yes. parameters via cv. i knew i forgot something important.
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
yes. parameters via cv. i knew i forgot something important.
Starting from having a modular system and an extensive software collection but no pedals, I would say that so far I'm leaning more toward processing the bass in software.
There are a few modules that seem to complement the bass well though. Mutable Instruments Beads and Noise Engineering Melotus Versio (two different takes on granular synthesis) both complement it well, particularly for slow ambient stuff.
Delays and reverbs in general of course. While there are a billion of these in software and pedals, Make Noise Mimeophon is one of my favorites overall and bass is no exception.
Likewise as a sort of phaser or tremolo, Xaoc Devices Katowice is nice. It's really more of a shelving EQ/band isolator sort of thing, but the key is modulating the frequency, width or levels.
Mutable Instruments Rings (resonator). If I could get reliable pitch to CV tracking there is a LOT more I could do with this -- that's really my dream. But as it is, some interesting inharmonic psuedo-ringmod-like stuff can be had as well as super crunchy lo-fi reverb stuff (if you drop its frequency below audio rate).
On that note, literally ringmodding (or AMing) the bass with an oscillator and bipolar VCA works well too.
I was surprised that Lacrima Versio (aka "the devil's autowah") wasn't more effective on the bass, but I bet it depends a lot on playing style and what you're looking for. For the more ambient/drone side it's not that exciting with bass, though I like it a lot for processing synth parts.
There's plenty more I will be trying out in the future. But I could say the same about the software side of things too.
There are a few modules that seem to complement the bass well though. Mutable Instruments Beads and Noise Engineering Melotus Versio (two different takes on granular synthesis) both complement it well, particularly for slow ambient stuff.
Delays and reverbs in general of course. While there are a billion of these in software and pedals, Make Noise Mimeophon is one of my favorites overall and bass is no exception.
Likewise as a sort of phaser or tremolo, Xaoc Devices Katowice is nice. It's really more of a shelving EQ/band isolator sort of thing, but the key is modulating the frequency, width or levels.
Mutable Instruments Rings (resonator). If I could get reliable pitch to CV tracking there is a LOT more I could do with this -- that's really my dream. But as it is, some interesting inharmonic psuedo-ringmod-like stuff can be had as well as super crunchy lo-fi reverb stuff (if you drop its frequency below audio rate).
On that note, literally ringmodding (or AMing) the bass with an oscillator and bipolar VCA works well too.
I was surprised that Lacrima Versio (aka "the devil's autowah") wasn't more effective on the bass, but I bet it depends a lot on playing style and what you're looking for. For the more ambient/drone side it's not that exciting with bass, though I like it a lot for processing synth parts.
There's plenty more I will be trying out in the future. But I could say the same about the software side of things too.
My interest and experience with synthesis developed way back when your only choices were analog, many of which were "modular" just cause there weren't too many other ways of doing things, and where every synthesizer had CV and Gate/Trigger i/o. So perhaps I was already predisposed to wanting or expecting this functionality...but, fwiw, the few times I have screwed around with playing my bass through a (modern) modular synthesizer I quickly came to the same conclusion monsterthompson and steubig did: The "magic" in modular synthesis seems to come more from manipulating or modulating parameters within the various modules than it does from the audio signal path through modules, and if those manipulations/modulations aren't somehow related to physical gestures you make on your instrument it just makes the whole process seem disconnected from actual music.
Now, if I had a bass guitar that could output Control Voltages based on articulations, playing dynamics, fret pressure or vibrato, pitch range, etc. ...
Brutal! I hope your cat is feeling better.
Now, if I had a bass guitar that could output Control Voltages based on articulations, playing dynamics, fret pressure or vibrato, pitch range, etc. ...
That's why I got into Linnstrument.
On @steubig's point about pitch to CV: I did a lot of experimentation with bass to MIDI awhile back and found it totally disappointing due to latency. My best experience with bass to CV is using the bass signal to either control a comparator (basically a fuzz) or to clock an LFO into audio rates. Neither is great. BUT last week at practice, my guitarist ran through his Zoia into his Microfreak and it worked very well; the difference is obviously the starting pitch. We did run up against the "is this really better than just using a bunch of pedals" question, though. I'd be mostly interested for synth bass duties, where I think it might work with me playing an octave up on the touch guitar, but I'd use it to control my Micromonsta. We'll see. I should have just tried it last week.
One other issue with modular and bass processing: Eurorack power supplies are, um, not consistent, and not all modules play well together. Add in amplifying a bass signal to modular level and you can get a lot of unwanted noise. I ran into this trying to process my touch guitar through a Qu-Bit Nebulae2. Would have been nice. I ran into this noise problem again this week trying to send my Super 6 through my Tallin VCA as distortion: sounds great but LOTS of additional noise.
He wrote back with a no. So, Analog Heat? Boum? Something else? I will have to give it some thought.
Thanks @monsterthompson . I'll bite. I know you know a lot about drive, distortion, and fuzz pedals. How/to what would you compare the Boum's distortions? I need some "analogy" saturation, but I also want full on roaring drive and fuzz and options for low end retention and tone shaping. Do you use the high pass into the distortion a lot?
How are the filters?
Is the compressor before or after the distortion in the signal chain? How do you like it?
Is it CV-able or MIDI addressable for interesting tweaking and automation? (This is something that's interesting about the analog heat).
Looks like it's out of stock in Canada right now, so in the meantime, my Line 6 HX Stomp will be forced into service.
How are the filters?
Is the compressor before or after the distortion in the signal chain? How do you like it?
Is it CV-able or MIDI addressable for interesting tweaking and automation? (This is something that's interesting about the analog heat).
Looks like it's out of stock in Canada right now, so in the meantime, my Line 6 HX Stomp will be forced into service.
knobs and touch surfaces are good.
Situation update: The SOMA Cosmos arrived today (took over 2 months to get from Poland to Tucson via FedEx!) so my Arizona workstation is finally complete
...just in time to learn that now we're heading back to NYC in three weeks! Arrgghh...
...just in time to learn that now we're heading back to NYC in three weeks! Arrgghh...
situation update make me think of snafu (situation normal, all fu¢ked up)
cosmos is bigger than i thought.
I reiterate, my work place is a total dump compared to all you guys,
It's actually smaller than I was expecting...which is good since apparently I'll be travelling with it. It'll definitely fit in the outer pocket of most bass gig bags.
i was reading it literally. should'veto indicate a joke.
The internet has no mercy for irony—I was extending your joke. But yeah, we should use our emojis.
hey.
so this album was released right after one cataclysmic event (9-11) and is being digi-re-released in the middle of another one. not sure what that means!
anyway, back in the dark ages, i was graciously invited me to do an album for Cryptogramophone Records. i got grandiose ideas and they made them happen!
this album is a set of mini-concerti i wrote for four people whose work i admired (well, still do): Nels Cline (guitar), Mark Dresser (double bass), Vinny Golia (sopranino saxophone) and Tom Varner (french horn).
the backing ensemble for these pieces was clarinet, flutes, drums, trumpet, trombone, violin et moi.
all the players kicked major a$$.
**obligatory thread-pertinent pedal action on tracks 2 (lovetone trem plus delays, etc.) and 4 (fuzz! plus etc.).**
so this album was released right after one cataclysmic event (9-11) and is being digi-re-released in the middle of another one. not sure what that means!
anyway, back in the dark ages, i was graciously invited me to do an album for Cryptogramophone Records. i got grandiose ideas and they made them happen!
this album is a set of mini-concerti i wrote for four people whose work i admired (well, still do): Nels Cline (guitar), Mark Dresser (double bass), Vinny Golia (sopranino saxophone) and Tom Varner (french horn).
the backing ensemble for these pieces was clarinet, flutes, drums, trumpet, trombone, violin et moi.
all the players kicked major a$$.
**obligatory thread-pertinent pedal action on tracks 2 (lovetone trem plus delays, etc.) and 4 (fuzz! plus etc.).**
