@el murdoque & @moon-bass: "Blame not your brother for your lack of restraint, especially if the suggestions prove most true" ought to be a TB Commandment.
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nah, man, that's not fair, I have to tell my wife that it's someone else fault if/when an Ictineo shows up ..
Reading this thread is bad for me.
The guy I play weekly jams with commented last time - because I brought the same board twice. No pedals changed places, no new ones appeared . . boring!
I've mentally started building another board - just because I accumulated enough pedals that I don't use, but don't want to sell yet.
The guy I play weekly jams with commented last time - because I brought the same board twice. No pedals changed places, no new ones appeared . . boring!
I've mentally started building another board - just because I accumulated enough pedals that I don't use, but don't want to sell yet.
And with the Super 400 and the DMC controller finally shown up, I now have two out of the three boards completed. First, my Bourbon St. board. Small, light, fits in the Tick add-on for my gig bag, and flexible. I live a few blocks from Bourbon, so this, coupled with either a Barefaced 10 or my Hartke combo makes for an easy walk. I can swap out preamps to fit the gig or my mood, and can add a speaker sim with additional EQ for samples and fretless gigs.
And pedalboard number two. This is my medium sized board. Much more flexible tone wise, more suited to bigger spaces and gigs. Sounds killer, with tons of tubey goodness.
Sweet! I can't wait for your review and comparisons...that'll be high on my list for next year's acquisitions.
I see you have 3 preamps on one board (2 of which I own).Do you switch for different songs? I also own a bunch of Synth pedals.I too have that same Disaster Area switcher, how's it working for you.Mine is still unused and I think it's about time I include it. Maybe great minds do think alike after all.
I haven't had any tie this past weekend to even hook it up past what you see there lol. I'll hopefully have some time this week to put it thru it's paces.
of course great minds think alike!
The three preamps -
The Oracle is my base sound - it's always on.
The PAX I use when I want a nice thick tone - something with more body and less highs than my "normal" tone
The AMT A is used when I want just a touch of grind - I have it set so that it creates a little bit of OD and fat bottom end for songs that need it. I love that fender tone stack.
The DMC - so far, so good. I just got it over the weekend. It works as designed, but it's not perfect. The biggest issue I have is that it doesn't read the preset names from the C4, rather you have to manually enter them into the DMC. There is a web based tool, but I can't get it to read my DMC - which I think is an issue with my laptop. It would be great if there was an export utility on the C4 and an import ability on the DMC, but otherwise it works great, and having 99 presets on the C4 instead of 6 is a game changer. Even if I don't get the DMC text to work it's still a keeper.
Same here, now that I have the DMC micro I always regret not bringing it to jams or recording. I have really put off trying to get the names input for everything but have started by organizing them.
Having similar sounds near each other in the banks really helps find what I'm looking for - I have basic Octavers in the lower banks, then moogs, then filters, then leads, then extras/guitar oriented and sequencers near the end. This approach has really made it more fun to go through the sounds on the fly but I'd like the actual words written out eventually. It's a little tough to wrangle at first but for the size and price I don't know how you could do much better!
I am using Broughton RFE for the analog cab sim role. You should try it if you can find one...
IME, there is close to zero likelihood that if one sends dry signal to FOH, it will come dry from the PA these days.
There will be significant EQing, plus HPF and/or LPF.
Compression/limiting at FOH is a standard too.
Last but not least: many sound engineers apply plugins in their digital mixers to bass as a default (usually Ampeg-based emulation).
I have to agree. My home PA system is an active monitor wedge plus a Behringer Flow 8 mixer which cost me a bit more than two hundred bucks.
Even that tiny mixer offers me two FX units, HPF, EQ (one EQ strip with four bands for each channel plus master EQ with 9 parametric bands) and compression. It is surprising how good a sound I can coax from it by plugging my bass directly into the mixer.
I use the Locomotive as a low gain, barely there O/D. It's a nice tube OD and it's versatile, and when I need a touch of OD it's fantastic. The handwritten one is a Bearfoot Queen Bee OD, it's a modified Blueberry clone.
that's assuming you have a decent PA. A lot of the places that I play have great systems, and a lot have crappy systems that pretty much just do vocals - and of course, everything in between.
I'd rather give the FOH a good bass tone that I am happy with rather than have them do what they think it needs. If someone took my tone and added an Ampeg simulation without asking me, I'd be kinda pissed lol.
Aside from that, they need to get my wet signal from effects and OD.
On my last board I have a Broughton LPF & an HPF and a Sine Effects parametric EQ. Same capabilities.
Understood. I, too, prefer to give to FOH the tone I like. My point was that's it's usually not the end of the world (with decent FOH) if one sends them dry signal...
that's assuming you know about it...
