cheddatom

I was just thinking that to record and play back loops from a rack unit, you'd need a controller on the floor. Most MIDI controllers come with loads of switches, probably too many for what you want, so you might find that a "stomp box" actually takes up less room

you'd need a foot controller for the looper anyway so not sure there's much point? Unless you could control the whole rack rig with one controller which would be pretty cool.

the marshall echohead is a nice pedal, and it'll continue the delay after you latch off. If you replaced the latching footswitch with a momentary switch it'd be fine I think? Should be easy enough

I use the boss slicer for some choppy stuff, sometimes to make the bassline, other times just for cool helicopter noises.

I think to a point, it's fair to say that you have to put up with some of these issues when it comes to custom builds like this. After a point, it becomes bad customer service, and then criminal. Sharing info about the latter on the internet can only serve to aid others in choosing their builder. So yeh, put up with a bit of agro and delays, but if the builder is seriously f***ing you over, you should post about it! Where that line is drawn is obviously subjective

I think it's great as it is, I just with I had the time to join in more!!

I used to use a GFX707 blended with another line of effects. I actually loved the drive tone I was getting from it. I think it was a TS or a Rat model I was using. Whatever it was, it was ace. I really miss that pedal, I'd modded it with two extra footswitches to go up and down 10 patches, which meant I could switch between patches much easier. I leant it to a friend who I've not heard from in years

The boss (and similar) pedal draws current when turned off as it's buffer is always on. I guess the Pitchblack is true bypass? Not necessarily a good thing, unless you want to run it off a battery, in which case it has obvious advantages

£200 ish, don't mind buying used, just something drastically different to what I have

I've been a bit busy with my new recording studio Riff Factory [url="http://www.rifffactoryrecordings.com"]http://www.rifffactoryrecordings.com[/url] which is why I've not been contributing much in here - sorry! Anyway, if you'd like to listen to the first band to be recorded in my new set-up, check it here: [url="https://soundcloud.com/rifffactoryrecordings-1/sworn-to-oath-bulls-on-parade"]https://soundcloud.com/rifffactoryrecordings-1/sworn-to-oath-bulls-on-parade[/url] Let me know what you think! Also for the studio I could do with a couple of good mics for amps. I have a few SM57s and a sennheiser E906, and often use my vocal mics (NT1A, SE2200) in combination, but I feel like I could do with something a little fancier - any ideas?

Matt from the band made this ages ago. Not a performance video but pretty cool... [media]http://www.youtube.com/watch?v=Hs4xPOJcNMU[/media]

I've listened to loads of your stuff on there Bilbo, it's pretty cool!

some pedals just don't work that well together IME

Totally disagree Steve. While the enhance circuit does add a lot of very high end, which you wouldn't necessarily get from a passive bass, it's very synthetic high end and not desirable at all IMO. As a limiter it's a great pedal, just keep the enhance control turned off!

I'd want a limiter, an envelope filter, and an octave. No need for a volume pedal IMO

The only time I do do it is for weird timings. Not weird time signiatures, (5s or 7s are easy) but when you have 3 bars of 6 and one of 5 or something like that. It's really difficult to do!

if you've set your multicomp to have an almost instantaneous attack (don't know if you can do that?), then it's basically a limiter. If you've not then there are still peaks getting through,

Your playing dynamics will interact with pedals, especially your envelope follower, but also any distortion pedals. You may want to manipulate this interaction, in which case you'd need a compressor before these pedals. If you like all of your sounds and just want to prevent any nasty peaks, then a limiter at the end of your chain is what you need.

I would use a bit of distortion for a start You can get cajons with a pickup in, I've seen a few people using these to create rythm tracks on a looper

I like to blend compressed clean with a tube screamer type pedal, jazz bridge pickup, played hard! You just have to boost the high mids loads. I used to use a guitar amp in combination with my bass amp to acheive that.

from the spec on their site it looks like any 12V DV supply which can do at least 3 amps will suffice

It depends on the instrument really. I have 1 guitar and 2 basses that stay in tune for ages. The rest of them all tend to slip out of tune fairly regularly.

I think if it's just building loads of layers it can get very messy, and if the guy is doing 2 or 4 of each layer it gets very tedious. I use my looper in a band context, so that I can keep a bassline going and create another texture on top

[quote name='Prime_BASS' timestamp='1377286348' post='2185939'] No speaker breaking up but Tim C's recorded sound relies heavily on his cabs as well as modified amps. Around then in sure he was using 3 SVTs of somekind. 1 ran clean, around this time it's a very woolly thump, lots of highs have been cut, the other two set with increasingly more distortion. I've tried to get close to his Evil Empire sound, with my pedal board. One clean channel mixed with overdrive, using two BB preamps. 1khz boost too, brings out drive well. Could get a rebegades sound if I had an EQ on the clean channel. [/quote] I'm a big fan of his sound, and have read all about how it's done etc. I can do Evil Empire with a TS clone blended with some parallel compression and EQ. The sounds on Renegades that I'm on about are something else. I'll have to give it a listen and point out a specific section. It's not like anything he does on other albums, it sounds just like when you put too much low end through a crappy cab