistor and op- amp) 1. This late 7. 0s model was produced both as a transistor and op- amp version. The transistor version is very similar to the “ram’s head” with a bit more gain while the op- amp pedals has a distinctly bigger character typical of the early 9. In essence both are perhaps best described as a mix between the “ram’s head” and the early 9. Sovtek models with an aggressive, almost boomy tone that’s a bit hard to tame. Noise level: N/AIn combo with boosters/overdrives: 4/1. With smaller amps/bedroom level: 5/1. Gilmour tones: Wall/Delicate/PULSEGilmourish. Electro Harmonix Pi US 2. The current US model is somewhat similar to the late 7. Muff although it has little resemblance of the classic Big Muff tones. It sounds boomy, with a saturated gain character and a rather choked sustain. Not the best choice for replicating David’s tones but rather for more modern sounding idie and stoner. It does stand well on its own but can be hard to tame with a booster. Noise level: 7/1. In combo with boosters/overdrives: 2/1. With smaller amps/bedroom level: 2/1. Gilmour tones: Delicate/PULSEGilmourish. Electro Harmonix Little Big Muff Pi. The current XO version is not to be mistaken for the 7. The Little Big Muff Nano is more or less identical to the US reissue although with a bit more presence and sustain, which makes the whole difference. A bonus is the small pedal board friendly foot print. It stands well on its own but works nicely in combo with a booster/overdrive as well. Noise level: 7/1. In combo with boosters/overdrives: 7/1. With smaller amps/bedroom level: 7/1. Gilmour tones: Delicate/PULSEGilmourish. Electro Harmonix Big Muff Pi with Tone Wicker. This one is very similar to the Little Big Muff featuring an additional tone toggle switch based on the more popular mods on the boutique market. The “wicker” mode adds more presence sustain and the tone switch allows the tone stage to be bypassed for an even more scooped mids tone and fatter gain. Doesn’t quite stand up to similar boutique models but definitely worth a try. Noise level: 7/1. In combo with boosters/overdrives: 7/1. With smaller amps/bedroom level: 8/1. Gilmour tones: Delicate/PULSE/Gdansk/Rattle. Gilmourish. com score: 6/1. Pete Cornish P- 1. The P1 is based on a “ram’s head” circuit with the characteristic bright crisp top, fat lows and tons of sustain. It stands perhaps best on its own but a transparent booster adds a bit more warmth and an overall smother tone. Personally, I find the pedal a bit too pristine and lacking some of that classic vintage Muff mojo. However, the P1 is preferred by Gilmour and obviously nails those classic Animals and Wall tones. A hint of mid range boost takes care of the Delicate and PULSE tones as well. Noise level: 1. 0/1. In combo with boosters/overdrives: 1. With smaller amps/bedroom level: 8/1. Gilmour tones: Animals/DG7. Wall/Final Cut/Gdansk/Rattle. Gilmourish. com score: 8/1. Skreddy Pedals Rust Rod. Skreddy has a well earned reputation of making some of the best sounding Big Muffs on the market. Most of the previous models has either been based on a specific tone or different variations of stacking a Muff with a booster. The Rust Rod is based on that mid 7. Big Muff, with lots of gain, low end and a bit of mid range, allowing it to cut through more compared to most other Muffs from that era. It’s loud and uncompromised but it nails David’s Animals and Wall tones particularly well and even without a booster behind it. Despite the huge amount of gain, the Rust Rod is very silent and it goes very well on lower wattage bedroom amps. See my full review of the Skreddy Pedals Rust Rod here. Noise level: 1. 0/1. In combo with boosters/overdrives: 1. With smaller amps/bedroom level: 9/1. Gilmour authentic tones: Animals/DG7. Wall/Final Cut. Gilmourish. BYOC Large Beaver. The Large Beaver is in my opinion one the better sounding clone of the classic Big Muffs. The current kit feature setups for both the “triangle” and “ram’s head” models as well as an additional 3- way tone switch allowing classic scooped mids, tone bypass and mid boost. Both models are very close to the originals with the same musical qualities and tone. A bonus is the true bypass switching and dead silent circuit. The “ram’s head” is perhaps preferred for David’s tones but the “triangle” easily nails most of his leads from all eras. Add a hint of mid range (or use the mid boost feature) for a Delicate/PULSE tone. Noise level: 1. 0/1. In combo with boosters/overdrives: 1. |