Experimental Fully Modular Bass Rig.

[Flux Jetson]

The next three posts are my entries in this experimental bass rig journal for the night of December 3rd, 2012.

(commencing Mexican Hat Dance ... all is good tonight )

Parts showed up today. These are key portions of this rig. It nearly completes the signal distribution setup. Here's the switching module I needed to finish the pickup switch setup. And the mixer module that I am using with the switcher to provide me with two "presets" of two different pickup mixes. And the four channel signal distributor that acts as the "send" for the parallel processor chains.



And the backs of them, same order from left to right (switcher, mixer, distributor) ....




And this piece is probably the single most important part. It's the power supply for the rack rig modules. All of the experiments so far have been done using modules mounted in my modular synth cab and it's huge HUGE power supply (that PSU probably weighs 10+ pounds all by itself!). I've been waiting to be able to afford a PSU for the rack rig modules. Well it finally happened. This little PSU including the DC "squid" attached to it was $125. These are very special power supplies that produce plus 5vdc, minus 15vdc, and plus 15vdc. These synth modules require both negative and positive voltage in both 5 volts and fifteen volts. So specialized PSUs must be used.



Ok, these pots are a part of another special setup. There are two mixer types available from Synthesizers Dot Com. One is a four channel, and one is an eight channel. Well, I somehow ended up with an eight channel blank panel, a used one, that I got from someone that just threw it in when I bought a used 4 channel "dot com" mixer from them. So I had this eight channel mixer panel and a fully assembled 4 channel mixer. After some careful study, I figured out that the 4ch mxr and the 8ch mxr use the exact same PCB. So .... I transferred the pcb from the 4ch mxr to the 8ch mxr panel, and ordered in the needed pots and knobs to complete the conversion. That's what these parts are.


Here's the nearly completed 8ch mixer ....


And the back of the 8 ch mixer, still short just the three pots and knobs... (more on this module in a bit...)


Here's the carcass of the 4ch mixer after I removed all of it's innards and installed them in the 8ch mixer...



And here's everybody installed in the rack adaptor. Left to right...

*** the foot control interface which converts foot control signals to control voltages ("CV") that synth modules can recognize.
*** the switching module that switches the 2 channel pickup feed from my modified 2-channel Jazz bass.
*** the 4 channel mixer that the switching module sends the pickup feeds to, two at a time. This mixer allows me to create finely detailed pickup mixes without any added buzz or noise. As far as the pickups are concerned they still think they are both "wide open" and at full volume, so the "humbucker affect" is still in place.
*** the 4 channel distributor that acts as 4 channels of "send" out to four parallel signal chains. I can set the send volume levels right from that distributor.
*** The 8 channel mixer that acts as the "return" of the parallel processing chains. I'll explain the 8 channel's mixing logic a bit later. It's very unique and quite useful. It looks much better fully assembled with all of it's pots and knobs put in, doesn't it?



What's missing is the last distributor module. That distributor will send three separate "sends" out to three separate amplifiers. Two separate channels of my Mackie FR1400i that power the two bass cabs, and the third send goes out to a guitar head (Marshall JTM45) that powers a 2x12 open back guitar cab outfitted with a pair of Celestion Vintage 30s at 4ohms total load. I can still use the distributor that I have to send out to the three amps/cabs to experiment with that setup, and just use my processors in series (as I have been all along so far). That will suffice until I'm satisfied that this whole concept will even work at all. Once I'm sure that these ideas are solid I'll invest in the final distributor panel to complete this routing rig. But for now what I have here will suffice to prove (or disprove) these concepts. The distributor modules are $92, jsyk.

Here's some of the super trick mounting screws I use to attach the synth modules to the all steel rack adaptor. The screws are 7075-T6 aircraft aluminum that are anodized red.



(onward to the next post...)

[Flux Jetson]

Here's the Mackies and the Marshall JTM45 guitar tube head...



And here's the two bass cabs on the left, and the 2x12 open back guitar cab that I'm using for this setup is the bottom one on the right, the green-colored cab with the tan grille. The one on top of the open back is another 2x12 but it's a closed back/sealed cab with Celestion "Greenback" speakers in it. I may try that cab with this setup as well. It's "woofier" sounding than the open back is.



Bass cabs ....



Guitar cabs ...



Those speakers are at the very end of the signal chain, here's what is at the very beginning of the signal chain. I plug the two pickup outputs directly into their own mic preamps, one preamp per pickup. After the mic preamps the 2 channel signal goes straight into that "switcher" module in the rack.




Here's what the rack looks like for now. The POD Pro is going to feed directly into the JTM45 after I patch it all up properly. The Aphex will be in it's own parallel signal chain as yat one more of the processing chains. I still have a lot to do to get this all set up. Now, understand that after I get this entire thing all settled in, and set up, that all of the patchcords will go away.

I've been accumulating switching jacks for a while to be used to "normalize" this entire setup. Which means that all of these patchcord connections will be soldered up behind the panels directly to the proper destinations on the modules and that patchbay below them. Since I'll be using switching jacks for this normalization process, any of the hardwired connection and routings can be instantly over-ridden by simply inserting patchcords into whatever jacks I wish to use on any given panel.

As soon as a patchcord is inserted in the switching jack, the hardwired connection is instantly broken and the signal is rerouted to whereever the patchcord is plugged in at the other and of it. So normally when I'm using this rig there won't be a single patchcord used all the while the connections are fully made behind the panels. The cool thing about that idea is that I can insert FX or processors at ANY POINT in any of the chains. I can also tap into the chains anyplace and use a DI to record at any point in any of the chains, or at many points in the chains. Whatever. Every single jack indicates a potential insert point, or potential recording tap point. Cool, right?



Here's some of the controllers in the foot control array. That "Floorboard" for the POD Pro is slated to be modified with some FX looper jacks and footswitches. If you open up one of those things there are ACRES of useable space inside them. The little tiny footswitches on the right are patched into the pedal interface. One of them controls the pickup mix presets. This is one of the most anticipated parts of this rig, because it will allow me to switch from both pickups set at 100% volume, to just the neck pickup only and the bridge oickup off, all while playing! That is something I've wanted to be able to do for years!

See, I've always felt that most basses sound very out-of-balance. When you get the two fat strings sounding right, the two small strings sound thin. Then when you tweak the pickup mix so that the two small strings sound all fat and juicy, then the two fat strings don't sound right. So with this pickup preset switcher setup, I can switch from both pickups full-on (fat strings sound good) to neck pickup only (small strings sound good) all while smack in the middle of a riff without missing a beat, just by pressing down on the momentary footswitch. My hands don't have to stop playing the strings to change pickup settings. I've been practicing with that setup and it's really quite easy to get the hang of. I can't wait until I better master it, the potentially excellent sound and riffs make my head spin.

Oh hells yea!



(on to next post...)

[kinky wizzards]

http://www.facebook.com/pages/The-Ki...077943?fref=ts

[Flux Jetson]

So .. I'm just about done accumulating the gear I need to get this whole experimental rig on the wing. Once I get this ~router~ completed then I may begin actually experimenting with uses and sound creation. But for now I'll be getting the setups figured out and written down so I know what to do with this rig to obtain some fairly predictable results. For instance, I'm still not sure at exactly what point the guitar amp and the guitar rig (POD, etc..) should be interjected into the signal chain. Should it be at the end of the rope, just like the two bass amp/cabs are? Or should it peel off at the first distributor? And ... not only do I have the POD to use with the guitar amp/cab, but I also have a Line 6 M13 .. which is a sonic circus all by itself! So there will be MUCH to try out, and much to report to you folks about.

On my way out tonight, I want to close with something kinda cool. With every purchase from Synthesizers Dot Com the coolest business card in the world is thrown in. At first glance it doesn't appear to be anything special ....



But when you take a close look at the back, you see prescored folding creases ....



Upon further close inspection you begin to realize what this clever little thing actually is. It's a fully minature 66 space modular synthesizer! When folded at the prescored creases, it transforms into a full blown modular synth that is only slightly bigger than a book of matches! ......



Even the power modules are on the back, just like the real deal!



The detail is photorealistic, no doubt. The modules are actually exact replicas of actual Synthesizers Dot Com modules, right down to the smallest detail.







Pretty cool, que no?

Ok, that's it for tonight. Three monster posts with a pile of pictures and more info than you can digest in a single meal. I'll be posting audio tracks of the pickup switching setup soon. As well as some preliminary tracks of some of the new EQ configurations. If my initial tests prove that these ideas are valid, I'll invest in the system further and buy the final distributor module so I can complete the entire routing system which will include:

*** the 2 channel pickup preset mixer rig

*** the four-into-eight parallel send/return chains

*** and the "triamp" signal distribution setup (which will require that second distributor module).

I still need to further explain the way that 8 channel mixer can be used with it's unique routing abilities. So that will come soon as well.

These mixers and distributors are GRAVEYARD QUIET and nearly totally noise-free (unlike the filters I had tried in earlier testing here in this thread). They are all based on the same sortof circuit that is foundationed on the TL074 IC chip, which is well known for it's super-quiet operation as an audio amplifier. So I can't wait to get started folks!!!!! It promises to be one hell of a powerful and very VERY useful system. If it works out, it will easily be the best "bass amp" I've ever owned, played, or even seen.

Hasta Lasagne!

Fluxoid ....

[Flux Jetson]

OMG. All I can say is HELLS YEA BABY!!!!!!!!!

Let me get this one part said and out of the way right off the bat. I got it all set up, with the 2-pickups preset patch thing, and the four channel parallel chain rig. I set up the two mic preamps to put out roughly 40db of gain each (!!!) then maxed out the controls on the modules, turned my Mackie FR1400i all the way up (500 watts per side), plugged in both channels of my bass and turned it all the way up. Shut off the fan in the studio ..... dead silence.

I then used the switching module with a footswitch to switch between pickup mix A and pickup mix B. Nothing .. no ~pop~, no ~click~, ...... nothing. I then gently pulled a string .... YIKES THAT FEKKER IS LOUD!!!!!!!!! So that verified a couple of things.

1.) These mixers, distributors, and switches are stone silent operators.

2.) my amp and guitar as well as all of the modules in-chain were working perfectly.

This potential noise issue was what was foremost on my mind when I designed this setup. But since they're designed so well, and since they don't add any gain (turned all the way to max levels the modules only pass unity gain), there is ZERO NOISE. Nothing, nada, zero, zip, not a peep. Not a crackle. No hum. No buzz. No fizz. Just silence.

WaHOOOO!!!!!!

OK, now with that little celebration out of the way, here's how it all worked (this is so cool!).

STAGE 1, the input stage: I'll start with the pickup switcher setup. Each pickup has independent outputs on my Squier ~Modified~ Vintage Modified 70s Jazz. One jack per pickup. It's sent out to a switching module, the pickups go in as the common connections. The switcher has an "A" and a "B" output. So when I'm not stepping on the footswitch, the switcher defaults to "A". then it switches over to "B" when I hold my foot on the momentary footswitch. So each pickup can be sent to channel A or channel B, at the gentle press of a momentary footswitch. So there are two "A"s and two "B"s. The two "A"s (one is the neck pickup the other is the bridge pickup) go to a 4ch mixer. Bridge-A goes to channel 1, Neck A goes to channel 2. Bridge-B goes to channel 3, and Neck-B goes to channel 4.

What this all means is that I have two "preset" pickup mixes. When I'm not stepping on the footswitch channel 1 and 2 are controlling the neck and bridge, then when I step on the footswitch and hold it down, the pickups are then controlled by channels 3 and 4 of the mixer. So I have two volume mixes that I can swap between using the momentary footswitch. As I said in the opening rant, this switching module and the 4ch mixer have proved beyond any doubt that they are super quiet and work very well. So I have two preset pickup mix settings that are dead quiet that allow me to swap between them in an absolute insant all while I'm playing without stopping even for a microsecond.

This worked out so perfectly. It totally ... TOTALLY ... cures the volume and tonal imbalance that many basses exibit (the two small strings usually sound very different than the two thick strings). As I played with it, I also have learned that I can use this setup for different riffings and different ways of exploiting this setup while playing. It is HIGHLY expressive, and doesn't make any induced sounds (like clicks or pops) when switching between presets. I can also use the mixer to create different sounding mixes very easily. It even works as a boost. I simply set the volumes for channels 1 and 2 lower (or higher ... whichever) than 3 and 4, so when I switch between pairs I get two different total volumes.

"Shut up and get to the pictures already!"

Here's pickup preset "A". Notice how the output levels are set to about "7" on each pickup for this preset. So when I am NOT stepping on the footswitch, this is the pickup relative mix and total output level I'm hearing. Both pickups are mixed at equal levels relative to each other, so it's the same sound as both volume knobs on a stock bass set full-on.



Here's pickup preset "B". Notice how the output level of the Bridge pickup is completely off (set at zero). Now, on these particular synth module 4ch mixers the 4th channel has no level control knob, channel 4 is always fully on. Whatever is sent in to channel 4 is what is sent out through the mixed output. So this setting is Bridge pickup OFF and Neck pickup fully-on.



So, when I am not stepping on the footswitch, both pickups are equally mixed. When I am stepping on the footswitch, I get the neck pickup only, and it's at full volume. Why is it when both pickups are ON that the levels are at "7" and when only the neck pickup is on it's at "10"? Because that is how I had to set it so the two presets are the same volumes when I switch between them. So whether the footswitch is stepped on or not, the overall output level of the bass is exactly the same. Cool, right?

So as I am playing, when I'm on the fat strings I have both pickups on, and then anytime I play a thin string I simply step on the footswitch and the bridge pickup is shut off and only the neck pickup is on. And with the levels properly adjusted like I have them, the volumes of both presets are indentical. So you only hear this ~perfect~ tonally balanced bass. The thin strings now sound the same as the thick strings, with a much more equal tone instead of the thin strings sounding so ... well ... thin .. when both pickups are on.

This makes my bass sound as fat and rich as possible no matter which string I play on. It's really opened up many roads for playing various riffs. Since the strings all sound so much more alike the bass sounds so much more .. well .. balanced.

Score!

The mixed output of the 4ch mixer is then sent to the 4channel distributor where the signal is split into four parallel chains to be processed with various EQs, overdrives, processors, compressors, etc.. Then it gets remixed with another mixer down to a single chain again. Where it is split once more into three separate chains, each one going to a different amp and cab.

So there is Stage 1 of this rig. The input stage. I've dreamed of being able to do this with a bass for many years.

ZERO CROSSING SWITCHING TECHNIQUE: There is one small issue. When I am not playing anything and there is no sound being made, if I switch between A and B there isn't any click or pop sound made by the switching module. However, if I switch between channel groups while there is sound coming through the setup there WILL be a click. This click is not due to something in the circuitry. It's due to the switch chopping clean through an existing wave. Think about your DAW. If you chop off sample clips and patch them together without a slight little ramp down/ramp up, you will hear a "click" upon playback of the composite track that you patched together. You have to make one clip ramp down just slightly and the following clip ramp up just slightly to "soften" the joint a bit. That cures the click heard because you've created a "zero crossing patch".

The same thing is happening when I am playing. If I step on the footswitch while notes are ringing a slightly audible "click" is heard. If I time the switchover as perfectly as possible (trying to switch at a "zero point" where there is no sound made in between played notes) then there is no audible click. I can modify the circuitry in the switcher module to create an ever-so-slight delay between channels when I switch between them that will act like a rampup/rampdown edit when patching two audio samples together. Or, I can continue to work and practice at this and refine the technique so that I am switching presets during a zero-crossing point. I am getting better and better at that technique. I feel it is something totally masterable. I was getting it nailed about 85% of the time ... 8 to 9 switchings out of 10 were clickless tonight as I practiced the technique. It's all just part of learning how to play THIS instrument.

On to Stage 2 ... the parallel processing stage.

[Flux Jetson]

This is Stage 2, the parallel processing stage I have been yammering on about for months.

Ok, I'll get around to discussing the details about this in several hours from now. It is after 3am right now and I'm really tired. But I thought I'd at least get as far as creating the patches and getting them on photobucket and posting them here. You may be able to extrapolate what's going on just by looking at the pics here without any blablabla from me at all. There's a few optional routings that I'll discuss when I get back to this. You can see what I mean in the pictures here.

So I'll edit this post a bit later. I need some sleep and I have a few hours of work to get done, then I can finish the explanations here. But here's a start ....

The STANDARD configuration: Four sends, eight returns. I went with an 8ch mixer for the return module because it has the ability to have two separate outputs which may come in handy. You'll see what I mean as you look this over a bit, as well as look over what can go on with STAGE 3.



PARALLEL-PARALLEL ROUTING: This is one of the optional routings that can be done with the 8ch mixer. Use your imagination a bit and you'll see the potential.



DUAL MIXER with DUAL OUTPUTS: And yet one more optional routing that the 8ch mixer can provide.


Parallel processing is an important capability in a bass rig. Most of us know what using distortion can do to the bass's tone .. it basically kills the low end. Using parallel processing retains the low end and clarity, while allowing the use of distortion and overdrive. It also allows the use of guitar-focused FX, so with parallel processing capability you can now use the piles upon piles upon piles of FX that were designed for use with guitar that typically suck the bottom end right out of your bass tone. So now I can use any of the really nice guitar overdrives, preamps, distortions, fuzz units, and modulators while retaining the integrity of my bass's sound. Parallel processing is also handy for multi-track recording. And it's also very useful for employing certain types of eqs and filters as well. For instance you can insert a band pass filter (such as a wah pedal) in one of the send-return chains and when it gets remixed with the bass sound it won't have sucked all the low end out of the tone, you'll have thuis killer sounding super-thick midrange howl while still having rib-rattling low end. Let's see you do that with some "bass wah". Ain't happening!

So you can set up any number of band pass filters that provide a lot of midrange emphasis and also have separate send-return chains for low pass filters for low end, and high pass filters for top end. And mix them at whatever ratios sound best for your use by using the send levels on the distributor and the return levels on the mixer. HA!

SILENCE IS GOLDEN! Keep in mind that these mixers and distributors have totally proven themselves to be totally noise free. So I'm not adding any type of noise component by using these modules. Of course, the processors that I install in the send/return chains may create noise ... but the routing modules themselves aren't creating any noise issues whatsoever. Just sayin'.

On to STAGE 3 .....

[Flux Jetson]

And here we are at STAGE-3. This is the distributor module that splits the signal that came in from STAGE-2 and send it out to the power amps and speaker cabs.

(Again, it's late .. I just wanted to get a start on this post to sortof complete the idea. I finish this up a bit later...)

AMP DISTRIBUTOR: This is the basic distribution splitter. The mono mix from the 8ch mixer in STAGE-2 is sent here to this module, then the signal is split up and sent to the power amps and the speaker cabs. I have full control over how loud each cab is, and I can use this module to create the proper final tone to fit the room, or to fit the music, or both.

I've mentioned all of this several times already in this thread, but I'll go over it again for posterity's sake.

The 2x10 cab is a front shelf ported monster that puts out a boatload of SPL and focused low end. It's very tight sounding, and has a great voice. I call this cab my "bass voice". It's powered by one of the amplifier channels in the Mackie FR1400i PA amp. This cab is rated at 4ohms/600 watts.

The 4x10 cab is a fully sealed unit that isn't as loud as the ported 2x10. It also doesn't have near the low end response that the 2x10 has, it's more of a low-midrange voice. I call this cab my "baritone voice". It's also powered by it's own amplifier channel of the Mackie, This cab is rated at 4ohms/400 watts.

And lastly is the 2x12 open back guitar cab. It's loaded with two Celestion "V-30s" (aka Vintage 30s), both speakers are rated at 60 watts each at 8ohms. The cab is wired for 4ohms/120 watts. This cab is powered by a Marshall JTM45 tube amp rated at 36 watts. It has a "half power" switch that reduces it's rated output to 18 watts. It has an impedance selector switch so this amp can run at 4, 8, or 16 ohms. I call this amp/cab my "tenor/alto voice".

All three cabs can be mixed in at whatever levels suit me with the 4ch distributor module.



So STAGE-3 is the combination of this distributor, the power amplifiers, and the speaker cabs. Since the signal has yet to be amplified I can add other processors at any point between STAGE-2 and STAGE-3, or between the STAGE-3 distributor and each amplifier. And, just like all ofthe other mixers and distributors, this module is stone silent.

On to the summary post ....

[Flux Jetson]

Ok, so over the last few posts I've laid out the basic capabilities and the ethos of how this rig is configured.

STAGE-1, INPUT: This stage deals with the bass guitar itself. It provides a means of getting the foundation sounds out of the bass and also provides some much needed control and manipulation of the pickups and allows my to balance out the pickups and strings. It also provides a lot of signal gain.

STAGE-2, PARALLEL PROCESSING: Absolutely necessary signal and processing routing stage. Evey bass amp ever made should have this ability. In fact, many of them do! It just built in to the circuitry and isn't available to you for inserting various signal processing. Most of your eq stacks in most bass amps are arranged in parallel. At least in the good ones they are. But the way I've done it, the entire system is cracked wide open to permit me to construct my own gain structure and EQ structure.

STAGE-3, AMPLIFICATION: This stage permits me to create a totally custom mix of (up to) three independent amplifiers and speaker cabs. This gives me control over how to tune the system for a given room or situation. Just one more "controller" in the system.

And, keep in mind that I can insert any type of processing between any two jacks. There are literally dozens of useful and accessible insert points at many stations along the entirety of the signal paths and signal chains.

The Ultimate in flexibility. And in the end, it cost me quite a bit less than a Ampeg SVT amp head and an 810 cab. And it's FAR easier to move it around .... without any floor units (like stomp boxes or foot controllers) the system is confined to a single 8u rack, two power amplifiers (the Mackie and the Marshall), and three speaker cabs that are relatively easy to move and haul. It is infinitely repairable, completely reconfigurable, and lends itself to modifications very well. It is comprised of a number of individual modules that combine together as a unit creating a hyper-versatile system.

The Experimental Fully Modular Bass Rig.

So what's next?

Experimentation! Now that the basic superstructure is (nearly) assembled it is time to start trying out various combinations of EQs, filters, overdrives, compressors .. not to mention FX (reverbs, delays, modulators, special FX, and so on).

And recording demos so that you can hear what any of these experiments yielded as far as results go. As the system gets used, it will most likely become more refined and simplified.

I'm just so friggin happy that the "core" of my idea has worked out so well. The 2 channel bass with the switchable pickup system, the parallel signal rig, and the "triamp" setup.

Those three concepts were my "biggies" that I wanted to develope and combine.

WIN!..... totally.

[Flux Jetson]

Did some unexpected horse tradin today, I have a Rolls Parametric EQ on it's way now! I'm amped! You can NEVER have too many EQs or too many filters. Period. So now I have this list of filters/EQs:

- Presonus EQ3B 3 band fully parametric EQ.
- Custom (highly!) wah pedal that I've gutted and repackaged as a "parked wah" to use as a band pass filter. This thing sounds excellent.
- Aphex 204 rack aural exciter with Big Bottom.
- Synthesizers.Com Q107 State Variable filter (LPF, HPF, BPF, Notch - with resonance).
- Rolls 6 band rack Eq with 4 bands of fully parametric EQ.
- (DSP) Antares "Filter" VST loaded in a dedicated computer just for use as an FX device.
- Line 6 M13.
- Electro Harmonix Electric Mistress used in Matrix Filter mode. Another great sounding band pass filter.

So all of those. Now remember a band pass filter won't work worth two craps if just placed in series or just plugging your bass into them. All of the top end and all of the low end will totally disappear. HOWEVER .... since I have four parallel sends and eight returns using band pass filters becomes TOTALLY COOL. Simply run a parallel signal of un-filtered bass guitar along side the band pass filtered chain and mix them together ... instant hard core midrange!!!

"Ohhhhh...... so THAT is why parallel processing is so desirable!" Yup Maynard, that is why parallel processing is so friggin cool. You can use processors that you normally could not ever use in series with your bass signal. If you run the "dry" bass signal side by side with stuff like band pass filters or distortion units, you can mix them together and create any level of bass + FX that you want.



So, I have a collection of filters and eqs (well, EQs are essentially filters) that I will get to experiment with in various ways. I'm diggin the heck out of this multi-stage modular rig I've cooked up!!! I cannot wait to record some stuff to share the treasure!

[Flux Jetson]

HA! Seems these opportunities have come in groups. I did a little more trading around, and now I have a RANE PE-17 parametric EQ coming!! The Rolls got sold, that deal is in the midst of completing itself now. The Rane is tenfold the EQ that the Rolls is.

It puts the beatdown on just about any PEQ going.... ...it most surely eliminated the need (want?) for the WMD stompbox 3 band EQ ....

Here's some info I posted on the Rane ...

Just scored a Rane PE-17 Parametric EQ in a trade.

This Rane may end up being the EQ that helps me carve this system down a bit. Everything else remains intact, but the EQ department has definitely taken a turn for the better. Aphex 204, Rane PE-17, one or two ~specialty~ EQ/filters, done.

I cannot wait for the Rane to land here so I can do yet another happy dance!

...

[howardcano]

Hi Flux Jetson,

I noticed your comments about the problem regarding triggering and re-triggering of notes (which you have nicely turned into a feature on some of your audio files!). If you play with a pick, you can get very accurate triggering by using a conductive pick and wiring it to a sensor to generate the trigger for the envelope generators. The circuit can be very simple; all it has to do is sense when the pick is or isn't in contact with the strings (which are grounded on almost all electric guitars and basses). When the contact is broken, the trigger is generated. With a bit of practice it's possible to play some really fast passages with triggering on every note. But hanging onto a pick that has a wire attached can be a bit disconcerting at first!

Carbon-filled conductive plastic, carbon-graphite fiber, or soft metals like brass can be used for the pick.

[joe vegas]

This has been hands-down one of the coolest, most upbeat and inspiring threads on FB.
Your fellow travelers applaud you, Mr. Jetson.

[Flux Jetson]

Originally Posted by howardcano

Hi Flux Jetson,

I noticed your comments about the problem regarding triggering and re-triggering of notes (which you have nicely turned into a feature on some of your audio files!). If you play with a pick, you can get very accurate triggering by using a conductive pick and wiring it to a sensor to generate the trigger for the envelope generators. The circuit can be very simple; all it has to do is sense when the pick is or isn't in contact with the strings (which are grounded on almost all electric guitars and basses). When the contact is broken, the trigger is generated. With a bit of practice it's possible to play some really fast passages with triggering on every note. But hanging onto a pick that has a wire attached can be a bit disconcerting at first!

Carbon-filled conductive plastic, carbon-graphite fiber, or soft metals like brass can be used for the pick.

Y'know, this idea isn't lost on me. This type of notion isn't far off from becoming a somewhat regular thing for all electric-stringed instrument players. Look at the "Hot Hand" that is being employed by Source Audio ....

http://www.sourceaudio.net/products/...d/hothand3.php

....And also the "Wii" technology that is available now. It wouldn't take too much to have a pick that sends a wireless signal every time it makes contact with ground (the strings) to a decoder who's signal may be transformed into control voltages or simply left in digital form and then done with it what you will. And look at what Moog has done with the guitar as a triggering device as well.

So I believe that this type of idea is on the near horizon. Maybe not necessarily exactly as either of us have described it, but something along the same ethos. I mean, all of the elements are there .... it's a simple matter of cleverly (and usefully) employing it all.

What you've suggested makes absolute sense, we have half of a simple SPST switch "at hand" (sorry, it was just sitting there waiting to be abused), why not complete the idea .. complete the circuit. A wire attached to my pick wouldn't bother me one bit. In fact, there is a pick with a sortof wooden handle on it that rests in your palm that offers more leverage (sorry can't recall the name of it) -- the wire could simply plug in to the end of that handle and run where-ever you please. It could easily be incorporated into the wireless systems that many bass/guitar players already use.

Y'know Howard .. perhaps this is something you and I should be discussing between each other on our own (I'll leave that right there! .. wink wink nudge nudge).

Thanks a lot for the compliments about the demo tracks. Even though I have been playing bass since 1992 I most certainly do not consider myself a "player". The use of triggering stems from my lifelong experience with monophonic synths that have "single trigger" keyboards, as well as the Hammond which uses a single-trigger percussion effect. So using that same little trick came kinda natural. Especially since I was having trouble getting the bass to trigger that Instrument Interface and create a reliable gate!! HAHA!!!

Kidding aside, I just didn't put enough effort into properly adjusting the threshold of the Instrument Interface so that I could get a gate signal sent on every pick-hit. In fact all of those demos were pretty much tossed together. The idea being to offer a lot of variety, many different examples of whatever it was I was demonstrating .. kinda with the attitude of "Ok, you get it already, right?"

Thanks again Howard.

[Flux Jetson]

Originally Posted by joe vegas

This has been hands-down one of the coolest, most upbeat and inspiring threads on FB.
Your fellow travelers applaud you, Mr. Jetson.

Thank you VERY much Joe. I have THOROUGHLY enjoyed doing this thread. It's something I look forward to adding information, images, and audio examples to quite a bit. You'd all be is some serious trouble if I were to take the time to learn how to edit and post videos. I would inundate you all with babbling ramblings and endless narratives about "here's what happens when I turn this knob or flip this switch".

Not only is it enjoyable for me, but it has acted like a photo-journal, and has helped me keep things organized and focused. It's a record of what works and what stinks. And now, since I have finally (almost) completed the routing system with the whole pickup-switching mixer and the 4x8 parallel processing send/return router, and the 3-channel "triamp" distributor, I can focus a bit more on actually heading towards getting the sounds I hear in my head actually coming out my speaker cabs and into the air.

The system will now have to start proving it's worth and showing that it truly can be used to not only record multiple tracks at once (post-processing AND pre-processing) but also provide a useful monitoring setup. It may even turn into something ... dare I say the word .... marketable. I have been contacted by more than one capable developer/builder, and I am in deep cahoots with a custom designer as it is anyhow. This notion is not my main focus though. My intention is to create something I can use .... as I have maintaned throughout this entire thread .. I am attempting to build "the last bass amp I will ever own". I want it to be so flexible and so "able" that I will never need to buy another bass amp ..... ever. If my needs or desires change, I simply change some aspect of it to make it suit my new whims.

Since each individual stage is modular, it's easily replaced or modified, or simply just moved to some other position in the rig and used in a different way.

For instance, let's say I'm using a Tech 21 BDDI as the "bass control". I only use it to control the low end, essentially it's a multi-knobbed "bass knob" that I use only to produce the low end of the sound. And let's say I use the Rane PE-17 parametric EQ as the midrange "knob". Now, some change comes along and I decide I need a different sound from the rig. The Tech 21 BDDI can simply be reassigned to a different position in the rig to apply it's talents elsewhere. And something else can be shifted to the BDDI's orginal chore of being "the bass knob" in this bass amp of mine. The entire system is so flexible and made up of such wonderful devices that it can be torn down and reassembled into an entirely new system. Exactly like a modular synthesizer. It doesn't even need to be torn down, it really would only need to be repatched in a different order. Easily done through the use of the main patchbay. As much as I possibly can I will be routing everything through the main patchbay to simplify repatching, or inserting some other effector, or tapping in to use a DI to record from.

Some might say that this is no different than a pedalboard, and they'd be somewhat correct. The main difference being the 2-channel bass with switching/preset pickup settings, and the 4x8 parallel processing, and the 3-channel amp distributor. It is that basic core-routing system that makes this rig different. Everything else is nothing more than my own collection of toys that is really no different than anyone else's collection of audio processing toys.

So all this time .. so far .. I've been working on getting the "core" system designed and set up. I am now ONE SYNTH MODULE away from completing the main core ... and then the Death Star will be a fully operational space station!! Oh hell ... Uh .... I mean ... this system will be a fully prepared framework to begin selecting what EQs, overdrives, compressors that I wish to load into the system to be used as processors. When I get those items selected, then it's a matter of using various FX such as delays, flangers/phasers/chorii/etc .... as needed.

As new things are invented and offered to the public, I can easily load them into my rig, just as the pedalboard user does. But all along, the main core remains as the ~engine~ of the system.

So thanks Joe Vegas .... I hope to provide at least 40 more pages of research and demos ... and who knows, maybe it will go to PART 2!!! (Oh no ... save us all from this madman!)

And now, I do happy dance ....

[howardcano]

Judging from your relentless pursuit of "THE SOUND", I'm going to bet that you'll soon be pursuing the use of a quad pickup and individual processing of each string. That will be a good read, too! One more step toward polyphony...

[Vlad5]

!!!SWEET HOLY PLASMATIC BALLS OF ODIN!!!

I mean... amazing thread! I just skimmed through this... skimmed... and started rocking back and forth with my hands clasped in my lap like a gibbering idiot, barely containing the constant uuuuhhhhh drone emanating from my overwhelmed face.... so... much... information.

I'm gonna have to go back and re-read this Master's thesis again. So good...

Thanks Flux!

[Flux Jetson]

Originally Posted by Vlad5

!!!SWEET HOLY PLASMATIC BALLS OF ODIN!!!

I mean... amazing thread! I just skimmed through this... skimmed... and started rocking back and forth with my hands clasped in my lap like a gibbering idiot, barely containing the constant uuuuhhhhh drone emanating from my overwhelmed face.... so... much... information.

I'm gonna have to go back and re-read this Master's thesis again. So good...

Thanks Flux!

Wow ... thanks for the blast-bomb of high praise Vlad5. Very encouraging compliments.

I'll do my absolute best to keep you interested! This has been a solid learning experience, no two ways about it!

I've also got another project on-line, I'm converting a set of Hammond organ bass pedals into a set of midi-bass pedals that I can use to play backing tracks and also trigger my modular synth. It will get interconnected into this entire system as well.

Cygnus midi bass pedal conversion project-1

For information about the mods I did to my Jazz bass, go to page 4 of this thread ..... (this link takes you to pg4)...

Experimental Fully Modular Bass Rig.

Or you can go to an entire thread I did about those mods if you prefer ...

2 channel modification on a J (many pictures).

All of those projects are integrated into this system as a whole. When it's mostly completed I will have an entire bass rig at my disposal that is fully modular, fully configurable, and as versatile a bass rig as I can imagine. It covers the bass guitar, and midi-bass pedals. It covers recording, practicing, and live gigging. And it's flexibility will allow reconfiguring it to take on just about any bass related task or sounds.

Thanks again Vlad5 .... Have fun reading! There's puh-LENTY there!

Flux of Earth.

[Flux Jetson]

I have been working a lot with the guitar amp (JTM45) using it as a clarity booster and a distortion channel the last few days. As well as trying out different filters and EQs in different ways. So we'll see how it all works out. I have a lot to add about the things I've done but I really REALLY need this thread to bump over to a new page (page 11) to get that going. So I'm adding short little replies right now to add to the post count to get the software to bounce over to a new page.

[Flux Jetson]

As soon as it rolls over to page 11 I will begin this week's postings and additions, the scroll button is already so friggin tiny on this page (pg10) due to my overly long posts with so many pics. .....

[Flux Jetson]

.... that I'm just adding a few little posts to get it to roll over to the next page. I've learned a lesson about how to manipulate the software. If I create posts that are too long it makes the navigation for readers difficult because the scoll bar becomes this little ~dash~ and makes it difficult to manuever through the page so as I progress through this project I will keep in mind that little bit of wisdom so as to make navigation simpler and more convenient

There .. I believe that should do it, this should be the final posting of page 10