Quatschmacher

Just came across this rather cool idea:

https://www.thomann.de/blog/en/stompenberg-effects/

New patches added today. 

3 hours ago, visog said:

Erm... just get a synth?

I have two, but am still interested in this. 

What the hell happened in here overnight? I feel like I’ve walked into a trashed room. 

2 hours ago, krispn said:

What were your issues after trying the Pralines you felt could have been improved? and more importantly what did he change and did you feel it was an improvement?

The reason why the Pralines “issues” couldn’t be sorted (a desire to have some LPFs in place of some of the BPFs) was due to its having a global resonance control and the fact that the circuit boards had already been manufactured. You may be aware that LPF and BPF respond differently to resonance. In fairness, Olivier did try out the suggestions and was very accommodating and gracious. In his new “Moutarde” he has made the filters all low pass and given them individual resonance controls. He’s actually now delivered the pedal that was asked for (though he was already working on it)! He has said he does want to move towards digital control (i.e. presets) but has acknowledged that it’s quite costly and that he has much to learn in that area.

4 minutes ago, Al Krow said:

I know I'm being harsh (maybe unfairly). I'd love to support this guy for his innovation and creativity. I'm just very frustrated by makers who don't bother to consider what might be usable to potential customers, or observed the direction of travel for pedals across the entire industry = smaller, presets etc. 

 

 

I’d say it is a bit harsh. Olivier is a one-man company and doesn’t have anything like the R&D budget of a company like Source Audio (which is also a small company, but huge by comparison). He definitely is clued-up as to what else is out there but is carving his own niche. If he manages to sell enough pedals to customers to fund building what he wants to build then I think that’s great. If everything were ruled by budget and “what customers want”, there’d be much less creativity and that would be a sad thing.

24 minutes ago, krispn said:

The Glou Glou is an analogue pedal and those tend to have a bigger foot print and fewer features compared to digital pedals. Probably a bit harsh to make the comparison between GG and SA in terms of their design goals and resources.

*edit* actually I may be wrong on that. I think one of their pedal I’ve used was analogue but not sure if the pralines is now I think about it.

The Glou-Glou stuff is 100% analogue. 

4 hours ago, Al Krow said:

Well I'm glad it's not simply the Manta being put in a different box. If that was the case, then my credit card would quickly be put away. 

FI killer? I think it may struggle to do that for a variety of reasons. 

What it is more likely to do is render the Meris Enzo stillborn. (Has anyone on BC actually bought one of these?)

@Embra has an Enzo.

I don’t think this (SA C4) is too much in competition with the FI as the FI goes a lot deeper in terms of number of oscillators and waveforms; the new update will add significantly to the options available for modulation routing.

The Enzo still offers options not likely to be included on the new SA pedals. What makes the SA appealing is that there’ll be finer control over the envelopes. I think I’ll leave my little PayPal pot alone until this comes out. 

I’ve been following and contributing to this on thegearpage and am very excited about this. They’ll be at NAMM with it at the end of the month so there should be some videos soon. 

Behold:

Turn off the PLL and it’s essentially a lowpass version of the Pralines, though with individual resonances for each filter (the Pralines has just one, global resonance control).  

Stick it through an octaver and it’s no different from the way you’d use a regular bass with one. 

@mr zed, now that you’ve joined the club, make sure you have the means to hook up to your PC by the time it arrives so you can try out all the great shared patches, either via an audio interface with MIDI ports or via a dedicated USB-MIDI adapter (there’s a list of ones already tested for compatibility on the Panda site). 

9 hours ago, mr zed said:

PM sent re the Future Impact. Thank you.

What did I tell you? Knew it. 

1 minute ago, Quatschmacher said:

I thought you’d be buried with this!

 

P.S. have you tried the patches I recently created and shared?

Also, I know two people who tried mine at the weekend and would probably be interested. I have no way of contacting them until tomorrow though. 

2 hours ago, HazBeen said:

Not sure about this one.... but don’t use it often. Future Impact Bass Synth pedal (nuff said, right?) in used but good condition. With original box. £280

I thought you’d be buried with this!

P.S. have you tried the patches I recently created and shared?

A lovely bass and a true gentleman seller. Buy with absolute confidence. 

3 hours ago, ianrendall said:

Ok, so. The Line6 M5. Currently my number one choice. Just a few Q’s to anyone that has one. 

Can it do a good ‘Birdland’ synth effect?

I understand that the pitch shift works best with an expression pedal (which I will probably get just to use the wah). But can it also work as an ‘on/off’ effect, without expression pedal, allowing me to play a song in a different key but playing the written notes? I assume it can shift in degrees of semitones? This is an important function for me. I play in pantos a lot and a number of songs are for example ‘down 3 semitones’ or ‘up 4 semitones’ to cater to the amateur singers capabilities. I don’t need to use it as a whammy. 

Definitely check out the Enzo. I tried it the other day. It should do what you need. For example for your pitch shift needs, you could either turn the knob to shift pitch or use the expression morph function to just have a specific interval dialled in between the toe-up and toe-down positions. 

On 07/10/2018 at 12:55, cLepto-bass said:

No doubt there will be plenty of Pedaltrain recommendations made shortly but be sure to also check out the new Rockboard by Warwick range. They have nice little design feature tweaks from the PT range which really work.

I think this might be the way to go for me too, thanks for pointing it out. 

2 hours ago, Embra said:

I love it but with a few caveats. So much tweaking with a huge range of very useable bass synth sounds but it desperately needs some software so you can see (remember!) your settings (although I may have to take the plunge and get midi designer). The tracking is heavily dependent on which preset I use but yes, the octave is vary handy. Some regrets about selling you the FI but realistically, for my needs, the Enzo is 90% there. I'm hopefully Meris will update it and possibly even develop some Mac-based software but even as it is, it's one of my favourite buys of 2018 (along with a GFI Specular Tempus and a just acquired Lightning Boy NuVision preamp).

Try TouchOSC first, it’s free and pretty powerful (though it has couple of quirks such as toggle buttons sending midi in both press and release with no way to disable one or the other).

You could actually get a hardware MIDI controller for it as all parameter are controlled via CCs. There are some products which are just units with a bunch of knobs that can be freely assigned.

I really hope Meris refine it too. Angelo seemed to be taking the stance that it was complete as is, which is a little disappointing - admittedly it’s pretty amazing the way it is but surely there’s room for improvement if the hardware and firmware allows. I certainly wouldn’t mind getting one. I wish this had been around when I first started buying pedals as it would have saved me much time and money (though I have enjoyed the journey and have learned a lot on the way).

I think I have to agree with @tonyxtiger that the Meris has tighter tracking than the FI. I found that fast octave switching seemed much more reliable.

How are you finding yours, @Embra, now that you’ve had more time with it and used to own a FI?

I’ve just re-read the manual. I’m puzzled by the way presets have been implemented as it means it’s really easy to accidentally overwrite them. Presets are saved by pressing the “alt. function” button, so basically whenever you make an adjustment to one of the shift-function parameters (such as filter resonance), the preset gets overwritten. This seems a daft choice.  It seems there’s no way to use a given preset as a springboard, tweak it to one’s liking and then save it as a new preset without losing the original one (unless you’ve already backed it up to a computer).

Doesn't appear that you can the filter controlled by the envelope without having the ring mod also controlled by it (unless maybe adjusting ring mod via midi cc overrides the envelope).

Also seems that there isn’t a way to further control the sensitivity of the envelope follower to the input signal.

There’s no final level control! Just a switch between instrument level and line level output. 

Just save the money and get the FI. You’ll only end up getting one eventually anyway!

The Enzo is pretty damn cool too (I finally got to try one today alongside my FI - see my Enzo thread for a review).

FINALLY! I got to try one of these today. Here’s my take:

this is a really cool pedal!  It does a ridiculous amount of stuff. I had a solid 2.5 hours with it (with 15 minutes on my Future Impact for comparison).

The basic waveforms sound fantastic and fat. Dialling in a bit of the modulation knob, (which introduces a second oscillator with increasing amount of detune) gives a very analogue-sounding gentle phasing, especially on the sawtooth.

I was using a Mexican P with rounds and tracking was great. There were two notes (low F# and F) which caused multiple triggering but that may have been the bass itself.

With the synth voices, the lowpass filters sound gorgeous, especially with resonance. This is the best sounding digital filter I’ve heard. The cutoff goes way low (probably 40Hz or less).

It is very easy to dial in good sounds quickly, and great ones once you’ve got the shift functions down, which doesn’t take too long. (The main thing which tripped me up was the fact that some knobs do completely different things (in shift and normal mode) depending on whether the pedal is in dry (not bypassed), mono, poly or arp mode. I can see how it can be easy to quickly lose track of which knobs are set to where. For instance, I was wondering why the dry envelope filtered sound sounded a bit naff. It turns out I’d inadvertently switched compression on which killed all the dynamics. I think this happened because the shift knob on this unit was switching out at the slightest release of pressure (I was operating it one-handed, thumb on button, fingers on dials); I was trying to adjust a different parameter.

The triggered envelope control has some pretty cool possibilities and is capable of a reasonable range of sounds, though it is still frustrating that there isn’t separate control over the attack and decay. Due to the fact there’s no (filter) sustain control, the fast envelopes cut off the sound quite abrubtly at the end. This might also be partly to do with the fact that there’s no separate envelope depth control.

The envelope follower was quite disappointing and didn’t seem to have much of a range. (Perhaps there’s a setting to adjust input gain somewhere but I was only using the quick-start manual as opposed to the full one.) That was a shame as the filter on the dry bass sounded pretty good. Not as fat as my analogue pedals but actually pretty decent. I’m pretty sure the disappointment is due to the lack of envelope sensitivity though as it sounded really rather good when sweeping the filter knob manually.

There’s portamento! This is cool. Sadly the scaling on the knob means there’s much more travel devoted to the longer times than to the shorter (and more useable-to-me times).

I only played with the arp and poly modes briefly. Arp produced some pretty cool sounds.

Ring mod sounds cool too. I’m not sure if there’s a way to decouple it from the envelope whilst still having the envelope controlling the filter, I’ll have to investigate further.

Pitch shifter sounds cool, though I didn’t play it much.

I put the synth into the highest register for lead sounds and I thought it played much more tightly than the FI. (I’m interested to hear if the new FI update will change that as there is to be a new and improved tracking algorithm.)

I’m partly regretting not having bought this last week when the eBay 15% discount was offered. I didn’t buy it today but I may in future next time a similar discount comes around. Yes, it has its limitations but it the sounds it does make are pretty awesome.

I still hope that the Meris people consider a future firmware update to add more envelope control and refine the envelope follower.

Quatschmacher out. 

On 19/12/2018 at 18:34, ryan0583 said:

I've tried it on a couple of places on my board, with different daisy chain cables. Thought at one point that had fixed it but the issue resurfaced at the last couple of gigs. Power supply does seem most likely, but it's really weird that I can't replicate other than when I'm gigging. Makes it difficult to investigate!

Isn’t the Bananana a digital pedal? Sometimes they can be fussy about sharing power. It might be that having certain combination of pedals on together is causing the Bananana to receive too little power which can cause all sorts of weirdness. I had a similar issue with a couple of Source Audio pedals after it turned out that another pedal sharing the power had much higher consumption than I realised. 

I bought a couple of Voodoo Lab power cables from Paulo and, aside from delay from the Christmas post, all went smoothly with prompt, friendly and clear communication.  I’d have no hesitation in dealing again.

Many thanks!