If playing together with other instruments, it is helpful to understand that every instrument in a mix takes up space in the sonic spectrum. Think of the available sonic space as a box, where only so much bass is available, only so many mid-range frequencies are available, and only so much treble’s available before you run into the top of the box. If too many instruments compete for a certain frequency range, things just won’t sound as good and tight as they need to be. An EQ pedal can help sculpt your sound to sit better in the mix. Is your guitar too bassy and competing with the actual bass guitar? Use your EQ pedal to roll off the bass. Can the piano not be heard as clearly because of your chunky rhythm playing? Use your EQ pedal to roll off those mid and high frequencies. Is your Fender Strat sounding too harsh? Mellow out those mid-range frequencies.
So shortly after I posted about looking for my dream guitar, a Gibson 1981 Flying V in original classic white , I found this 1982 Flying V from a seller online that happened to be here in Los Angeles. I almost passed it by since it wasn’t an ’81, but the guitar was in such good condition that I had to play it. I contacted the seller, had him bring over the guitar for a test drive, and ended up buying it on the spot. While I may still be interested in an ’81 V if it’s in great condition and the price is right, this ’82 Flying V is totally doing it for me. I decided to really make it mine and make a few alterations.
Having a large number of effects can be a double edged sword, allowing for more sonic flavors at the cost of more time spent in tweaking your settings. Thankfully, Vox was able to design an intuitive set of controls that will fit the small surface area of the pedal, even players with little to no experience with effects will find the StompLab IIG to be a breeze to use. Although some would complain about the sound quality, many of the pedal's presets, especially the Vox style clean, crunch and mid-gain tones would easily surpass your expectations.