krispn

Once any of us understands the interface be that on a bit of hardware or software it will be less of a barrier and while having knobs etc to tweak might seem more intuitive it's not always obvious if there are multi function on the same buttons etc. There's a learning curve with any new kit is gonna be a few hours at least beyond the most basic three knob pedal but given an hour or two messing about tweaking/pushing buttons/trying some thing out and basic trial and error anything which isn't glaringly obvious can quickly be found via a you tube tutorial or a manual. It's like the Alesis SR drum machine - if you've reached the limitation of what it can do or just want an more authentic sound then maybe it is time to upgrade but if you feel like there is still some learning to be done on that unit it feels quite intuitive once you get your head around the quantize and the basic recording function - it's basically the same step to record each sound be that the kick or snare etc but obviously one would need to understand the basic's of how that hardware is set up to work and some rhythm knowledge/terminology too! I'm by no means a master of the software stuff I use but I've used it enough to figure things out on my own or in conjunction with you tube/manual. EZ Drummer is super easy (hence the name right!) and if you want actual, recorded drums (as well as individual samples) plus the ability to make your own beats it's as a good a starting point as any. It opens as a stand alone program and it can also be used in a DAW i.e. you can mess about on you pc without a DAW. I was looking at it when I first got it thinking how do I get the drum samples into my DAW? It was a simple 'Drag and Drop' but it never occurred to me to simply pull the drum loop across D'oh! Some might say it was pretty 'intuitive' - it's so bloody obvious now as to be farcical but there you go! I suppose the debate over drum machines may vary from user to user and what's it's needed for - basic demo's or for live use with a band - but be prepared to put in some time learning the unit. Just because something requires a few solid hours of use (I'd say a good 10-12 hours taken in 2 hour blocks can feel like time well spent on a lot of this stuff) doesn't make it clunky or un-intuitive and in fact most of this type of gear really reveals their potential when the user has taken the time to get to understand what it can really do. As an aside Logic Pro for Dummies has been ordered off Amazon as I know there is so much more available to me in that program which I'm not really making use of!

It may work on other devices too but your phone isn’t listed in your signature 😀

*think the app works as the full editor

I think the app on iPhone works too now since the update. That was certainly what a lot of users were punching for. It’s a lot of fun to muck about with and you can always just reset to ‘factory’ if things get too ‘involved’

Easy answer on the Spectracomp - it’s controlling way more than one parameter (40+ at least) by turning the knob up. The editor app will tell you and show you exactly what you need to know should you feel daring and take the plunge!

@mcnash I had a 48 5 string and the pick ups are basically MM/P in the bridge and neck positions. The covers are the only for the look and they aren’t meant to be voiced moline a tbird. I felt the bass balanced really well and it looked cool as! I do still have a VM4 you can have a whack at tonight when you pop over. I’m happy for you to take it away for a few days to compare with your existing heard too as that’s always more

Hahaha @mcnach you been up all night playing that bass 😀 Yeah @lou24d53 The tone styler basically has a heap of capacitors which you ‘click’ through (mine has ten positions) from bypassed aka ‘tone wide open’ through to the equivalent off tone pot fully ‘closed’. Each ‘click’ across the range employs a different cap and as your sound gets less bright it’sremoving top end as well as shifting the mids so you get this gradual top end roll off as well as some nice voicing about the mid range happening. I know for this ‘PBird’ it really nails what I was looking for about 6 clicks back from the wide open position. There’s a ‘grindy’ mids thing which matches the bass/pick up nicely. It’s a cool device and while you may not use every ‘position’ on a gig there will be a couple of ‘voicing’s’ which will be your new sweet spot. That’s certainly been my experience.

...or facebook?

He’s bound to be on Twitter!

If it’s the better sounding pedal then it’s worth considering. I think the sound Ed gets in his video with the pedals linked is really good. I’m not sure if he mentions how the link operates in that review.

@Al Krow there’s Chunk System 00Agent Funk MkII in the for sale. I believe it has an input to link it directly to a fuzz. Might be worth a punt if you’re still on the hunt to fill the No.1 slot on your board. Ed Friedland (who else) has a demo up on you tube and if sounds funky especially when linked to the CS fuzz he demos too.

I’ve no real skin in the game or idea about the whole Yamaha thing- origins, models wood types etc but the vintage neck thru does seem to be what the die hards lust after. As an owner of a 734A it’s a really well put together bass and cracking value (for what I paid). A friend of mine bought a Yamaha bass way back in the day when we were both learning. This must have been the mid 90’s and I could never get on with the look of it and I don’t recall the experience of playing it - It was just wrong in my eyes, a bit bloated and unseemly. As an aside I was big into No Doubt and loved the bass sound on those album (Sunday Morning is an all time fav) but even then I put that down to studio recording over the actual instrument (I was in my teens and knew everything)! These new BB’s really do strike the balance between value, quality and form. I’m a proud owner and it may have taken me quite a while to get here but I’m enjoying it. I’m still not sure of the allure of the older ones but if the current range are anything to go by they’re clearly doing something right irrespective of the colours. I’d much rather have a BB734 (minus the active) in black than spend the extra on a BBP34 but I think I got a good deal on a great bass. To qualify I have a few basses and they all serve different purposes. As Andy alluded above I can tell all them apart and they all do something differently. My Frankenstein p does it’s thing with an awesome neck profile (for my hand) and invokes a previous ‘vintahe’ bass and all the good times associated with it. The 734 pulls me in another direction equally as satisfying. A recently acquired addition has a whole other vibe which I’m really enjoying the nuance of and hope to explore more over coming gigs it’s super comfy, nails that vintage mid range, flat wound thing I’ve always enjoyed as a player and it’s cool as feck.

If you're thinking about buying a second one gimme a shout and take a wee trip up to Edinburgh

@dood I still have the natural finish PB70/Shuker and it's a keeper

DiMarzio Model j but to be fair it’s not voiced like a traditional jazz.

I’m 4”10’!

Because you know it makes sense in your head to have everything hooked up and available to play. Same logic from me is all.

No need for the hostility I’m just asking some questions and offering some tips on the Stomp patch you posted, and suggested could be improved on, I couldn’t see the other parameters so offered my views. Same with the synths and and some of these newer multi fx. I’ve found the pc editors to be really useful on the HX Stomp and on synths, albeit the ones I use are software to begin with. Even if one doesn’t fully understand what’s happening it’s pretty good for connecting a sound to a parameter or synth term. Often times the editors UI can be more intuitive that the pedals themselves due to sub menus and the limitations of size and only having few buttons often having different functions at that. Most of my playing at home is via a daw and plug ins so maybe I just feel more comfortable navigating parameters this was. A laptop screen with everything available just works better for me than a tiny screen with multiple sub menus. It’s not always that obvious when there’s additional pages etc. to access. Of course you’ll do as you like but it surprised me that with all these threads asking for patches, tips and tricks you’d take the hump when advice is offered. If Im on your case it’s simply because I know these pedals hold a huge potential for creative ventures and you’re always so vocal in your passion for the instrument and creative fun with your gear at home. I’m just surprised you’ve not got round to it yet is all.

Tedious as ever!

@Al Krow No need to quote me if you want to politely tell someone to keep their nose out of your business but to be fair you did convince the guy to start a Future Impact thread where he’s put in what appears to be a lot of effort and time to give an overview and insight into the pedal and promote patch sharing.

It’s not thatgthe Stomp is crap at it but it pays to get the patches set up correctly. If you scroll Tron Up patch to the second page of parameters you can set the band pass which adds in much more bottom end. It sounded weedy in the other two settings. If you haven’t got that set up correctly it’ll never sound good even with the parallel clean is my guess.

Be good to hear some clips as that filter funk can sound great in the right context (not the pogues)! . I wasn’t really into the filter sounds on the Stomp but did give them a go. Did you much about with the band pass filters on that tron up setting you posted? I found anything other than lo band pass just sounded weedy and not suitable for bass.

You don’t have to get a Spectracomp before you take a punt on the becos comp - you already own the Spectracomp!! The Noah’s Ark approach to pedal board building (two of everything) must be getting out of hand if you’re forgetting what’s on it 😀 I’ve mentioned before I've no need to make my bass sound like a keyboard. Synth bass isn’t something I generally need in my bands just now. I know my audience and Pogues covers do not sound any better with synth! You appreciate the joy of having creative fun at home with your gear and for me learning keys is an ongoing episode in my musical journey. Being able to mix and edit music at home has given me a good insight into sound(s) and mixing down and love tracks form the band. It’s a bit of a labour of love but it does help when out in the trenches and something plays up - an errant frequency or a dodgy hollow stage. Nice edit to the final paragraph. I was simply pointing out that a synth keyboard would likely have the same controls, possibly more so than the volca but not knowing what your particular synth is capable of or having had a look at the volca on anything other than a superficial level. However if the Symposium of Synth©️ have spoken then I’d take their word over mine. I’ve been busy what with life and work can get in the way of gear🙃