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Pedaltrain MINIs United Again!
- Thread starter fivestringgecko
- Start date
Nice one. Two questions: How are you powering these pedals and how's the Magnum 44 doing with bass?
I love the Stageclix Jack. It's so amazingly simple and good. Got it twice...
I love the Stageclix Jack. It's so amazingly simple and good. Got it twice...
The noble is powering the pedals and the Magnum 44 has it's own power supply as it draws a lot of current and is 24volt
I've used the Magnum for years, mainly for church and it handles bass fine and is surprisingly loud. Not rock trio gigging loud but in the right environment loud enough. No complaints with it at all. Happily drives a 115 Hartke cab.
I was thinking getting another to put at the end of the board!
It's based on one of my favorite Bubble font muffs that Blindrabbit now owns. Plus a mids knob, buffer buster and clipping options. Pretty killer really
It does the work. Keeps things under control without altering the sound in a radical way. No tone magic here, just basic compression. Nothing stellar, nothing fancy, but easy to dial a working settings, and my bass was more present without being louder.
Noise: Does raise the noise already present in the signal chain (my single coil are a bit noisy), but when using my humbucker, no noise present, so I can conclude that the pedal is not noisy by itself. The noise raise could be noticeable and a bin annoying in a studio context, but for live use, it is totally acceptable, because it is not that bad.
Lows: with my main bass (Jaguar SS with Seymour Duncan QP PJ Pickups), I didn't feel loss of lows. They were as present with or without the compressor (even more present when playing softly, and a bit thighter when I dug harder). No problems also with my 5er, the low B string sounded full. When using my 3rd Bass (piezo equipped semi accoustic), which normally was a bit too boomy, the lows were... thighter, the boominess is gone but still sounded full.
Treble: The treble seemed dimed a bit, but in a pleasant way. Picking, slapping and fingering hard still shines and rings clearly, but the harshness is gone. I had to raise the tone a bit on my overdrive pedal to have it as I like it, so I guess it is a matter of taste.
Would I use this pedal in a professional studio setting? Probably not, I'd go fore something fancier for this application. But for live use, in a pop-rock band context, it does the job I need, and does it pretty well. For my POV, this pedal is great bang for your buck.
Also there is a pop noise when turning the effect on and off, which can be annoying, but since I plan to leave it on, it don't bother me. The top jacks and all metal construction are pluses for me.
How are you using the line selector and more importantly the M5?
Sorry if you have to reiterate the answer from an earlier post, but I've got an M5 that I used to stick on my gig-board occasionally — so I'm always interested to learn how others are using their M5s on minimalist boards.
As I currently play in a rock/pop cover band, I mostly play clean. My chain goes like this:
Wireless Receiver => LS2 In / LS2 Send A => M5 => Green Rhino => LS2 Return A / LS2 Out => Compressor => Amp
I use the line selector with nothing on loop B, and with A+B MIX setting, so I get a clean blend, and always blend my clean bass with the effects. And I can switch on/off the effects with just one footstep.
I use the M5 for occasionnal effects, and I made a few patches that I use to spice up things, as I don't want to buy seperate pedals just to use it for a song or 2/set. It also helps keep a pedalboard small, as bar stages are not always... spacious
Here are the patches I use the most
- Enveloppe follower (Tron UP), for a funkyer sound, sometimes followed with overdrive.
- Octave up followed with overdrive, to fill-up a bit of sonic space when my guitar player do solos (we are a trio)
- Chorus
- Growler, for occasional synth sounds
- Slapback delay (I use Tube Delay) so I can simulate playing faster than I really can
I put the Compressor at the end of the chain, because I want to be able tu use the full range of my dynamics to control the Enveloppe Follower and the overdrive. Also, I found that some effects from the M5 are a bit louder than others (especially the synth, or the Tron thant can be very boomy) so having the compressor after the M5 helps a lot.
As I currently play in a rock/pop cover band, I mostly play clean. My chain goes like this:
Wireless Receiver => LS2 In / LS2 Send A => M5 => Green Rhino => LS2 Return A / LS2 Out => Compressor => Amp
I use the line selector with nothing on loop B, and with A+B MIX setting, so I get a clean blend, and always blend my clean bass with the effects. And I can switch on/off the effects with just one footstep.
I use the M5 for occasionnal effects, and I made a few patches that I use to spice up things, as I don't want to buy seperate pedals just to use it for a song or 2/set. It also helps keep a pedalboard small, as bar stages are not always... spacious
Here are the patches I use the most
- Enveloppe follower (Tron UP), for a funkyer sound, sometimes followed with overdrive.
- Octave up followed with overdrive, to fill-up a bit of sonic space when my guitar player do solos (we are a trio)
- Chorus
- Growler, for occasional synth sounds
- Slapback delay (I use Tube Delay) so I can simulate playing faster than I really can
I put the Compressor at the end of the chain, because I want to be able tu use the full range of my dynamics to control the Enveloppe Follower and the overdrive. Also, I found that some effects from the M5 are a bit louder than others (especially the synth, or the Tron thant can be very boomy) so having the compressor after the M5 helps a lot.
Merci Beaucoup!
Always good to learn how others are using their gear, helps inspire my own sonic meanderings.
