I thought I'd listened to all your samples, must have missed that one. Definitely long enough, cheers.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Future Impact now available!! WAS: deep impact reissue!!! interested?
- Thread starter lokki
- Start date
I thought I'd listened to all your samples, must have missed that one. Definitely long enough, cheers.
Challenge with the "pad" sounds is really with the decay setting. You need to set it short enough so that when you stop playing, and hit the next note, the attack re-triggers. Set it too short and if you hold your note beyond the attack, the decay slams the filter shut and sounds bad/wrong. Set it too long, and you'll have to leave a long gap between your notes to allow the decay to complete or you don't get an attack retrigger. You can hear some of this in my "pad" demos if you listen for it.
It seems to be a small challenge with only having an attack/decay setting, and no sustain/release. Or having some new parameter to always force an attack retrigger.
Give it a try and let me know how it works out for you.
It seems to be a small challenge with only having an attack/decay setting, and no sustain/release. Or having some new parameter to always force an attack retrigger.
Give it a try and let me know how it works out for you.
Having the filter continue to open as notes are triggered can be desirable too, so it's good to know that's possible. I already placed my order..back in to the synth pedal game I go.
Those tunes are pretty quick tempos so it can be tricky but it is definitely doable. I don't have the technical knowledge as @gastric does to explain, I'm more of a knob tweaker. I have basic knowledge and programming, but not nearly what @gastric has.
Sorry that my answer isn't more helpful, but all I can say those tunes are definitely achievable with the FI, but there is definitely a small degree of difficulty involved to play it cleanly for a length of time without false triggers.
Try my AHA patch in the shared drive under "Soundsmike" folder. I can definitely play octaves at the tempo of the tunes you mentioned cleanly.
Thank you very much for your reply! I also believe that the tunes are achievable but still don't know how exactly to get them out.. Maybe an audio sample or even better video by someone would have been the ultimate proof of what I need I know I am asking a lot but we invested too much on this as a band and it just doesnt seem to be working for us right now!
Some general performance and pitch-tracking comments to help you troubleshoot:
You need to try to separate PITCH from ATTACK / RETRIGGER. A missed or indistinct attack/retrigger can make you think it's missed a note, when in fact it's just missed an expected attack.
Octaves are always hard with pitch tracking effects. The hardest thing to trigger, along with really fast, repetitive notes as the devices often have a limitation on how fast they can re-trigger on a new detected attack from the input. It (any of these types of boxes) typically needs a distinct gap between the octaves to properly detect the change in pitch as well as the new attack from the input and trigger everything correctly. This is where triggering from a physical synth keyboard controller is vastly superior as it's purely mechanical, no crafty pitch detection required. To help the device track and trigger, consider playing the octaves with a single finger that way you cannot possibly have two fingers overlapping the pitch or attack of the octaved notes. In general I tend to play mono-pitch tracking effects with one finger all of the time just for this reason, it prevents you from possibly playing two notes at the same time and confusing the thing.
Or from playing too fast and overrunning its ability to detect the subsequent attacks. Generally it just makes me play slower and cleaner overall, I'm a self-taught hack without any professional technique, so using one finger helps limit me. But in a good way with these types of effects.
There's two parts to the synth engine that can potentially mis-track/trigger. VCO and VCF. If you're having trouble with track/trigger disable/bypass the VCF entirely, and isolate and focus on the VCO portion until that's performing to your satisfaction. Then enable the VCF and tweak that to your satisfaction. Often if you're playing fast but don't have the VCF Decay fast enough the filter with remain open on your next attack, you won't get an audible filter attack, and that can trick your ear into thinking it didn't trigger the note correctly. But potentially the VCO if retriggering, but the filter was stuck open, and audibly didn't perform the way you wanted.
Lastly, I vaguely recall that if you use the VCF Pitch Tracking feature if there happens to be a pitch detection glitch (for whatever reason) that the VCF Pitch Tracking parameter can increase the audibility of the mis-trigger as you now have a VCO pitch issue in addition to a wrong VCF Frequency issue. Don't quote me on that, but I think that's true. If your patch happens to leverage that specific parameter, try disabling it to see if it helps any.
You need to try to separate PITCH from ATTACK / RETRIGGER. A missed or indistinct attack/retrigger can make you think it's missed a note, when in fact it's just missed an expected attack.
Octaves are always hard with pitch tracking effects. The hardest thing to trigger, along with really fast, repetitive notes as the devices often have a limitation on how fast they can re-trigger on a new detected attack from the input. It (any of these types of boxes) typically needs a distinct gap between the octaves to properly detect the change in pitch as well as the new attack from the input and trigger everything correctly. This is where triggering from a physical synth keyboard controller is vastly superior as it's purely mechanical, no crafty pitch detection required. To help the device track and trigger, consider playing the octaves with a single finger that way you cannot possibly have two fingers overlapping the pitch or attack of the octaved notes. In general I tend to play mono-pitch tracking effects with one finger all of the time just for this reason, it prevents you from possibly playing two notes at the same time and confusing the thing.
Or from playing too fast and overrunning its ability to detect the subsequent attacks. Generally it just makes me play slower and cleaner overall, I'm a self-taught hack without any professional technique, so using one finger helps limit me. But in a good way with these types of effects.There's two parts to the synth engine that can potentially mis-track/trigger. VCO and VCF. If you're having trouble with track/trigger disable/bypass the VCF entirely, and isolate and focus on the VCO portion until that's performing to your satisfaction. Then enable the VCF and tweak that to your satisfaction. Often if you're playing fast but don't have the VCF Decay fast enough the filter with remain open on your next attack, you won't get an audible filter attack, and that can trick your ear into thinking it didn't trigger the note correctly. But potentially the VCO if retriggering, but the filter was stuck open, and audibly didn't perform the way you wanted.
Lastly, I vaguely recall that if you use the VCF Pitch Tracking feature if there happens to be a pitch detection glitch (for whatever reason) that the VCF Pitch Tracking parameter can increase the audibility of the mis-trigger as you now have a VCO pitch issue in addition to a wrong VCF Frequency issue. Don't quote me on that, but I think that's true. If your patch happens to leverage that specific parameter, try disabling it to see if it helps any.
U da man! I have to remember this approach next time I hook up my FI to my mac and build a patch from scratch. Thanks for all your insight.Some general performance and pitch-tracking comments to help you troubleshoot:
You need to try to separate PITCH from ATTACK / RETRIGGER. A missed or indistinct attack/retrigger can make you think it's missed a note, when in fact it's just missed an expected attack.
Octaves are always hard with pitch tracking effects. The hardest thing to trigger, along with really fast, repetitive notes as the devices often have a limitation on how fast they can re-trigger on a new detected attack from the input. It (any of these types of boxes) typically needs a distinct gap between the octaves to properly detect the change in pitch as well as the new attack from the input and trigger everything correctly. This is where triggering from a physical synth keyboard controller is vastly superior as it's purely mechanical, no crafty pitch detection required. To help the device track and trigger, consider playing the octaves with a single finger that way you cannot possibly have two fingers overlapping the pitch or attack of the octaved notes. In general I tend to play mono-pitch tracking effects with one finger all of the time just for this reason, it prevents you from possibly playing two notes at the same time and confusing the thing.
There's two parts to the synth engine that can potentially mis-track/trigger. VCO and VCF. If you're having trouble with track/trigger disable/bypass the VCF entirely, and isolate and focus on the VCO portion until that's performing to your satisfaction. Then enable the VCF and tweak that to your satisfaction. Often if you're playing fast but don't have the VCF Decay fast enough the filter with remain open on your next attack, you won't get an audible filter attack, and that can trick your ear into thinking it didn't trigger the note correctly. But potentially the VCO if retriggering, but the filter was stuck open, and audibly didn't perform the way you wanted.
Lastly, I vaguely recall that if you use the VCF Pitch Tracking feature if there happens to be a pitch detection glitch (for whatever reason) that the VCF Pitch Tracking parameter can increase the audibility of the mis-trigger as you now have a VCO pitch issue in addition to a wrong VCF Frequency issue. Don't quote me on that, but I think that's true. If your patch happens to leverage that specific parameter, try disabling it to see if it helps any.
Sory but could you explain to me further how do I find that drive?
Last edited:
Andras Szalay
Commercial User
Hey guys,
Just joined TalkBass yesterday because of this thread, and of course, the pedal. I read about the Future Impact in the Bass Player magazine that was mentioned earlier in the thread and started looking into it. Yes, I have read this whole thread (OCD!). I feel like I know you guys already! Got on the preorder waiting list in mid February. Got my signed unit (#247) in early May.
Not sure how many units Andras plans to sign, but that was pretty cool. What an amazing pedal!!!!
I played with just the stock presets for days, tweaking a little here and there on the pedal itself, until my midi interface arrived in the mail. With the editor up and running...WOW...WOW...and WOW AGAIN!!! (paraphrasing someone's earlier post??) A couple sounds I have been playing with are a Herbie Hancock - Chameleon sound and a Low Fidelity Allstars - Battleflag sound. I don't think anyone has mentioned those sounds yet, amidst all the 80's stuff (loving it all, there aren't enough hours in the day to listen to it all and try things with this pedal). The Herbie sound I think I've got, the Battleflag sound is being a bit more troublesome, me not knowing much about synth programming. And also still trying to grasp the editor in all it's capacity. I'll try to add the patches (what I have so far) in the share folder over the weekend. Thank you all who have already shared patches, it has been a lot of help (again, for someone who is just learning) having examples of certain songs/sounds.
This pedal is AWESOME!! Thank you Andras! And Gabor, Lokki, and everyone else that has contributed in this thread!!
(Too many emogies????)
Just joined TalkBass yesterday because of this thread, and of course, the pedal. I read about the Future Impact in the Bass Player magazine that was mentioned earlier in the thread and started looking into it. Yes, I have read this whole thread (OCD!). I feel like I know you guys already!
Got on the preorder waiting list in mid February. Got my signed unit (#247) in early May. Not sure how many units Andras plans to sign, but that was pretty cool. What an amazing pedal!!!! I played with just the stock presets for days, tweaking a little here and there on the pedal itself, until my midi interface arrived in the mail. With the editor up and running...WOW...WOW...and WOW AGAIN!!! (paraphrasing someone's earlier post??) A couple sounds I have been playing with are a Herbie Hancock - Chameleon sound and a Low Fidelity Allstars - Battleflag sound. I don't think anyone has mentioned those sounds yet, amidst all the 80's stuff (loving it all, there aren't enough hours in the day to listen to it all and try things with this pedal). The Herbie sound I think I've got, the Battleflag sound is being a bit more troublesome, me not knowing much about synth programming. And also still trying to grasp the editor in all it's capacity. I'll try to add the patches (what I have so far) in the share folder over the weekend. Thank you all who have already shared patches, it has been a lot of help (again, for someone who is just learning) having examples of certain songs/sounds.This pedal is AWESOME!! Thank you Andras! And Gabor, Lokki, and everyone else that has contributed in this thread!!
(Too many emogies????)
I just downloaded the documentation and editor to check things out in anticipation of my units arrival, and I too have a problem with the editor fitting the screen of my Macbook Air 11inch. The section at the bottom with the keyboard etc is inaccessible. I can't resize the window - there doesn't appear to be any solution. The resolution is 1366x768 (16:9)
Last edited:
Uploaded a patch to the share drive this morning (90Tuck - Chameleon 02). My attempt at a Herbie Hancock sound. Pretty close, I think, depending on how particular you are. Having trouble with the Battleflag sound, though. I think it's a square wave sound, that was close on the syb-5 and the bsy600, so that's where I started. But I haven't figured it out yet. Any suggestions? If you don't know the song, it's on YouTube. I don't want to post a link because of the language in the lyrics.
(Should this kind of post be in the patch sharing thread?)
(Patch is in the Talkbass folder)
(Should this kind of post be in the patch sharing thread?)
(Patch is in the Talkbass folder)
Last edited:
Andras Szalay
Commercial User
Lippi extended the list of MIDI interfaces with two more devices, so this is the most up to date one.
Andras Szalay
Andras Szalay
@Cassadrian - Ok, I tried this quick at work (shhh!!) with my practice bass and without my hair band at the nut (to keep strings from vibrating). Obviously it isn't the exact sound either or perhaps not the exact lick on the bridge of the tune you posted. Nevertheless, yes you can play octaves on the FI. Take a listen...
FI Octaves.wav
I am interested as well. My guess is it's all in the envelope settings (frequency, slope, attack, decay), haven't had time to really explore it yet. Any ideas?
I posted this in the patch sharing thread as well, but does anyone know if it's possible to load a patch from the FI to the editor? I don't see a way to do it now, but maybe in a future update? That is my only complaint so far about the pedal. I put together a patch using the editor, play it in a live situation (or rehearsal), tweak it a little, and there is no way to save it back to the computer. You have to try to re-create your tweaks in the editor and save it that way if you want to keep it for future use/reference, which doesn't always work well (the parameters you can edit on the pedal itself don't always jive with what is in the editor). Anyone have any thoughts/info?
Thanks!
Last edited:
I totally understand that frustration of the tweaks on the pedal vs what you create in the editor can sound worlds apart.
In regards to my question, I understand that it has everything to do with the envelope, but no matter how long I spend on tweaking this feature I cant get that slurpy funky filter I could on the MArkbass Supersynth.
Any way you can post some audio of what you are trying to achieve? Having a target sound might help others try to figure it out (myself included).
Honestly, I never had much success with the Markbass, which is why I am here with the FI. My SS will likely be for sale soon.
