source audio c4

[Quatschmacher]

I posted a question about this a couple weeks ago in the main Source Audio Sorcerers thread (here) and never heard anything... When I select the compatibility box, only C4 patches are showing up on the desktop editor. I ported Graham's Koolaid Man Fat Filter patch to the Spectrum, and just scrolling back in all the community patches, the C4 and Spectrum patches are right next to each other (currently on page of the feed). But if I search for C4 compatible patches, it doesn't show up

Anyone else having this issue?

5sg.


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Yes, same issue here. I wonder if the fact that Spectrum presets aren’t currently loadable via the iOS app might be another instance of an underlying problem.

 

[fivestringgecko]

Yes, same issue here. I wonder if the fact that Spectrum presets aren’t currently loadable via the iOS app might be another instance of an underlying problem.

Okay, whew... Glad it's not just me! Maybe @rsmith601 or @Gibs210 have an idea?

5sg.

 

[Gibs210]

Okay, whew... Glad it's not just me! Maybe @rsmith601 or @Gibs210 have an idea?

5sg.

Sorry forgot to get back on this, we are aware of it now, will probably addressed when we get a chance, not sure if the fix will be in next update or not yet.

 

[Quatschmacher]

A few more sequencer experiments (patches posted to Neuro). Again, these need a cables patching output 2 to input 2 in order to work.
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[Emanuel]

I can easily see the C4 taking a place on my board next to my best analog stuff and integrating in quite nicely. I can have the best of both approaches and in my albeit, limited understanding I believe that this is the best application of the digital to be had.

My C4 got in yesterday and I had a few hours with it last night.
Just getting Neuro going, calibrating the input level of the bass I was using (Ric. V63 with flats, probably not the best choice because it’s difficult to mute/dampen strings but I can’t seem to put that thing down!) and checking out some community presets.
Sounded great and I found many presets, only 7 pages in that will work right now as well as ones that compel me to find out what about them works and doesn’t work for me. I’ll be watching that excellent J Rizer tutorial and implementing some of the advice offered here for a while I suppose but so far I’m feeling good about it.

I should be honest and say in the same breath that I plan, firstly to discover how some presets track so easily. Yeah I’m pretty much going for the low hanging fruit to start out but hey, I’m bound to learn more by staying motivated. Any of your thoughts about that would be really helpful and appreciated. Thx

 

[Quatschmacher]

I can easily see the C4 taking a place on my board next to my best analog stuff and integrating in quite nicely. I can have the best of both approaches and in my albeit, limited understanding I believe that this is the best application of the digital to be had.

My C4 got in yesterday and I had a few hours with it last night.
Just getting Neuro going, calibrating the input level of the bass I was using (Ric. V63 with flats, probably not the best choice because it’s difficult to mute/dampen strings but I can’t seem to put that thing down!) and checking out some community presets.
Sounded great and I found many presets, only 7 pages in that will work right now as well as ones that compel me to find out what about them works and doesn’t work for me. I’ll be watching that excellent J Rizer tutorial and implementing some of the advice offered here for a while I suppose but so far I’m feeling good about it.

I should be honest and say in the same breath that I plan, firstly to discover how some presets track so easily. Yeah I’m pretty much going for the low hanging fruit to start out but hey, I’m bound to learn more by staying motivated. Any of your thoughts about that would be really helpful and appreciated. Thx

The easiest trick for better tracking is to pitch the oscillator(s) down an octave and play an octave higher on your bass as this will halve the latency times for pitch detection.

 

[Emanuel]

Thank you Quatschmacher, yes that makes perfect sense and gratefully it’s really the low stuff I’m after. Thank you. I’ve already grabbed about 3 of your presets. Oh and I liked the Mu-Tron version 2 out of that bunch. Can’t say why really, it just spoke to me and you where getting pretty deep in the weeds on that run!
At this point I think it best to stop rooting thru the community presets and start applying the suggestions that RealSoon made.
In my view many of the presets I’ve burned need no improvement except personalizing the input and understanding that part.
I’ll be focusing on the strong points of each and the technique required. I haven’t been shy about loading in some of the more challenging ones that I dig.
I’m not after a billion tones, just a few really strong tools that make me happy and I’d rather be playing.
I’d suspected that I wouldn’t have to worry about having to build great presets and thankfully that’s been the case.
I mean look at the stuff that 5stringgecko is contributing, its EXACTLY what I’m into and sounds perfect to me.
I can’t see myself “improving” anything you folks are doing anytime soon. Thanx again! E

 

[Quatschmacher]

Thank you Quatschmacher, yes that makes perfect sense and gratefully it’s really the low stuff I’m after. Thank you. I’ve already grabbed about 3 of your presets. Oh and I liked the Mu-Tron version 2 out of that bunch. Can’t say why really, it just spoke to me and you where getting pretty deep in the weeds on that run!
At this point I think it best to stop rooting thru the community presets and start applying the suggestions that RealSoon made.
In my view many of the presets I’ve burned need no improvement except personalizing the input and understanding that part.
I’ll be focusing on the strong points of each and the technique required. I haven’t been shy about loading in some of the more challenging ones that I dig.
I’m not after a billion tones, just a few really strong tools that make me happy and I’d rather be playing.
I’d suspected that I wouldn’t have to worry about having to build great presets and thankfully that’s been the case.
I mean look at the stuff that 5stringgecko is contributing, its EXACTLY what I’m into and sounds perfect to me.
I can’t see myself “improving” anything you folks are doing anytime soon. Thanx again! E

Another trick I’ve found for getting the fastest amp envelope attack and the behaviour closest to a keyboard-style on/off gate is by using the “snappy” envelope with speed and sensitivity maxed out. Use this envelope for the voices but then use the other envelope to control the filter(s). Check out my “Chaka we can work it out 8” for an example. Glad you’re enjoying the pedal and presets.

 

[Quatschmacher]

Here's my Flashlight rendition, it's difficult to get closer than this:
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[EastCoastThump]

The button is totally irrelevant when burning or loading the patches via the editor.

At the very top of my FI and C4 wish lists: simple drag-&-drop patch management for the Panda & Source Audio editors.

 

[Quatschmacher]

At the very top of my FI and C4 wish lists: simple drag-&-drop patch management for the Panda & Source Audio editors.

The C4 editor is incredibly slick as it is but I have asked Jesse about being able to drag patches around in the pedal’s preset window and he said he’d look into it in future when he’s less busy with more pressing work.

I also mentioned to Andras at Panda that a drag-and-drop interface for patch management would be a huge plus and it’s also on his radar, though I know there are a few other features in development that will take priority.

 

[Goatrope]

Question for the C4 sequencer-enlightened:

Is it possible to run sequencer 1, then serially run sequencer 2, or are they always parallel?

In this down-time, I’ve been playing with the sequencers and thought about running one 16-step melody on sequencer 1, and trying to immediately follow that with a different 16-step melody on sequencer 2.

Best I could do was to create the two separate presets, and trying to switch quickly from on to the other.

 

[piertbone]

New user here, I've been lurking around for about a month after deciding to change the pedal set-up I use on my sousaphone and I figured a bass forum would be a good place to start. Came across this thread and after reading (part of) it, I ordered a C4 Synth. Initially I intended it to double as an octaver and envelope pedal, but with its great tracking it's giving me a whole new range of sounds I've never thought would be possible on my horn, just awesome. I've been playing around with it for just over a week now and I thought I'd share some of the sounds. They're not as adventurous as some other stuff that has been posted here, but hey, it's a sousaphone into a C4 synth




One question about preset editing: does the input gain have an influence on how the filters etc behave? I do notice I have to lower it on a lot of synth sounds especially, not because it appears to be clipping but because otherwise the resonance and valve noise of my sousaphone make it go wild, but not in a way I want it to. Otherwise I might need to check some sort of noise gate pedal to go before the C4; it's probably not a common thing to do, but I guess turning your sousa into a synth isn't either..

At the very top of my FI and C4 wish lists: simple drag-&-drop patch management for the Panda & Source Audio editors.

The C4 editor is incredibly slick as it is but I have asked Jesse about being able to drag patches around in the pedal’s preset window and he said he’d look into it in future when he’s less busy with more pressing work.

This is exactly the thing I mailed Source Audio about two days ago, got a very quick reply saying that it is on the radar of the software engineers.

 

[Quatschmacher]

Question for the C4 sequencer-enlightened:

Is it possible to run sequencer 1, then serially run sequencer 2, or are they always parallel?

In this down-time, I’ve been playing with the sequencers and thought about running one 16-step melody on sequencer 1, and trying to immediately follow that with a different 16-step melody on sequencer 2.

Best I could do was to create the two separate presets, and trying to switch quickly from on to the other.

Do you mean running together as in “one after the other”? No, you can’t. You could however set both sequences up in the same preset and mix one to each processor and then assign either a control knob or expression pedal to the output mix to flip between them. This would be useful if you want two different sequencers running with different filter setups.

If you want to have both sequences played with the same filter settings then you can route both to the same processor and use knobs or pedal to change the volumes of the voices so that only one or the other is heard.

You could achieve this via midi too whereby you could program flipping volumes/output mix to a button.

You could even do a combination of the above and have both sequencers running to both processors, each with differing filter setups and use knobs, pedal or midi to flip between any combination of sequencer and processor.

If you go further down the midi route you could alter the number of steps and LFO (and hence sequencer) ratios on the fly.

 

[Quatschmacher]

New user here, I've been lurking around for about a month after deciding to change the pedal set-up I use on my sousaphone and I figured a bass forum would be a good place to start. Came across this thread and after reading (part of) it, I ordered a C4 Synth. Initially I intended it to double as an octaver and envelope pedal, but with its great tracking it's giving me a whole new range of sounds I've never thought would be possible on my horn, just awesome. I've been playing around with it for just over a week now and I thought I'd share some of the sounds. They're not as adventurous as some other stuff that has been posted here, but hey, it's a sousaphone into a C4 synth




One question about preset editing: does the input gain have an influence on how the filters etc behave? I do notice I have to lower it on a lot of synth sounds especially, not because it appears to be clipping but because otherwise the resonance and valve noise of my sousaphone make it go wild, but not in a way I want it to. Otherwise I might need to check some sort of noise gate pedal to go before the C4; it's probably not a common thing to do, but I guess turning your sousa into a synth isn't either..



This is exactly the thing I mailed Source Audio about two days ago, got a very quick reply saying that it is on the radar of the software engineers.

Check out Bob Stewart and Oren Marshall if you haven’t already. They are tuba players who use effects and might be up your street.

 

[Quatschmacher]

One question about preset editing: does the input gain have an influence on how the filters etc behave?

I think so, certainly seems to affect the sensitivity.

By the way, there’s an adjustable gate built into both the C4’s envelopes.

 

[dalo]

The C4 editor is incredibly slick as it is but I have asked Jesse about being able to drag patches around in the pedal’s preset window and he said he’d look into it in future when he’s less busy with more pressing work.

I also mentioned to Andras at Panda that a drag-and-drop interface for patch management would be a huge plus and it’s also on his radar, though I know there are a few other features in development that will take priority.

I would love the ability to drag patches in the editor to change the order. I switch out the order of my patches somewhat often and it is a bit of a pain to do so.

 

[Quatschmacher]

I would love the ability to drag patches in the editor to change the order. I switch out the order of my patches somewhat often and it is a bit of a pain to do so.

Yep, this is what I spoke to Jesse about last week and I offered up some potential ideas of functionality and he seemed interested.

 

[Goatrope]

Do you mean running together as in “one after the other”? No, you can’t. You could however set both sequences up in the same preset and mix one to each processor and then assign either a control knob or expression pedal to the output mix to flip between them. This would be useful if you want two different sequencers running with different filter setups.

If you want to have both sequences played with the same filter settings then you can route both to the same processor and use knobs or pedal to change the volumes of the voices so that only one or the other is heard.

You could achieve this via midi too whereby you could program flipping volumes/output mix to a button.

You could even do a combination of the above and have both sequencers running to both processors, each with differing filter setups and use knobs, pedal or midi to flip between any combination of sequencer and processor.

If you go further down the midi route you could alter the number of steps and LFO (and hence sequencer) ratios on the fly.

Thanks much! Yes, one after the other.

The expression pedal may be a solution I could try. I haven’t used one with the C4 yet, but continually see where it makes sense. Time to take that next step.

Thanks again!

 

[Quatschmacher]

Thanks much! Yes, one after the other.

The expression pedal may be a solution I could try. I haven’t used one with the C4 yet, but continually see where it makes sense. Time to take that next step.

Thanks again!

Absolutely get one, there’s loads of cool stuff you can do with it. Most of the patches I’ve posted make use of one to morph parameters in real time.