#38

mono only, right? or mono in stereo out?

1 Like
#39

I just have the alesis wedge
I haven’t had my full setup put together for a while (this being one of the pieces I’ve not been using)
but what I remember is that this pedal sounds crunchy with the cocoquantus + plumbutter combo I play with

the empress pedal is very tempting as it looks to pack a punch for the size

a real spring reverb would always be a plus too

#40

correct
it has only mono in/out

#41

I appreciate their design and decision to sustain engagement with their community of users by adding algorithms to the platform.

Are the ins and outs instrument or line level? I’m curious how it would sound on a send.

#42

Wow that looks super lovely to me. Do you have any sounds @glia made with this that you’d feel confortable to share?

#43

i sold mine but it was used on a few tapes you’ve likely heard

on orumi and qishr it was part of the fx chain (paired with bugbrand ptd)

mightve played bass thru it for hijiki konyaku dub but honestly cant remember with certainty


this whole track is moisturizer


1st minute is synth + 100% wet reverb

6 Likes
#44

i feel like a big dummy and this might prove to be a topic all on its own, but for the guitar-less and pedal-less few among us: how would y’all describe the DSP behind what’s happening in the linked video (particularly that ~5 to 5:30 marker)? y’know, that warbly half reversed half pitched tape-soundin’ stuff that’s trailing the guitar input? there’s gotta be a better set of terms to describe it…

1 Like
#45

Hmm, the window you described has a few sound samples in it, but generally I’d say the reversed stuff is a “reversed” (swelling in) impulse response, the warble is likely either modulated reverb time or the guitar whammy, and the washy stuff is the late reflections coupled with a low-pass filter.

EDIT: after looking at the specs, it also has a cabinet simulator, so that could be adding to the band-limited tape-filtery sound.

Sound On Sound always has great articles, and I found this near-exhaustive post on reverb in mixing that has like, waaaay too much info:
http://www.soundonsound.com/techniques/use-reverb-pro-1

1 Like
#46

I talk big like I know, but I don’t own one of these yet. :grin:

Their site, however, says that the output impedance is either 100Ω or 600Ω with a transformer. So, both I guess.

More specs listed here:

I don’t work for them, I swear. I’ve just been admiring this pedal from afar for so long.

#47

i use the party van fx chain. it really is great, and very deep if one wants to.

4 Likes
#48

Eventide space owner here - I love how it sounds, but I find the foot switch modes extremely confusing - i.e. I always end up with it in program select mode instead of tap tempo mode and can’t recall how to get it back.

#49

ah “press and hold the right footswitch for 2 seconds”

#50

this thing is gorgeous

7 Likes
#51

I was ogling over that thing the other night. They do great demos.

1 Like
#52

Love that channel. Was drooling over this:

3 Likes
#53

I saw this yesterday and thought it was really cool too!

Random diversion–I’m a little over a year into building my modular system, and every time I see a cool pedal I think about the fact that if I got it I would be adding more weight to my probably 80 pound pedal flight case…and how nice it is that I now have this light, contained suitcase of modules that is really easy to transport, hah.

#54

the lofi loop junky is good

#55

Curious what others use as a master compressor / limiter for your live performances?

I’ve been getting back into live looping and I’m thinking of adding a simple stereo unit to the end of my audio chain to even out the relatively wide dynamic range I work with. Something like the FMR Really Nice Compressor has caught my eye due to it’s price and praise for being “transparent”, but I really know nothing about the field hardware compressors, other than a lot of them are out of my price range :money_mouth_face:

#56

I liked the RNC but it would really benefit (and I suspect many master bus compressors would) from a crossover to mix dry bass back into the wet signal so you could rescue some of your bass from getting smushed. Otherwise you have to use slightly longer release times. Or some people send a high-pass signal into its sidechain input so it doesn’t duck the bass.

1 Like
#57

I like my EHX Platform. Ovnilab seemed to hate it but they never said why. I had a RNLA and much prefer the Platform - it’s a bit more brutish, much easier to get a thick, coloured and pumping sound, or just a gentle tasty squish. The FMR stuff is extremely transparent and has really touchy knobs. Great for studio but not so much for live in my experience.