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Ambient/Post-Rock/Textural bass playing thread

As a way to tame down synth tones so they fit ambient grooves better, today I used one of my favorite pedals ever.
It's one I'm never letting go. So convenient and versatile.

It's a powerful preamp with an input that distorts very quickly, in a not so musical way. It's meant to sound like you have crappy gear.
The result is a sort of raspy fuzz, the kind you get when you push your gear too hard or shout in a megaphone.
It has HPF and LPF knobs you can use in real time to make drops, AM radio or telephone style, even TR style filtering.
The LEVEL offers a fair output boost and it fits 3 different impedances, with means you can also use it as a booster or tamer, dependiong on your needs.

LF7.jpg
 
I'm working on a new Zoia ring modulation patch. I decided to scratch out an idea using the new Star Eater fuzz.
This is more about textures and trying to get the mix/blend right. I had a few takes I liked more, but I overdid the reverb and they didn't bounce as nicely. You'll get the idea :)


Primary components: Acinonyx > Star Eater > Zoia > OTO Reverb
 
I love ring mod.

I just remember ring mod being an effect on Sabbath’s Paranoid. I never heard anyone else use it, so it became a joke to me. It took me a while to recognize that it relates to FM synthesis, and that since I’ve come to appreciate FM that I might need to revisit my thoughts on RM.
 
As a way to tame down synth tones so they fit ambient grooves better, today I used one of my favorite pedals ever.
It's one I'm never letting go. So convenient and versatile.

It's a powerful preamp with an input that distorts very quickly, in a not so musical way. It's meant to sound like you have crappy gear.
The result is a sort of raspy fuzz, the kind you get when you push your gear too hard or shout in a megaphone.
It has HPF and LPF knobs you can use in real time to make drops, AM radio or telephone style, even TR style filtering.
The LEVEL offers a fair output boost and it fits 3 different impedances, with means you can also use it as a booster or tamer, dependiong on your needs.

LF7.jpg
put that in a chase bliss box

profit

$$
 
As a way to tame down synth tones so they fit ambient grooves better, today I used one of my favorite pedals ever.
It's one I'm never letting go. So convenient and versatile.

It's a powerful preamp with an input that distorts very quickly, in a not so musical way. It's meant to sound like you have crappy gear.
The result is a sort of raspy fuzz, the kind you get when you push your gear too hard or shout in a megaphone.
It has HPF and LPF knobs you can use in real time to make drops, AM radio or telephone style, even TR style filtering.
The LEVEL offers a fair output boost and it fits 3 different impedances, with means you can also use it as a booster or tamer, dependiong on your needs.

LF7.jpg


Verrrry interestink! Might have to steal some of those ideas for my next version of this:

WTHPF_Orange.jpg



...which is just about ready to go live as an open source DIY thing. I've never tried any of these resonant LPF things on synth (I'm mainly pimping them for acoustic guitar and mandolin more than bass these days), guess it's time to give that a go.
 


that’s cool

another way to get gamelan (or bell) sounds is using alligator or test (smaller and lighter then alligator) clips on the strings. placement nearer the bridge or the neck gives different possibilities (of course). doing tap patterns on the fingerboard can get some nice things.
 
The Iron Ether FMeron makes some cool ring mod type sounds.

Yep, I probably use my FMeron more for clangorous ring modulation type sounds than I do anything vaguely resemblying classic FM synthesis!


for the fusion/electric miles fans, jan hammer and chick corea both used ring mod to great effect.

And John McLaughlin used to get similar sounds using a 360 Systems Frequency Shifter. Ah, the good old days...


btw, I used to own a Maestro Ring Modulator, designed by Tom Oberheim and built back in the mid-1970s. One of the most fun things to do with that was to take a spare output from a bandmate and route that into the external carrier input, so that instead of being ring modulated by a fixed oscillator frequency, your instrument would produce the sum and difference of the frequencies produced by what you played and what your bandmate played...a constantly moving target.