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PYPB 44: ...like Tetris with boxes, wires and cables
- Thread starter Jean Baudin
- Start date
Terrible photo. Surprisingly flexible "pared down" setup.
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Yup.... I just wasn't using it in the bands I play with. I still have a T16, but it's living on a shelf at the moment. I've been on a dirt tear, and that's been taking up space on my board.
This is what I've decided to gig with this weekend.... got a new Korg expression pedal.
Edit: put the AO back on in place of the IP.
Edit: put the AO back on in place of the IP.
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Back in here after a long time - there was a thread about doing the Royal Blood thing the other day and I realized the only pic I had of my board was a couple of years old. Here's the current iteration. I use it in a power trio playing modern indie/alternative rock, so while we do have a guitarist, the idea is to provide as much variety and ability as possible to fill space under him.
Basically there's a "bass board" to the upper right and a "guitar board" to the upper left, with signal split to both.
The chain is: bass either cable or through the G30 wireless --> MicroPOG: DRY out from MicroPOG --> tuner --> CEB3 Chorus --> B3k overdrive --> Ampeg SC/DI --> HoF reverb --> Boss Looper --> Boss noise gate:
Meanwhile MicroPOG WET out (octave up at full, others at zero) --> Joyo tremolo --> PitchFork (octave up) --> Pitchfork (5th up) --> B9 --> Civil War Fuzz --> JHS mute pedal:
Lines from each board then go to the "micro board" at lower left that has two JHS stutter switches, allowing momentary muting of either line; from those the bass signal goes to a bass amp and the "guitar" signal to a guitar amp.
I may rearrange some. I'm not very good with the Looper and we were only using it for one song, reverb only for a couple, and I only added the tremolo in for one song (Black Keys' "Next Girl"). The bass board tucks under a keyboard to my right (you can see the sustain pedal), I don't do much tapdancing on it, more set-it-and-forget-it for each song. Tap dancing more on the "guitar" board. When we play I stand facing diagonally to the left in this pic with the stutter switches at my left foot.
Basically there's a "bass board" to the upper right and a "guitar board" to the upper left, with signal split to both.
The chain is: bass either cable or through the G30 wireless --> MicroPOG: DRY out from MicroPOG --> tuner --> CEB3 Chorus --> B3k overdrive --> Ampeg SC/DI --> HoF reverb --> Boss Looper --> Boss noise gate:
Meanwhile MicroPOG WET out (octave up at full, others at zero) --> Joyo tremolo --> PitchFork (octave up) --> Pitchfork (5th up) --> B9 --> Civil War Fuzz --> JHS mute pedal:
Lines from each board then go to the "micro board" at lower left that has two JHS stutter switches, allowing momentary muting of either line; from those the bass signal goes to a bass amp and the "guitar" signal to a guitar amp.
I may rearrange some. I'm not very good with the Looper and we were only using it for one song, reverb only for a couple, and I only added the tremolo in for one song (Black Keys' "Next Girl"). The bass board tucks under a keyboard to my right (you can see the sustain pedal), I don't do much tapdancing on it, more set-it-and-forget-it for each song. Tap dancing more on the "guitar" board. When we play I stand facing diagonally to the left in this pic with the stutter switches at my left foot.
Meanwhile I have another band playing more funk and R&B stuff, for which that whole setup is overkill and would go unused. I realized I had a number of pedals lying around loose so I put together a more compact board for that.
I go between 4s and 5s with this band so the signal comes from the basses into the two inputs on the top of the VT Deluxe, making it easy to switch. The tuner connects to the parallel out and the effects loop goes to the Boneshaker for distortion, the MXR envelope filter and then the compressor. Pretty simple and portable.
I go between 4s and 5s with this band so the signal comes from the basses into the two inputs on the top of the VT Deluxe, making it easy to switch. The tuner connects to the parallel out and the effects loop goes to the Boneshaker for distortion, the MXR envelope filter and then the compressor. Pretty simple and portable.
I obviously have dirt ADD. I've always dug rat tones... I'm even in the queaue for a Dunwich blended and midded Volt Thrower.
Did another "proof of concept" tonight...needs tidying up and still want to replace bf3 with nautila and PS3 with dirty robot... but figure I've squeezed everything I can space wise! Hoping to do trippy flanger into dirt into tremelo into delay/reverb for fun as my bands not doing heaps right now
Replaced the PLL (which is NOT being flipped) with a Frantabit and Bitquest. Just don't really need the PLL on board. I should probably just go full-doofus with Iron Ether and get a Nimbus. The weirdness continues...
Just over here waiting on a Nuñez drive pedal.
The board is still a work in progress (wiring changes, power supply upgrades, possible MIDI controls, etc.), but here's the current state of things:
The signal path is:
BASS => Dunlop Cry Baby Geezer Butler Wah => TC Electronic SpectraComp => DigiTech Bass Whammy => Source Audio Aftershock Bass Distortion => Source Audio Mercury Flanger => Source Audio Nemesis Delay => AMP
The Source Audio Tap Tempo switch and Dunlop Volume (X) Mini are being used to control specific features of the Source Audio pedals.
The signal path is:
BASS => Dunlop Cry Baby Geezer Butler Wah => TC Electronic SpectraComp => DigiTech Bass Whammy => Source Audio Aftershock Bass Distortion => Source Audio Mercury Flanger => Source Audio Nemesis Delay => AMP
The Source Audio Tap Tempo switch and Dunlop Volume (X) Mini are being used to control specific features of the Source Audio pedals.
Midi for the Nemesis is life changing, especially when you program a few of the presets exclusively for modulation or pitch shifting. That little box can do a lot.
Coincidentally, I have two presets set up for these specific uses. Unfortunately, pitch shifting between intervals (via expression pedal) is not smooth; it jumps from one semitone setting to the next (e.g., directly from 5th up to 1 octave up). I was hoping it could be a Whammy killer.
Even then, it's surprisingly usable, and it illustrates how promising a dedicated Source Audio pitch shifter could be.
I'ma fan of the Hot Wax too, picked one up in a trade and was very pleasantly surprised how it sounded
