DanOwens

Yeah, if the interface is easy to adjust then I might sell my Adrenalinn. It's great but I only use it as a LFO>Amp/LPF and I feel like I'm not getting the best out of it (some great modulations in it go totally unused). Dan

Nice one, man!

[quote name='lucky' post='1245940' date='May 26 2011, 05:35 PM']so i'm wondering if anyone's had any experience getting these kind've sounds using rack gear? if if so- what?[/quote] Only my MIDI setup which (for a while) was fully racked. I use a M13 for some great sounds and from my understanding a liberal use of the TC gear's effects can produce some fantastic sounds. I think you'd need a few hours programming it though. Dan

I've had them on a jazz bass before and they were a bit weedy compared to every other string I've used. They're now on my acoustic for a laugh.

I've found that buffing a lemon-oiled fretboard will bring it up in a shine but once the oil has soaked into the wood it's just a darker colour (rather than a glossy finish).

I think multi effects have come a long way since I first tried my guitarist's Zoom 505. Perhaps more importantly I have a better understanding of how to use effects. I have a Line 6 M13 as well as 2 boards of pedals and I suppose that (IMO) you have two paths. The former would be my choice: 1. Listen to examples of effects and decide what sounds you like. Buy a decent multiFX and work on finding those sounds on your own, then try and apply them in your band. This method has intention and process, in my mind these are the key to success 2. Buy a multiFX and make some sounds that you like, experimenting to find whether (for instance) a flanger, phaser or chorus is the sound you want. This method is more trial and error. Happy accidents can prove fruitful. Dan

I wanna see the two main basses from this most awesome thread combined: A double-neck with 15 strings on each neck. The bass would start at your chin and end at your shin.

My friend works in SEO and has a few of these sites (but not this one). She creates a website with lots of key words on (so it appears high in google) then links to shops where she gets commission for clicks and sales. Notice all the ebay links? He's probably a third party seller of equipment that asked an SEO organisation to create a path to his shop, hence the bizarre claims/statements. Dan

[quote name='ray57' post='1228277' date='May 11 2011, 11:56 PM']Who cares?[/quote] Don't feed the trolls.

It depends on what you mean by thicken, surely. Distortion, Octave, EQ, Compressor, Chorus, all these will add more harmonic content but each in their own ways. Dan

The almost-horrible gig was with the same band. It was a fairly major local festival (crowd of 5000), but when we saw them sweeping huge puddles of water of the stage just before we went on, we called it off. I don't know who they put on instead, but the stage was swarming with paramedics within 10 minutes.

Yeah a Boss LS2 is a good choice and can be used as an AB blender. What band do you play with? Your effects and implementation sound right up my street. Dan

Played drums in a band with 3 synths, 2 guitars, bass, kit and 2 vocals. The venue had a 4-channel desk with only 2 inputs that worked.

If you're not using a hardcase or using a Ibanez Gary Willis signature (with 3-point tuning pegs), then this is just going to happen. The thing is, there are many, many things that will cause your bass to detune and the idea of not tuning before I go on stage and checking my tuning during a gig is preposterous. You really need to tune with a tuner before you go on stage [b]at least[/b]. I'm serious, you're probably out of tune and sound horrible. Really, very serious.

[quote name='thisnameistaken' post='1221152' date='May 5 2011, 03:12 PM']There's not a massive choice of modulation effects though, and the effects that are there often seem a bit too... specific. They aim to capture the character of well-known effects but you might not find a good generic effect in amongst the historic models.[/quote] I definitely agree with these ideas regarding modulation, I've just been fortunate enough to like the models on offer and tweaked them to fine-tune my sound. The tri-chorus has frustrated me though. It's very almost the sound I want but I can't tweak it to perfection :s

I use an M13. It has an effects loop so you could place your compressor after envelope filters (for example). There's a lot to play with and a couple of hours messing can produce some awesome results.

Hi Jake, It's Dan Owens (incase you haven't guessed). Welcome to the forum, and the inevitable purging of all spare cash and time! Dan

3!

[quote name='elephantstone' post='1213830' date='Apr 28 2011, 02:09 PM']sounds great, but i inly understood about 1% of that so, a lowpass filter with a high resonance?[/quote] If you understand the natures of cutoff and resonance and how they interact then you'll understand that if you set the cutoff in a midrange position and boost the resonance you'll get a peak that'll accentuate a midpoint in the EQ spectrum. The problem is, you'd then want to turn the overall level down so the peak doesn't clip everything. The problem with this is you'll lose the bass and low mid and all the interesting part of the sound. You could use a clean blend (which would be running the filter in parallel) to get the rest of the sound back, but then you might as well just go Octaver>EQ instead of doing stupid complicated things with a filter. Ask any questions and we'll try and answer them. Dan

[quote name='voxpop' post='1213600' date='Apr 28 2011, 10:22 AM']I thought the best sound for me is... Bass , fuzz then phaser.[/quote] I regularly distort post-modulation but never fuzz post-modulation; hence my question (that, had it been spoken rather than typed, would have expressed incredulity). Its always worth a try, but you might just end up with uneven harmonic distortion that sounds a bit wrong (although that may be your thing even with an acoustic female vocalist). OT but I used to love Bi-Amping with a country band I used to play with. The singer would say "ok I want this to be a bit bigger" so I'd kick in the Woolly Mammoth. We ended up embracing the unexpected and turn out an amazing electro/alt.country record. Dan

Are you going Bass>Phaser>Fuzz?

I'd also try running (in parallel) either a bandpass or a lowpass with a high resonance to get the mid-bump. TBH an EQ pedal in parallel would also do the job. I've used an M13 to get the FM/PWM/trianglewave thing that I've run in parallel to a sub to get that too. In fact, in preparation for a recent recording session I recreated a sound that's very similar to this but with a filthy, reece-y, squarewave on top. Yikes! Dan

[quote name='pantherairsoft' post='1199972' date='Apr 14 2011, 09:26 PM']Like the Choccy factory groove as well! Did you record it live? Certainly sounds it.[/quote] Hey Shep, Yeah it's all a desk feed since it's all improvised (around a basic structure). The groove's similar to a KJ Sawka groove that I love. Dan PS EP2 FTW

I'd go for earbud types that will block the sound rather than the active phase-inversion systems. Earbuds are going to be a lot cheaper which means you'll not worry about damaging them as much, they're smaller so can be wrapped up and shoved in a pocket if in a rush and you'll find decent pairs everywhere (Clas Ohlsen, HMV, Argos). If going for closed-back over-ear systems I'd be looking for fabric-covered cups rather than vinyl or plastic. After 2/3 hours of wearing closed-back-plastic-covered headphones, your ears and head could get sweaty and the plastic covering will quickly deteriorate (speaking from experience). My brother got a pair of cheap neoprene earbuds recently (£30) and I got a pair of Sony rubber ones (£35). Both of us are very happy with our purchases and I've ended up using my expensive AKG closed-backs for studio work only. Dan