tag:blogger.com,1999:blog-48667698029672030632024-03-19T03:59:36.994-07:00Eric's Gear PageLots and lots of gear (and pedalmakers, stores, and shows... mostly in Seattle)thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.comBlogger205125tag:blogger.com,1999:blog-4866769802967203063.post-27793972922988321902016-09-25T17:21:00.001-07:002016-09-30T18:43:41.607-07:00Digitch XP Series Program/Patch List<a 1em="1em" float:="float:right" href="http://ubik.crumpled.com/gearpage/GearPics/xp1000.jpeg" margin-bottom:="margin-bottom:" margin-left:="margin-left:" right="right" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/xp1000.jpeg" /></a><br />
<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Aside">Aside</a><br />
<br /></div>
</div>
<div style="text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Digitech">DigiTech</a></div>
</div>
</div>
<br />
<h3 style="text-align: center;">
<span style="font-size: large;">Program List</span></h3>
<br />
I've been planning to start writing about pedals again (hence the <a href="http://ericsgearpage.blogspot.com/search/label/Devi%20Ever" target="_blank">Devi Ever pedal builder post</a>- I'm planning to review the Soda Meiser I picked up recently. Spoiler alert: it's awesome), but... time marches on, and it's probably time to include some video. Work in progress... it'll happen...<br />
<br />
But for right now, I was playing with my XP-1000 and there are <i>a lot </i>of presets in that thing.<br />
<br />
<a href="http://adobe.ly/2dkDLRb" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEG4vA_oD0dPhrASXQHkFZg_TyaHTlPKvOEA4qGCM1vVbZX-KyxWU2TZ5ENk1-_WPKjaUBXLrCjNH77VjSjv1H314ybSoTokrUf8eKsgQVWlpp-bZLY6BUn1NQBZxBl25ecfwiORHsXlCW/s320/XP1000.png" style="float: left; margin-right: 10px;" width="252" /></a>And the program lists have mostly vanished from the internet... so I made one. Not sure where to put it, I uploaded it to Adobe.com (it's a pdf, after all). Hopefully it lasts a good, long time, but the internet is an inconsistent, unreliable place. Since the preset lists for the XP-100, XP-200, XP-300, XP-400 all used to be available online and are now very hard (if not impossible) to find, I encourage anyone who finds this useful to download, repost, and redistribute this wherever it's needed.<br />
<br />
If the format is awkwardly long: blame Digitech. For some reason, the XP-100 Whammy/Wah and the XP-300 Space Station have sequentially numbered patches, and the XP-400 Reverberator and (especially) the XP-200 Modulator have unused numbers between their patches. Seriously: the 200 doesn't have 61 presets...<br />
<br />
I chopped out what I could, but this is the way the layout made the most sense to me.<br />
<br />
Hopefully, the XP-All users (or anyone just looking for a Space Station program list) have a use for this.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com2tag:blogger.com,1999:blog-4866769802967203063.post-57100004743031051372015-05-29T20:49:00.003-07:002015-05-29T20:49:40.562-07:00Devi Ever FX<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYH-07zaPNsNoX6JMxnoCjhu9ey4TFb2_vaJ-bjBmMSt8o84unXCD-smGX22PzuIFvDOaWphv8AcK8ThhgU2ALIdZgk28xIl9Nf2h7icwOzSRnYn0yICczDTUKCqFUUAZRDw7wP1OYiZm0/s1600/deviever.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYH-07zaPNsNoX6JMxnoCjhu9ey4TFb2_vaJ-bjBmMSt8o84unXCD-smGX22PzuIFvDOaWphv8AcK8ThhgU2ALIdZgk28xIl9Nf2h7icwOzSRnYn0yICczDTUKCqFUUAZRDw7wP1OYiZm0/s200/deviever.jpg" width="200" /></a></div>
According to the FAQ, Devi Ever is no longer affiliated with Devi Ever effects, which is... unfortunate, but understandable. Devi Ever pedals were pretty ubiquitous in the Pacific Northwest, and they were a wide range of fairly crazy, loud-to-louder-to-way-over-the-top fuzzes, which (when I tried them in stores) showed the benefit of imagination and the drawback of the kind of fizzy, splatty fuzz that "way over the top" tends to propagate, so I wasn't sure I'd ever put up the money to actually buy one.<br />
<br />
I sort of admired their audacity from afar.<br />
<br />
<div style="text-align: right;">
<a href="http://www.devieverfx.com/" target="_blank">www.devieverfx.com</a></div>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-47189796371219323022013-12-30T19:56:00.002-08:002013-12-30T19:56:51.943-08:00Been a while...<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Aside">Aside</a></div>
</div>
</div>
It occurs to me that I have been neglecting this page, but I have a really good excuse:<br />
<br />
I'm broke.<br />
<br />
Have been for a while, actually-- A lot of this page has been about pedals that I have owned for quite some time, but without the finances to buy new pedals, I obviously won't have new pedals to review. It's fine for me-- my live board for ubik is solid and doesn't need any more stompboxes-- but this bout of poverty does lend itself to a kind of <i>no new pedals</i> philosophy that prevents me writing about them.<br />
<br />
It has been a while, sure... but that's why. The reviews still get plenty of hits and the content still stands, but new pedals are sort of hard for me to come by right now, so...thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-37973686477446330752013-01-06T16:22:00.000-08:002014-01-16T21:57:04.139-08:00Alesis SmashUp<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Alesis">Alesis</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Dynamics">Dynamics</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/smashup.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/smashup.jpg" /></a></div>
<h3>
Multi-Comp</h3>
Okay... I admit it. I'm probably never really
going to review this effect properly. It's functional, and, back in the day, I used it
as a bus compressor for things where "functional" is good enough. My basic complaint about this unit is my standard gripe with all digital emulators: whether they're algorithmically recreating transistor pedals, tube amps, ladder filters, or opto-compressors, they're never <i>quite</i> right.<br />
<br />
They're always Elvis impersonators-- They're never Elvis.<br />
<br />
Again, this is not to say it's a bad-sounding compressor: its opto and "classic" modes are fine, "pump" is a good compressor-as-effect setting, and "transparent" and "de-ess" are useful tools... but most of these functions are available within any given digital audio workstation. Given that the SmashUp is over a decade old, its digital emulations of compressors are much, much less advanced than the channel strip bundled in a copy of Cubase, Ableton, or Sonar. <br />
<br />
While something like the <a href="http://ericsgearpage.blogspot.com/2011/06/alesis-bitrman.html" target="_blank">BitRMan</a> has its own personality, and would reward running its strange chemistry as outboard gear, the SmashUp is aiming for standards. If you need an outboard compressor, get the analog unit with the character you like; if you want a digital compressor, use a software version and avoid adding an unnecessary AD/DA conversion to your sounds. The SmashUp has drifted into obsolescence.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-53860938040596267442013-01-04T11:00:00.000-08:002013-01-04T17:25:31.031-08:00Epiphone Vinnie<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Epiphone">Epiphone</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Instrument">Instrument</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
</div>
<h3>
Les Paul</h3>
<a href="http://ubik.crumpled.com/gearpage/GearPics/Vinnie.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ubik.crumpled.com/gearpage/GearPics/Vinnie.JPG" width="113" /></a><br />
I know absolutely nothing about this bass' namesake-- it's a signature model of a bassist I haven't heard for a band my friends assure me I'd hate. And that's fine: I don't need to like any particular band to <i>love</i> this bass.<br />
<br />
Which I do. I love it. A lot. If it had been a 24-fret instrument, this would have been transformed into my ubik.tenor... if only.<br />
<br />
<h3>
Preconceptions</h3>
I had initially assumed I wouldn't like Gibson-style basses: their necks and string spacing just didn't seem right to me. Upon playing the Vinnie, I was surprised by how natural it felt: the neck was sleek and comfortable and, while wider than I was used to, avoided that Fender "half a baseball bat" neck that always bugged me. Right now, this is my absolute favorite bass for two-handed tapping techniques; the neck is great for that.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNxMuabr7FcgPMjk8j9ev1ageAPZXe_HvV2MqO4uNfjib6LTpC6w7OLfiA8EazV0Kqk_yK47xeA0VgG9ar-1h0qYaGJqRNZmHRTP8G7_vT-CD5BsiCwqoWFT9KBrUReKy1_8Til-vcCC8/s1600/VINNIE.jpg" imageanchor="1" style="float: left; margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNxMuabr7FcgPMjk8j9ev1ageAPZXe_HvV2MqO4uNfjib6LTpC6w7OLfiA8EazV0Kqk_yK47xeA0VgG9ar-1h0qYaGJqRNZmHRTP8G7_vT-CD5BsiCwqoWFT9KBrUReKy1_8Til-vcCC8/s200/VINNIE.jpg" width="73" /></a>
The Vinnie is punchy and aggressive sounding, running a pair of active EMG pickups with a fairly hot output. While I wouldn't use it in a jazz combo, it's a dead solid for rock from 1970 and on into punk and metal. The last time this instrument was on stage with me, it was for a pick-driven punk rock set, and this was absolutely the right bass for the job.<br />
<br />
<h3>
Aesthetic</h3>
<br />
Beyond that, this bass is just gorgeous. I'm predisposed to archtops to begin with, but the dense, sculpted Les Paul body with the arched flame maple top is stunning. I'm also a fan of the 2x2 headstocks, so the whole composition of the bass is sort of built to my preferences.<br />
<br />
I like stringing it with <a href="http://ericsgearpage.blogspot.com/2011/05/dr-black-beauties.html" target="_blank">Black Beauties</a>, because they look great across the dark finish of the body to the maple neck, and with the all-black hardware. A lot of the time, I'm not picky about a bass' looks, but this one is just so damn pretty...thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-29029168050570072252012-12-11T22:06:00.003-08:002012-12-11T22:06:54.973-08:00DigiTech Main Squeeze<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Digitech">DigiTech</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Dynamics">Dynamics</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Sold">Sold</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/MainSqueeze.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ubik.crumpled.com/gearpage/GearPics/MainSqueeze.jpg" width="128" /></a></div>
<h3>
Studio Comps on the Floor</h3>
One of DigiTech's digital X-Series stompboxes, the Main Squeeze used
studio compression algorithms for a guitar-syle compressor/sustainer,
allowing for both the snappy attack of "chicken' pick'n" and the
Gilmour-esque "sustain for days." It did a decent job on both counts,
but there was something not-quite-right about the whole affair that I
could never put my finger on. It is a digital box-- this is using the "intelligent," adaptive compression developed for rack modules-- but it is still a low-cost Digitech pedal, and the buffers, preamps, and AD/DA converters are all of budget stompbox quality. When turned up, compressors naturally
raise the noise floor of any signal, but this was was outrageous: going
for that "infinite sustain" sound usually sounded like a windstorm.<br />
<br />
<div id="pb" style="background-color: #dddddd; float: left; margin: 5px; padding: 5px; width: 200px;">
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: 'Courier New',Courier,monospace; font-size: x-small;">Formerly <a href="http://ericsgearpage.blogspot.com/p/pedalboard_01.html">On Pedalboard</a></span></div>
<div style="text-align: center;">
Replaced By:</div>
<div style="text-align: center;">
<a href="http://ericsgearpage.blogspot.com/2011/04/jacques-fat-burner.html">Jacques Fat Burner</a></div>
</div>
Eventually this pedal was sold simply because it wasn't going to serve me very well as the first pedal on my <a href="http://ericsgearpage.blogspot.com/p/pedalboard_01.html">pedalboard</a>.
Both engaged and bypassed, this was definitely not the unit I wanted
being the first shaper of my tone. Also, the nature of the digital
modeling pedal insisted on a power supply at a time when I was using as few wall-warts as possible (once upon a time, it was a mostly-battery board). The cons were outweighing the pros, and, even now, I can reliably say I traded up when I got rid of this pedal.<br />
<br />
The Main Squeeze wasn't terrible, but there's better comps out there. I replaced this with <a href="http://ericsgearpage.blogspot.com/2011/04/jacques-fat-burner.html">Jacques</a> compressor, which is smaller, analog (and battery powered), sounds better, and had a great buffer in the bypass.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-16884115571585516912012-12-06T13:30:00.000-08:002013-01-22T04:20:22.341-08:00Catalinbread Echorec<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Catalinbread">Catalinbread</a></div>
<div style="margin: 0px;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Echo">Delay</a><br />
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Sold">Sold</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
</div>
<a bp.blogspot.com="bp.blogspot.com" catalinbread-echorec.jpg="catalinbread-echorec.jpg" chi989eni5w="chi989eni5w" cu="cu" href="http://www.blogger.com/href=" http:="http:" ka4jnpx4="ka4jnpx4" s1600="s1600" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" zyszkt0i="zyszkt0i"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAJ82pzMyLobWliav9qiHbFo89bSrE1vfASr_fzzwln4qCZ8R7NAsx0MAkWioLEJwYYMyPgxb1sVutTidN-wiYBm-R23Ic31c97MoJE1ShcKod3xkArA7-bNZuDc61Q8XZqvhEhtBPerkC/s200/catalinbread-echorec.jpg" width="172" /></a>
<br />
<h3>
4-Head Echo</h3>
Based on the Binson Echorec, a not-exactly-tape, 4-playback-head echo machine, the Catalinbread Echorec is built for that specific style of multi-tap echo. As I flipped through the Program select and found a pulse I recognized from Pink Floyd, I had a <i>eureka</i> moment: "<i>That</i>'s the David Gilmour rhythmic echo."<br />
<br />
Before that, I'd forgotten that Floyd was the Echorec's standard-bearer. When I heard this pedal, it clicked.<br />
<br />
Aside from Swell (the feedback control) and delay time, the Catalinbread comes with an active tone control and a Program selector knob that controls which tape heads are active. Program 1 is a straight, single tap, like on any normal delay pedal, and additional heads are added in a variety of configurations throughout the 12 positions of the rotary knob, with Program 12 being all four heads active. The Echorec manual comes with a chart that breaks down the 12 programs and which heads each activates... I recommend keeping that chart around, at least until you have your preferences memorized. You can discern which, and how many, heads are firing by listening, but switching settings in the middle of a live show will necessitate knowing which Programs you're using for which song in advance. So: keep that manual.<br />
<br />
There are internal trimmers to control the modulation (simulating the magnetic decay and warble of the original Binson unit-- it can be rolled all the way back if you don't like the modulation, or turned up from the fairly subtle default) gain (originally set to unity, but able to boost and drive the signal), and a true bypass/buffered switch.<br />
<br />
I recommend running this pedal in true bypass if you like really <i>present</i> echoes, because, while Catalinbread is rightfully proud of their buffer, the Mix control remains active even when the pedal is bypassed. Since the Echorec goes from 100% dry to 100% wet, this won't affect you if you keep the Mix knob at noon or lower, but the more prominent the echoes get from there, the quieter your dry signal becomes... even in bypass. This seems like a bit of a design flaw to me, since setting the pedal 100% wet means you get no instrument signal even when the pedal is bypassed, but it is quickly resolved by switching the pedal from Buffer to True Bypass. It does remove the option for trails, though.<br />
<br />
<br />
<h3>
Making Choices</h3>
Though I was very excited for the release of the Echorec, and I do like the character of the echoes (I've never used the Binson and can't really compare the Catalinbread to the original unit... but it does sound good), I prefer the wet/dry blend of the <a href="http://ericsgearpage.blogspot.com/2011/05/catalinbread-montavillian.html">Catalinbread Montavillian</a>, which keeps the dry signal at unity and allows the echoes to be as quieter or (most importantly) louder than the unity dry signal.<br />
<br />
This is certainly no knock against Catalinbread-- their new echo pedal just isn't going to replace the Catalinbread echo already on <a href="http://ericsgearpage.blogspot.com/p/pedalboard_01.html" target="_blank">my board</a>-- but for the songs I'm playing and songs we've already written, the Echorec just didn't make sense: I'd need more present echoes, so I had to run it true bypass and didn't benefit from the trails, and a lot of our songs rely on my straight-time echoes, so I wasn't setting the Echorec to make use of the multi-head rhythmic delays.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://proguitarshop.com/media/cms/video/catalinbread-semaphore-too.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="161" src="http://proguitarshop.com/media/cms/video/catalinbread-semaphore-too.jpg" width="200" /></a></div>
I think I would be more interested in a "deluxe" version of the Echorec, sort of like their big-box version of the Semaphore. I'm certain the Echorec v2 will fix the Buffer/Mix knob issue, but a larger box would give a little more room for visual feedback and control: like four toggle switches (one for each playback head) instead of a 12-position Program knob that necessitates the use of a chart (and, since it's not a detented knob-- it doesn't click into place-- there is a tiny "dead spot" between each of the 12 programs as you turn the knob)... or maybe four small LEDs to indicate which heads were active. thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com1tag:blogger.com,1999:blog-4866769802967203063.post-57250196009003873662012-12-04T18:34:00.000-08:002012-12-04T18:34:17.153-08:00L.R. Baggs Para-Acoustic D.I.<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/LR%20Baggs">L.R. Baggs</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Accessories">Accessory</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Status:</div>
</div>
<div style="margin: 0px;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/LRbaggsParaAcoustic.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ubik.crumpled.com/gearpage/GearPics/LRbaggsParaAcoustic.jpg" width="188" /></a></div>
<h3>
Preamp<br />
</h3>
It's always harder to put in the money for a piece of gear like
this than it is to buy a fun and sound-transforming effect, but I threw
in for a quality preamp and DI, with a nice EQ and all the trimmings.
After all the years of use I've gotten out if it, this was one of my
wisest investments.<br />
<br />
The sound quality of this box is fantastic-- intended for
acoustic guitars or not, it is a bassist's best friend, with fine
retention of the low frequencies and a flexible equalizer that can shape
bass tone exceptionally well. Being an active unit, it offers both
input gain and output volume, allowing for some well thought out
gainstaging, and can be used for some lighter breakup, if needed. The DI
can be powered by 48v phantom power off a mixing desk, as well as by 9v
batteries.<br />
<br />
While I use this in the studio, live acoustic players will get a lot of use out of the feedback notch option (selected by pitches, allowing you to dial out whatever tone you're feeding back). Similarly, the effects loop (set up like an effects insert on a mixing board, with a single TRS jack) is great for running effects without interfering with your DI or the XLR connection to the sound system. XLR and 1/4" outs are provided and can run simultaneously for driving an amp as well as feeding a mixing desk, and a phase invert switch is on tap in case you're getting phase cancellation.<br />
<br />
Most everyone needs a DI, especially in the age of computer
home recording. This one sounds better than most, and is incredibly
flexible for both live and studio work. thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-49291698012859642702012-12-04T18:17:00.000-08:002012-12-04T18:18:43.424-08:00L.R. Baggs<br />
<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/LR%20Baggs"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKBMkM4JlzoRG8rZmvB8ncl5mmA2MZOkYMUFb74bthpc72DTwkKQBvrDJ6vD_WwADF0SiTKMTWajaa2R02VNybOISR7dIsMvHsVXmxCdHUtGhspIDTVpk2bsUijviTGeydSaKWgQ0M5IC/s1600/LR-Baggs-logo.jpg" /></a></div>
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/LR%20Baggs">L.R. Baggs</a> is primarily concerned with acoustic guitars and other non-electric instruments, which isn't one of <i>my </i>main concerns, but most people putting together a well-equipped studio will find some useful tools in the L.R. Baggs catalog. Their focus is on pickups, preamps, and DIs, but their company leans toward higher-end (though not egregiously expensive) pieces than the club-standard DIs or... well... that one acoustic guitar pickup everyone has (not naming names, but you know, <i>that</i> one).<br />
<br />
<div style="text-align: right;">
<a href="http://www.lrbaggs.com/" target="_blank">www.lrbaggs.com</a></div>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-77754589661515461442012-11-30T12:30:00.000-08:002012-12-17T21:33:15.919-08:00Fuzz, Overdrive, or Disortion<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Aside">Aside</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Distortion">Distortion</a></div>
</div>
</div>
A lot of people draw lines between Fuzz, Distortion, and Overdrive, and after a lot of nit-picking, name calling, and internet squabbling, I've decided that these lines are a matter of personal definition. I'm defining them here, on my site, because I write about these pedals frequently and it makes sense for me to define my terms.<br />
<br />
Yes-- <i>I</i> am defining <i>my</i> terms, fleshing out the way I work on this site. Complaints can be lodged and discussed on the effects pedal forum of your choice... but please leave me (and my comments section) out of it.<br />
<br />
We're capitalizing these subsections because, well, technically these are all distortion pedals-- they all literally distort your signal-- but the intention of how a Distortion pedal distorts a waveform is different from what a Fuzz pedal does to it.<br />
<br />
The <b>Fuzz Pedal</b>, for example, is just there to rough up your sound. It's essentially the most primitive form of distortion, the first distortion pedal to reach the world (via the Rolling Stones "I Can't Get No" (Satisfaction)", courtesy of the Maestro Fuzz Tone). Over time, the Fuzz Pedal has been produced in a variety of styles and flavors, and while the initial intent was to give rock players on modern amps the dirty sound of old blues players on nasty amps (often with blown tubes or purposefully punctured or slashed speakers), they were not actually designed to emulate an amplifier. They were just built to make things dirty.<br />
<br />
Making an "amp-like" distortion is the concept behind the <b>Distortion Pedal</b>. The <a href="http://ericsgearpage.blogspot.com/2011/04/proco-rat-keeley-3-way-mod.html">ProCo Rat</a>, for example, was initially advertised as giving a Marshall sound to players using Fender amps. When someone is talking about a pedal that gives you the "brown sound" or the recreation of a screaming triple-rectifier metal amp, they are dealing with what I consider a Distortion Pedal. Similarly, the <a href="http://ericsgearpage.blogspot.com/2012/03/tech-21-sansamp-gt2.html">Tech 21 Sans Amp</a>s and the modern digital modellers are still just Distortion Pedals-- they're trying to recreate Fender, Marshall, Vox, Mesa, what-have-you amps, their tones, their touch-responsiveness, etc, just like the Rat did so many decades ago.<br />
<br />
The <b>Overdrive Pedal</b>, on the other hand, is generally designed to react <i>with</i> your amp. Instead of aspiring to <i>be</i> a Marshall amplifier, an Overdrive Pedal (like the massively popular Tubescreamer) would be used to push something like a single-channel Marshall from the edge of breakup to a higher-gain sustain factory. They literally overdrive an amplifier, often more-touch sensitive than a Fuzz and more neutral than a Distortion, usually designed to respect your initial instrument/amp tone while sweetening or enhancing what you've already got.<br />
<br />
...and that's how I break them down. There are a lot of arbitrary blurring of lines ("amp-like" break-up on Overdrive pedals, for example), and even more arbitrary sub-categories (debates over what is or isn't a Crunch Pedal crack me up... especially since it sounds like people arguing about cereal), but the basic conversation about what kind of distortion any given pedal can provide can be a little confusing. It's easier if the definitions of what we're all talking about are plainly defined during the conversation.<br />
<br />
As far as this gear page goes, this is the breakdown.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-9896101732877992162012-11-29T18:47:00.001-08:002012-11-30T02:32:41.129-08:00Barefoot BarnacleThe pedalboards of <a href="http://seattlebands.blogspot.com/search/label/Barefoot%20Barnacle" target="_blank">Barefoot Barnacle</a>... Doug uses a <a href="http://www.tcelectronic.com/g-system.asp" target="_blank">TC Electronic G-System</a>, which is probably better seen on the TC site, but Jorge's guitar rig (complete with spare phaser in the corner) and Alex's bass rig are both below:<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVCmmP77tzx9Q0RJMZxgBDajFXOjLHLqGBo3gXATBAfwsB6HiQLmfoGtbwdYB5xhOZFmx2yuCGaPg8faaF8oXfCkYgrIVQElYIbKNPJPbzpHeBJUGQ49jflmaHBFuHg79PG4kEfroEoJui/s1600/AlexBoard.JPG" imageanchor="1" style="margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVCmmP77tzx9Q0RJMZxgBDajFXOjLHLqGBo3gXATBAfwsB6HiQLmfoGtbwdYB5xhOZFmx2yuCGaPg8faaF8oXfCkYgrIVQElYIbKNPJPbzpHeBJUGQ49jflmaHBFuHg79PG4kEfroEoJui/s200/AlexBoard.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alex's Bass Board</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_xXZQ5xPsmSIHTifkfaOEdIj9eyUbFwMUHQVN-1jlcRlRERBIPCCf0ltLjTRTW38NFmV3PcFfyox8dhG8ZfHAKMq0CPBHigxrxMBb1iZCzukchva8eDQf5MrkJ7gfhcLFDxlhZX7aPXi/s1600/JorgeBoard.JPG" imageanchor="1" style="margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_xXZQ5xPsmSIHTifkfaOEdIj9eyUbFwMUHQVN-1jlcRlRERBIPCCf0ltLjTRTW38NFmV3PcFfyox8dhG8ZfHAKMq0CPBHigxrxMBb1iZCzukchva8eDQf5MrkJ7gfhcLFDxlhZX7aPXi/s200/JorgeBoard.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jorge's Guitar Board</td></tr>
</tbody></table>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-88345794129930614762012-11-28T14:00:00.000-08:002012-11-28T14:00:02.514-08:00Zoom B3<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Zoom">Zoom</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Multi">Multi</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Status:</div>
</div>
<div style="margin: 0px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RHorDCRfW5ie2a3jikSavjVpjZwGpAsi5wnKpRyyj85zi9rpkise0whhMXQReUc-Abv2fBV0zWb5jH3I2A3PRHmUiBZP7DE47cIA2kBSNGvjtqyy1Jlzw3WHvxzanBCa4-InC4xGZYDf/s1600/B3.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RHorDCRfW5ie2a3jikSavjVpjZwGpAsi5wnKpRyyj85zi9rpkise0whhMXQReUc-Abv2fBV0zWb5jH3I2A3PRHmUiBZP7DE47cIA2kBSNGvjtqyy1Jlzw3WHvxzanBCa4-InC4xGZYDf/s200/B3.jpg" width="200" /></a></div>
<h3>
Recording On-The-Fly<br />
</h3>
Even though I'm not a fan of multi-effects boxes, there were still a couple reasons for me to pick up a Zoom B3. The first is its outputs: mono, stereo, and headphone, and while it's not strange for multis to have headphone outs, I was in the market for a practice tool, and that was an important feature for me.<br />
<br />
The second and more unique selling point was the USB integration. To this day, I have yet to attach a power adapter to the B3; I connect it to the USB port of a laptop and it fires up. The USB provides power, library software for editing patches, and-- most importantly-- an audio interface. This is the quickest and easiest way I've found to fire up an impromptu recording session on a computer... fire up whichever recording software you like, plug in the B3, and go.<br />
<br />
True, there are digital audio workstations (DAWs), portable and easy to use little 4-tracks up to larger studio cornerstones, which all allow you to power up and plug in... hell, I even have one... but the options of Cubase and Sonar and Ableton have essentially replaced the DAW for me. Though we're talking about bedroom-style recordings, I still like the computer's ability to manipulate recorded tracks, add synth arrangements, and program drums to a degree that falls somewhere between prohibative and impossible on a DAW.<br />
<br />
<h3>
Modelling</h3>
Like most current multi-effect units, the sonic palette on offer is a collection of models of popular and iconic amplifiers and effects, and like most current units, they sound fairly decent. I can speak to a number of pedals and a few of the bass amps, and they do a decent job of approximating their progenitors.<br />
<br />
In my opinion, modeled amps always sound more like other modellers than like actual amplifiers. The modeled effects pedals have a similar problem... but this is the reason I have a large pedalboard instead of a multi-effects processor when I'm on stage. While I've never heard a digital phaser I really liked, and I don't think the distortion pedals on the B3 are real replacements for a <a href="http://ericsgearpage.blogspot.com/2011/04/proco-rat-keeley-3-way-mod.html" target="_blank">Rat</a> or a <a href="http://ericsgearpage.blogspot.com/2011/04/electro-harmonix-big-muff-pi.html" target="_blank">Big Muff</a>, I do appreciate that this phaser sounds better than the godawful Boss PH-3, and having Rat-like and Muff-like options on a multi-effects box (along with many others) is a big step up from the old days of "Fuzz" and "Dist."<br />
<br />
Basically: my quibbles about sound for this unit are the same standard fault I find in Boss, DigiTech, and software simulators and amp modellers, and I already knew what these issues were before I even plugged in to the B3.<br />
<br />
<h3>
Amps and Effects</h3>
The amplifiers provided in the B3 are the usual suspects (Ampeg's SVT and B-15 Flip-Top, Fender Bassman) and some oddities I was really happy to see (Mark Bass 3, Marshall Super Bass... just in case you want to get your Lemmy on). The amps default to their most commonly matched cabinets (the SVT with an Ampeg 8x10, for example) but can be mixed and matched to taste.<br />
<br />
The effects span a fairly impressive range: the distortions alone offer Big Muff and Bass Big Muff, Rat, Boss ODB-3 Bass Overdrive, Fuzz Face, Tubescreamer, and even a Boss DS-1 and Metalzone. While you'll get most of your "bass distortions" from the amps, the modeled pedals include preamps like the SansAmp Bass D.I, and offer even more drive and gain-staging options... though the boosters and preamps often add quite a bit of hiss. Compressors, from opto stomp versions to tube rack emulations, add more tone-shaping and gain-staging.<br />
<br />
The choruses, phasers, and flangers are about what I expected-- have I mentioned that I dislike digital phasers recently? Really?-- but Zoom has included interesting special effects in their modulations, a Slicer (a rhythmic gate/tremolo effect), a dynamic flanger, and a detune-style chorus... though it's also nice to see that ring modulators and bit crushers weren't excluded.<br />
<br />
Being a bass box, the B3 has its fair share of filters and envelope followers, which run from straight auto-wahs to a passable (if not great, or even terribly faithful) emulation of the <a href="http://ericsgearpage.blogspot.com/2011/04/moog-mf-101-lowpass-filter.html" target="_blank">MF-101</a>. More fun are the vowel-filters, sequencers, and random filters... partly because they're less comparable to stock effects, and partly because I've always had a crush on the sample-and-hold synth effects. Like the filters, the synth effects can be fun (and there are a lot of them), but they'll never be confused with the heavier-sounding analog oscillators in higher-end dedicated bass synth pedals.<br />
<br />
Finally, there are a wide variety of reverbs and delays, springs, tapes, halls, bucket brigade... and they aren't bad sounding, but they do all sound pretty similar to one another. Again, this is often a drawback of a multi-effect unit (it can't help but sound like itself), but the delays are solid and playable even if the analog delay sounds a lot like the tape delays sounds a lot like the standard digital.<br />
<br />
<h3>
Control</h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgILVxlj-0JcGLoUwsxKuQk8RB6-dOU6H7A7c6cvMP6dADrn7IDZQ9UA29nKgQU3bUPfn32u9ryIqxcu1q7TWcKJ18d5ScoW3MIE63FKWy-4V12J-_Lf4Q02OgyqnalwggztsZ1ZbZB8MM/s1600/img_effect.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgILVxlj-0JcGLoUwsxKuQk8RB6-dOU6H7A7c6cvMP6dADrn7IDZQ9UA29nKgQU3bUPfn32u9ryIqxcu1q7TWcKJ18d5ScoW3MIE63FKWy-4V12J-_Lf4Q02OgyqnalwggztsZ1ZbZB8MM/s1600/img_effect.jpg" /></a></div>
Another selling point of the B3 is that it is comfortably knob-driven. Any patch consists of three units, and each unit gets its own stomp switch and three knobs to control the most prominent settings for any given piece of gear.<br />
<br />
On a standard three knob device, like a Tubescreamer, the knobs are just like the stompbox (gain, tone, level), but additional menu screens extend the controls (in this case, a wet/dry balance-- remarkably useful for bassists).<br />
<br />
On a more complicated device, like the Ampeg SVT, extended menus provide all the SVT controls (including mid frequency and Hi and Lo Ultra switches) as well as cabinet selection and mic balance. To set up patches and units to my taste, I had to do some in depth tweaking, but once set, I was mostly content to stay on the WYSIWYG front end from then on.<br />
<br />
The back of the B3 allows control via expression pedal (for controls of pitch or filter sweeps, or as a volume control) or external switch (for tap tempo). I haven't connected external pedals to the unit yet, so I'm not sure how well either of these functions are applied.<br />
<br />
<h3>
Connectivity</h3>
There are some options available on the back of the box. The instrument input can be toggled for active or passive basses, and the output can be either 1/4" instrument outs or XLR output for running straight into the board. The B3 can be powered by batteries, a 9v power adapter, or from USB... and USB is the only one I've used to date.<br />
<br />
The B3 can function as an audio interface/soundcard via a USB connection, which was a large part of my buying it. The ASIO drivers are available at the Zoom <a href="http://www.zoom.co.jp/products/b3/software/" target="_blank">product page</a>, and will be selectable in the audio options in your sequencer of choice. The B3 offers both direct monitoring and the feed from your computer (blendable via a mix control) and running this as a portable studio from a laptop... I have to crank the buffers pretty high, and suffer some terrible latency, to prevent clicks and pops.<br />
<br />
This worried me at first, but it was a problem easily solved by adjusting the latency settings in my sequencer to match the buffer in the B3's audio driver. With the program set to compensate for the lag on the B3's driver, and the B3 set to direct monitoring, I found I could record with essentially zero latency. It took a little experimenting to figure that out, but once I discovered how the whole system worked, I was able to make it function flawlessly.<br />
<br />
<h3>
Multi-Tool</h3>
All things considered, the B3 does precisely what I wanted from it. It's a fine practice tool, headphone amp, and portable front-end for recording. The effects are on par for a modern digital multi-effect/modelling pedal, and offers a lot of perks as a stand-alone piece of gear (a built-in drum machine/metronome, a 40-second looper) that make it a versatile tool for a lot of my practice/writing needs.<br />
<br />
Live, however, I recommend getting a decent amp and the actual sound-shapers you like... because the failings of the emulations are exacerbated by stage volumes.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-51096995527630360712012-11-20T20:06:00.002-08:002012-11-20T20:06:36.993-08:00Catalinbread Hyper Pak Dirty Channel<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Catalinbread">Catalinbread</a></div>
<div style="margin: 0px;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Distortion">Distortion</a><br />
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Sold">Sold</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
</div>
<div class="separator" style="margin: 0px; text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/Hyper_Pak.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/Hyper_Pak.jpg" /></a></div>
<h3>
Stepping Up</h3>
<div align="left">
As they're my new favorite pedal maker, I'm not about
to start bagging on Catalinbread... but the Hyperpak was another in a
long line of pedals that failed to replace my <a href="http://ericsgearpage.blogspot.com/2011/04/proco-rat-keeley-3-way-mod.html">Rat</a>.</div>
<div align="left">
<br /></div>
<div align="left">
The HyperPak was actually pretty close... closer than
anything else I had tried at the time, but it was a little <i>thin</i>. It lacked a certain
amount of girth, for my needs-- the pedal had great dynamic response,
did well with picking dynamics, and had the kind of midrange grind that I
like, it just always sounded a touch <i>thin</i>.</div>
<div align="left">
<br /></div>
<div align="left">
Catalinbread has discontinued the Hyper Pak, which
actually makes me wish I'd kept it, because it was a pretty cool pedal.
They've taken the design ideas and the lessons learned in this
distortion (particularly its touch sensitivity) and applied it to future
pedals: this pedal's original intent was to act as an impromptu "dirty channel" on a single-channel amp, which has become a defining principle of their Foundation Series pedals. There may be a bit of the Hyper Pak in the <a href="http://ericsgearpage.blogspot.com/2011/04/catalinbread-dirty-little-secret.html">Dirty Little Secret</a>'s DNA, though I'd liquidated the Hyper Pak before I ever picked one up, so I never had the chance to A/B them.<br />
<br />
Though this box is out of production, Catalinbread is selling <a href="http://www.catalinbread.com/products.php?cat=11" target="_blank">DIY kits</a> for very reasonable prices, as well as providing <a href="http://www.catalinbread.com/kits/hyperpak.pdf" target="_blank">schematics and a parts list</a>, so you could build one yourself, if you have the pieces on hand.</div>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-58180663526545677682012-11-19T14:18:00.000-08:002012-11-19T18:41:46.105-08:00Fender ST-1 Stage Tuner<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Fender">Fender</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Accessories">Accessory</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
</div>
<h3>
Necessities </h3>
<a href="http://ubik.crumpled.com/gearpage/GearPics/st-1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="132" src="http://ubik.crumpled.com/gearpage/GearPics/st-1.jpg" width="200" /></a>After a particularly tragic gig (ubik.s first time at the Mars Bar), one that began with Joel and I trying to tune to each other in a loud room with an impatient sound man pressuring us to start, I discovered something important: <a href="http://seattlebands.blogspot.com/2011/09/on-stage-7-tuning.html" target="_blank">always have a tuner</a>. Bands out of tune with each other are hard on an audience, instruments out of tune with themselves aren't doing anyone any favors, and waiting for every band member to check every string is a test of patience. This is amateur stuff-- the kind of things that makes crowds roll their collective eyes and not take your band seriously.<br />
<br />
<h3>
Quick Fix</h3>
The next day, I bought a cheap little Fender tuner... which was better than nothing, but not by much. I actually ran this from the Dry Out of my <a href="http://ericsgearpage.blogspot.com/2011/04/digitech-bass-whammy.html">Digitech Bass Whammy</a>, just to keep this thing out of my signal path. This is one of the least expensive tuners you can find, so keeping it out of your signal path is just common sense (got an amp with a Tuner Out jack? If not: unplug your instrument, plug it into the tuner, and tune that way).<br />
<br />
<div id="pb" style="background-color: #dddddd; float: left; margin: 5px; padding: 5px; text-align: center; width: 200px;">
<span class="Apple-style-span" style="font-family: 'Courier New',Courier,monospace; font-size: x-small;">Formerly <a href="http://ericsgearpage.blogspot.com/p/pedalboard_01.html">On Pedalboard</a></span><br />
Replaced By:<br />
<br />
<a href="http://ericsgearpage.blogspot.com/2012/01/tc-electronic-polytune.html">T.C. Electronic Polytune</a></div>
The display is large and easy enough to see if you're not in direct sunlight (we pretty much never are, so that wasn't an issue), but the tracking is pretty sloppy. Joel used one of these longer than I did, and it was a consistently frustrating tuner on low bass strings. There's a lot of random flitting between notes before detecting a pitch, and the tuner may not track the sustained notes for very long, so tune quickly.<br />
<br />
I upgraded from this as soon as I could afford more solid tuner. The ST-1 was the first, least expensive solution to a problem... but this was definitely a "you get what you pay for" situation. I highly recommend purchasing a $75-$100 tuner pedal and leaving the $20 tuner in a drawer somewhere, for emergencies.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-17279592075500772472012-11-13T17:37:00.000-08:002012-11-19T18:44:10.096-08:00Korg Bass Ampworks<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Korg">Korg</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Multi">Multi</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Status:</div>
</div>
<div style="margin: 0px;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/ampworks.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/ampworks.jpg" /></a></div>
<h3>
Direct Signal </h3>
As a bassist, I've never actually minded recording direct...
that's how I started out, and the DI bass with heaps of effects was how I
started to suss out my sound. Recently, the amp modeler has been
creeping in on the DI's territory, as a lot of people (from the lowliest
bedroom engineer to the highest level LA studio boffin) prefer the
modeled Ampeg through faux 8x10s to the traditional DI: you're still
plugging straight into the board, but now you're emulating amplifiers
and stacks of speakers. Clever, no?<br />
<br />
I too have been tempted by the Virtual SVTs looming out there-- I
like a lot of my bass tones, but I've never had anything that gave me
that Ampeg growl. I never had any love for the Line6 Pod, so I thought
I'd try the small version of Korg's modeler... you know, like the tiny
bottles of booze on airplanes: just a taste.<br />
<br />
<h3>
Little Plastic Box </h3>
The Korg Ampworks Bass box is a diminutive plastic tabletop unit
with three large dials: one for amps, one for speaker cabinets, and one
for optional effects. The sheer number of options available on the
little thing was my impetus for buying one: the microchip that provides
these modeled emulations is no doubt the same chip in the units that
cost five times as much... but the box is tiny and plastic. My "taster"
can be smaller, and even cheaply built-- I just want to hear what the
amps sound like.<br />
<br />
The amps are predominantly tube heads and combos, at a variety of
distortion levels: the cleans are very clean, the more dynamic and
responsive amps fuzz up a bit when played hard. The cabinets provide
resonant response curves of different speaker combinations (as a single
15" speaker may be huge in the bottom but not provide much high end,
where a 4x10 cab offers more clarity and presence). How accurate they
are, I couldn't say: I'm intimate with a few bass amps and combos,
familiar with a few more... but I can't claim knowledge of vintage 60's
through 80's gear from around the world.<br />
<br />
I doubt it's really the point
to trainspot the actual models; the question is, do they sound good?<br />
<br />
Well... sort of. The unit itself falls victim to the sort of fizzy,
papery treble that amp modelers always seem to have; it can't be dialed
out, and it's probably part of the modeler's concept of the speakers
pushing air, room ambience, and close mic'ing (or some such algorithm:
it doesn't go away when you switch off the speaker simulation and just
use the amp). It's not the worst sound in the world-- I've actually
recorded with worse-- and given the bass's position in any given track,
the thin fizzy top shouldn't be audible in a full arrangement anyway.
The amps themselves don't have an awful character, but they're not
great, either. Serviceable, I'd say.<br />
<br />
The effects, however, are mostly crap. I've never had any love for
digital phasers, flangers, rotary, or chorus, and the ones available in
this box are below par. The delay could be serviceable if I didn't have
anything else available (I always have access to better delay than
this), but the reverb is atrocious. The octave and filter aren't the
worst you'll find, but the distortion has that manky, digital-distortion
kind of sound. The exciter and preamp can actually prove themselves
useful when setting up the unit.<br />
<br />
Since modeling has come a long way in a short time, the software
world is outstripping the hardware modelers very quickly. This should
surprise no one: hardware modelers are built around microprocessors not
nearly as strong as the ones in even the wimpiest home PCs, and the
software can be revised and updated before the hardware modelers can
even leave the factory. Native Instruments' Guitar Rig has become an
incredible piece of kit, and IK Multimedia (creators of the original
Amplitube) have produced the Ampeg SVX, easily the best bass amp modeler
available today.<br />
<br />
By comparison, the Korg Ampworks is a toy. It's a pocket Swiss Army
Knife (one of the tiny ones)-- it's not a toolbox, it's not a
Leatherman, it's not even a full size Swiss Army Knife, but it's not bad
to have in your pocket if you need to open a package. Portable and
functional, it might be a touch flimsy, and you could find something
better, but it'll do in a pinch.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-13478277880208006492012-10-31T16:51:00.000-07:002012-11-08T17:17:43.139-08:00Frankenstein Tenor Mk II<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Ibanez">Ibanez</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Instrument">Instrument</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
</div>
<h3>
Evolving</h3>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4TxktkyCLnSZcwtiZfaukiDiue2QbW2kqveD0zBL1VQWYnSPrksKkeklFiRpO05HJBggJiutTwlVTlBbOwfyG7E-51d3z8cE1-FYmysuWVaLkm9BC91XomiYNIulXrOvxZd8CvHDieqRv/s1600/tenor.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4TxktkyCLnSZcwtiZfaukiDiue2QbW2kqveD0zBL1VQWYnSPrksKkeklFiRpO05HJBggJiutTwlVTlBbOwfyG7E-51d3z8cE1-FYmysuWVaLkm9BC91XomiYNIulXrOvxZd8CvHDieqRv/s320/tenor.JPG" width="240" /></a><br />
<a href="http://ubik.crumpled.com/" target="_blank">ubik.</a> has always been two 4-string basses: Joel's standard bass (sometimes tuned to drop-D, depending on the song) and my bass strung tenor (A-D-G-C). My <a href="http://ericsgearpage.blogspot.com/2011/04/frankenstein-tenor.html">first attempt</a> at setting up a bass this way was... well, a first attempt. I'd never done it before, I didn't quite know how to do it, and the process was something I didn't quite understand.<br />
<br />
When the old Frankenstein tenor started coming apart, I made plans for a second attempt, a Mark II. I picked up another Ibanez Soundgear (the last floor model at the store, relatively cheap,) an SRX version that's since gone out of production: this is a sculpted archtop, with white binding around the black body. It's still a cheap instrument, soft basswood body, but I really liked the look of it.<br />
<br />
One of these days, I will get a good (if not great) bass to route, modify, and reconfigure, but I still have limited funds for these projects, and the Ibanez fits my needs. It's a 24-fret instrument, it is still roughly the same version as the bass it's replacing (so it will sound consistent with our recordings and previous shows), and I really liked the look of this one.<br />
<br />
So let's get to wrecking it.<br />
<br />
<br />
<h3>
Simpler</h3>
If I cannibalized hardware from the <a href="http://ericsgearpage.blogspot.com/2011/04/frankenstein-tenor.html" target="_blank">old tenor</a>, it would basically be junk... and the old beast is still useful at home, so I bought another Hipshot Bass Tremolo, a black one to match the hardware on the new bass.<br />
<br />
I made this a one-stop job: I just took the thing to <a href="http://mikelull.com/" target="_blank">Mike Lull</a> and told him the ultimate purpose for the bass. He installed my last tremolo, and this one went just as smoothly. I also brought a set of tenor strings, told him my plan for the bass, and just let him set the whole thing up. Instead of having a professional install the bridge and setting the rest up myself, Mike handled the nut, the neck, the action, everything: I was handed a functional, playable tenor. The posts for the tremolo are set further back than my first attempt, too, to prevent the posts pulling through the soft wood again. He even had the tremolo bridge "float" the way I like it (some guys like a tremolo bridge to rest against the body; I am not one of those guys.)<br />
<br />
I'm 2 for 2 on getting excellent work done at Mike Lull's shop, and I'd recommend them to anyone in the Seattle area.<br />
<br />
<h3>
But not that simple</h3>
While I did leave the midi pickup on the old bass-- it has still never been successfully incorporated into ubik, so I didn't feel the need to include it on the new one-- I did modify the electronics a bit. If it were up to me, this bass would have nothing but two volume knobs (one for each pickup) and a pickup selector switch... but the bass and treble controls are tough to get rid of on a Soundgear.<br />
<br />
I did install a pickup selector switch (ringed by the Gibson style "rhythm/treble" indicator... because I like that sort of thing) to replace the blend knob, but there wasn't enough space for individual pickup volume knobs... which means I couldn't do the stutter effect you get when you switch to an "off" pickup. Simple solution: install a kill switch.<br />
<br />
<h3>
Upgrade</h3>
The finished bass is a solid, cohesive, and non-sticker-covered piece of gear that's been gigging regularly for over a year now. The old tenor was endearing for its worn, junky, devil-may-care vibe, but this one represents itself well both in the studio and on stage.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-57561322258978188882012-10-27T21:25:00.002-07:002012-10-27T21:25:55.424-07:00Earthquaker Devices Hoof Fuzz<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Earthquaker%20Devices">Earthquaker Devices</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Distortion">Distortion</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/Sold">Sold</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
<h3>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/hoof.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/hoof.jpg" /></a></div>
Tight and Controlled</h3>
Thing about the Hoof fuzz-- it's a great fuzz pedal designed around
my favorite fuzz archetype (if it's not in the Big Muff family, I don't
pay attention), but it just isn't<i> me</i>.<br />
<br />
Which is a drag, because I really liked it for itself, but the
truth of the matter is that I'm in a gigging band with original songs:
if it can't do the work from the recordings, it can't be the pedal on
the board. Them's the breaks: the pedalboard has to be able to make the
written songs happen, and the Hoof just doesn't do my sound.<br />
<br />
My next stop was the <a href="http://ericsgearpage.blogspot.com/2011/05/blackout-effectors-musket-fuzz.html">Blackout Effectors Musket Fuzz</a>,
and that was the winner: the Hoof's failing, for me, was that it was
just too "tight." My fuzz tone leads toward a dense, washy, sludge (I've
got other pedals I use for tightness and focus, I need my fuzz for other
stuff)... but the Hoof just won't get loose.<br />
<br />
It could very easily be my main fuzz on other material, but it has
its own personality, and it doesn't quite fit mine. Were I a richer man, I would
have kept it.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-28617121977717785602012-10-27T20:42:00.000-07:002012-10-27T21:42:55.848-07:00Earthquaker Devices<div class="separator" style="clear: both; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Earthquaker%20Devices" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxRj2o7obyp8qxBuT0R3XKQxznU2dtA8id_o1c9NEwX5IzJlKXUy57EuY9gmY9Y6H4BmzS7_6lCpZwnC4GSZLyhZ_3vfgYmAEmpV2Q98pbLmNMLu6IC0kp5baifZCEEL8EN4Oxt2fSduoP/s1600/EarthQuaker+Devices.jpg" /></a></div>
<a href="http://ericsgearpage.blogspot.com/search/label/Earthquaker%20Devices" id="psk" name="psk"></a><a href="http://ericsgearpage.blogspot.com/search/label/Earthquaker%20Devices"> Earthquaker</a> are an Ohio company that I first noticed when they put out their Hoof Fuzz-- That pedal didn't stick with me, but it was a nice box with a good sound and excellent build quality.<br />
<br />
Since then, they've put out a variety of pedals that, for one reason or another, I simply haven't bought... though a lot of them look incredibly cool. EQD are not a one-trick-pony company: their roster runs from distortions and overdrives to echoes and reverbs to modulations to weird anomalies like guitar synths and organ emulators. They are a company I'd definitely like to play around with more than I have, but... budgets, you know...<br />
<br />
<div style="text-align: right;">
<a href="http://www.earthquakerdevices.com/" target="_blank">EarthquakerDevices.com </a></div>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-62590393405728254882012-10-12T21:45:00.000-07:002012-10-12T21:45:00.638-07:00Bell WitchThe awesome bass board for <a href="http://www.facebook.com/pages/Bell-Witch/136264673108884">Bell Witch</a>. Dylan runs this board from a 6-string bass to a pair of tube amps (I'm guessing that's what the <a href="http://ericsgearpage.blogspot.com/2011/12/morley-aby.html">ABY</a> does... but I haven't asked)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxD-NQAkoRpw3s67zSTv2u-_BmhXavLZdHT79bkJIvQuj2SECqOZWgDeisf-tGqyzcjGpFlI4ADAP4MIWSBad21qN0Jt5EIH3uuDkotztcaCRRi62HVsYYmYFZMlCsfm2V5G_quy4tplcR/s1600/DSCN1063.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxD-NQAkoRpw3s67zSTv2u-_BmhXavLZdHT79bkJIvQuj2SECqOZWgDeisf-tGqyzcjGpFlI4ADAP4MIWSBad21qN0Jt5EIH3uuDkotztcaCRRi62HVsYYmYFZMlCsfm2V5G_quy4tplcR/s400/DSCN1063.JPG" width="400" /></a></div>
<br />thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-76388903535425440362012-10-11T21:30:00.002-07:002012-10-11T21:30:32.259-07:00DOD FX75C Flanger<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Digitech">DOD</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Modulation">Flanger</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/FX75c.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ubik.crumpled.com/gearpage/GearPics/FX75c.jpg" /></a></div>
<h3>
Oddball</h3>
The only holdout from the dark days of DOD
(and their notoriously unreliable stomp switches) is a flanger I picked
up used because I was curious about incorporating flange into my list
of sounds. Flange had never really thrilled me, but I wanted to
experiment with one, and... well... used gear is cheap.<br />
<br />
The FX-75C was not my best choice: it never sounds like a
flanger, and that sort of confused me. It is a very pipey, sort of
hollow and fluting modulation, not at all like the chorusy warble or
jet-plane swoosh I've come to expect from flangers. I can recreate the
sounds I get from this unit on really full-featured flangers, but I can
never make the FX-75C recreate "traditional" flanger sounds. I'm still
not quite sure what to make of it.<br />
<br />
I'll cut the pedal some slack and admit that it's fairly
interesting and not unpleasant sounding... just a bit limited in its
range of sounds. It's a fine little modulation pedal, pretty cool in
stereo, and not being used live, so the DOD switching is not an issue. <br />
<br />thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-79221362548903758382012-10-04T17:47:00.000-07:002012-10-04T17:47:41.356-07:00Digitech XP-All mod<a 1em="1em" float:="float:right" href="http://ubik.crumpled.com/gearpage/GearPics/xp1000.jpeg" margin-bottom:="margin-bottom:" margin-left:="margin-left:" right="right" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/xp1000.jpeg" /></a><br />
<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Aside">Aside</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Digitech">DigiTech</a></div>
</div>
</div>
<br />
<h3 style="text-align: center;">
<span style="font-size: large;">DIY</span></h3>
<br />
I've just added an addendum to my original <a href="http://ericsgearpage.blogspot.com/2011/05/digitech-xp-1000-jetpackmods.html" target="_blank">Digitech XP-1000 </a>write up:<br />
<br />
A recent comment by Blogger commenter <a href="http://www.blogger.com/profile/13385798043782856976" target="_blank">pinkster</a>
just provided a resource for converting any XP series pedal to an "XP
All," functionally similar to the XP-1000, and possibly superior (it
reportedly can switch models without powering down.) The document
describing the process and materials for converting XP pedals to an XP
All, with detailed instructions, pictures, and a parts list, is here:<br />
<br />
<a href="http://www.aronnelson.com/gallery/main.php?g2_view=core.DownloadItem&g2_itemId=48006&g2_GALLERYSID=ac83e5003bcd2ddc4c381f3877637913" target="_blank">http://www.aronnelson.com/gallery/main.php?g2_view=core.DownloadItem&g2_itemId=48006&g2_GALLERYSID=ac83e5003bcd2ddc4c381f3877637913</a><br />
<br />
The document comes from govmnt_lacky and digi2t from <a href="http://www.diystompboxes.com/" target="_blank">DIYStompboxes.com</a>, and it is an excellent resource, especially if you've got the soldering chops to accomplish the mod.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-12777119366441387622012-09-25T18:44:00.000-07:002012-09-27T20:32:03.394-07:00Boss NS-2 Noise Supressor<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Boss">Boss</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Control">Control</a><br />
<a href="http://ericsgearpage.blogspot.com/search/label/Volume">Volume</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
<br />
Status:</div>
<h3>
Reduction, Gating, and Loops</h3>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/NS2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://ubik.crumpled.com/gearpage/GearPics/NS2.jpg" /></a></div>
Here's another of Boss's winners: a lot of manufacturers make noise
suppressors and gates, most of them are nowhere near this good. The
NS-2 offers both noise suppression and gating, with variable release
times, a wide and responsive threshold, and the ability to run the
effect for both noise in-line, or as an effects loop gating the looped
effects, and can be used as a mute switch. Noise gates aren't the
sexiest effects in the world, but they really did this one right.<br />
<br />
Like any "sweetening" effect, this pedal can be both overused and
misused. As a simple gate, sound quality is a question of setting the
threshold to where the gate opens (and stays open) through your quietest
playing and the release doesn't snap shut and chop off the trails of
your playing. As a noise suppressor, it is more subtle, and easier to do
wrong; the threshold is now involved in removing hum, hiss, and buzz
and, if cranked, will remove critical parts of the signal... but, if
adjusted carefully, this is a serious boon to any noisy signal (a
significant help to recording before I put Bartolini pickups in my Aria).<br />
<br />
The looper function is fantastic, allowing the gate or noise
reduction to be applied to effects with lots of self noise or high
gain-- the gate opens and closes by the threshold/release of the <i>input</i> signal, allowing for precise, clean, signal to be routed to stacked fuzz pedals without feedback, or gated reverb.<br />
<br />
Where I usually will complain about the Boss bypass (not my
favorite buffered bypass in the world), this is a pedal that is mostly
left on when in use. The bypass on this one actually isn't bad, but, if
you need it, it will never be in bypass anyway... so it ceases to be an
issue.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com1tag:blogger.com,1999:blog-4866769802967203063.post-41012278091056434792012-09-04T20:34:00.001-07:002012-09-04T20:34:13.164-07:00Same Day Music<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Stores">Stores</a></div>
</div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMEqeG5vUVdVR7_tDrkuN-_Mtl8Fl-GSYtImawEpBr3ESYFHEyhZkvQYs5bp3m4wx8GFSFFgFYh5T8d1EGqUuk_w5k_OiMym1WpwzOZKeCRnHvosPIibG-I4biyczZusCZ1bqidEHL6wsi/s1600/sameday.png" imageanchor="1" style="float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMEqeG5vUVdVR7_tDrkuN-_Mtl8Fl-GSYtImawEpBr3ESYFHEyhZkvQYs5bp3m4wx8GFSFFgFYh5T8d1EGqUuk_w5k_OiMym1WpwzOZKeCRnHvosPIibG-I4biyczZusCZ1bqidEHL6wsi/s1600/sameday.png" /></a> When shopping for pedals, the most important thing an online store can offer me is a no-hassles return policy; you never know how a pedal is going to sound in your rig until you actually plug it in and try it out. It might be frustrating to buy a pedal, put the money in, toy with it for a week, and come to the inescapable conclusion that it's just not good enough... but it is the only way. Internet videos aren't going to get you there.<br />
<br />
Same Day Music is a solid and dependable online store that has a very easy return system. Similarly, they are as good as their name: orders ship just about immediately after you order them, so the window between ordering your gear and receiving your order is as short as possible. Their standard shipping is free and I usually receive a package in just a couple days, but you can pay for express if you like.<br />
<br />
This store is very easy to do business with-- all of my orders and returns were fast and easy-- but they are not specifically a boutique. There are some smaller, outside-the-box companies with gear available at Same Day Music (I'll usually look for less popular gear here, and sometimes I'll find it), but they are generally my first choice if I'm looking for Electro Harmonix, Digitech, Boss, Zoom, or similar types of gear. <br />
<br />
<div style="text-align: right;">
<a href="http://www.samedaymusic.com/" target="_blank">http://www.samedaymusic.com/</a></div>
thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-81005189712768695072012-08-21T19:46:00.001-07:002012-09-11T00:50:17.247-07:00Danelectro Pastrami Overdrive<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Danelectro">Danelectro</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/Distortion">Distortion</a><br />
<br /></div>
</div>
<div style="color: black; text-align: center;">
<div style="margin: 0px;">
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
<div style="margin: 0px;">
Builder:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Type:</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Status:</div>
</div>
<div style="margin: 0px;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/pastramiO.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="100" src="http://ubik.crumpled.com/gearpage/GearPics/pastramiO.jpg" width="100" /></a></div>
<h3>
No Frills</h3>
Not so much of a hidden gem anymore, this pedal was one of the first
Dano Mini's, and one of the first pedals that had a nice, functional
use. As a light-to-mid diode drive, this pedal really can be excellent (at
least on my instruments... basses and a lead tenor). I'm sure it uses an LED in its clipping stages, because I can see it illuminate through the plastic casing of the pedal, there's a reason there are so many distortion pedals in the world: there are a lot of flavors and styles on tap.<br />
<br />
The Pastrami has a fairly prominent midrange, but without a tone knob, it's got a sound, and just that sound. The drive is relatively dynamic and responsive, and capable of being "just a bit of dirt" on a signal if you just need to slap a generic drive into a signal chain. On the low end, it
actually has more bottom than a lot of the Tubescreamers that have come my
way. Of course, things get mushy if you turn the gain too far up, but
it is billed as an "overdrive," and probably wasn't meant to be driven
through the roof. The dense, Sabbath tones will have to be found
elsewhere.<br />
<br />
Mine has been around so long that the pots have gotten terribly
scratchy, and I have picked up some radio frequencies when using it (not
often, but it has happened), and most of this is due to cheap
components and a plastic housing. You can't get away from that on these
pedals-- the low price is indicative of something.<br />
<br />
Even if I'd never rely on it live, I know what it does, and what it does well-- it's nice to have around.thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0tag:blogger.com,1999:blog-4866769802967203063.post-53388132083088504022012-08-12T02:10:00.000-07:002012-08-12T02:11:11.710-07:00DigiTech DigiDelay<div id="story" style="background-color: #dddddd; float: right; margin: 5px; padding: 5px;">
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Digitech">Digitech</a><br />
<br /></div>
<div style="color: black; text-align: center;">
<a href="http://ericsgearpage.blogspot.com/search/label/Echo">Digital Delay</a></div>
<div style="color: black; text-align: center;">
<br />
<a href="http://ericsgearpage.blogspot.com/search/label/In%20Studio">In Studio</a></div>
</div>
<div id="story" style="background-color: #dddddd; color: black; float: right; margin: 5px; padding: 5px;">
Builder:<br />
<br />
Type:<br />
<br />
Status:</div>
<div class="separator" style="text-align: center;">
<a href="http://ubik.crumpled.com/gearpage/GearPics/DigiDelay.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ubik.crumpled.com/gearpage/GearPics/DigiDelay.jpg" width="123" /></a></div>
<h3>
Trading up or down?</h3>
I made an even trade of my <a href="http://ericsgearpage.blogspot.com/2011/04/boss-dd-5-digital-delay.html">DD-5</a>
for the DigiDelay, and I got a little sideways glance from the clerk:
he thought I was trading down for an inferior pedal. Well, everyone's
entitled to their own opinion, but I hated the sound of the Boss pedal
and I think this one sounds decent (at least better than what I traded
for), so it always seemed win/win to me. The <a href="http://ericsgearpage.blogspot.com/2011/04/akai-e1-headrush.html">Akai Headrush</a> was too large for my pedalboard and the DD-5 sounded awful, so I thought I'd give the DigiDelay a shot.<br />
<br />
<h3>
Neutrality</h3>
The DigiTech DigiDelay is a decent sounding digital delay, with
the repeats coming out neither super bright nor dark (though I wish
pedalmakers would seize upon the high end damping featured on the
Headrush... it would be a useful knob on any delay). There are three
delay time modes, making it easy to use the Time knob to dial in a
specific tempo, and the now-ubiquitous Loop function (most delay pedals
seem to offer it; I never use it) is on offer along with a reverse
delay, modulated delay, and a simulated tape delay.<br />
<br />
The Time knob can be turned realtime for pitch shifting effects,
but only in Tape mode (which seems odd: why make it sound bad in 6 of
the 7 modes if it can obviously be made to sound decent on this unit?),
and the Mod mode is nice for a little drift, but there are no controls
for the modulation... rolling back the Level and shortening the Time,
you can make a decent flanger of this pedal.<br />
<br />
<h3>
Pros and Cons of single switch Tap Tempo</h3>
My main reason for buying this pedal was to have a small footprint
delay pedal that could accept tap tempo without an external footswitch:
when I read that the DigiDelay could do this, I was immediately excited,
and this weighed heavily into my decision to get one. Unfortunately,
it's not implemented very well. Observe: <br />
<ul>
<li>Stepping on the stomp switch turns on the effect. </li>
<li>Once on, holding down the stomp switch for two seconds causes
the LED to blink in time with the tempo of the echoes; you are now in
Tap Tempo mode. </li>
<li>Use the stomp switch to tap in the tempo you want-- the LED will
blink in time with the taps, and your tempo has now been changed.</li>
<li>Hold down the stomp switch for two seconds to leave Tap Tempo mode. You get the solid red LED again.</li>
<li>Now, stepping on the stomp switch will turn off the effect.</li>
</ul>
Jesus-- imagine trying to change tempos in the middle of a song!
Two seconds is a lot of time when you're trying to get from a verse to a
chorus... you certainly couldn't stop playing for two full seconds. Not
only that, but the echo actually has to be on for you to even enter tap
tempo mode, so if you engage it, you have at least two full seconds of
echo at the wrong tempo before you can start tapping in the right one.
Hopefully you don't need to switch the echo off quickly, either, because
you'll have to hold the pedal down for another two seconds before you
can get out of tap mode to bypass the thing.<br />
<br />
I actually had to make room for the Headrush (the Akai Headrush has
two switches, one for bypass, one for tap) until I could find a better
way. Oddly enough, <a href="http://ericsgearpage.blogspot.com/search/label/Boss">Boss</a> thought this hold-for-tap idea was fantastic, and copied it for their DD-6. <a href="http://ericsgearpage.blogspot.com/search/label/Line6">Line6</a>,
on the other hand, came up with a single-switch tap setup that is
intuitive, requires no hold-for-2-seconds, and can be tapped while the
echo is bypassed.<br />
<br />thunderpuppyhttp://www.blogger.com/profile/14513082891709518462noreply@blogger.com0