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

Hey guys, question about the Kingmaker/LA Lady/Aftershock.

I have read and seen YT references stating the engines and presets of all three of these drives can be used within all three pedal platforms (via Neuro Desktop). Does this mean all three pedals are essentially the same thing, just different enclosures?

Am I reading in to this too simplistically?
 
Hey guys, question about the Kingmaker/LA Lady/Aftershock.

I have read and seen YT references stating the engines and presets of all three of these drives can be used within all three pedal platforms (via Neuro Desktop). Does this mean all three pedals are essentially the same thing, just different enclosures?

Am I reading in to this too simplistically?
Yes, they are the same, just the hardware knobs differ slightly.
 
Could I ask...

If in the Neuro Desktop you can ONLY manipulate the software sounds knob control but CANNOT reassign function to the pedal for future manual operation?

(i.e. you have access to those three OD/Distortion pedal sounds but cannot reset an Aftershock to be an LA Lady on the board?)
 
Could I ask...

If in the Neuro Desktop you can ONLY manipulate the software sounds knob control but CANNOT reassign function to the pedal for future manual operation?

(i.e. you have access to those three OD/Distortion pedal sounds but cannot reset an Aftershock to be an LA Lady on the board?)
You can't re-assign the functions of the knobs on the Dirt pedals. However...you can cahnge the Mix control for a Bass +/- control, which is astonishingly useful. The Tone control can be modded to a Treble +/- to...which is again...very useful.
 
I'm wrapping up a big (Big) pedalboard project with a bunch of SA pedals and also a Beat Buddy and Infinity Looper (first generation). I've got 2 SA Hubs stashed in there as well. Currently, I have one MIDI out to a hub, bypassed to the second hub and returning to the Soleman. The second MIDI out of the Soleman goes to the Beat Buddy. The Beat Buddy out goes to the Infinity in. With this layout, my presumption is that I would used the Soleman tap tempo for the system, with the BB receiving it and passing it on to the Infinity. This should sync all of the effects and make sure all of the involved pedals are aware of the what-what. I don't know if this is the most effective setup and would like some opinions from those wiser to the way of MIDI and layouts than myself (that should be a large pool).

Also, my girlfriend has a Roland RC-300 looper that I would like to send tempo information to sync her up as well. I have a MIDI hub under my board that can send signal out to multiple sources that I am using for a keyboard to to sync effects. Where is the best place to split the signal or doesn't it matter overmuch, as long as it is on the send leg? If anyone is interested, I'll post a picture of the board. The thing is a wonderful monstrosity constructed of aluminum and thin walled stainless with a tidy harness treatment from a gainfully unemployed mechanic (me).
 
I'm wrapping up a big (Big) pedalboard project with a bunch of SA pedals and also a Beat Buddy and Infinity Looper (first generation). I've got 2 SA Hubs stashed in there as well. Currently, I have one MIDI out to a hub, bypassed to the second hub and returning to the Soleman. The second MIDI out of the Soleman goes to the Beat Buddy. The Beat Buddy out goes to the Infinity in. With this layout, my presumption is that I would used the Soleman tap tempo for the system, with the BB receiving it and passing it on to the Infinity. This should sync all of the effects and make sure all of the involved pedals are aware of the what-what. I don't know if this is the most effective setup and would like some opinions from those wiser to the way of MIDI and layouts than myself (that should be a large pool).

Also, my girlfriend has a Roland RC-300 looper that I would like to send tempo information to sync her up as well. I have a MIDI hub under my board that can send signal out to multiple sources that I am using for a keyboard to to sync effects. Where is the best place to split the signal or doesn't it matter overmuch, as long as it is on the send leg? If anyone is interested, I'll post a picture of the board. The thing is a wonderful monstrosity constructed of aluminum and thin walled stainless with a tidy harness treatment from a gainfully unemployed mechanic (me).
Show us what you got! :D.

sounds like a cool setup :thumbsup:
 
Show us what you got! :D.

sounds like a cool setup :thumbsup:

Here it is. There are a few things disconnected at this point. I had a few Voodoo Labs splitters that were defective, hence the danglies underneath in the middle of the harness mayhem. My brother is bringing by a couple of fitted side caps that will have the instrument inputs and outputs, a volume pedal loop, expression pedal inputs for the SA stuff (one for each hub), and also the XLR input for my condenser mic that I use on the baritone sax. I fabbed up the power and instrument cables. Everything is attached with enough dual-lock to hold solidly without making a prybar necessary to remove components. The three switchers in the middle bottom are external switches for the BB, Soleman and Infinity to access more options. This is an experimental platform. The Aftershock will likely be swapped out for some other SA pedal when something new and wonderful hits the market. I opted for twin MXR compressors in series, using one for general playing and one to switch to for higher compression slap work. I'll tidy up the dangly business when the last of the components arrive, hopefully in the next week or so. Of note, the underside of the top shelf is a similar situation of cables to the exposed middle shelf. SA TRRS cables are of one length, long enough (thankfully) to reach everything, but long enough to make a bit of a bird's nest even with routing brackets and zip ties. One day, if feeling a bit froggy, I might give a go to making some custom TRRS cables, but at this point, I want to get to the playing part.

This project began a couple of years ago with the acquisition of some pieces to replace an 11 pedal MXR board that was smoked by a power surge when I lived a bit south of Death Valley. The two MXR compressors are the same from that dead board, but with factory PCB replacements. MXR was pretty good about making a repair option available outside of the warranty period. I sold the rest of the pedals and power supply for parts/projects to tinkers. This board is plugged into a power conditioner/surge suppressor rack unit that powers my amp...not the wall of a sub-standard dwelling's, sub-standard electrical system on a sub-standard electric grid...also on the east coast.

This board was designed to support 2 electric stringed instruments and one mic'ed input. I play both fretted and fretless 5 and six string bass (respectively), also baritone guitar, flute and baritone sax (I have recently picked up a metal bodied clarinet, but wouldn't say that I can play it effectively yet). I wanted something I could use for all or any of the options in a one man or duo situation. I still enjoy gigging with bands, but want the freedom to do so without the hassle of the logistics wrangling cats all of the time. This setup is mainly for the home studio, but I'm not against building it a road case and going out when I have it all figured out.

I am not a photographer by trade or even a marginally effective hobbyist. I have included perfunctory feets in one shot to keep with TB tradition. No banana for scale.
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Also, of note, the little One Control pedal on the back left underneath of the top shelf is an A/B switcher to go between the output being either with or without the Beat Buddy, so that pedal can be routed to a mixing board separately if desired. So, in or out of the signal chain, but still available with a jack swap on the pedal output. It's tucked back there because the only time to hit it would be during stage setup. Basically overkill for a plain switch, but I had one laying around anyway.
 
Here it is. There are a few things disconnected at this point. I had a few Voodoo Labs splitters that were defective, hence the danglies underneath in the middle of the harness mayhem. My brother is bringing by a couple of fitted side caps that will have the instrument inputs and outputs, a volume pedal loop, expression pedal inputs for the SA stuff (one for each hub), and also the XLR input for my condenser mic that I use on the baritone sax. I fabbed up the power and instrument cables. Everything is attached with enough dual-lock to hold solidly without making a prybar necessary to remove components. The three switchers in the middle bottom are external switches for the BB, Soleman and Infinity to access more options. This is an experimental platform. The Aftershock will likely be swapped out for some other SA pedal when something new and wonderful hits the market. I opted for twin MXR compressors in series, using one for general playing and one to switch to for higher compression slap work. I'll tidy up the dangly business when the last of the components arrive, hopefully in the next week or so. Of note, the underside of the top shelf is a similar situation of cables to the exposed middle shelf. SA TRRS cables are of one length, long enough (thankfully) to reach everything, but long enough to make a bit of a bird's nest even with routing brackets and zip ties. One day, if feeling a bit froggy, I might give a go to making some custom TRRS cables, but at this point, I want to get to the playing part.

This project began a couple of years ago with the acquisition of some pieces to replace an 11 pedal MXR board that was smoked by a power surge when I lived a bit south of Death Valley. The two MXR compressors are the same from that dead board, but with factory PCB replacements. MXR was pretty good about making a repair option available outside of the warranty period. I sold the rest of the pedals and power supply for parts/projects to tinkers. This board is plugged into a power conditioner/surge suppressor rack unit that powers my amp...not the wall of a sub-standard dwelling's, sub-standard electrical system on a sub-standard electric grid...also on the east coast.

This board was designed to support 2 electric stringed instruments and one mic'ed input. I play both fretted and fretless 5 and six string bass (respectively), also baritone guitar, flute and baritone sax (I have recently picked up a metal bodied clarinet, but wouldn't say that I can play it effectively yet). I wanted something I could use for all or any of the options in a one man or duo situation. I still enjoy gigging with bands, but want the freedom to do so without the hassle of the logistics wrangling cats all of the time. This setup is mainly for the home studio, but I'm not against building it a road case and going out when I have it all figured out.

I am not a photographer by trade or even a marginally effective hobbyist. I have included perfunctory feets in one shot to keep with TB tradition. No banana for scale.View attachment 4855773 View attachment 4855774 View attachment 4855775

Its nice of the local high school to let you use their bleachers. ;)