dannybuoy

Contact Yamaha directly too. They quoted me a price on a set but it was a long time ago.

That’s just pretty much just a USB audio interface shaped like a pedal though, not quite what I had in mind. The closest thing in existence to what I’m talking about is this: https://www.kickstarter.com/projects/modduo/mod-duo-the-limitless-multi-effects-pedal Various manufacturers could produce a range of devices from the size of the Zoom MS-60B up to the Line6 Helix that could all run the same common plugin format, with no need for a connected PC.

I'd be happy to go purely digital though once a few things had been straightened out. All we'd need IMHO is a commercially successful attempt at providing a universal standard for pedals to be able to download new single FX like you can for VST plugins on your DAW. Then you could buy plugin host pedals either as single pedal sized units or huge multis, that can all interchange the same FX, that can be bought from app stores, or from open source. You'd be able to buy either Zoom's, Line6's or Darkglass's own B7K model for example, and either load it into your cheapo Mooer pedal with a couple of knobs on, or your behemoth Helix style unit, or your DAW in the studio. One day!

The signal path is analog. In most analog compressors, the bit controlling the volume level (like the engineer's hand on the fader) is also analog (e.g. a light bulb for an optical comp). However in this case, the sidechain is totally digital. So you can have the flexibility of a digital comp where you can have control over tons of parameters like attack, release, knee, etc, but your output signal has been kept pretty pure by only passing though a simple amplifier stage rather than being converted to 1s and 0s and back again.

It stands for Impulse Response. Commonly used for cab sims and reverb modellers (to simulate the sound of a specific room), but most pedals you will see would be talking about cab sims. If you feed a white noise signal that contains an equal spread of all frequencies into a cab, then measure what comes out the other end, you end up with a specific EQ curve for that cab. That can then be used to apply a cab sim via digital processing, and you can download a ton of IRs from the web, e.g. one for an Ampeg 8x10. It's a bit more complicated than a simple EQ curve though as it takes time into the equation as well, but that's the general gist of it!

You could always run a splitter/daisy chain off the one 15V supply. However I don't recommend the Californiwah and it has nothing to do with the power requirements. I just could not get it to sound good at all!

Shame it's not multiband, I can't go back to single band compressors now I have been spoilt by the Spectracomp! Looks awesome though, touch controls show the future of what we might see in the range - I did say I'd like to see a system like the TC RH750's knobs and these look even better with no moving parts. The blurb suggests they were not aware of the Sonuus Voluum though, which is the first compressor with a digital sidechain and analog signal path that I'm aware of! The Hyper Luminal Compressor features the first hybrid design in a compressor pedal: an analog VCA controlled by a digital side-chain allowed us to capture and include the characters of some of the most legendary compressors in history while keeping the signal path completely analog.

Small Clone is a chorus, I presume you meant the Small Stone! Both the Small Stone and MXR Phase 90 are great on bass.

I would try a compressor in the clean low end channel by the way. Or just forget the whole complicated setup and go for a Tech21 DP3-X which combines a crossover, distortion and compression (as well as a tuner) in one small box!

The LS-2 doesn't have a phase switch, no. It will be pretty obvious if you need one, as the volume will drop as you mix the signals together. I'd pick up a used LS-2 first as they're so common and see how you get on. There's not many parallel blenders with phase switches out there, but the Wounded Paw stuff will fit the bill. A phase switch won't always help though if the pedal doing the inversion is something that you want to be able to switch on and off, rather than leave always on. Although the bigger Wounded Paw units have multiple loops and phase switches, and you could place the troublesome pedal in its own loop. I have a Mosquite blender with a phase switch but it's only designed for blending one loop with a clean signal; however you can 'hack' it into being able to blend parallel chains if you have another pedal that can act as a splitter, such as a Boss tuner!

Get a Boss LS-2, problem solved!

I can't remember how the B3 works, but the newer B3n also overwrites patches as you tweak by default, but you can change it in the settings so that you have to actually press save. So check the manual!

Fender Okoume Jazz

Try the Z-Tron model for that RHCP track!

I love my BB1025X, but it doesn't sound quite like a P. The newer models should sound somewhat closer though due to the pickups having a more traditional design. I would look at a Squier Classic Vibe. The necks are sublime and better than the MIMs I've played.

Get a B3n, the Dark Pre sounds very close! (Or buy my B3K!)

I prefer to accept F&F payments when selling, especially from new forum members, as the alternative is I get charged a fee and open myself up to someone scamming me as PayPal always side with the buyer. I only buy insurance for very expensive items or exotic locations, otherwise I just use a tracked service, but will (and have done) issue a refund if something genuinely goes missing. The thing about insurance, it’s just like gambling on if your parcel will go missing or not. I could send a 100 parcels and spend a few hundred quid on insurance, or go without and if I’m lucky I’ll get to keep it! Chances that several will go missing and exceed the sum spent on insurance will be slim, as the odds are stacked in favour of those selling the insurance.

The stuff that Pedal train supply these days is shocking, starts peeling off both the board and pedals after a very short time. Hope this turns out better!

String spacing is a lot tighter on the BB5000A btw - I think they did two versions of them but the one with narrow spacing is around 15.5mm vs 19mm from the current BBs. Some people might find that difficult to play.

Yeah that's about it, gain = distortion in many people's view, but in electronics terms gain = amplification.

Technically it would have more gain at 18V. Gain is just an increase in volume, but in an overdrive pedal there is a low ceiling where distortion happens when the volume exceeds that point. Doubling the voltage raises that ceiling (i.e. more headroom) so it will sound cleaner, but louder, then the same settings at 9V. Ab lot of the Darkglass stuff sounds better at 18V IMHO (although you can blow a lot of them up at 18V if it's a really old one or a newer one with digital cab sim, so don't try this at home, kids!). If you're still running the M900, you could try an Alpha Omega or even a Pike Vulcan for a different flavour.

The Korgs are ancient by today’s standards, processing power is limited and modelling very basic, the Pandora I had was also very hissy. I’d stick to Zoom personally. For me, headphone out is a bit lonely without an aux in to play against, so if you want that, you are left with the B1on and B3n. The former is much cheaper, battery powered, more fiddly to use. The latter is more expensive, requires a power socket, but is much nicer to use and comes with much better Ampeg models as well as Darkglass distortion sims if that kind of stuff floats your boat! You did say it seemed a bit big, but the B3n is pretty compact. Not sure what your portability requirements are, but it takes up about the same footprint as a standard iPad and would fit in a gig bag pocket.

If line in and headphones are required, the only Zooms that fit the bill are the B1on, B1xon and B3n. B3n sounds better but doesn't take batteries if that is important.

The biggest issue with the OC-2 was that Oct1 up full whack was not quite loud enough for many. Are you finding you have to max the volume of the octave, or are you finding the sweet spot around noon like I am on the Octabvre?