I was just about to suggest that. And, I think you import those settings if you use a preset, which might be completely off for your specific instrument (set up for guitar or similar instead).
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C4 synth pedal - I give up.
- Thread starter mikey2000
- Start date
and on your boat, I gave up today I just have issues with the sounds Im trying to get(the typical micro synth sound for worship), but I just can't get it even with the presets available I can't get nowhere close enough to that sound, to bad because I love how the pedals tracks and in fact I use it as a classical octaver (Down) I have to presets for this that I really like.
But I feel like im fighting this pedal trying to get close the the micro synth sound.
But I feel like im fighting this pedal trying to get close the the micro synth sound.
I also have had trouble adjusting to the C4, but I think what got me over the hump is playing it along with some MP3 files. I found the C4 alone to sound synthy, not a bad thing necessarily, but I liked it all the more when in a mix. This further allowed me to hear what adjustments need be made.
Something I haven’t seen mentioned yet is that Input Gain and Sensitivity as well as most other parameters are per preset rather than global, so any time you load a user preset you need to reset your input gain again as the user that made the preset likely has a different rig and different settings @mikey2000
What I would do is just remember the number value of that control in the software so you can easily set it right without needing to do the calibration every time. Personally I wish the Input Gain was a global parameter as it is on the Future Impact, with dedicated knob on the front panel and easy to set.
What I would do is just remember the number value of that control in the software so you can easily set it right without needing to do the calibration every time. Personally I wish the Input Gain was a global parameter as it is on the Future Impact, with dedicated knob on the front panel and easy to set.
rsmith601
Commercial User
- Apr 14, 2009
- 4,461
- 8,356
- Disclosures
- CEO and Co-Founder, Source Audio
2 notes on this.
1) We debated having input gain being global. We worried about those who are switching instruments or including other pedals in the chain. Ultimately, we did it per preset because of these concerns.
2) SoundCheck has some automatic gain control to make it more likely a preset will play well with a given clip.
Input gain is a critical thing when there is pitch detection or envelopes in the mix.
Doesn't that ensure that the user will have to set the input gain using the app? A lot of guys don't want to do that. I've started using WYSIWYG mode to get a little more hands on control.
rsmith601
Commercial User
- Apr 14, 2009
- 4,461
- 8,356
- Disclosures
- CEO and Co-Founder, Source Audio
Input level is the top left knob. We consider input level to be perhaps the more important control on the C4. The app is not necessary.
I have had my pedal for about 3 weeks now. I bought this pedal for exactly what it is... something to build personalized or specific synth sounds as well as some really whacky stuff. I can say this pedal is lives up to that, but it is DEEP. Meaning you have to spend a lot of time understanding how it all works together and learn and experiment to achieve goodness. I am not sure how it sounds live or in the mix, I may not get a chance to use it that way. I got it as a music making tool to record with and just goof off, and there so many cool things that can be done!
Having said that, as much as I am a knob and parameter tweaker, when it comes to live performance, I do lean toward more whatever sounds best in the mix and practical solutions with immediate accessibility. Setting that up in the C4 can require a lot more effort than other solutions, but I think it is certainly achievable. In fact, I am thinking of going and checking out some other synth pedals and creating C4 patches for the what I like from a couple of them to see how close I can get
Having said that, as much as I am a knob and parameter tweaker, when it comes to live performance, I do lean toward more whatever sounds best in the mix and practical solutions with immediate accessibility. Setting that up in the C4 can require a lot more effort than other solutions, but I think it is certainly achievable. In fact, I am thinking of going and checking out some other synth pedals and creating C4 patches for the what I like from a couple of them to see how close I can get
You probably don’t need to do that with the MXR Bass Synth. There are a lot of videos out there demonstrating the “preprogrammed” sounds. That will save you a lot of expense.I have had my pedal for about 3 weeks now. I bought this pedal for exactly what it is... something to build personalized or specific synth sounds as well as some really whacky stuff. I can say this pedal is lives up to that, but it is DEEP. Meaning you have to spend a lot of time understanding how it all works together and learn and experiment to achieve goodness. I am not sure how it sounds live or in the mix, I may not get a chance to use it that way. I got it as a music making tool to record with and just goof off, and there so many cool things that can be done!
Having said that, as much as I am a knob and parameter tweaker, when it comes to live performance, I do lean toward more whatever sounds best in the mix and practical solutions with immediate accessibility. Setting that up in the C4 can require a lot more effort than other solutions, but I think it is certainly achievable. In fact, I am thinking of going and checking out some other synth pedals and creating C4 patches for the what I like from a couple of them to see how close I can get
I have the C4 and the MXR Bass Synth and have no intentions of getting rid of either of them. They're just 2 very different pedals ino. I can spend all day finding a ton of really cool sounds on the C4. The MXR in my experience is much more plug and play. Im sure players with more experience than I have can get lots of out there sounds from the MXR. I just haven't ventured too far out from the presets. Even then, ive played several shows with it and gotten lots of compliments.
In summary, get them both!
In summary, get them both!
Right, pedals like the MXR, EHX, Future Impact, and others have that stuff ready at your finger tips. Thus probably a more practical solution for most live settings or those who aren't into tweaking and building more customized settings. I like doing that
C4 is for someone who wants the flexibility to tweak just about any part of your sound, whether is something synthy or something like a bit crusher, harmonizer or filter or chorus. And it provides a lot of whacky ways to stretch your imagination The C4 was the least enjoyable/intuitive pedal I've ever owned. The workflow is atrocious and it's unusable live if adjustments need to be made. The Future Impact, on the other hand, is a deep dive if you want it but is much easier to edit on the fly and to get really good sounds.
I get where you are coming from and suggest you also check out the Future Impact for your creative explorations. Both the C4 and FI are very powerful tools for that offering different but equal takes on a 4 voice modular setup that tracks a bass input admirably. It still amazes me at how much is crammed under the hood of both of those pedals. Your journey will likely not end there.Right, pedals like the MXR, EHX, Future Impact, and others have that stuff ready at your finger tips. Thus probably a more practical solution for most live settings or those who aren't into tweaking and building more customized settings. I like doing that
No shade on pedals that are preset or offer limited parameter adjustments as they are also valuable performance and recording tools often covering popular sounds that a player would need in a 'cover band'. For that I rely on a Boss/Roland SY200 and a couple of EHX pedals like the Mel9 and Synth9. When prices come down and the new wears off I may add the MXR to my collection of synth pedals or until the FOMO boils over and have that much play money.
At home I am a total knob tweaker but for playing live have loaded the 6 most appropriate sounds in the first banks of my Spectrum and Mothership Control (C4), usually created with a particular song in mind. This is what I'm canoodling with at home.
Well, the MXR Bass Synth is adjustable but not nearly as intricate and detailed as the C4. If you’re looking for something somewhat easy for live applications, the MXR should work nicely.Right, pedals like the MXR, EHX, Future Impact, and others have that stuff ready at your finger tips. Thus probably a more practical solution for most live settings or those who aren't into tweaking and building more customized settings. I like doing that
I was able to get a patch that matches a common CCM bass synth sound by watching this video and copying the settings:
.
If that’s the sound you’re looking for, I have the patch uploaded to Neuro under the name “CCM Synth”. I’d add a link, but it’s not working on the website.
These days we don’t play many songs that are primarily bass synth, so I only pull out the pedal every couple of months. I do have one song for Christmas Eve that is 1/2 bass synth, so I’ll be using this patch tomorrow.
I had an idea today. I’ve got no way of testing it as my C4 went back a long time ago.
When I attached a wave analyser to my bass (in GarageBand) and was amazed to see how many overtones there are on my bass (it’s lively little thing!)
I wonder if that was why I found the tracking so glitchy….?
I have a HX Stomp with some synthy type blocks - they track much better after putting a severe Low pass filter in front.
I suppose I’ll never know…
When I attached a wave analyser to my bass (in GarageBand) and was amazed to see how many overtones there are on my bass (it’s lively little thing!)
I wonder if that was why I found the tracking so glitchy….?
I have a HX Stomp with some synthy type blocks - they track much better after putting a severe Low pass filter in front.
I suppose I’ll never know…
Yep seems likely. 100% of pitch-tracking pedals require you to play to them in order to get optimal tracking- whether adjusting pickup or tone settings and/or adjusting your playing techniques. Plus on a monophonic pedal, learning to play super clean and/or mute unused strings and even mechanical muting the played notes -using a palm or foam or otherwise- in general to reduce overtones is sometimes required. I've gotten pretty comfortable with this, and still have a couple basses that are so lively that I have to play very carefully to use them cleanly with any pitch-tracker.
If you want synth-esque sounds without the tracking issues then the Boss SY pedals might be worth a try as they are simply manipulating your input sounds to make the output so no real tracking necessary and they track polyphonically too so you don't have to be nearly as careful about muting unused strings or other noise issues. The way they make sounds makes the sound palette much more limited, but worth looking into anyway. I think the poly synth in the Eventide H90 might be doing a similar thing
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