-
Posts
10,186 -
Joined
-
Last visited
-
Days Won
1
Content Type
Profiles
Forums
Events
Shop
Articles
Everything posted by Kev
-
SOLD - Iron Ether 'FMeron' frequency modulation synthesizer - SOLD
Kev replied to Volume's topic in Effects For Sale
If the Pokemon master, or whoever else it may be, drops out, give us a shout -
At this stage, I can only assume you are deliberately missing the point! A sound clip won't demonstrate what i am talking about in any meaningful way. Watch the video I just posted, best description I can give.
-
Check this out for an example of what I use a compressor for, for making music in a similar genre to Mr Getgood. 4:51 onwards.
-
You're twisting words somewhat. An average punter probably wouldn't notice if you started playing clean bass instead of distorted bass, unless the particular track is entirely defined by that sound. So no, clearly they aren't going to pick up on changes brought about by a compressor, and not at deafening gig levels. Does it make a difference in a live mix? Absolutely, otherwise I wouldn't waste my money buying and using one! But you're right, solo'd in a sound clip even a punter would recognise the difference
-
Phenomenal unit, set to become even better in the next update (which will include at least a Noise Gate). Wouldn’t want to live without it, and a million miles from the “Nolly” sound if you want it to be. GLWTS! -
Again though, I’m commenting more about feel than specifically tone, reaction to playing dynamics, attack etc. There is no chance in hell a punter is going to notice that! It just means more to some bassists than others, and that’s absolutely fine 🙂
-
I think you may have just purchased a pedal I was looking at that would have made me say yes to that! 😂 Ill let you know if anything comes up I fancy, keen to trade as I know if I sell without replacing it right away, the money will disappear into the endless void that is life. -
Live setting, it really is a simple as sticking a compressor on your board, setting it accordingly, and using it for a few weeks etc, then stop using it. I'd be amazed if you didn't notice a reasonably significant difference in the tone response to your playing and your spot in the mix.
-
I guess in many cases its just another part of the mixing process. Unmixed/mastered records sounds rather different than the stems just shoved together. One of many small changes that deliver the final product. Aside from that, a pedal compressor is as much about feel as well. Feeling and hearing a difference response to your string attack. Very difficult to demonstrate that to someone with a sound clip!
-
It does. And don't know! Can't remember if the Darkglass factory is still assisting with Neural DSP orders, imagine they may be a bit strained still if so.
-
I think in a lot of cases (not necessarily anyone responding here!) people simply don't understand what compressors achieve, or try to use them as an occasional effects pedal in a heavy noticeable setting (tone wise) and not understand why else they would really use one, and get defensive when use is challenged. I've seen bassists show them off as an effects pedal, when really the only difference they are hearing that would justify occasional use is a volume boost, because they didn't set it to unity gain. For me, always on of course, slowest attack and fastest release settings, makes notes just hit harder. Ideal as a finger style player in metal.
-
I think it's more not understanding what a compressor can do, as it isn't necessarily something that can be achieved by "good enough" playing.
-
I can’t see a market for it. Certainly not if it’s more expensive than the OC-5. Sure there may be a couple of super purists on here that care where it’s built and don’t want the extra knob and switch, but surely not enough for that to sell in any volume? If there was no OC-5, or if it had no vintage mode, absolutely. But otherwise, I can’t see why Boss would invest in one, except for maybe a super limited edition run on an anniversary date at a silly price.
-
What additions would you hope for in the Waza version though? Because seriously, unless you just want it to track a bit worse, the OC-5 is spot on, right down to the glitchiness when it doesn't track. I find that whole range more style over substance to be honest. I mean, look at the tuner...
-
I guess in poly mode to me it becomes a little more “ordinary” and loses that synthy glitchy octave sound I love, still works well for me with the +1. I also quite like what the -2 octave is doing high up the fretboard as well, which is odd as I’ve always instantly turned that off on OC-2s before. One complaint that I have in common with the Oc-2; it still doesn’t like super hot signals going in. My Alpher with twin humbuckers in series mode is seriously meaty and causes it to clip, but dialing back the volume on the bass and turning up on the pedal resolves.
-
And now I have. Not too much to report really! To my ears, identical to the Oc-2 octave in vintage mode. It tracks much better, but when it does lose it it glitches just like the OC-2 does. The octave up (poly) works in vintage mode too and actually sounds much better than your average octave up. All sounds huge with fuzz. The Poly mode sounds a bit pants to me so I won't be using that at any point, but like any bassist buying this would anyway! It's on the board
-
I never understand complaints like this. A regular 9v pedal coming with a power supply would be a complete waste of plastic for me. No use for it, surely 90% of users will already use a superior power supply to use with their board.
-
Really difficult to agree with that when it has a bass input!! I've still not had chance to sit down with the OC-5 yet, reckon bank holiday monday is as good a day as any to lock myself away and give it a go.
-
Up for TRADE I have this lovely little pedal from Walrus Audio. Capable of all kinds of weird modulation effects, as well as your classic reverb tones. Blurb below. The Slö Multi Texture Reverb allows players to create lush, modulated, sleepy and ambient soundscapes. Stocked with three different algorithms specifically designed to invoke textures for bringing dreams from your subconscious to reality. The toggle switch allows three different reverb modes, Dark (Lower Octave), Rise (Ambient Swell) and Dream (Latching Pad), while secondary functions on the switch change between different wave shapes for the modulation on the reverb trail. Combine deep modulation with long washy trails and experience, the Slö. ALGORITHMS: DARK – Add a lower octave to your reverb trail. Here you'll create deep and wide atmospheric sounds and channel nightmarish soundscapes. X knob sets the level of a -1 octave signal that feeds the reverb. RISE – This is an auto-swell reverb for beautiful cinematic swells. Don't rush it. Let it breathe and gently wake up. X knob sets the amount of time it takes the reverb to swell in after a note is played. Set lower for shorter rise times and higher for longer rise times. DREAM – Here is a lush reverb with a latching pad function. Press the sustain switch to latch signal. Experiment with the X knob to add vibrato over the pad. Press sustain again and pad will decrescendo according to where decay knob is set. X knob sets the depth of vibrato applied to the reverb trail. The Slö also features 3 different wave shapes accessible by holding down bypass while switching the algorithm toggle. SINE – Smooth and even pitch up and down modulation. WARP – Asymmetric pitch up modulation similar to a warped record. SINK – Asymmetric pitch down modulation for sinking detune similar to a Bigsby. MOMENTARY FUNCTIONS: Bypass: When the switch is in off position, press and hold to temporarily activate the effect to add a moment of reverb texture. Releasing the switch turns the effect off, and fades it out. Sustain: When pressed, the decay switch ramps up the reverb trail to maximum creating long dreamy reverb trail and then ramps back down to the decay knob setting when released. In the “Dream” algorithm, the sustain switch is latching. Press it once to capture and sustain the current reverb decay for extremely long pad-like sounds. Press it again to let the reverb trail taper off, based on the position of the decay knob. TRAILS MODE: The Slö can run in trails or no trails mode. In trails mode, when you turn the pedal off, the reverb decay dies off naturally. In no trails mode, the decay is abruptly cut off when you turn the pedal off. To toggle between either mode, hold down the bypass switch for 1 second while applying power to the pedal. Unplug power and repeat to toggle to the other mode. In great condition, never gigged (lockdown pedal!), just some dual lock on the bottom. Comes with box/bag. There's just something about this that doesn't quite give me what I am looking for. I still need a good reverb pedal, or perhaps something with delay as well, so ideally I'm offering this as a trade against another reverb offering. Specific I know! But if anyone similarly has a reverb pedal they don't get on with and fancy trying this, let me know! However, hit me with any trade offer you may have, just nothing drive/fuzz/compressor related please.
-
And arrived! Look forward to giving this a go when I get in 😀
-
Unexpectedly, Amazon just issued a dispatch notification. It should be with me tomorrow...
-
Interestingly, Amazon claim to be getting this in stock next Wednesday, when everywhere else is saying months, and they’re doing it for £114 with the option to pay over 5 interest free instalments, first to go out at dispatch. Nothing to lose there, ordered 🙂
-
Holy moly that DBA side, much want... -
Super interested in Time Shadows. Does it work well with bass, noting the lack of blend??
-
Follow Iron Ether. In terms of what you may find in an effects pedal, they always seem to be pushing the boundries.
