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.
Modulation stompboxes like our BF-3 Flanger should be after the tone-producing effects like distortion, wah, etc. so they can process and modify the tone built by the pedals before it. If you put it before the distortion, then you are distorting the sound of the flanger. Maybe that’s what you’re after, but in general, put the BF-3 and other modulation effects after the tone-shaping (and noise–producing) pedals. And then there are the ambience effects: delay and reverb. As we discussed earlier, reverb—and sometimes delay, depending on the space—is the last thing that happens before the sound reaches your ears in a physical space, so these go last. Delaying reverb can sound muddy, so it’s usually better to have the reverb after the delay.
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.