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Discussion in 'Effects [BG]' started by been_effected, Oct 4, 2018.
Has anyone come up with a synthy, gated fuzz yet?
While we're asking - anyone come up with a decent pseudo fretless sound? I'm thinking something along the lines of the bass sound on Sunset Grill - Don Henley. Short of an actual fretless asking a lot, I know. Had a Boss ME 50B multi pedal that had a fair fretless effect.
Rochester comp is equalized, even the dry side. I have checked it with Arta software.
Deluxe comp is the only one that is completely flat.
I would like Line6 to release a Deluxe Limiter...
I did say transparent not flat. Whatever the eq is, I like it. It makes my basses sound better and the tone doesn't change at all when it's compressing.
I've been using the Deluxe Comp as an end of chain comp.
Does anyone else like the Teemah! drive model?
Excuse me, because I try my best with english language, but sometimes I misundertood.
I thought "transparent" was not modified, unaltered sound. May you explain it to me?
I like it a lot... before an EQ block for setting it flat ... Yes, maybe I am a bit obsessed, but I like very much the tone of my bass!
That was my primary drive until the Horizon came out
I've made it with a Hx Effects. Only 7 blocks, maybe it is compatible with Hx Stomp.
Rename ".txt" to ".hlx"
I wish that all of you enjoy it
Not necessarily unaltered. For example, "blue transparent glass" has a color, but you can still distinctly see what is on the other side.
So, to me, a "transparent compressor" a) doesn't hide anything you put in and b) doesn't change tone/eq as it compresses (i.e., you can't even tell it's compressing).
Some drive/distortion/overdrive pedals are described as "transparent" even though they obviously alter the sound.
Same here. The Deluxe and the Multi-band are fantastic end of chain comps. The multi-band is great with a fretless.
I love running a parallel chain using a Y Crossover with a couple overdrives (1 being Timmeh) in the "treble" path.
I'm playing a church event tonight and tomorrow. Using both Timmeh and Triangle Fuzz (separately) with the crossover at 200Hz. Sounds pretty fat.
I also like the KWB as an overdrive (even though it is a "fuzz" technically) in the same crossed over manner.
Is one of the 660 am outputs of an Eventide Powwermax/Cioks DC-7 enough for the HX Stomp or do I have to combine 2 outlets ?
Thanks fer playin'
That’s the drive I use in my main preset. Always on, just to different levels for each snapshot.
You have to use the current doubler
Anyone know of any kettle leads (with a UK plug) that have an in-built switch? It's annoying having to pull the plug every time I turn off my pedalboard
1. Power strip with Ui outlets and on/ of switch ?
2. build a switch into a box, hard wire it. mount to your board.
3. Male IEC through hull connector. aka panel mount. wire that to the switch mounted in the box...
I don't know of any IEC cords with integral switches. I'm taking the throughhull route but with a USA male. I'll mount a shallow box and hardwire the connection to my PowerMax. On is plugged in, off, pulled out. power connector will be easily accessible on the side of the board.
It is one approach anyway...
Well there ya go!
I decided to get myself a MIDI Controller to toy around. So I tried a free third-party editor for the FCB-1010 (I know, I know, it's the bad Behringer). It has a virtual device so I could toy around with my HX Stomp and LT connected to HX Edit.
And so far it's really great. I found two ways to use the 3-Note-Generator to be controlled:
1) Control the notes:
Set the 3NG's note values to a MIDI CC message (e.g. 78). Also the bypass status of the block to another CC (e.g. 77).
Every "Note" key on the MIDI controller sends a CC78 (value corresponding to note) and CC77 (value 127 to turn the synthesizer block on). This way I always switch the 3NG on when I choose a note.
I added one switch with a CC77 (value 0) to turn the synthesizer off.
2) Control a pitch shift:
Set the 3NG to fitting key (probably B or E ;p ) and tweak to a good sound.
Set bypass control for the 3NG to CC77 like before.
Place a pitch shifter behind the 3NG.
Set pitch shift to CC79 (or any other free CC). Value determines where between -24 and +24 steps the pitch shifter goes.
Place CC77 (value 127) and CC79 (pitch shift values) to various switches on the MIDI controller.
An example setup would be:
The first one already works like charm, but one would need to control the octaves, as the 3NG always places the notes in the same octave. If that is of no concern, the first variant is enough.
I know the 3NG sounds a little bit dry, but one could always route it through the FX loop into other FX. Or an autofilter block. 8 blocks and one DSP can only do so much.
But the good thing is: It works on all HX devices. I saved the 3NG and Simple Pitch as favorites. This way it is easy to construct wild drone orgies. Also the Asheville Pattern is great for atmospheric stuff.
Also this is completely independent from Snapshots AND Footswitches. So these options are still completely open. Just keep the 3NG in bypass for all snapshots (or disable "snapshot bypass" for them to be sure).
In the second configuration one can also set the key of the 3NG and then use the transposition afterwards. A wild dance, but flexible! Fifths and perfect fourths usually work.
I also fell in love with the fact that Snapshots can be changed via MIDI without the necessity to switch to Snapshot Mode. Everything is so... easy to organize. Sometimes I kind of regret to have gotten the Stomp after the LT. And I assigned both MIDI-EXPs to CC01 and CC02, so they are automatically assigned to EXP1 and EXP2 in the HX devices
One mode on the MIDI controller to "play":
The second mode on the MIDI controller for quick settings:
I wish there was another cost-efficient option other than the Behringer FCB-1010. But the two EXP pedals were kind of a deal maker. And the Harley Benton budget controller doesn't have the same flexibility and the original (Roland) is more than twice or thrice the price. :/
I also made a variation for the LT. I set various filters on/off so that one Footswitch switches between a "drone" setting (slow filter and tremolo, adding a pitch shifter -12 for one track) and a "step-sequencer" setting (Asheville Pattern filter and a little pitch shifter +12 for the upper track).
The synthesizer-MIDI-boards are roughly the same, but the "play" and "settings" modes are of course a little different:
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