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Stoner/Doom Bassists Thread, Part 90: Maxed Out

what is that? reverb?

It's a delay, but one with crazy amounts of pitch modulation on tap. The intensity and velocity knobs give you control over how fast the pitch modulates and how much. It gets loony when you turn those two up pretty quick. On certain settings, the repeats sound like they're arpeggiating.

Hehehe, I'm sitting here with my headphones on while listening to it slowly slew the line noise of that SX Ursa up and down. I need to fix the ground on that bass, too.

Always been a semi avid fan of racing. Love it, never have time to follow it all the time. Moto GP, F1, and hill climbs are my favorites. Got one of these in the jam room.

That's a beaut of a poster. I've been toying with the idea of going down to Austin to see the F1 race later this month, but am still on the fence about it.
 
what is that? reverb?

What scabpicker said. The echo itself is very interesting. Reminds me of echorec's, almost echoplex and similar older delays that depending on the settings kind stayed in the not brighter or in the way, but present and slightly low cut with each repeat. What's wild is the added things each control does in addition to the base function. There seems to be way more going on, it's so hard to totally describe without hearing it and from memory. I also can't wait to spend time with my synths on it.

Reflection: feedback, in a nutshell, though it starts to feel like a hall/shimmer verb starts to blend in prior to self oscillation. Even better, you can ride it partially on that verge and get washes that go in and out slightly. With some success I've been able to play over some washes, granted I've spent maybe 20-30min total in the last week or so with it.

Duration: delay time. Not terribly long, not sure this one really needs 1+ sec time. Without even trying to time or compare to others, I'd guess it can do up to ~660ms. Can get some ghostly slapback with either normal or silliness from the modulation. Typical pitch throw when changing delay time, though I've noticed if Reflection is near or into oscillation, you can go from zero delay time and mess around and bend the pitch since the notes almost held and has minimal attack or decay. Almost like pitch bending a synth pad.

Power: appears to be output volume, though there is some gain to it too. You can also really dirty up this pedal by slamming it with low end. I normally push this from 1 o'clock up, depends on the bass. There's times I'm not sure it pushes the dry much, or overall volume, but I gotta spend more time on this knob. See Synthesis also.

Synthesis: really odd one, hard to fully explain, but seems to be the dry signal prominence. At first I though it was the offset (delayed attack) of the dry signal. With it low, it feels like the dry is killed, but you can still hear it faintly, just much thinner and quiet. Crank it and the dry is there solidly, but to be honest it may be a mildly synthesized voice. So hard to tell with all the other sounds going on. In addition I initially thought this was just dry volume and not affected by power, but there seems to be some interplay between the two. The effect one has on the other is interesting.

Velocity and Intensity: kinda straight forward lfo rate and pitch, though the range, interplay, and secondary and even tertiary side play from each knob is so mind boggling. Scabpicker's right, it gets so wild and I'm not sure what it's even doing sometimes. It'll seemingly warble at times through pitch bends, seem to have some phasing in at other times. It's really something. But I like that it can go from nothing, to slight ambience add, to intense but musical, to just all out weird glitch when working with the Reflection.

As a whole it kinda cements for me, that Matt's one of my favorite builders. He somehow manages to make tweaker delights while still being quick and easy to dial in something not just workable, but dang good too. Even with having no idea what each knob fully does. I can easily see this delay being a regular runner.

I still need to get myself a Redrum too.

Side note, kinda hope he decides to do another since there is almost 3mo left. Eitherway, I think he's got me hooked for life, and I always can't wait for the next. The next should be hear before the end of the year with how busy he's been, but it'd be wicked cool if he squeezed another in.

It's a delay, but one with crazy amounts of pitch modulation on tap. The intensity and velocity knobs give you control over how fast the pitch modulates and how much. It gets loony when you turn those two up pretty quick. On certain settings, the repeats sound like they're arpeggiating.

Hehehe, I'm sitting here with my headphones on while listening to it slowly slew the line noise of that SX Ursa up and down. I need to fix the ground on that bass, too.



That's a beaut of a poster. I've been toying with the idea of going down to Austin to see the F1 race later this month, but am still on the fence about it.

Thanks, one of my favorite non bike ones. Been meaning to go to the Detroit GP for some time, they brought it back 3 or so years ago. It's on Belle Isle and used to (can't remember if it still does), cross the bridge into the city and back.
 
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What scabpicker said. The echo itself is very interesting. Reminds me of echorec's, almost echoplex and similar older delays that depending on the settings kind stayed in the not brighter or in the way, but present and slightly low cut with each repeat. What's wild is the added things each control does in addition to the base function. There seems to be way more going on, it's so hard to totally describe without hearing it and from memory. I also can't wait to spend time with my synths on it.

Reflection: feedback, in a nutshell, though it starts to feel like a hall/shimmer verb starts to blend in prior to self oscillation. Even better, you can ride it partially on that verge and get washes that go in and out slightly. With some success I've been able to play over some washes, granted I've spent maybe 20-30min total in the last week or so with it.

Duration: delay time. Not terribly long, not sure this one really needs 1+ sec time. Without even trying to time or compare to others, I'd guess it can do up to ~660ms. Can get some ghostly slapback with either normal or silliness from the modulation. Typical pitch throw when changing delay time, though I've noticed if Reflection is near or into oscillation, you can go from zero delay time and mess around and bend the pitch since the notes almost held and has minimal attack or decay. Almost like pitch bending a synth pad.

Power: appears to be output volume, though there is some gain to it too. You can also really dirty up this pedal by slamming it with low end. I normally push this from 1 o'clock up, depends on the bass. There's times I'm not sure it pushes the dry much, or overall volume, but I gotta spend more time on this knob. See Synthesis also.

Synthesis: really odd one, hard to fully explain, but seems to be the dry signal prominence. At first I though it was the offset (delayed attack) of the dry signal. With it low, it feels like the dry is killed, but you can still hear it faintly, just much thinner and quiet. Crank it and the dry is there solidly, but to be honest it may be a mildly synthesized voice. So hard to tell with all the other sounds going on. In addition I initially thought this was just dry volume and not affected by power, but there seems to be some interplay between the two. The effect one has on the other is interesting.

Velocity and Intensity: kinda straight forward lfo rate and pitch, though the range, interplay, and secondary and even tertiary side play from each knob is so mind boggling. Scabpicker's right, it gets so wild and I'm not sure what it's even doing sometimes. It'll seemingly warble at times through pitch bends, seem to have some phasing in at other times. It's really something. But I like that it can go from nothing, to slight ambience add, to intense but musical, to just all out weird glitch when working with the Reflection.

As a whole it kinda cements for me, that Matt's one of my favorite builders. He somehow manages to make tweaker delights while still being quick and easy to dial in something not just workable, but dang good too. Even with having no idea what each knob fully does. I can easily see this delay being a regular runner.

I still need to get myself a Redrum too.

Side note, kinda hope he decides to do another since there is almost 3mo left. Eitherway, I think he's got me hooked for life, and I always can't wait for the next. The next should be hear before the end of the year with how busy he's been, but it'd be wicked cool if he squeezed another in.



Thanks, one of my favorite non bike ones. Been meaning to go to the Detroit GP for some time, they brought it back 3 or so years ago. It's on Belle Isle and used to (can't remember if it still does), cross the bridge into the city and back.


sounds awesome! i'd difinetely have some fun with that with my synth. currently using an Erica Synths Fusionbox, which is wild in its own way.
 
Not to wax nostalgic for the good old days, but to echo bassboysam, you'd log off for the evening and have 3-4 pages of posts by the next morning some days.

All things change, and as long as this thread keeps going, all is good.

In bass related news, I've been playing a lot of fingerstyle, and my arthritic right thumb was screaming at me for a couple of days. If I want to stay with the fingerstyle, I need to develop a different thumb position than the "parallel with the fingers" one. I'm thinking about trying to develop a new thumb position in the "hitchhiker" style with the thumb perpendicular to the fingers. I normally anchor on the bridge PU of my "Jazz" bass. I'm going to experiment with anchoring on the neck PU, but still plucking nearer to the bridge PU. Will report back with the findings.
 
The floating thumb technique keeps my thumb relaxed, helps with muting and enables me to pluck anywhere between the last fret and the pickup near the bridge with relative ease. I highly recommend trying it.
any pointers on technique? Do you anchor your lower arm on the body? Or is your entire arm floating?
 
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any pointers on technique? Do you anchor your lower arm on the body? Or is your entire arm floating?
When I try the floating thumb (parallel to the fingers), I'm resting the arm on the body. I don't think I'm exerting any more pressure against the top bout than at other times, such as using a pick.
 
I'd say my forearm touches the body most of the time - but it doesn't have to. My only physical anchor is my thumb that's constantly moving between the top of a pickup/the edge of the fretboard, the E and A string (and B on a Fiver; if I have to pluck the G string I still use the A string as my anchor). It's more of a mental anchor if you know what I mean. I feel where my thumb is in relation to the strings and the plucking position (near the bridge or the fretboard or anywhere in between) and that's enough most of the time. I know that I am where I am supposed to be and that gives my plucking hand and my thumb lots of freedom. Thinking about it, I never feel any pain or something like that in my (plucking hand's) thumb.
My thumb is never really parallel or perpendicular to my fingers. Depending on the speed, the position and the sounds that I try to create it varies between 60 to 20 degrees approximately.
 
To clarify, this is the floating thumb I am test driving:


While I see the general theory and think it’s useful, I couldn’t do that exclusively because I use my thumb, index, and middle fingers to play. If it’s not slap, I know I know, I play a lot of lines like a guitar thumb picker. I use my other two fingers if I’m raking the strings in a chord shape or to mute.
 
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While I see the general theory and think it’s useful, I couldn’t do that exclusively because I use my thumb, index, and middle fingers to play. If it’s not slap, I know I know, I play a lot of lines like a guitar thumb picker. I use my other two fingers if I’m raking the strings in a chord shape or to mute.
I was dabbling in that as well, but Ye Olde Thumbe Knuckle was having none of it after a few days. For clarification, it's the knuckle at the base of the thumb that attaches to the hand near the wrist. So any movement towards the hand (like if you touched the tip of your thumb to the tip of your pinky) can send it into a rage-fest. It mostly happens after using it for a good bit of time. Don't get old, kids.
 
I was dabbling in that as well, but Ye Olde Thumbe Knuckle was having none of it after a few days. For clarification, it's the knuckle at the base of the thumb that attaches to the hand near the wrist. So any movement towards the hand (like if you touched the tip of your thumb to the tip of your pinky) can send it into a rage-fest. It mostly happens after using it for a good bit of time. Don't get old, kids.

The same sort of thing led to me using the thumb pick in the first place. I dislocated the next knuckle up on my right thumb when I was playing soccer as a kid (it sat on top of the other bone just like a T! :D ) So, when I got old, that knuckle would wear out, start to hurt, and I'd drop the pick repeatedly. The thumb pick fixed that problem, and I started to fool around with picking rolls, etc.
 
sounds awesome! i'd difinetely have some fun with that with my synth. currently using an Erica Synths Fusionbox, which is wild in its own way.

I've seen some of their pedals and effects, they are wicked cool. I remember how you said you like having a master output for delay and mod, so you don't get lost in the mix. That's one thing that's really impressed me with Matt's pedals, especially the mystery ones. Most all of them tend to have an output gain that can exceed unity.

On that, @scabpicker did you get the cocked wah (cop out, I think) MEOTM? I think from '19 or '20. If so how'd you like it? Was it a just control for freq sweep and boost amount?

I was dabbling in that as well, but Ye Olde Thumbe Knuckle was having none of it after a few days. For clarification, it's the knuckle at the base of the thumb that attaches to the hand near the wrist. So any movement towards the hand (like if you touched the tip of your thumb to the tip of your pinky) can send it into a rage-fest. It mostly happens after using it for a good bit of time. Don't get old, kids.

That sucks, I'm not looking forward to that aging part. My thumb's already very arthritic, I've broken it 4 confirmed times. The middle knuckle, skiers thumb twice (chunk of bone broken off from ligament overextension and tear), shatter knuckle once, and just a clean fracture. All from when I was 18 to 23. At 19 after the first skiers thumb, the orthopedist recommended fusing that knuckle...said it looked like a 70 year old's!

Granted a lot of it is my fault, playing through the injury each year was a massive mistake. I did learn a great way to tape it up to prevent further over extensions though.

To the plucking bit, I typically just rest it on the pickup but I will float down to other strings when I'm playing. I do rest my forearm on the body though, maybe between those two it pulls a lot of pressure off.

One benefit I noticed for the forearm is that neck diving is no longer a concern. One of my basses shoots straight for the floor, but I never get tired on my left hand because the weight of my forearm is doing the work.