Set the drive control to your taste (clockwise is most overdriven).
Then switch the effect in and out while setting the level to the desired relationship with the norma sound (usually slightly louder so distorted solos cut through).
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Note that excessive distortion adversely affects sound quality.Bulky tape and "spinning disk" units have given way to the convenience and reliability of solid state delays.The AD9 Analog Delay uses a compander with pre- and de-emphasis for an exceptionally clean delay.Since the TS10 responds to dynamics, you may want to set the drive and level higher than necessary and back off the level on the guitar.By playing techniques and working the volume on the instrument "clean", "dirty" and in between variations are continuously variable and available "on board".Everything’s different now, most guitarists have elaborate pedalboards with 10 or more pedals being the norm, and tremendous potential for signal and tone loss with the many cables, connectors, and other pedals involved in the chain.There can be so much signal loss that it sounds nothing like the sound of a guitar with a cable straight into the front of a great tube amp. Although my ears always told me that it sounded “tinny” and that there was signal loss, with the help of a my favorite Electronic Engineer (using some very expensive test equipment) we recently documented that each unity-gain FET buffer actually cuts the gain somewhere between 0.3 to 0.6 d B.The TS10 boosts the input signal to extremes, and then clips the wave form with semiconductors that have the characteristics to distort naturally, like a tube amp. First, set up the sound you normally use for non-distorted operation of your amp (bypassing the TS10).Set the level on the TS10 low, tone at zero, then activate the pedal.Translation, your sound remains consistent regardless of placement in today’s more complex signal-chains, loopers, and pedalboards.This buffer also had a positive effect on the sound, it reduced loading on the pedal’s hard-clipping stage, allowing more sustain of both the sound and the overtones.