pantherairsoft

As I recall, and i only saw demos of the 6 knob, the in lvl works a bit more like a mix, in that it allows you to control how much bass signal hits the reverb, at one end you have no reverb at all, just clean, and at the other end, you have full reverb. It isn’t a mix though per se, as it maintains ‘trails’. So if you ramp up the decay of the reverb, you can swell it in as you play, then pull the pedal back to stop more reverb appearing as you keep playing over the decaying trails. Of course, I may have misunderstood that myself as it wasn’t a feature of the version I had.

If I recall, @ped used to rock the VB99 as his go to for quite some time and used to swear by it.

I think it’s an effect that, unless you’re doing solo ambient soundscapes, you have to use in a subtle way. And much like a good overdrive, you need to ‘tune’ it, tonally speaking, to your bass a bit more than other effects. It’s very easy to kill your tone in a mix, but get it right and it can be an incredible enhancer. I primarily use it in synth bass style tones (though I admittedly use short rhythmic delays more now), or on fretless. But a good sounding subtle reverb absolutely has its place!

Also a Subsequent 25. Modulation into delay into reverb. Nothing else that beast needs. The Canvas line injector serves some good utility - the effects here are stereo, so it gives me a stereo out to the desk, but also lets me sum to mono via the thru for on stage monitoring or if I just need to rehearse with a bass amp. I use this on the tabletop next to the synth, not on the floor.

How are you finding it? I had the original 5 knob version, and it's hands down my second favourite sounding reverb on bass (and way more versatile than my first pick - Neunaber Wet, which just sounds epic). I was really tempted by this newer version, but the cost just felt a bit too prohibitive.

I have them both comfortably, both mounted with Cioks Grips on a Jr Max, but they also fit on my Classic 1 as long as you are careful with the placement (need to allow for the power lead, which needs a bit more room). I wouldn't want to use them both together underneath anything 22", as it'll get a bit cramped when you have cables connected to both sides of both units. I previously used GigRig, which I also liked, but I have a couple of cable failures and as I swap my board about a lot, I found I kept needing to buy more cables as I always wanted them at the perfect length. Cioks performance was just as good, but way less hassle. I also have a small PT Nano that I use with my Moog synth and that is powered by a Cioks SOL, which is just as good. I can't imagine ever needing another power supply.

I’ve used digital pedals with a touch of latency, sure, but it’s certainly not a ‘norm’ in my experience. I find most modern digital kit has no discernible latency (note ‘most’). The OC5, in my set up at least, has absolutely no sign of it. I’d think it was an OC2. To be fair, even in poly mode, the latency is barely noticeable. Only really when the filter is rolled back to its ‘lowest’ processing stage. I had a similar latency blip with the Eventide Pitchfactor’s octave when a heavy filter is applied. I can’t think of any other digital pedals I own that have any sign of latency at all, though admittedly all the digital stuff I own is fairly modern (no more than a couple of years since design).

I have this set up on my main board (DC7 and 8 expander), works like a charm.

I find this in the modern/poly mode, but not in vintage. In fact, if anything, in vintage mode I find is even more immediate than my OC2.

These are amazing. I have one and love it. Admittedly, I've replaced all the patches with Nine Inch Nails-style industrial noise, but that's not the point. Re: your QC comment, do you know if yours is a made in America, or one of the last batch that was made overseas since the InMusic acquisition? I've heard a few people that purchased these brand new in the last 12 months have similar complaints. This was part of the reason that 2nd hand prices rose even before they announced this was being discontinued, because people wanted pay a premium for a unit that was made in the Asheville factory before that stopped being a thing. Once they announced they were being discontinued, the prices jumped again. That said, still worth every penny. If you have a US-made unit with QC issues, I'm really surprised, as they took some real pride in every unit that left the factory, in my experience. I remember when I once had an issue with one of my Moogerfoogers, maybe 12 years ago. I emailed them, and then got a reply from the actual engineer that designed it. He said, "you could send it to the UK repair centre, but if you send it to me, I'll fix it up, and upgrade some parts for you - I can do it on my lunch break next week". I mean, that was service! There is a part of me that is considering selling this to get a 2nd hand US made 37 instead, just because I want more patches to save sounds in. I really love the size and format though. It rocks.

That’s an intense power requirement for four mini enclosure pedals! Your power supply probably takes up more total real estate than the pedal themselves

Yeah, it is, that’s a typo, but I was a OC2 before I swapped them over. In a live mix you can can’t tell the difference between the OC2 and the OC5 in vintage mode. So much so, that my OC2 went back on the cabinet because the OC5 has better output and just sounded tighter overall.

Second rehearsal with the new live electronica project coming this week. Session one was an eye opener for the overall sound I need and it’s let me cut the board back quite a lot… way too much stuff that got in the way of the keys. For the first time in ages I’ve put the PT Jr Max aside and downsized to a PT Classic 1. I expect a pedal or two to get swapped about over coming weeks, but the core feels solid. Worth noting that at no point during this do I have a clean bass tone. The OC2 (edit: OC5!) is always on as a minimum.

Sold a pedal to Bert. Great comms, quick payment, and hassle free. Can’t ask for more! Many thanks.