cheddatom

[quote name='BOD2' post='187978' date='Apr 29 2008, 12:32 PM']But note that true limiting only works at the loud end of the signal spectrum - all it does is stop your signal exceeding a preset level (usually for the protection of equipment or to prevent overload somewhere along the line). Unlike a compressor, a limiter will not bring up the quieter parts of the signal so it has a slightly different application.[/quote] well, you're talking about standard applications. If I have a limiter and set the threshold very low, then it will be effecting the quieter notes. If the limiter has a make-up gain control then........ yeh, it's just different names for the same thing IMO. Another point - Don't you wish all compressors had attack controls! God knows why they make pedal compressors with 3 knobs that you can't do much with.

[quote name='ped' post='187967' date='Apr 29 2008, 12:22 PM']Hmm too early for all this. I think you would get a limiting effect but the limiter will not affect the quiet sounds or change the sustain of notes at all. BOD2 is an expert on this, so I bow to his, and possibly your greater knowledge![/quote] A limiter wont affect quiet sounds, unless you set the threshold very low. Compression/limiting doesn't actually give you more sustain, but it makes it seem like the notes are holding longer because the attack portion of the note is quieter, and so the sustain portion will be louder in comparison.

[quote name='ped' post='187954' date='Apr 29 2008, 12:07 PM']Limiting is very different to compression, there is a thread about it somewhere.[/quote] If I get a compressor, and set the ratio to infinite, and set the attack to instant, then I have a limiter. Am I wrong?

limiting is compression though, and quite an extreme form of it. It's just easier to set a limiter to be subtle. RE Bod - I need to use a noisegate to stop my rig from feeding back due to the insane amount of dirt/fuzz/compression and volume going on, so while it's not noticable, it deffinitely does more than just cut me out between songs.

I have a clean blend, to retain clarity etc, then all in a noise gate: Octaver EQ mid boost - to help me cut through, or give me more grit from the next pedals LS-2 blending Loop A > Compressor for sustain and punch, ODB-3 for uber low end and a bit of OD dirt Loop B > AW-2 with exp pedal for weird and funky wah sounds > Zvex wah for sweet sweeps and funk soloing > B2.1U for OD, Delay+wah, Phaser etc etc >Ibanez chorus/dist box for awful nasty OD tones. LS-2> EQ Low end boost for when I require that extra bottom > Limiter to control peaks > back to the noise gate > Digital Delay > Amps I do have another loop on there, and sometimes i'll use whammy instead of octaver, or sometimes both, but the above describes the logic of my tone shaping (hopefully).

Heh, does that mean you've got it working?

That looks like a fairly simple circuit to me. I'm not fully understanding your post though. You have made one of these blend circuits yeh? Then you got your favorite overdrive circuit or something, and hooked up the send to the input on the OD, and the ouput on the OD to the receive on the blend circuit? What are your problems with it? I'm no electronics expert, but that blend circuit seems pretty easy to understand, so I could try and help. I'd like to make my own blending pedal at some point.

for a great green day pick sound, the digitech multi band comp, not sure what it's called (bass squeeze?). IMHO you should get a B2.1U.

I play bare foot at practice, but I worry about getting splinters or broken glass in me on stage, so I wear thin converse rip off type things. Basically pumps like I wore for PE at junior school. I gig with 20-25 pedals on a horribly disorganised board, and I very rarely have issues. A couple of times i've almost fallen over because I wasn't positioned right to make the stretch I tried to make, but...... no real issues.

I have a keyboard flightcase full of pedals and it's my heaviest peice of gear (more than TE 18" full range cab, Peavey 15" combo, H&K 4 x 12" etc)

Yeh I don't think cubase is "applying a tempo" it's just you're mixing different files of different sample rates. Make a new project set to either 44 or 48 and make sure you tell cubase to convert them all when importing.

I had guitar lessons for 8 years so I don't know how to vote. I've never had a bass lesson, and I keep being indecisive about getting some, but i've been playing the bass for about 7 years now (wow, that's 15 years of guitar!) and i'm very comfortable on my 6 string basses now. My playin is a little weird with constantly changing style, and the only reason it's like this is because of the band i'm in, so I doubt i'd make a very good bassist for anyone else, although I have done stand ins for a folk/pop band and that was pretty fun and easy.

Can I have it?!?!?!?!

[quote name='Ant' post='182743' date='Apr 22 2008, 01:25 PM']Solid state all the way baby, pearce BC1 preamp. i've just got an animato it's quite a sexy distortion, i'd read somewhere that it was sh*t and on other places that it was good - but i love the tone of it. the tone knob NEEDS to be all the way to the left, otherwise you go into bass loss-playing through a radio-central.[/quote] Either way you still have a slightly overdriven sound all the time, which isn't very useful for some people. The ODB-3 does this sound really well for those who need to switch it on and off. That was my point. Anyway - sweet, i've always wanted to try an animato! What would you compare it to? Maybe it'd sound better with a clean blend, so that you can play with the tone knob.

[quote name='ShergoldSnickers' post='180013' date='Apr 18 2008, 05:58 PM']When mixing, you start with the overhead sound, and bring in everything else on the kit bit by bit. Crap overhead sound? Crap kit sound on mixdown.[/quote] That's great advice! Lots of students tend to think that overheads are close mics for the crashes.

try blending some OD on your Zoom with horribly highs, with the ODB-3 set to brutal lows. If you have an ls-2 or something that is. That's what I do!

You can use a proxy site to get around work's filters. [url="http://proxy.org/proxies_sorted.shtml"]http://proxy.org/proxies_sorted.shtml[/url]

the B2 is limited in that it only has 2 footswitches. I don't think it's difficult to program, but if you use a lot of different sounds you could find it takes a while, and you have to work out where your patches are going in relation to song changes and stuff.

I was about to bump this! I'm not sure now though, I have to get my girlfriend to figure out if she's working or not, if not I may have to go to france instead!

[quote name='Ant' post='181558' date='Apr 21 2008, 09:42 AM']i found the odb-3 was a bag of poo, the only good tones i could get from it were slightly aggressive very low gain ones - which is usually how i set up my clean sound anyway so it was useless. same with the people i've seen use it live, it's either been terrible or i've thought "you should set up your clean sound to how your odb-3 sounds and get a mega evil distortion" oh well ey? everyone's tastes are different i guess.[/quote] I like to have lots of options. I suppose if you like to have 1 distortion pedal for all your settings, and you keep bending over to change the knobs, then the ODB-3 would be a bag of poo. I however, use it as a low gain agrressive overdrive with almost extreme levels of low end boost. I blend this with other distortions if I want more gain/fuzz. I'm guessing you have a tube amp which you can set to overdrive? Not everyone can do this, and I certainly wouldn't want to.