1976fenderhead

[quote name='bartelby' timestamp='1330790949' post='1563073'] Just done a quick recording of the overdrive, distortions and fuzzes from Zoom B3. Each recorded: i) all settings 50% ii) gain 100% rest 50% iii) gain 100% tone 100% rest 50% All with blend at 50% 1) Overdrive 2) Bass Muff 3) T Scream 4) Dist 1 5) Squeak 6) Fuzz Smile 7) Great Muff 8) Metal [url="http://soundcloud.com/warm_leatherette/b3-od-dis-fuzz"]http://soundcloud.co.../b3-od-dis-fuzz[/url] Excuse the dodgy playing. If you want any redone with specific settings let me know I'll chuck up the EHX / B3 pedal comparisons tomorrow. I'm now off to Bristol to see Earth. [/quote] Yup, that's how I remember them

[quote name='Dave Tipping' timestamp='1330773393' post='1562726'] in a live environment I don't think anybody would know the difference. [/quote] I've read this type of comment on this thread a number of times and I really don't think it sticks (or should stick) simply because by that train of thought, we'd all, up to this, be using a board full of Behringer pedals and playing Squier basses because 99% of people in a live situation won't know better. So why do we use expensive gear? Different reasons for different people, but for those reasons whatever they are, a B3 won't satisfy most. I use Line 6 because [b]I[/b] can't hear the difference in modulations, delays and reverbs, but I don't use it for distortion because [b]I[/b] can hear the difference. Playing with gear you know doesn't sound its best is less than inspiring and therefore quite counter-productive...

I actually don't know anymore if what I said above is right or not, the more I read the more confused I get, I'll just accept I was always rubbish at physics and shut up

[quote name='BigBeatNut' timestamp='1330721945' post='1562321'] Wah isn't usually classed as modulation, but I suppose that between an auto-wah driven by an LFO, and a phaser/chorus/flanger/tremolo (driven by an LFO) ... well, it's hard to argue they're a different class of effect. Andy [/quote] That's a good point and helps clarify things: When you use an LFO to create auto-wah, the LFO is moving the focus of the filter up and down - the LFO is acting on the filter, NOT on the wave. Same as your foot on the wah. When you use an LFO to create flanger, phaser etc, the shape of the wave created by the LFO adds to the carrier wave creating a new wave shape. The LFO is acting on the carrier wave directly. That's modulation - the alteration of a periodic waveform by influence of another. Modulation and alteration or modification are not synonyms.

[quote name='pantherairsoft' timestamp='1330716937' post='1562209'] It is a band pass filter. When it starts being moved by your foot, or by auto-wah functions it is a filter being modulated. Modulation comes in many forms and is not really a 'effect' in itself. We class Phasers, Chorus etc as modulation and envelopes as filters but really they all come under the modulation 'family'. If we want to classify them correctly then a wah would be a filter and chorus, flanger, phaser ex would be LFO's. [/quote] I understand what you're saying, but the way I see it the definition of modulation in sound refers to when a wave's properties are changed by the action of a low frequency signal. In the case of a wah, you're changing the wave's properties by shifting the focus of a filter up and down the spectrum. In fact, it may even be said you're not changing the wave's properties at all, you're just limiting what part of it is allowed out. It's a bit like the difference between adding or multiplying and subtracting. So if you call wah modulation just because you're changing the wave, you can call ANY alteration to tone modulation, EQ, fuzz, compressor etc are all modulations because they alter what you hear. So in my opinion there's not only the less important question of semantics, that the definition of modulation refers to LFO-induced alterations, but also the more important question that 'dialing down' a targeted part of the spectrum is very different from changing its properties by throwing another signal at it. The signal modulates it, the filter filters it.

[quote name='pantherairsoft' timestamp='1330700147' post='1561847'] Wah is a modulation! [/quote] er isn't wah a filter?

[quote name='PauBass' timestamp='1330632895' post='1560844'] ummm, very, very tempted What are the overdrives/distortions like? Do they sound anything like the real pedals they emulate? [/quote] Not much. Personally, I thought they sounded fake and digital. Closest was probably the Boss ODB3 model (sounded as bad as the original ). This is only from a couple of days trying out the unit, which I returned and decided to stick to my Line 6 M5. Distortions are always that thing that multifx units don't do very well. Though in the M5 they also don't replace single pedals, I think they sound better than on the B3, except on most of them you lose bass and can't mix in dry sound. On the B3 they sound worse but you can mix in dry sound.

Why should I doubt the guy? He does a pretty good analysis if you read the whole thing. Anyway, the way I can most closely replicate the sound of the Color button with my SWR amp is by increasing Bass to 2 o'c, Treble to 4 o'c and cutting mids on the 800 Hz mark to 8 o'c... Not the same but the closest... So I'd say scooped mids at around 800 Hz and boosted everything else is pretty close, and if I'm gonna trust my ears, he's right ...and like you said, if you boost the mid knob it sounds less scooped. He says the same: the only way to get anything to show at the filtered mid frequency with Color on was to boost the mid control. And that's how I use it myself: with Color off I always find myself cutting mids and boosting highs and lows, with Color on I always end up boosting mids and cutting the other freqs...

[quote name='TRBboy' timestamp='1330606021' post='1560165'] IMO the colour pre-shape isn't heavily scooped anyway. [/quote] It is MASSIVELY scooped Check out the curve someone measured, flat EQ, color button on: Slight boost of highs and lows with cuts on the extremes of the spectrum and massive sharp Q cut just above 800Hz. This is the flat amp curve of a GK 400RB IV for comparison : EDIT: taken from [url="http://forums.musicplayer.com/ubbthreads.php?ubb=showflat&Board=5&Number=1726468&Searchpage=3&Main=126591&Words=+frequency&topic=0&Search=true"]here[/url].

It's my favourite DI. I love the Color switch when playing with a pick or going straight to the desk, but find it makes the sound too boomy when playing with fingers or into an amp, also in certain rooms with a very unfocused sound. Distortion is only useful with Blend very low, at 8 or 9 o'clock maximum, IMO. I rarely use it. With the Color on, it also makes just about every distortion going into it sound thunderously awesome There's an interesting trick some people use: Color is always active on the distortion channel, so some people put the distortion blend at zero and the Color button off, so when they engage the distortion they're actually engaging the Color preset EQ. Might be something that interests you? I had the Hartke Bass Attack but sold it, there was something I didn't like about its controls logic but can't remember what it was...

[quote name='BigBassBob' timestamp='1330332678' post='1555651'] Thanks. The MXR is really good although (to my ears) the EBS I used to have added more of its own character to your sound... was quite nice for fattening up the signal. That said, the transparency of the MXR is a different flavour, and it's more versatile. Looking back, seeing as I don't use compression a great deal, I probably would've been fine with the EBS. I definitely prefer the MXR. Cheers Higgie Bingo. [/quote] I agree, it doesn't add any colour, very transparent, and very versatile. The one thing that annoys me slightly is that the ratio knob isn't continuous, meaning I'd like to be able to dial a ratio between 4 and 8 and I can't. Since 8 feels too much, I have to stick with 4, although 5 or 6 would probably feel ideal for me. That said, with the other 4 knobs you can compensate for that and achieve a sound that's just as good. The Input knob in itself is invaluable and I wouldn't swap this for the EBS for that reason alone, as it allows you to set the compression threshold very precisely to suit your instrument and playing dynamic.

Ok, so I've redone all plugs caring to cut the black sleeve back... I can't really hear much difference between the cables now... because I'm looking for it, I guess I can say the dull cable is still a bit dull, but certainly less than before. If I wasn't looking for it, I doubt I'd notice... So it seems more likely it was the electrostatic shield touching the centre tip causing it, but I'd say there's alo a tiny difference coming from the cable being more stressed than the others... Anyway, problem solved

Thanks for the tips everyone. So first of all I swapped my spare and my main cables - this involved swapping the new right angle plug too, with one in the other cable. I haven't checked the previously dull cable yet, but the 2 now main cables are nice and bright. I also confess I didn't know that the black insulation (electrostatic shield) had to stay well clear of the centre tip. I looked at all my cables and though it doesn't seem like it's touching it apart from on one of the plugs (out of 6), it's dangerously close because I haven't been stripping it more than the the transparent shield inside. So tomorrow I will detach and reattach all centre tip contacts making sure to remove that black shield properly before reattaching. Thanks all for the info once again!

[quote name='LukeFRC' timestamp='1329919794' post='1549722'] new cable, same plugs- and you get to practice the soldering again! [/quote] Yeah, I'm going to swap them, my spare (least used) cable becomes my main one (after cut a bit shorter as it's too long) and this duller one becomes the spare... Thanks. Btw, could you explain what physically causes those changes in capacitance and resistance in a stepped on/stressed cable? (meaning, the breakage or wearing out of such part causes such to happen, etc)

[quote name='LukeFRC' timestamp='1329919004' post='1549693'] no what I mean is that you say you have been using the same cable for a number of years. In that time has the cable been stood on? or wrapped tightly, or tied in knots or anything? That will damage the cable over time and change both it's resistance and capacitance. My guess would be that your solder is fine, but the cable is worn. [/quote] Oh sorry. I use both equally but this is the one I use between the bass and the pedalboard so I'd say it has been stepped on more, yes. Also I've ran over it sometimes with the wheels of my desk chair (with carpet underneath)... hmm...

[quote name='LukeFRC' timestamp='1329917750' post='1549652'] have you stood on the duller one more than the other one? [/quote] No, trying to play the same exact notes for the same amount of time. I've now A-B'd these two with another cable (same thing except even longer cable and both plugs are straight) and that's also brighter. So only this one, shorter with 2 right-angle plugs is a little duller than the other 2. I've looked at it again and there's a tiny single thread of the mesh which may be touching a metal part of the plug (hard to explain), could that be it? I can't reach it without unsoldering so may as well repeat the whole thing again

I have 2 cables I've been using for years, which I soldered myself: First cable is van Damme with Neutrik plugs (one straight and one right angle) Second cable is van Damme with Neutrik plugs (both right angle), 1m shorter than the other one. This week I replaced one of the right-angle plugs on the shorter (second) cable, as the tip was coming off. When I A-B them, the second cable sounds a bit duller. I don't know if that was the case before, as I don't remember if I A-B'd them before... So since they're all Neutrik plugs and the same cable, I'm putting this down to either my soldering or the solder I used (I'm not sure if it's the same solder on all jacks)... Any tips on how a good soldering should be (am I using too much/too little?) or what solder I should use maybe, if that's what's causing this? Thanks.

[quote name='Mykesbass' timestamp='1329850763' post='1548560'] Unless they've gone way down hill in the last 5/6 years I'd have to disagree, they used to be very good budget kit. [/quote] I bought one new I was using as an expression pedal (it was meant for that usage as well as volume) and the toe down position would 'decalibrate' mid-use... So say you'd rock it forward and it would go to max value, than back and forward again, it would only go to 90-something percent. Then back and forth again, it would top on a different value. Rubbish. Also, it would cause no change to the effect for a bit in the beginning of the sweep, and then suddenly move very fast to say a third - it didn't sense movement for about the initial third of the sweep. And the range of movement was so short it was very hard to control it with any precision. None such problems with the Ernie Ball.

[quote name='EBS_freak' timestamp='1329841560' post='1548326'] Yeah, just checked out the website for the Dunlop... does seem nice. [/quote] I've just read that they intend to release swappable pots. That would be great, as with one pedal you could adapt it to passive, active or expression pedal uses. I actually had to sell one Ernie Ball to buy another one with a different pot to use for expression, as even if you swap the pot they won't work properly...

Yeah, Ernie Ball user here too. The new Dunlop seems to be good as well, but it's MASSIVE... Bespeco are a bit sh*t but I guess if you want to spend as little as possible they'd probably be good enough...

[quote name='aldude' timestamp='1329730800' post='1546352'] It probably depends a lot on the sound you get/want from your bass... the B3 (and other synths I guess) detect the frequency of the note and if there are a lot of mids, harmonics or whatnot the synth has more difficulty in tracking the actual note being played. [/quote] Or maybe if there aren't enough mids - I always have a slight cut on mids and slight boost on lows and highs on my bass....

Sounds pretty sweet that.

[quote name='pantherairsoft' timestamp='1329591068' post='1544710'] You could get a GigRig adapter to provide it more juice (like the SupaNova etc - just pick the right one for the voltage etc), expe dive though. Nice board by the way. [/quote] Yeah I think I could use the EvenFlo + a reverse polarity adapter, or 2 new isolators, either solution would cost me £40 - £50 which is a bit too much... :/

Made complete with the purchase of the compressor this week Annoying thing is, I have to give M5 its own PSA due to noise, so using 2 in total. Only solution I can think of is to isolate the T-Rex and the MXR (the synth already is isolated), as the M5 draws too much current to use with an isolator :-/ My other pedals currently not on the board: - Korg Pitchblack - MXR M80 - SFX Micro Fuzz - Ernie Ball VP Jr - Dunlop Cry Baby 105q