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Iron Ether Appreciation Society

#5,141
I'm a big fan of the Dunlop Mini Volume X, built like a tank. :thumbsup: I've had one for a while and it's been an excellent expression pedal for everything I've tried it with, so I bought another specifically for my XeroD, which is a perfect combo. Also pretty killer with the Frantabit, just FYI. Haven't tried it with my other IE pedals, but I don't have any reason to believe it would disappoint.

5sg.
 
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#5,142
Jonathan49 said:
Hi I was wondering what is currently the best expression pedal to go with the xerograph deluxe thanks best regards Jonathan
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I don't think there is a "best expression pedal" specifically for the Xerograph Deluxe. (Your question intimates that certain effect pedals work better with certain expression pedals, and nothing in my experience suggests this is true.) I do, however, think the Mission Enginering EP-25-PRO Aero is the best expression pedal out there: it is a substantial step up from your typical expression pedal in build quality, ergonomics, and functionality.

Consider functionality: the EP-25-PRO Aero can simultaneously control two separate stompboxes, something which comes in handy more often than you might think. Imagine you have another pedal with expression input in addition to your XD, like a FrantaBit, FMeron, or a Nimbus SE (or something not produced by Iron Ether, like any Chase Bliss pedal). There are really wonderful and musical things you can do when you sweep both the XD and another effect at the same time. Sweeping the sample rate reduction on the FrantaBit, especially on Obliterate mode, is really fun and really unique because the FrantaBit produces sounds no other bit crusher does (because the FrantaBit, like all Iron Ether pedals, has a more extreme range than its counterparts). With the EP-25-PRO Aero, you can sweep the sample rate reduction at the same time as you low-pass filter frequencies with the XD. Or you can sweep the size of reverb alongside the amount of FM synthesis when you combine the Nimbus SE and FMeron. Mix and match to your taste :)

Finally, a note about ergonomics: the shape of the Aero series is simply more comfortable to use than the traditional flat design of expression pedals; that alone makes it worth it to me (it's particularly nice if you ever practice or play from a seated position).
 
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#5,144
Jonathan49 said:
As an iron ether pedal I have a xerograph deluxe V2 and a polytope V2 but I don't know if many people use an expression pedal with the polytope? If so would it be useful to have an expression pedal for both? Thanks
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Just one pedal is fine. And then something like this:
oscillatordevices.com

Trash Panda Quad - Oscillator Devices

Four expression outputs, all controllable with an expression pedal and with MIDI, that’s the Trash Panda Quad (formerly known as Garbage Collector EXP). Save place on the board, by using only one expression pedal for up to four devices. Control which one of the expression outputs is connected to...
oscillatordevices.com oscillatordevices.com
 
#5,146
Jonathan49 said:
I was actually asking what it was like to use an expression pedal on the polytope? Does it add anything? I've never tried it. Thanks.
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I'd imagine some whammy-like stuff and hyper-vibrato. Sorry, i don't have any direct experience with Polytype, i only have Arcing Prisms, but the expression pedal turns them into something entirely else. Nearly any pedal with the correct input is much more useful and fun with xpression pedal.
 
#5,147
Jonathan49 said:
As an iron ether pedal I have a xerograph deluxe V2 and a polytope V2 but I don't know if many people use an expression pedal with the polytope? If so would it be useful to have an expression pedal for both? Thanks
Click to expand...
Jonathan49 said:
I was actually asking what it was like to use an expression pedal on the polytope? Does it add anything? I've never tried it. Thanks.
Click to expand...
You can control the Polytope's depth (the amount of detuning/chorus) with an expression pedal. So yes, it certainly adds something, but only you can determine if that something is musically additive for the contexts in which you play/perform :)
 
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#5,148
Jonathan49 said:
I was actually asking what it was like to use an expression pedal on the polytope? Does it add anything? I've never tried it. Thanks.
Click to expand...
I use a Saturnworks expression knob with my Polytope to fine tune specific chorus sounds without having to bend over - I will rarely change these settings during a song, except for occasional fine adjustments. I have a separate pedal that I'll use with my XD to change the cutoff in real time. Both of them have in common the convenience of a large potentiometer at my toes, but the use cases are different.
 
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#5,155
Anybody else regularly using the Arcing Prisms? Don’t often hear much chatter about it, compared to the Xerograph, Subterranea, Frantabit, etc. When it’s set up in a very subtle manner, it can do really useful and unique phase/flange sounds. I’ve found myself placing it on my board next to the Polytope as a modulation alternative, and have gotten a lot of mileage out of it. But next to the FMeron, it’s probably the least talked-about IE pedal - interested to hear if other people like it as well, and how they may be using it.

IMG_3015.jpeg
 
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#5,156
@Jakeman my funds are really tight right now, but I have definitely been considering an Arcing Prisms! I have to confess I think the faceplate model is ugly as sin, so I will not be buying one of those. But if a painted one comes up at a decent price (at a time when I can afford it!), and I will be all over it! I have one "space" on my board which I haven't fully settled on, which is the modulation/delay slot. Currently, it's a Broughton Carina, which sounds lovely, but is limited in its scope. The AP seems to offer a lot of different tones and textures, I'd love to explore them some time :)
 
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#5,157
Jakeman said:
Anybody else regularly using the Arcing Prisms? Don’t often hear much chatter about it, compared to the Xerograph, Subterranea, Frantabit, etc. When it’s set up in a very subtle manner, it can do really useful and unique phase/flange sounds. I’ve found myself placing it on my board next to the Polytope as a modulation alternative, and have gotten a lot of mileage out of it. But next to the FMeron, it’s probably the least talked-about IE pedal - interested to hear if other people like it as well, and how they may be using it.
Click to expand...
I think there is a very good reason for that silence: in concept the Arcing Prisms is interesting, but in practice without utility. I could not find a viable musical niche for it. The small range gets all sorts of usable modulation sounds, but nothing so different from my Iron Ether Polytope or Chase Bliss Wombtone. The large range is more exciting/bizarre/novel, but also far less usable—at least for the sounds I'm looking for. That's why I moved mine along: at the higher speeds and larger intervals it was too wild to be practical. And without a tap tempo ... not all that effective for most live possibilities.

After selling my first Aring Prisms, I later got a second one to see if my opinion would change. I really wanted to like the Arcing Prisms! But my original opinion was only further affirmed. I cannot stress this enough: at small range the Arcing Prisms is so similar-sounding to the Polytope that most people should just get the latter. I really think that the Arcing Prisms doesn't differentiate itself enough to justify its additional presence on a pedalboard, and it isn't powerful/flexible enough at small range to beat out modulation like the Polytope or Wombtone. The large range is where the Arcing Prisms brings something new to the table, but those sounds aren't going to work for most bassists in a live setting. This leaves two use cases:
  1. a performative context which requires a tsunami of sonic chaos
  2. experimental synthscapes in the bedroom/home studio, where pedalboard real estate isn't a concern, the lack of tap tempo doesn't matter, and the goal is ambiance, not groove or harmonic foundation
P.S. Thanks for bringing this up, @Jakeman. You and I have chatted about this over PM in the past, but I'm curious what the general consensus is. Do most folks share your opinion? Or have they had an experience like mine?

P.P.S. Of all the standard production pedals, I feel the Divaricator is talked about less than the FMeron, but that's probably because so few people have experienced it. Also because @sloppy_phil sings the praises of the FMeron in every other post he makes here :laugh:
sloppy_phil said:
@Jakeman my funds are really tight right now, but I have definitely been considering an Arcing Prisms! I have to confess I think the faceplate model is ugly as sin, so I will not be buying one of those. But if a painted one comes up at a decent price (at a time when I can afford it!), and I will be all over it! I have one "space" on my board which I haven't fully settled on, which is the modulation/delay slot. Currently, it's a Broughton Carina, which sounds lovely, but is limited in its scope. The AP seems to offer a lot of different tones and textures, I'd love to explore them some time :)
Click to expand...
lol totally agree on the faceplate! The painted version is perhaps the most aesthetically pleasing of any Iron Ether pedal, but that blue-and-gold faceplate is an eyesore :(

Knowing your musical context, my friend, I suspect the Arcing Prisms is not the pedal for you. If you want a different modulation, get a Polytope (or a Mostly Elevators haha).
 
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#5,158
Erithon said:
I think there is a very good reason for that silence: in concept the Arcing Prisms is interesting, but in practice without utility. I could not find a viable musical niche for it. The small range gets all sorts of usable modulation sounds, but nothing so different from my Iron Ether Polytope or Chase Bliss Wombtone. The large range is more exciting/bizarre/novel, but also far less usable—at least for the sounds I'm looking for. That's why I moved mine along: at the higher speeds and larger intervals it was too wild to be practical. And without a tap tempo ... not all that effective for most live possibilities.

After selling my first Aring Prisms, I later got a second one to see if my opinion would change. I really wanted to like the Arcing Prisms! But my original opinion was only further affirmed. I cannot stress this enough: at small range the Arcing Prisms is so similar-sounding to the Polytope that most people should just get the latter. I really think that the Arcing Prisms doesn't differentiate itself enough to justify its additional presence on a pedalboard, and it isn't powerful/flexible enough at small range to beat out modulation like the Polytope or Wombtone. The large range is where the Arcing Prisms brings something new to the table, but those sounds aren't going to work for most bassists in a live setting. This leaves two use cases:
  1. a performative context which requires a tsunami of sonic chaos
  2. experimental synthscapes in the bedroom/home studio, where pedalboard real estate isn't a concern, the lack of tap tempo doesn't matter, and the goal is ambiance, not groove or harmonic foundation
P.S. Thanks for bringing this up, @Jakeman. You and I have chatted about this over PM in the past, but I'm curious what the general consensus is. Do most folks share your opinion? Or have they had an experience like mine?

P.P.S. Of all the standard production pedals, I feel the Divaricator is talked about less than the FMeron, but that's probably because so few people have experienced it. Also because @sloppy_phil sings the praises of the FMeron in every other post he makes here :laugh:

lol totally agree on the faceplate! The painted version is perhaps the most aesthetically pleasing of any Iron Ether pedal, but that blue-and-gold faceplate is an eyesore :(

Knowing your musical context, my friend, I suspect the Arcing Prisms is not the pedal for you. If you want a different modulation, get a Polytope (or a Mostly Elevators haha).
Click to expand...
This is good insight, and much appreciated! Part of the reason I am draw to the AP in particular is because it is both modulation and delay all in one. I am finding there are (admittedly limited) times where delay would be a useful/important sound in a couple bands I play with, and I don't have room for separate modulation and delay pedals without sacrificing something else. Being the two sounds I need least of all the "effects" I require, I am loath to give them more than the one space which is available.

You are correct in noting the lack of tap tempo as an issue, and frankly that is the biggest one for me. I've been looking at other pedals which perform similarly (CTC Sidekick Jr and JHS Lucky Cat foremost among them); for now I am simply in the R&D phase of this next purchase LOL.

And yeah, it's a funny quirk that the AP is hitting the aesthetic extremities; it has arguably the coolest paint job, and yet the worst faceplate treatment...

Erithon said:
Also because @sloppy_phil sings the praises of the FMeron in every other post he makes here :laugh:
Click to expand...
Guilty! But I fully stand behind my comments. Perhaps my use cases are just particularly niche, but I find it such a useful part of my board.
 
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