Quatschmacher

Sounds cool. What patch was this?

It’s a collaborative effort and expands on the benson preamp and not just a rebrand. It does much more than just preamp features. It’s a very capable drive and wah pedal too. Yes, it’s very pricey but there’s a lot of work gone into it. I hope that this takes off and brings the price down on later projects. I talked to Joel when I met him in Berlin last year and he wants to make this format his thing for his future pedals. It’s the ideal marriage between hands-on analogue controls and presets.

Just drove past Nottingham today on my way south.

These sound great. I think it's only a matter of time before I cave in and get one. Have you tried running this into a noise gate?

It’s a Classic Series. Basically the same as the US Series but with ultra lite tuners, alder only, no pickup cover, fewer finish and wood choices. I’ve had a reply and I’m hopeful they’ll come good whatever happens.

I asked for the pickup cover to be white. John suggested painting it with the same paint used for the body which was an even better idea. I wanted to make it look as much like a normal P as possible. I need to get in touch with Lakland to mention the issues and I’ll ask about costs. The dots are actually birdseye maple.

I’ve never posted one of these before but this just arrived today after a 7-month wait. Sadly it has a bit of an issue at the neck joint and some buzzing on the open D but I’m hoping a trip to Jon Shuker will sort that out. Luckily it sounds lovely and plays really nicely. The neck profile is wonderful. Here’s a clip: https://drive.google.com/file/d/1CsIxUzVpni9GGTdnOjSyycjlzWIOn_PW/view?usp=drivesdk

You might not hear much difference if the filter cutoff is low as the differences are much more perceivable in the higher frequencies. Try bypassing the filter first then make the volume adjustments and you should hear some change. Depending on the relative levels, it can be subtle.

Basically if the sum of volume sliders within a single oscillator goes over 127 then foldover distortion occurs. The same is true if the master volumes of two-or-more oscillators goes over 127. This is a design feature and some interesting sounds can be made with it. Try bypassing the filter entirely and assign the VCF envelope to one of the oscillator volume sliders so that at some point in the cycle the sum of volumes goes over 127. Several of my patches use this feature, usually the ones which are a pseudo FM sound.

There is no combination of settings of the main mixer volumes which makes a sound warmer. They are simple volume controls, one with a linear taper, the other with a logarithmic taper. You are correct that the old software only had one slider. The second slider was added to give a better response when controlling it with a flexi slot. Setting the VCO levels is a different matter entirely. You need to pay careful attention to the levels set on both the three waveform sliders within a single oscillator and the levels of the master VCO volumes of all four oscillators. Read the manual section on foldover distortion for an explanation.

That’s interesting. The lack of individual CCs for the two sides does seem like a bit of an oversight. I chose this as a one-stop delay/reverb but I’ve also got a Ventris and Nemesis coming so I’ll see which I prefer. Might use one with my synth and another with my bass board as my Moog doesn’t have any built-in effects and I think it would sound good going into some.

Interested in what you thought the Collider design flaws were; I’m about to get one delivered.

So good he thanked me twice.😆

For the onboard ones I believe the leds have different colours corresponding to the different presets. For ones via MIDI, most controllers will have a display to show what you’re sending.

Actually, it seems it’s one of the ones I haven’t uploaded. Sorry! I tweaked it after I recorded this clip:

For those of you who were wondering how I achieved the C4 chord freeze, here’s the secret if you want to try it yourselves: It’s twofold. Firstly to get a single chord to play regardless of which note you play, you need to decouple the pitch detector from input 1. So you need to send a MIDI message which switches the pitch detector onto input 2 (making sure you’re not sending any audio into that input unless you want some kind of side chain effect). Secondly, to get the infinite sustain, you need to send (up to) four messages to switch voice 1-4 envelope source to off. My method works best if you use two different envelopes for filter and amp, that way you can have the amp envelope sustain infinitely but still get some filter movement triggering each time you pluck. You need to set up MIDI assignments for the five messages in the C4 MIDI map in the editor. You can set up your controller to send the above messages on a press and revert upon release (momentary). Or you could set them up to toggle on alternate presses (latching). As a further thing you can also send a message to disengage the filter envelope from input 1 to prevent filter movement during the freeze, but there are two problems: It’s currently impossible for the C4 to simultaneously react to pitch detect input swap and envelope detect input swap. Also, at the point you disengage the filter envelope, the cutoff closes to the set value rather than the envelope completing its cycle.

I posted a version of the bass for Cruel Summer a while back.