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Post Your Pedalboard XXII - Enter the Twilight Zone....

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#122
mikkejohansson said:
I think I see a Juice Box and an SVTDI down there, but what is that blue pedal?
Click to expand...

That's my recording 'rig'. I've been through just about every piece of gear possible (rack pre's, channel strips, etc...). While there's still nothing that really beats a vintage Neve into a good LA-2A (and studios almost always have that for the bassist anyway)- this little set-up works really well for my approach. It's providing killer sounding, but decidedly un-sterile tones for both master sessions and low-budget project studio jobs.

On the floor there is an Empress ParaEq (for final tone shaping) into an Aguilar DB-900 Tube DI driving all 3 tube stages of a Groove Tubes Brick.

The important devices on the front end are the bass (of course!) into a Birdsong B-Box (passive varitone circuit), then into my pedalboard where much of the 'character' of my tone is based on my EBS Valve Drive set for just a touch of dynamic grit.

I do use a lot of octave (MXR BOD) and overdrive (courtesy of an Xotic BB) when recording. Depends on the client, but I get away with a lot these days!
 
#123
Just finished building this two days ago - and no, I have no idea how I'm gonna haul this thing around.

sany00974pyh.jpg


Chain: Bass -> SYB-5 w/ expression pedal -> Octabass -> parallel/serial looper -> modded CS-3 -> CEB-3 -> Booster (LPB-1 clone) -> Amp

In the loop: Flexo (Flipster) -> Ibanez Wau Fuzz

To do: fit LEDs to the booster, looper and wah fuzz, build another fuzz pedal.
 
#124
scotch said:
That's my recording 'rig'. I've been through just about every piece of gear possible (rack pre's, channel strips, etc...). While there's still nothing that really beats a vintage Neve into a good LA-2A (and studios almost always have that for the bassist anyway)- this little set-up works really well for my approach. It's providing killer sounding, but decidedly un-sterile tones for both master sessions and low-budget project studio jobs.

On the floor there is an Empress ParaEq (for final tone shaping) into an Aguilar DB-900 Tube DI driving all 3 tube stages of a Groove Tubes Brick.

The important devices on the front end are the bass (of course!) into a Birdsong B-Box (passive varitone circuit), then into my pedalboard where much of the 'character' of my tone is based on my EBS Valve Drive set for just a touch of dynamic grit.

I do use a lot of octave (MXR BOD) and overdrive (courtesy of an Xotic BB) when recording. Depends on the client, but I get away with a lot these days!
Click to expand...

How hot do you normally run your Brick? I've got one but haven't been using it a whole lot lately.

Neve to LA2A? Would like to try that combo one day. I've been really happy with the UA 610 > LA2A results I've had. :D
 
#125
OrionManMatt said:
How hot do you normally run your Brick? I've got one but haven't been using it a whole lot lately.

Neve to LA2A? Would like to try that combo one day. I've been really happy with the UA 610 > LA2A results I've had. :D
Click to expand...

I LOVE an LA-610 for R&B and songs that are "laid-back". I used to have one- sometimes the 'attack' or rise-time was a little slow for some stuff I was doing, but man it still sounds great!

A vintage Neve (even with no eq) does some magic things to bass. It opens up the high end in such a pleasing way without harshness or hiss. Whenever somebody wants to debate on the subject of "tone voodoo", a good Neve pre can really switch their thinking! It's hard to put into words, or measure on a scope, but once you try it, it's hard to go back!

The Brick was initially a solution to a problem that keeps popping up more & more: Project (home) studios without enough good mic pres to interface into a/d converters. A di (mic) level signal needs to come up to line level for most of the popular converters to work most efficiently. I kept running into scenarios where my prized Aguilar Tube DI (mic level output) wouldn't record hot-enough in many of the project studios that I work. An engineer at a high-end master session plugged me into a Brick one day & it was amazing with the Aguilar! I pretty much always use it now- whether the studio has a good pre or not. If they need line level-the Brick set up to about 75% does it, if they already have a pre, I either set the Brick very low or leave it out.

The Brick really performs well beyond it's diminutive price tag! It's a very natural tube di/pre that only imparts a little 'warm' coloration. Coupled with the surreal 3-d low end of that Aguilar DI & I've got what I need!

I've also found that the Aguilar makes my overdrive and wackier effects sound better when going direct (no amp). Without it, effects can sound a little harsh and thin compared to how they sound through an amp. You'll have to pry that Aguilar DB-900 from my cold, dead hands!!!
 
#128
There's LOTS of Neve clones on the market. Some do better than others. The best clone I've used is the Wunder Audio. It really nailed the mojo, where with many other clones- I always wasn't 'sure'.

Let us know how that Golden Age sounds- doesn't really seem to resemble the design of a Neve, but you never know!
 
#134
warwick.hoy said:
CCouch7, If memory serves me; you swapped out a Boss ODB-3 for the WH Pork Loin,...yes?
Click to expand...

Yes sir, I tried the DS-1, ODB-3, SparkleDrive and now the PorkLoin. It seems the PorkLoin is the most useable with my band so far, the SparkleDrive is pretty good too IMO.

A friend just gave me a BBE FreeFuzz but I have'nt had time to try it yet. Any thoughts on the FreeFuzz?
 
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