The Skreddy Pedals™ Dynamic Mids Enhancer sweetens, expands, optimizes, and focuses your guitar tone; it restores lost dynamics and detail while bringing your desired midrange frequencies forward in the mix.
The noise floor stays flat (virtually zero self-noise) but signal peaks are multiplied, giving you more cut, more chime, more punch, and more clarity--perfect for solo boosts or whenever you want to spotlight your playing.
Amazing clean boost, but also works wonders stacked with dirt. Best used AFTER your overdrive or fuzz pedals.
This high input impedance, ultra-clean circuit minimizes signal adulteration and boasts amazing transparency.
We’ll invoice you for the balance including the shipping cost upon completion.
Allow about a week or so for us to get through our list and make your pedal.
If I don’t answer an email, please re-send it in case I missed it. We are busier now than ever.
US orders will be sent via USPS Priority Mail. International orders will be sent using USPS Priority International where available.
We will not declare your package at a lower value for customs; be prepared to pay your own country’s import duty when you receive the package.
Sculpt your guitar signal to bring out the best clean sound and with dirt leave the mush and the fizz behind. Whenever you get tired of it, you can tweak the controls for a new sound. Unlike a typical tone stack or graphic eq, these frequency-gain controls do not create losses or fight with one another or impart phase shifts to the signal. Nothing but clear, open, airy boost. Note: there are no treble-cut functions in any of the tone controls. These are active gain controls which operate along different voicings according to the nature of the different capacitors they feed through.
You can adjust your gain along three midrange contours to dial in your desired sonic impact and character. But there are no harsh, unpleasant, or distorted tones in this pedal--you won't be able to make it sound bad. And unlike running an overdrive after your fuzz to bring out the mids, this pedal will not add extra noise or compression; instead, it will make your dynamics pop and bring up detail, dimension, and articulation.
Sounds fantastic at 9v, but try it with 12v or 18v for even more dynamic punch, volume, and clarity.
Graphical approximation of variable gain contours and how they affect the eq as you increase them from minimum (baseline)
Note: I drew these shapes based on how it sounds to me
and what I know about the parts I used.
I don't have a frequency analyzer, just my ears and some rough math.
Likely I have exagerrated these curves; it's not a powerful filter like the graphic might suggest.
Output level starts at or a tiny bit above unity gain (depending on the frequency-gain settings) with a very gradual and smooth sweep of volume as you turn up. There is a good amount of boost available at max, but this pedal is intended as a sweetener and not to pump out tons of massive, amp-crushing volume.
I experimented with changing the output configuration to make it not raise your volume at minimum "boost," but it's much more open sounding this way; plus you're not using this pedal to stay at the same exact volume anyway. It does not sound anywhere NEAR as good if I make it work like a regular volume control where it is silent at minimum. Sorry! The imperfect unity gain at minimum is the price I have to pay for the best tone possible. The tone is what makes this thing special, and this is absolutely the best-sounding clean guitar preamp or booster I have ever heard.
The output impedance is also slightly padded to provide a guitar-like signal to whatever follows, rather than an unnaturally-bright-sounding, low-impedance output signal.
Regular 9v-18v negative ground, no special power requirements. 9v battery is not included. If you use a battery, then remember to un-plug the input cable from the pedal’s input jack when not in use to prevent draining (or you can also just plug in a power-supply, which disconnects the battery).
You may supply external power through an AC adapter. All Skreddy Pedals accept the industry-standard 9v DC plug (5.5mm barrel x 2.1mm center coax), negative tip. Please use a quality, regulated, filtered power supply.
Hello all, first of all Marc makes a ton of amazing pedals so it was hard to figure out which to buy first and then I saw the Mids Enhancer with that word that has haunted me for the past couple years "Chime" now here's the thing about treble boosters, and eqs, something always gets lost to push something else. you might get chime out of a treble booster but you lose bass and low mids in the process. 6 band eq doesn't even come close to the 10hz range and a 10 band is only around the 8hz range. you can get close but it means sacrificing other lower frequencies. What is great about this pedal is you can stick it at the end of your chain and all your effects sound pro. So yes, I can get that Bernard Butler from Suede's tone of a DS1 into an AC30 but I can also get tones I hadn't even hoped for. I can get tweed tones using just the Mids enhancer and a transparent overdrive. you can add balls or cut to just about anything. Also if you prefer cables to wireless you can boost the signals lost it's a great investment!
I just got one and it does exactly what I was looking for.
I do want a volume boost too but I can't tell if it's too much volume or just a combination of volume and the midrange that makes it scream. I always start pedals very low or off and slowly raise them up. This one still delivers with everything off and it honestly startled me haha
So it just occurred to me that using a DME with a Strat will probably correct what I don't like about them as opposed to something like a Clapton boost.
I was searching for the exact thing the DME does and never really knew it haha.
So I got around to using the DME with a Strat I've settled in on. Didn't care for the pickups much but with the pedal on, it's perfect. I can tailor the midrange however I please without the fuzzy/flabbiness and volume boost of a Clapton circuit. I might as well figure out how to mount this thing into the guitar itself haha.
...it definitely boosts the sweet spots of the frequency range. it almost sounds like post production (by that, i mean that turning it on & off reminded me of listening to the mastered version of something i had recorded & toggling it back & forth with the unmastered mixes. the DME makes the guitar sound 'polished')...
I've used the DME on two occasions so far and man does this thing deliver! I had it plugged into my Twin w/ my ES335 knockoff (Ibanez AS120 with Gibby '57 pups in it) and wow :o Skreddy wasn't kidding, this really does optimize the guitar's frequencies and adds some nice sparkle to it. I used to use a GE-7 back in the day and the DME is so much better. I just dialed in his suggested setting of Fat= 9:00, Cut =12:00, Chime = 3:00 and, to use the cliche, it was like a blanket was lifted off the amp. I mean, the Twin gives some good spanky tones, but the DME sparkled it up and pushed the tubes into a nice slight breakup. I could easily see how this would be an always-on kind of pedal. Next I used it with a Jazzmaster and a Bedrock 1400 (think JCM800 meets HiWatt) and I was as equally impressed with this combination. I walked away saying, "Oh, great, I'm gonna need another one of these - one for each board I'm using w/ each band." It really does seem like the kind of pedal that once you use it, you can't imagine not having it as part of your sound.
...Took it to a jam last Sunday. Rig was a couple of gibsons, with the dynamic mids pedal in front of the new HM fuzz into a vibro champ. It totally transformed the amp -- we all thought it made the vibro sound more like a vox. It's the opposite of chunk -- it pushed the sound in front of the mix and helped it cut through a band with a second guitar player and keys, along with a bassist and drums. Sparkly is a label that comes to mind, though I'm not sure if it makes sense. My Paul has a 500T on the bridge and it was loud enough for me to skip the fuzz. I didn't get a chance to play with the pedal before I used it with a band, so I stayed with Marc's settings though I played with the level setting a lot when switching between the Paul with 500t and the moderne with 57's.
The pedal reminds me of a (popular mosfet booster), but better. You certainly get more tone options -- just being able to adjust levels without a loud scratchy noise makes it much more useful, but they both add to the sound enough to push the guitars ahead of a mix.
The second guitar player will hang with me Thursday night to check out the pedal -- I'm really looking forward to playing it through my Marshall combo. I think it will negate the muddiness kinda like a treble booster, but without distorting. I saw that there's a question about vox amps -- I'll play it through my ac4 and velocette (ac 15-based amp) and post back.
Again with the late post, but I played the DME through a 70's Marshall 2x12 combo, a Vox AC4, and a Trace Elliot Velocette, which is a stripped-down AC 15. The pedal did well with all 3 amps. It's a sweet-sounding pedal that made the Marshall less harsh and more jangly-sounding. I messed with the controls but kept on comin back to the recommended settings. Opening it up all the way gave a nice boost, but still not enough to drive the amps -- it just made you sound bigger without any harshness.
I tried it with a strat running weak pickups and a Gibson with a loud 500T but it was still not loud enough to drive the amp -- it works great if you want an EQ with a slight volume bump.