Latest configuration 
TU>COMP>PRE>OCT>EF>WAH>OD1>OD2>DIS>FUZZ>CH/VIB>REV/DEL
TU>COMP>PRE>OCT>EF>WAH>OD1>OD2>DIS>FUZZ>CH/VIB>REV/DEL
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Show your tidy pedalboard!
- Thread starter JakobT
- Start date
Well I just put this together with the “I should’ve known better pedal” that just got delivered dead on arrival. I’ll let you guess which pedal it was…
So I put this together instead for tonight’s gig:
Now I just need to decide between using my Radial JDI to FoH, or the DI out the back of my Genzler MG350
So I put this together instead for tonight’s gig:
Now I just need to decide between using my Radial JDI to FoH, or the DI out the back of my Genzler MG350
In order of signal path:
Broughton Omnicomp
Aguilar Octamizer
Xotic Blender with these two on the loop, available for parallel or series:
--Templo Devices ReelDealuxe
--JHS The Crayon
Source Audio C4 (pretty much just a significantly tweaked Phase 90)
Noble DI
Strymon Zuma power supply with a Y cable to get it done. Could use the Noble power, but want to be able to leave it home without rewiring power if the gig is one I don't want to bring it out on.
3M dual lock with high temp adhesive so if it's in the sun or the car, it won't get goopy.
Gotta tidy up the wiring a bit, using some gaff and a twist tie to tighten things up until I've used this on stage and know it's set for a while. Considering putting the Crayon first, but really like having dirt with series/parallel options.
Also, taking me minute to adapt to Broughton's controls. I'm used to signal path related layout... Threshold, attack/release and ratio, then makeup gain, and also the Threshold is backwards from how I think of it, as he describes it as controlling the amount of signal sent to the detection circuit. I get it, it's just another thing for me to remember on stage. I wish it was more similar to how studio gear is *usually* set up so I don't have to think about it. 1st world problem, though, for sure.
Broughton Omnicomp
Aguilar Octamizer
Xotic Blender with these two on the loop, available for parallel or series:
--Templo Devices ReelDealuxe
--JHS The Crayon
Source Audio C4 (pretty much just a significantly tweaked Phase 90)
Noble DI
Strymon Zuma power supply with a Y cable to get it done. Could use the Noble power, but want to be able to leave it home without rewiring power if the gig is one I don't want to bring it out on.
3M dual lock with high temp adhesive so if it's in the sun or the car, it won't get goopy.
Gotta tidy up the wiring a bit, using some gaff and a twist tie to tighten things up until I've used this on stage and know it's set for a while. Considering putting the Crayon first, but really like having dirt with series/parallel options.
Also, taking me minute to adapt to Broughton's controls. I'm used to signal path related layout... Threshold, attack/release and ratio, then makeup gain, and also the Threshold is backwards from how I think of it, as he describes it as controlling the amount of signal sent to the detection circuit. I get it, it's just another thing for me to remember on stage. I wish it was more similar to how studio gear is *usually* set up so I don't have to think about it. 1st world problem, though, for sure.
Last edited:
Nice choices! I just heard about the Reel Dealuxe tonight at my gig, from the keyboard player. Looks like a lot of fun!
RE: the Omnicomp layout. I also was confused by the Threshold knob seemingly sweeping backwards from what I'd expect, but considering how good it sounds, I'm more than willing to let it pass.
Actually sounds pretty good, too!
The pairing of the Nobels and Blue 360 in particular works very well with a passive jazz bass….the overdrive tone has a lovely grunt and growl with an organic quality I’ve struggled to obtain from other combos. It’s quite addictive.
The Templo sure is a lot of fun. The breakup in Limit mode is super interesting. I have owned a handful of old reel to reels, and have played bass and guitar through them. This thing nails that solid state preamp breakup, and in Limit mode, into the Crayon, adds a touch of chaos/amp is about to die flavor. Vibrato is nice, but more of a guitar thing for me. However, in Invert (or in parallel on the Xotic), the phaser that results from blending in the dry signal to the pitch modulated signal is really nice.
Not a deterrent at all regarding the Omnicomp's controls, just another thing for me to remember on stage which I try to minimize. I just kinda wish it was labelled "Compression" or something, like the LA2 and other devices that are set up this way. It does sound stellar.
Gotta say, I bonded immediately with The Crayon. I lean heavily on Neve 1073 plugins in the studio and it definitely captures their vibe. I think at some point I will A/B a couple plugs set up in series, next to the pedal, to hear what I hear... could be interesting. Not that I care how close it is, but I'm curious.
Last edited:
Up-right Bass into Tone Dexter —> HX Stomp, split signal path (path A to Front of House via radial isolator, path B to amp via radial isolator).
Bass guitar into HX stomp, split signal path.
Bass synth into HX stomp via FX return, split signal path.
Three instruments on stage.
Split signal paths for separate instrument EQ’s for bass amp on stage, different EQ’s and IR amp for Front of house DI. One foot switch to change instruments, or tune. Wireless to avoid cable chaos.
About 200 gigs so far with this board. I can dial in a sound at a gig, then save it as a patch for that particular venue.
This must be the tidiest / OCD'est power supply cabling on this thread, congrats!
Awsome board, but do you use it for guitar
or for bass?I am asking because as you probably know there is a bass version of the Ripply Fall and the UA Max compressor is apparently not suited for bass (at least according to an old review from Scubaduba, maybe the software has been updated since).
That underbelly shot is a portrait of commitment. nicely done.
This must be the tidiest / OCD'est power supply cabling on this thread, congrats!
Awsome board, but do you use it for guitar
I am asking because as you probably know there is a bass version of the Ripply Fall and the UA Max compressor is apparently not suited for bass (at least according to an old review from Scubaduba, maybe the software has been updated since).
I have both the bass and regular iteration of the Ripply Fall... honestly, I prefer the non-bass version for the sonic range when using my bass VI (I actually kind of dig a bit shallower frequency range for my purposes). I do have some instances where I'm called for guitar and this board really is just a solid go-to. The UA Max works amazing for bass... I use one side for guitar and the other for bass. I have zero complaints. Does exactly what I need it to. Anymore, I am at a point where I really have some solid staples that I rarely change. Even though the board looks like it doesn't have much room for change, it can handle swaps pretty easy for drives, fuzz, delay, etc... there's enough cable length under each pedal to accommodate swapping pedals. I really did try to put a lot of thought into what I do and do not need and the propensity to change. The intent of the board definitely had those considerations when making and routing my cables.
Ok , think I have finally settled on pedals/layout…. For now
Thanks!
The ODR-B has a more “vintage” voice IMO. I find the three band EQ more versatile than the spectrum control on the ODR-1. The character is relatively warm/dark and compressed….this can be tweaked with the on-board EQ, but if you want edgy highs they only tend to arrive at the most extreme settings of the treble pot. Conversely, there’s absolutely no lack of bass…the “deep” pot adds lots of it (although I’m unsure of the centre frequency).
There’s a huge range to the drive control…from subtle warming to heavy distortion…the pedal can do a pretty good impression of a fuzz by cranking the drive and scooping the mids. I’ve probably mentioned it before, but the biggest drawcard for me is the fact that this pedal gets very close to a genuine tube-like drive sound.
They can still be found (there’s a few on Reverb at present), although prices have gone up significantly in the last few years (as with most stuff, but especially some of the original Nobels pedals).
Nice review and sound samples here….
Going for a vintage Ampeg fliptop tone. Using with a G&L p-bass strung with flats and an Ampeg B-100R combo amp.
Latest iteration, needs some serious cleaning underneath! Also planning on making a raiser for the back row which will allow the pedals to be setup with the correct orientation
The Midi Baby 3 after a little initial head scratching is a great little pedal, need some tall pedal toppers for the back 2 switches though!
And the under side...
Connected a usb hub to make programming the dwarf and midi baby easier which works great although wish I'd gotten the Rockboard mod patch-bay with the usb pass through now!
The Midi Baby 3 after a little initial head scratching is a great little pedal, need some tall pedal toppers for the back 2 switches though!
And the under side...
Connected a usb hub to make programming the dwarf and midi baby easier which works great although wish I'd gotten the Rockboard mod patch-bay with the usb pass through now!
