Source Audio Sorcerers Society (S.A.S.S) Part 3

[Dmonweb]

Not yet!!

Is it possible for you to modify the EQ prog with some comp-limiter and (or) more presets storage ?

4 EQ for 4 basses - I'm thinking that 16 presets is enough - and a limiter to keep all outputs attack at the same levels in live situations for example, and some extra extrems sounds for each. (The Soleman would be open the door after an Eq firmware update ?)
A Vintage Comp style for smashing the mix dry - C4/Spectrum like an LA-2A, would be a very nice upgrade ! The Boss CS-2 was also a excellent nice tool for Fx sounds and texture. I used to use it in my early years.

Or may be thinking to (a small) One Serie "The Channel" : pre-comp-eq ? (Between the C4 and the Aftershock ?).

"The Madness", a bit crusher lo-fi, destructor of sound for experimental, like the Thyme Effects Processor can be cool with tempory switch.

C4 arrived in UE. I'm waiting mine.

And may be all of this will be not necessary.

Thanks for your works Guys !

 

[N4860]

Another question for you guys..I have my pedalboard going through my Soleman and have the tap tempo working using the Soleman's 4th switch. If I have a delay setup, when I load the delay scene, I can then tap tempo to get it to change but is there a way where the nemesis will automatically load the currently tapped tempo before loading the scene? So for example, if I am in the middle of a tune, I can tap the tempo on the soleman and then when I load the scene with the delay, it will automatically be in sync? Currently, when I load the scene the delay will be out of sync until I am able to tap the new tempo.

 

[pbfrog]

Another question for you guys..I have my pedalboard going through my Soleman and have the tap tempo working using the Soleman's 4th switch. If I have a delay setup, when I load the delay scene, I can then tap tempo to get it to change but is there a way where the nemesis will automatically load the currently tapped tempo before loading the scene? So for example, if I am in the middle of a tune, I can tap the tempo on the soleman and then when I load the scene with the delay, it will automatically be in sync? Currently, when I load the scene the delay will be out of sync until I am able to tap the new tempo.

In the Nemesis hardware options is a setting "Keep Delay Time Constant with New Preset". Try using that.

 

[BurningSkies]

So, I have an Aftershock that arrived today just to check it out. I don't really use a whole lot of drive/distortion effects...though I do have a beloved fuzz on my board and a Spark set to a fraction of a percentage of a sliver from clean.

Beyond doing a 'factory reset' on it and updating firmware...thoughts about how to start messing? I assume I'm mostly using the Neuro interfaces to make stuff happen then save and trigger with my usual MIDI lineup.


Question:
In past discrete effects use one of my favorite things to do was to use a crossover in front of my fuzz/envelope to keep the lows clean and only apply the fuzz up above the crossover point. Possible to do something similar with the 'dual engines' here? use the two parametrics in parallel configuration then apply the fuzz to the top side and keep the lows clean?

Also, I assume the secondary loop bypasses with the pedal? So there's no real use in doing something like C4 in the loop?

 

[Gibs210]

So, I have an Aftershock that arrived today just to check it out. I don't really use a whole lot of drive/distortion effects...though I do have a beloved fuzz on my board and a Spark set to a fraction of a percentage of a sliver from clean.

Beyond doing a 'factory reset' on it and updating firmware...thoughts about how to start messing? I assume I'm mostly using the Neuro interfaces to make stuff happen then save and trigger with my usual MIDI lineup.


Question:
In past discrete effects use one of my favorite things to do was to use a crossover in front of my fuzz/envelope to keep the lows clean and only apply the fuzz up above the crossover point. Possible to do something similar with the 'dual engines' here? use the two parametrics in parallel configuration then apply the fuzz to the top side and keep the lows clean?

Also, I assume the secondary loop bypasses with the pedal? So there's no real use in doing something like C4 in the loop?

not quite familiar with what you mean with the crossover setup, but it sounds like the aftershock should be able to do that if I’m understanding what you want.

as for the loop, yes, when the pedal is bypassed, the loop is also bypassed. Been bugging Jesse about having an effects loop setup same as c4 for a long time, I think that might be why c4 and collider are setup the way they are actually, I’ve never asked.

 

[BurningSkies]

not quite familiar with what you mean with the crossover setup, but it sounds like the aftershock should be able to do that if I’m understanding what you want.

as for the loop, yes, when the pedal is bypassed, the loop is also bypassed. Been bugging Jesse about having an effects loop setup same as c4 for a long time, I think that might be why c4 and collider are setup the way they are actually, I’ve never asked.

So for the crossover, I'm looking to figure out a setup similar to what I had success with using individual pedals. I had a crossover pedal that allowed me to split my signal where I chose then sent the high pass side to a fuzz- feeding an envelope filter, then I could keep the clean low and re-blend those on output. To me that was more effective than running a parallel clean.

Using the two engines paths in parallel;
If I use the two left/right paths of the Aftershock and each has a parametric, could I set up one 'engine' as basically a clean engine that's receiving the low-passed signal and use the second engine with whatever fuzz setup above that by setting channel 2's parametric to feed that fuzz the stuff that's been high-passed to it.

Ideally, then I could use the C4 in the loop of the Aftershock (Since I'm MIDI triggering it for everything) and have my 'old setup' back.

The C4 could be used by itself if there's an Aftershock setting that amounts to 'clean' by triggering on the AS and sending whatever I want to the C4 as well. Otherwise, I can use them in tandem by feeding the Fuzz into the C4 in the loop. Or, use the C4 as a synth, octave, etc. and add distortion to the backside.

 

[IronSpatula]

So for the crossover, I'm looking to figure out a setup similar to what I had success with using individual pedals. I had a crossover pedal that allowed me to split my signal where I chose then sent the high pass side to a fuzz- feeding an envelope filter, then I could keep the clean low and re-blend those on output. To me that was more effective than running a parallel clean.

Using the two engines paths in parallel;
If I use the two left/right paths of the Aftershock and each has a parametric, could I set up one 'engine' as basically a clean engine that's receiving the low-passed signal and use the second engine with whatever fuzz setup above that by setting channel 2's parametric to feed that fuzz the stuff that's been high-passed to it.

Ideally, then I could use the C4 in the loop of the Aftershock (Since I'm MIDI triggering it for everything) and have my 'old setup' back.

The C4 could be used by itself if there's an Aftershock setting that amounts to 'clean' by triggering on the AS and sending whatever I want to the C4 as well. Otherwise, I can use them in tandem by feeding the Fuzz into the C4 in the loop. Or, use the C4 as a synth, octave, etc. and add distortion to the backside.

The clean blend on the Aftershock has an adjustable low-pass filter. Not quite the same as running two completely separate bands, but it lets you blend clean lows in without clean highs. If that would be good enough for you, it would be easier and free up more of the pedal’s power for other experimentation. The highs/high mids are usually what annoy me in a clean blend, at least, and they’d be gone.

 

[BenHack]

So for the crossover, I'm looking to figure out a setup similar to what I had success with using individual pedals. I had a crossover pedal that allowed me to split my signal where I chose then sent the high pass side to a fuzz- feeding an envelope filter, then I could keep the clean low and re-blend those on output. To me that was more effective than running a parallel clean.

Using the two engines paths in parallel;
If I use the two left/right paths of the Aftershock and each has a parametric, could I set up one 'engine' as basically a clean engine that's receiving the low-passed signal and use the second engine with whatever fuzz setup above that by setting channel 2's parametric to feed that fuzz the stuff that's been high-passed to it.

Ideally, then I could use the C4 in the loop of the Aftershock (Since I'm MIDI triggering it for everything) and have my 'old setup' back.

The C4 could be used by itself if there's an Aftershock setting that amounts to 'clean' by triggering on the AS and sending whatever I want to the C4 as well. Otherwise, I can use them in tandem by feeding the Fuzz into the C4 in the loop. Or, use the C4 as a synth, octave, etc. and add distortion to the backside.

I just figured out how to do something song these lines yesterday. Basically you can do it with one engine and roll in some clean signal, then use the clean high cut (in additional filters) to set the upper frequency of your clean signal.

Hopefully that helps you do what your after.

Cheers

Ben

 

[Robertron]

Question:
In past discrete effects use one of my favorite things to do was to use a crossover in front of my fuzz/envelope to keep the lows clean and only apply the fuzz up above the crossover point. Possible to do something similar with the 'dual engines' here? use the two parametrics in parallel configuration then apply the fuzz to the top side and keep the lows clean?

I use an FEA DB-CL to split my highs and lows, then run the two channels into the Aftershock for individual processing. It works very, very well. I really wish the Parametric EQ settings were unique to each channel of the Aftershock but this set
up still works.
I've kept the Aftershock for so long specifically because of how much flexibility this set up gives me.

 

[BurningSkies]

The clean blend on the Aftershock has an adjustable low-pass filter. Not quite the same as running two completely separate bands, but it lets you blend clean lows in without clean highs. If that would be good enough for you, it would be easier and free up more of the pedal’s power for other experimentation. The highs/high mids are usually what annoy me in a clean blend, at least, and they’d be gone.

I'll play around with it a bit. Where does the EQ sit in the signal chain? Is it before the distortion or after? Part of the crossover is that you're not actually feeding the lows into the fuzz/distortion but only the stuff above crossover point. It would probably help to be able to EQ out some of the lows before they hit whatever is generating the clipping.

I just figured out how to do something song these lines yesterday. Basically you can do it with one engine and roll in some clean signal, then use the clean high cut (in additional filters) to set the upper frequency of your clean signal.

Hopefully that helps you do what your after.

Cheers

Ben

Thanks, yeah, I'm going to play around with it and see what I can do.

I use an FEA DB-CL to split my highs and lows, then run the two channels into the Aftershock for individual processing. It works very, very well. I really wish the Parametric EQ settings were unique to each channel of the Aftershock but this set
up still works.
I've kept the Aftershock for so long specifically because of how much flexibility this set up gives me.

I'd love to avoid having to use a crossover pedal...I'm trying to either have a lateral move (same number of pedals) or less. I have three crossover pedals to choose from, but would love to have a somewhat simple/elegant solution to things.

 

[BenHack]

I'll play around with it a bit. Where does the EQ sit in the signal chain? Is it before the distortion or after? Part of the crossover is that you're not actually feeding the lows into the fuzz/distortion but only the stuff above crossover point. It would probably help to be able to EQ out some of the lows before they hit whatever is generating the clipping.

I’m not in front of the editor right now but I’m pretty sure you can use the High pass filter in the drive section to set the freq it begins to work from. I got a sense of this by making the drive engine completely clean to adjust that sound, then did the same thing for the drive and finally when combined to fine tune it. To me it sounded better to have some drive in the upper part of the lows being covered by the clean tone. It just seemed to blend more naturally.

Next step for me is to test these sounds in the mix.

Cheers

Ben

 

[BurningSkies]

I’m not in front of the editor right now but I’m pretty sure you can use the High pass filter in the drive section to set the freq it begins to work from. I got a sense of this by making the drive engine completely clean to adjust that sound, then did the same thing for the drive and finally when combined to fine tune it. To me it sounded better to have some drive in the upper part of the lows being covered by the clean tone. It just seemed to blend more naturally.

Next step for me is to test these sounds in the mix.

Cheers

Ben

Thanks Ben, that's the answer I was hoping for. If all works right, I can use the C4 in the Aftershock's loop...as you say make the drive engine completely clean for when I want the C4 without any AS distortion then chose to use it in front or behind depending on what I want.

 

[BurningSkies]

^^^ This gives me hope for what I'm looking to do. Anyone know if the 'input low cut' applies at the 'front' of the chain or is specific to when the signal enters the distortion processing engines? In other words, would the 'clean' through be effected by the Input Low Cut or not?

Anyone have a block diagram of the signal flow as to where the 'additional filters' are and/or where the master Parametric EQ is?

 

[Robertron]

I'll play around with it a bit. Where does the EQ sit in the signal chain? Is it before the distortion or after? Part of the crossover is that you're not actually feeding the lows into the fuzz/distortion but only the stuff above crossover point. It would probably help to be able to EQ out some of the lows before they hit whatever is generating the clipping.



Thanks, yeah, I'm going to play around with it and see what I can do.



I'd love to avoid having to use a crossover pedal...I'm trying to either have a lateral move (same number of pedals) or less. I have three crossover pedals to choose from, but would love to have a somewhat simple/elegant solution to things.

Gotcha I misunderstood!

There is a parameter for Drive Pre/Post that I believe shifts where the Para EQ sits in relation to the clipping. I don't see anything about it in the Manual though so not sure about the specifics.

 

[BurningSkies]

Gotcha I misunderstood!

There is a parameter for Drive Pre/Post that I believe shifts where the Para EQ sits in relation to the clipping. I don't see anything about it in the Manual though so not sure about the specifics.

More digging to do. I did a search to look at the signal flow and couldn't come up with a graphic on it.

 

[Alex_H]

Is there a Hub Manager software version around, that works with the C4 Synth?

On the Source Audio website you can download a file called "hub_manager_2_1_23_installer_win_4.zip". When you unpack and install, it shows up as version 2.1.2 and does not see the C4 Synth. The Neuro Desktop (0.7.15) does and it sees the C4 Synth connected to the Neuro Hub.

 

[BurningSkies]

Is there a Hub Manager software version around, that works with the C4 Synth?

On the Source Audio website you can download a file called "hub_manager_2_1_23_installer_win_4.zip". When you unpack and install, it shows up as version 2.1.2 and does not see the C4 Synth. The Neuro Desktop (0.7.15) does and it sees the C4 Synth connected to the Neuro Hub.

View attachment 3588789
View attachment 3588790

isn't that really old? I thought you could do all your hub programming/editing and control in Neuro desktop these days?

 

[N4860]

Is there a Hub Manager software version around, that works with the C4 Synth?

On the Source Audio website you can download a file called "hub_manager_2_1_23_installer_win_4.zip". When you unpack and install, it shows up as version 2.1.2 and does not see the C4 Synth. The Neuro Desktop (0.7.15) does and it sees the C4 Synth connected to the Neuro Hub.

View attachment 3588789
View attachment 3588790

I think Hub Manager has been pretty much replaced by the Neuro Desktop now so I doubt there's any support for C4 in the Hub Manager.

 

[N4860]

In the Nemesis hardware options is a setting "Keep Delay Time Constant with New Preset". Try using that.

I tried that last night and it still doesn't work. I'm thinking that function might just refer to the 4 presets that are saved on the Nemesis and not the scenes that are run through the hub.

 

[remcult]

I just bought and received a C4! One hitch though, it doesn't seem to have come with a USB cord. Is this standard?