Struggling with C4/aftershock

[eddododo]

There is a learning curve to building a synthesizer from scratch. The C4 is a pedal that lets you build a synthesizer from scratch. But you don't have to.

I started off by simply browsing presets with my mobile phone and putting them into the pedal with the 1/8" to 1/4" cable. Since there are thousands of user made presets, this kept me busy for a while.

The next step was understanding the Neuro software.
Instead of building my stuff from scratch, I started off by tweaking presets to my liking.
I think I had the C4 on my board for well over a year before I made my first synth all on my own, starting from scratch.

How something sounds in your bedroom vs. how it sounds in a mix is an old problem for bassists and it's not
limited to synthesizers. All I can offer in that regard is to find useful playalong tracks (there are many on YT)
and feed them into your mixer at home along with your bass signal.

That's part of the problem- I'm very comfortable with synthesis, and similarly I'm very comfortable with clunky software… but this is simply hard to use effectively. It's too flexible but not flexible enough, and I'd argue it really is just a clunky interface that needs a redesign

 

[Hummergeist]

Had the C4, sold it after one jam. Got an Aftershock and EQ2. Pedals that need apps are NOT the future, in my opinion. It's a short cut for really making something that should be bigger, or simpler. User interfaces are hopelessly compromised unless the pedal has a good display, or is large enough for several knobs. I sold my Eventide H9 for the same reason. I must say that the EQ2 is the most sensible and functional of the three SA pedals I've tried. I also have a Two Notes CAB M+ which has a very useable display and that makes all the difference.

 

[scott sinner]

I had the same overall issue as you OP. It shouldnt be a big deal to me as it is, but I just cant deal with the workflow of having my pedalboard tethered to a computer or other device at practice. And it was just too hard to predict which parameter I might need to tweak a bit in the song/band context, level, eq, filter, gain….It is just a workflow dealbreaker. And I get along fine with wild complexity. I have an Empress Zoia, but I can tweak little things on the fly quite easily.

I feel like if SourceAudio made medium sized pedals more like Boss 200 series size, with some menu diving, and regular MIDI, I would be all over it. They certainly are innovative and get the sounds right. So I am in that position of 'not for me,' but 'yes they are awesome, might be great for thee.'

I have even recommended them to friends who seem to be quite happy with them. Part of it may be that I am obsessive about the specifics of my sound design. I probably put on my mixing engineer hat on a bit more than is really needed live. Then again, I tend to get stuff dialed in such that it needs very little eq, comp, or other automation post.

 

[Hummergeist]

I feel like if SourceAudio made medium sized pedals more like Boss 200 series size, with some menu diving, and regular MIDI, I would be all over it.

Yeah this. As I said, the CAB M+ does well for itself by being slightly larger and having a display. Those Boss 200 series are just about perfect for size and function.

 

[el murdoque]

I had the same overall issue as you OP. It shouldnt be a big deal to me as it is, but I just cant deal with the workflow of having my pedalboard tethered to a computer or other device at practice. And it was just too hard to predict which parameter I might need to tweak a bit in the song/band context, level, eq, filter, gain….It is just a workflow dealbreaker. And I get along fine with wild complexity. I have an Empress Zoia, but I can tweak little things on the fly quite easily.

I feel like if SourceAudio made medium sized pedals more like Boss 200 series size, with some menu diving, and regular MIDI, I would be all over it. They certainly are innovative and get the sounds right. So I am in that position of 'not for me,' but 'yes they are awesome, might be great for thee.'

I have even recommended them to friends who seem to be quite happy with them. Part of it may be that I am obsessive about the specifics of my sound design. I probably put on my mixing engineer hat on a bit more than is really needed live. Then again, I tend to get stuff dialed in such that it needs very little eq, comp, or other automation post.

I'm quite okay with the software - when I found out that I can do changes while the thing is running, I hooked up the laptop, looped a bass line and started tweaking.
I don't use the C4 for weird experimental session music where you need tons of tweakability on the fly - I have presets for certain parts of certain songs that are set and forget, and I recall these via Midi.
The Midi thing through the Neuro Hub is a bit terrible and feels like an add on done later and by different people but once I got it working, it is stable.

 

[LowActionHero]

I picked 3 Aftershock sounds that were close to what I wanted, fine tuned them slightly and left em alone. I'd like to see what else it can do, but I haven't got around to it yet

 

[6-3-2]

If the idea of editing the sounds via the app is tedious to you, then it sounds like maybe the those super complex Source Audio pedals aren't for you. That's fine, you don't have to stick with a pedal that's frustrating you.

 

[Medicine Man]

I found my C4 to be extremely useful to cop synth bass sounds for 80s pop, ambient, funk, or whatever, but it probably takes me a hour per patch to get what i want with good tracking. My love for the C4 prompted me to get an Aftershock, which I cant get a sound I like out of despite countless hours of menu diving. Im a former Kemper user, who just went back to a pedalboard instead because I was wasting all my time spinning knobs instead of practicing, so i understand the concept of wanting simplicity.

 

[Hummergeist]

Sometimes I feel like If I'm going to be tethered to a computer every time I need to tweak something, I might as well use plug-ins inside software to do the job, and leave the pedals out of it entirely.

 

[yberwaffe]

Are you sober when you use the editor ?
Try using it when you're in a different state of mind, just saying.

 

[Cave Puppy]

I have a Source Audio Atlas compressor. I, too, find it somewhat easy and somewhat frustrating to use. I put it in WYSIWYG mode so all I have to deal with is what I'm physically looking at with six awesome factory pre-sets. It has helped me simplify its operation.

 

[Cave Puppy]

Sometimes I feel like If I'm going to be tethered to a computer every time I need to tweak something, I might as well use plug-ins inside software to do the job, and leave the pedals out of it entirely.

That's exactly what (at least the Atlas) it is - a plug-in in a stomp box.

 

[GMC]

I feel like if SourceAudio made medium sized pedals more like Boss 200 series size, with some menu diving, and regular MIDI, I would be all over it. They certainly are innovative and get the sounds right. So I am in that position of 'not for me,' but 'yes they are awesome, might be great for thee.'

What, do you mean like their Nemesis, Ventris or Collider? 6 knobs, 8 patches, 2 stompers a few switches and an engine dial. I've recently flipped my Nemesis delay for a Collider and I love it. It's super easy dial in and it just works great. It's like an improved Sound Blox 2 design. For simpler stuff I like the One Series smaller enclosure. It's a prefect format for things like the Spectrum Filter, Vertigo Trem, Aftershock or modulation (I use a Lunar).
The C4 is a bit of an oddity in that it has so much under the hood. Because it doesn't rely on modelling engines, it's not well suited to the larger enclosure and it's a bit limited in the smaller enclosure. It almost needs it's one piece of UI hardware to sit on. Where as other feature dense pedals like the Ultrawave work great in the smaller enclosure.

For me, the C4 is primarily a fancy octave, filter, sequencer and then a synth. That's certainly how I use mine.

 

[scott sinner]

What, do you mean like their Nemesis, Ventris or Collider? 6 knobs, 8 patches, 2 stompers a few switches and an engine dial. I've recently flipped my Nemesis delay for a Collider and I love it. It's super easy dial in and it just works great. It's like an improved Sound Blox 2 design. For simpler stuff I like the One Series smaller enclosure. It's a prefect format for things like the Spectrum Filter, Vertigo Trem, Aftershock or modulation (I use a Lunar).
The C4 is a bit of an oddity in that it has so much under the hood. Because it doesn't rely on modelling engines, it's not well suited to the larger enclosure and it's a bit limited in the smaller enclosure. It almost needs it's one piece of UI hardware to sit on. Where as other feature dense pedals like the Ultrawave work great in the smaller enclosure.

For me, the C4 is primarily a fancy octave, filter, sequencer and then a synth. That's certainly how I use mine.

Yes. And I like that form factor better, those just aren't effects I use much.

 

[GMC]

Sometimes I feel like If I'm going to be tethered to a computer every time I need to tweak something, I might as well use plug-ins inside software to do the job, and leave the pedals out of it entirely.

I guess it depends on what you are trying to achieve with it. When I use my C4 I'm probably only ever using about 1/3 of it's capabilities. That's ok, sometimes all I want is a simple trem. I like to cherry pick my effects and choose best of breed. I really like the Harmoniser, delays and reverbs on the Eventide H9. It's quite old tech now, but it still sounds fantastic. The Source Audio delays are different in the way they sound and work. I really like their Analog delay, so sweet. Their reverbs (Hall & Shimmer) are easy matches for Eventide's finest, they are very similar in sound and quality. I have an EHX Hog2 which is a massive paving slab of a pedal, but I get great organ sounds out of it. Better than anything else I've tried. The Spectrum Filter is in my opinion the best sounding and most versatile filter available. It's easy to use out of the box and doesn't need the UI. Same for the Atlas and Aftershock. Although all of my pedals I have modified or created bespoke patches for. The Lunar is the only pedal that didn't work for me with it's stock presets. It took me a while with the UI to get the Modulations to work well with my bass. But once set with my 6 bespoke modulation patches, I use it in the same way as all the others.
I have a Boss ES-5 as my midi controller and matrix loop switcher. These days I have abandoned the mono loop switch options and I'm just using it as a Midi controller.

 

[yberwaffe]

Hey @GMC, have you ever considered to split your sermons into separate paragraphs ?
It would make it WAY easier to read.
I usually skip your post because of that, no matter what insights you have to share.

And yeah, Source Audio's computer editor is best used intoxinated.
way more fun...

 

[GMC]

Hey @GMC, have you ever considered to split your sermons into separate paragraphs ?
It would make it WAY easier to read.
I usually skip your post because of that, no matter what insights you have to share.

And yeah, Source Audio's computer editor is best used intoxinated.
way more fun...

It sound like you need your bed sir...can't read a few lines? Sermons? It not even Sunday yet!

 

[mcnach]

It sound like you need your bed sir...can't read a few lines? Sermons? It not even Sunday yet!

He's not wrong 'though. Paragraphs help a LOT.

 

[GMC]

Yes. And I like that form factor better, those just aren't effects I use much.

I came to the Source Audio delays and reverbs quite recently compared to other effect types. I think because I'm so well serviced in those areas by my long termer Eventide H9's.

(Adding a new paragraph for every two sentences)

Privately, I've suggested a dual Modulation pedal (along the Ventris lines) would be ideal for this larger format. Especially if it has sperate EQ blocks on each DSP. Something that marries the engines from the Vertigo and the rest of the Modulation line. For me, that would be best of breed Modulation available on Bass.

(Adding a new paragraph for every two sentences...opps that was three....soz)

I'm sure something like this is in the works (or better / more mature idea). SA have previously announced that they have a new hardware platform in the works, maybe a new mega-modulator will be the first pedal on that?

 

[mcnach]

I came to the Source Audio delays and reverbs quite recently compared to other effect types. I think because I'm so well serviced in those areas by my long termer Eventide H9's.

(Adding a new paragraph for every two sentences)

Privately, I've suggested a dual Modulation pedal (along the Ventris lines) would be ideal for this larger format. Especially if it has sperate EQ blocks on each DSP. Something that marries the engines from the Vertigo and the rest of the Modulation line. For me, that would be best of breed Modulation available on Bass.

(Adding a new paragraph for every two sentences...opps that was three....soz)

I'm sure something like this is in the works (or better / more mature idea). SA have previously announced that they have a new hardware platform in the works, maybe a new mega-modulator will be the first pedal on that?

... and harmony is restored in the Universe!