Quatschmacher

C4 does (configurable) arpeggiators.

I might see if I can try one in Just Music in Berlin on Monday or Tuesday. Hoping to meet up with @SICbass there.

Depends what you want from it. I still think the FI is capable of way better sound shaping than the C4, especially now that v3 has full ADSR control (my constant nagging paid off). The C4 has the advantage of a slick interface for auditioning and saving sounds whereas the FI is still a bit clunky in comparison (though I’m hopeful of some improvement in a post-v3 release and have made suggestions which didn’t fall on deaf ears). C4 has a bigger range of filter types but for envelope control, oscillator options and parameter routing possibilities, the FI blows C4 away. Both have great tracking. I do enjoy both though but if I absolutely could only choose one, I personally would choose the FI.

Thanks. I still learn new stuff all the time. Working on the new v3 manual for the FI made me discover a nugget of information I’d overlooked before.

Thanks. I am still getting to grips with this one though I feel pretty comfortable that I know what I’m doing now. I haven’t even touched the sequencer yet! I do feel the FI still has much better tone sculpting options (better envelope implementation, pulse width modulation, EQ, ability to use more than two instances of the same waveform at once and the mind-blowing possibilities of the mod matrix) which allow me to get more of the sounds I’m after. Still, the C4 is capable of some amazing things and I’m starting to not miss my Manta.

Just put up four more patches (clips of which all are appended to my playlist). Here’s one: https://soundcloud.com/peter-kenney-750235819/kitchen-sink-bass-4 @GisserD you might dig these.

That was yours? I really liked that one and downloaded it to my pedal.

It’s not leeching. The community is set up with sharing in mind. Some people love creating patches for others to use.

What do you mean by “resonant”? There is still some scope for tone shaping with bass and treble EQ and the filter. Bear in mind, the two OC-2 patches I posted are generated differently: ”OC-2 is the new black” uses the monophonic pitch shift voice, which sounds pretty close off the bat but has it’s own dedicated low pass filter to cut off the high end. I’ve actually got it below 50% in this clip. “OC-2 1d...” is actually made using the square wave oscillator through the normal 4-pole lowpass filter and is a bit fuller sounding and less honking than a real OC-2.

Check the demos I posted above to see.

The interface isn’t nasty. It’s actually pretty well laid out (and it will be a bit clearer in the next release as I’m pushing (as far as I can) to get the things I found confusing about it cleaned up). One needs to know a bit about what one is doing to get the best out of it. Admittedly the patch transfer is cumbersome (especially compared to SA) and is something that has been recognised as needing to be improved in a later release. Tracking is definitely not awful. The latest release improves it even further.

Not sure, it uses a feature of the FI that isn’t available on C4 - using the envelope follow to regulate the volume of an oscillator so that it drives the volume into foldover distortion. I might be able to get in the ballpark though using a dedicated drive. I’ll have a go.

My C4 patches so far:

Some C4 patches:

I’ve finally got round to recording some clips of my C4 patches:

The IR is a very well-made bass. I had the good fortune to be able to try one out earlier this year.

Aha. The IR is an improvement (and designed by the same guy).

Peavey or Industrial Radio?

It’s an Industrial Radio one, which is the one I’ve been thinking about getting.

I imagine the line was sequenced and/or the sixteenth notes were ratcheted.

Do you mean the pad at the start or the buzzy/hard-sync lead sound?

Yes, C4 and FI have actual waveform generators. I don’t know about Stomp.