Oxide settings:
EQ: full CW
Morph: 12:00
Drive: 12:00
Fuzz: 9:00
Clean: 9:00
Voice: Down
Strangle: Down
Boss 9V center negative adapter.
Also, on mine when I turn either the Morph or the Drive knobs near or at full CCW, the sound just drops out altogether. I'm assuming this must be an input gain thing since I'm using a passive bass. But my Pbass is still pretty high output, so I was surprised that the gate could actually choke the sound off completely.
I don't have speakers here at work so i haven't listened to your sample, but try turning down the volume on your bass. I was bothered after i first got my oxide by some things that were going on as soon as the note would pass the attack/decay point.
Easing up on the instrument volume solved my problem.
Nope, sorry. My initial thought after hearing the sound file was that maybe the output was too hot from your bass, but then you go on to say that the gated portion of the morph knob chokes off your signal completely seems to indicate that's not the issue. No clue, sorry.
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If the Morph knob is fully CCW it chokes out everything but a fuzzy sputterbuzz for me too. I think that's normal. This pedal does not shy away from extremes.
Also keep in mind that the morph is controlling not only a gate but the duty cycle for your squared-off waveform. At its extremes i imagine its reduced to nothing more than a thin pulse.
If the Morph knob is fully CCW it chokes out everything but a fuzzy sputterbuzz for me too. I think that's normal. This pedal does not shy away from extremes.
Also keep in mind that the morph is controlling not only a gate but the duty cycle for your squared-off waveform. At its extremes i imagine its reduced to nothing more than a thin pulse.
Any idea about the kind of phase sound that happens immediately following the attack? Perhaps it's just an overtone thing coming from my bass? I did notice that rolling off the tone to almost dub territory mitigates that effect to a degree.
Basically, when you turn the drive knob up very high, you can get some phasey effects because the harmonics of the signal are rolling through the zero crossing and getting amplified selectively. This can create some pretty unique synth settings, but if you want to minimize it you just need to turn down the drive control. Turning down Drive is equivalent to turning down your bass's volume, but better, since you're not effecting signal-noise ratio or bypass volume.
Regarding the Morph knob, think about it as turning up the threshold on a noise gate when you turn the control counter-clockwise. As you turn it down, it takes a larger signal to open the gate. If you turn it down all the way, it's possible that the threshold is above the output level of your instrument. Since people use the Oxide with a variety of instruments, it has this extra range so that it can still gate heavily with synthesizers, etc. For bass, I tend to keep Morph at around 9-o'clock and Drive fairly high.
I'm definitely starting to get a little more of a sense for where this effect might begin to grow some roots on my board. It's admittedly a bit different than I expected. But then again, isn't that the way it goes with just about everything?
I paired it up with my octave pedal and instantly got some great results. When I get my envelope filter back from the shop, I'm sure there will be much fun to be had there as well.
I also like how I'm able to just leave my light OD engaged (in front of the oxide mind you) and it doesn't seem to make a difference. I can just snap the Oxide on to make ears bleed momentarily, then go directly back to the polite OD.
I've gotta say that having a builder like Taylor who is so engaged with his products and the end users really makes me WANT to explore the potential uses of this pedal so much more.
I had the same "issue" with mine when I got it, as I was cranking the Drive based on the settings that many on here were posting. It didn't take me long to figure out that I preferred the less compressed attack and tone of the Drive knob around 11 o'clock or less. Awesome pedal!
