I knew Electro Harmonix copped the Mu tron III but had no idea that Mike Beigel actually designed it for them. I thought he just sold them some notes or patents or something like that... thought this may be interesting to some people and an appropriate place to post it. You can carry on about machine gun synthesizers now....
I tried the Q-tron a while ago when I was still preamping out a Twin'verb and running it through one side of a Crest 300watt pwr amp. Dude, so heavy. I think I was playing through a '78 Musician EQ then. The Qtron just had so much freakin' 'Quack' it really could drill holes in the walls. I just couldn't find the sweet spot so I went back to my T-Wah. Now I know that alot of people here have poo-poo'd the boss T-wah but I find it pretty descent. Better than the vintage MXR/DOD versions ( except for dancin' in the streets of course! ). I also tried the Ibanez Tone Lock AW7 pedal AND the newer Maxon AF-9 but couldn't get the range of quack out of them that I could out of the T-wah. The new MXR auto-Q came pretty close. The only Boutique pedal I tried was the 'Funk-a-Duck' whick seem totally useless. I think it's more cut out for Keyboard FX. Now there's tons of pricey super high end envelope filters out there but before I start dropping that kind of money, I figured I'd lay down the money for a recased mutron III first. I haven't had much time to dial it in. We'll see.
Remember the Guitar Player issue in '87 or so? The one with Jerry's head and the tiger right next to it on the cover? There's a great interview with Steve Parish about Jerry's guitar. He talks about how they used to come home with arm fulls of FX pedals for Jerry to try out. And not just different 'new' stuff. If you go out and Buy 10 MXR dist+ pedals, Every one will sound a little different. Same goes for just about anything. He talked about how Jerry hand selected a particular reverb tank as sounding more 'spacey' than the rest.
I personally have found this true with T-wah pedals. I've had several and they all have sounded different. I've also come to this conclusion in my quest for Jerry's guitar tone. His tone can be 'approached' but that last 10-20% is pretty impossible to get. I call it the 'X factor'. Threre's just too many variables. What's a Sennheiser 421 sound like? Because that's what we're all really hearing as the last tone shaping device in the chain. The sound guy who placed the mic is a factor. 10" away. 14" away. Right on the edge of the dust cap or midway up the cone. All big differences in tone IMO.
I've thought about taking a 1x12 jerry rig and putting it in an isolation cab and miking it with a Senheiser 421 and using the other half of the Mac amp to run a PA speaker sitting on top of the iso box. But that's getting a little out of control don't you think? I have experimented Miking my existing rig and listening to it through a powered pa monitor in another room and it sounded pretty good. What I lost was the pop. The sure SM57 I was using compressed the sound a little.
If this post was too long-winded, don't be shy in letting me know!!