I own the Manta, and in the past have owned both the BEF and BEFPro. Both handled any input just fine. Never had any squealing issues with any of them.
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Source Audio Sorcerers Society (S.A.S.S) Part 3
- Thread starter gregmon79
- Start date
Good to hear. I think it might be due in part with my flange pedal. Which I just upgraded, and the new one includes a "width" control to control how high/low the flange goes. It's helped, but on my two current (and cheap) filters, they still get some squeal. I'm thinking this or the MXR BEF are going to happen. On that one, I can control the volume of effect and clean independently which sounds like it would work to eliminate squeals. But the SA BEF has so much more versatility! Decisions, decisions...
Do you mean squeal like the pig squeal kind of sound when one narrow range of frequencies is emphasized too much, or squeal like almost feedback kind of squeal?
The Vertigo doesn't do all the Orbital effects. However there are a few tremolo/flanger and tremolo/chorus Hybrids and various tremolo options and variations that are quite interesting.
Adamixoye
A PT Pro is cool for worship, right?
- Apr 9, 2012
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I understood the first sentence from Roger's response, but thanks for the additional clarification---those sound interesting.
Will it be possible to do a "pattern tremolo" type of sound, where you have extensive editing control over the "pattern"?
rsmith601
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- Apr 14, 2009
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Not initially, but maybe when the deep editor comes out on the Tremolo.
The narrow range one. I think that the SA would fix that. Right? Especially with the LPF modes?
Correct me if I'm wrong, but wouldn't the LPF modes cut the volume of notes higher than a certain frequency, and thus avoid my "squealing"?
And another quick question: do these need any special power supplies? I always see "comes with adapter" listed on these ones specifically. I've got a 1Spot. Will that work if it doesn't come with an adapter?
In theory a LPF should just cut rather than boost a range, but I swear to my ears sometimes it sounds like it emphasizes or resonates certain ranges as it passes along and thus sounds somewhat squechy or squealy on some settings with some distortions. Probably an auditory trick. I'd say that with the range of control you have over it, you can probably find something that sounds okay, though. I definitely managed to tweak to my satisfaction.
Nope, I'm running it off a standard power supply. It's just the usual 9V. But do note that it uses a lot of current compared to most analog pedals.
Any specific distortions? Heavy, light, etc.? Also, any idea how much current it takes? I'm using all analog besides this SA, and the 1Spot can power up to 1700mA
rsmith601
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My default go-to has been a low pass after distortion, and a range of either MWBD foldback synth distortions or OFD fuzz before that. I don't recall the specifics but it's probably peaking on the MWBD before that, and I had a LOT of treble content.
Actually I think the best way to describe it is that even with the LPF, sometimes if I shift my hothand or expression pedal carefully I can find resonance sweet spots, and sometimes the sound gets pig-squealy too.
You
Your two post are reassuring. I won't be using an expression pedal/hot hand and my distortion sounds are pretty mild. Might have to pull the trigger soon...
Adamixoye
A PT Pro is cool for worship, right?
- Apr 9, 2012
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So I am curious about the "Deep Editor." When you (or other SA people) use phrases like "create your own effect," how would one go about doing that? I assume there is still a certain set parameter list and a way to modify those parameters? Or are we talking about something REALLY crazy where people can actually "code" up their own effects?
TheSleeve
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- Jun 5, 2014
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The "deep editor" is basically a polished version of the tool that we use to create the factory effect sounds. It effectively exposes every parameter buried deep down in every nook and cranny of the algorithm, and it gives you access to the full power of what the algorithm is capable of. As an example, the Nemesis delay algorithm consists of a large number of sub-blocks that are responsible for different processing tasks (modulation, degradation, distortion, filtering, et cetera), and each of those sub-blocks has its own set of parameters which are commonly not accessible to the user. There are over 100 parameters that we use to configure those processing blocks in the Nemesis, and the resulting sounds become available on the main effect selector such as Shifter, Tape, or Diffuse. The deep editor will give you access to all of those parameters that are normally out of sight.
This is in contrast with the more basic editor on the Neuro app, which might have something like 20 parameters available, which are more easily understood and accessible to the average user... Feedback, filter shape, and distortion, for example.
The deep editor will not take you down to the level of writing low-level assembly code to run on the DSP. Trust me, you probably don't want to go there.
The underlying code is fixed and cannot be changed by the user; we're just giving you access to every parameter you ever wanted (and even some that you might not!).
Great to hear, hope the pedals work for you! Although it worked out very well for me, it might not necessarily work for everyone though, and not in all situations too so I suggest you do try it out first if you can...
If you're not using expression/HH, I assume you're using the envelope instead then? In that case may I suggest you try the Manta instead of the BEF? Gives you the option of sidechaining the dry signal for the envelope and then using that envelope on the manta's distorted signal - gives a more nuanced envelope than if you just send a fuzz directly into the envelope filter.
By the way, a question to the SA guys on the board - you guys mentioned that there's an option in the new One Series to use the dry signal for the envelope, right? If you ever get down to making a One Series equivalent of the Manta/BEF, would you guys consider using one input to control the envelope and applying it to another input? I envision splitting the signal right at the start with an Aftershock, sending out a clean or lightly overdriven signal and a very heavily distorted fuzz signal. The envelope filter is then controlled by the clean signal (i.e. more dynamics) and applied to the fuzz. With a setup like this, you could even run the rest of the board in-between the Aftershock and the envelope filter, but still control the envelope shape with the dynamics of whatever you split off from the Aftershock.
And what would be even better is if you could then blend these two inputs into one output, so the envelope is controlled by the clean while the filter is applied to the fuzz, and then the two are blended together so the filtered fuzz doesn't lose lows or definition.
So this would be something like the Manta, if there was an effects loop option where instead of just running through the Manta's internal distortions, you could run anything else through the loop and then send it back to be envelope-filtered based on the clean signal.
I'm quite curious about something - do the 20 parameters on the Neuro app all correspond to individual parameters from the back page? By that, I mean that if I were to look through the list of the "over 100 parameters" in the deep editor, will I find the 20 parameters from the Neuro app? Or is it more practical to have some 'master controls' that are intuitive for less tech-savvy users to tweak in the Neuro app, but actually involve the tweaking of multiple deep editor parameters? I don't really know how exactly your programming works, but I'm thinking something like where say "Tone shape" might be a Neuro-level parameter that actually shifts a few different EQ settings in the deep editor, or perhaps you might have a knob labelled "Ambience" that shifts several reverb and echo parameters to give a very natural and intuitive change in the room sound of the wet signal.
Sorry if this has been asked. I've been following this thread but I may have missed this. Is the Nemesis delay compatible with the HUB? I have 4 soundblox2 pedals(ofd, manta, orbital and the dimension) and I would love to add delay to some of my scenes.
Looking forward to solving routing logic problems and infinite feedback loop issues with a bunch of stereo One Series split and patched together in crazy ways.
I'm picturing Nathan Navarro holding a 1/4" instrument cable and tapping his thumb on the end and recording an entire album with just the One Series pedals sculpting that noise into music.
I'm picturing Nathan Navarro holding a 1/4" instrument cable and tapping his thumb on the end and recording an entire album with just the One Series pedals sculpting that noise into music.
