Tech21NYC

We use a mid bandwidth Q on the pedal which is more musical. The narrow Q is great for "fixing" things and a wide Q can sometimes be too subtle. It really depends on your application.

I didn't really say it was linked but more that all the controls interact with one another which is true of most EQ. If you want to do more surgical EQ's like a notch filter, that is a very steep curve which is good for dealing with a node or problem frequency or feedback. Those types of EQ's aren't really musical they are for solving very specific problems. It's always a bit puzzling to me that over the years many players want "full range" preamps and speakers etc and then have to use HPF/LPF to get back to where the

Correct. You should need no additional equipment to use the Bass Driver DI with your interface. The amp emulation of the SansAmp will contribute a certain amount of compression depending upon the Drive settings just like a tube amp would. Don't be hesitant to turn the controls and experiment. Once you get a handle on how the pedal functions it will become quite easy.

The presence control is already boosting at 12 o'clock. The Mid, Treble and Bass boost and cut from 12 o'clock. Maybe try starting with the Blend off (counterclockwise) and gradually increasing. Have you tried the sample settings. Try Fat Tube with less Drive, Presence and Blend.

It's hard to find a single unit that will do everything you want. The Fly Rig series was designed for portability and ease of use. They were never intended to be a substitute for a full featured pedal board.

There is really no room to add an effects loop in there. It would require a redesign. It would be easier and more cost effective to run an inexpensive DI at the end of the chain. Are you using all the features of the BFR?

Mic, instrument and line level are really operational ranges to consider when interfacing with different gear. None of these levels are constant like a voltage measurement. It helps to understand all the devices you are using to get the optimum signal to noise ratio and levels. If the person at the mixer doesn't know how to adjust for varying levels, that's a problem. You basically want enough gain to match levels with the other inputs and enough headroom so there won't be any channel overload on the peaks. We measured the output level of one of our passive bass guitars. Playing lightly the signal level was around -12dbB which is instrument level. Playing an eighth note pattern a bit harder the level was around -8dB. Slapping aggressively on the low E the level peaked at around 0dB which is considered consumer line level. This is why the channel strip has to be gain staged properly. Most modern mixers can accommodate a wide range of signal levels from microphone to instrument level. My inexpensive Soundcraft mixer that I use for small gigs has a -15dB pad and 60dB of preamp gain. It easily works with anything I plug into it.

Not at the moment but there is one in the works.

The PSA 2.0 can most certainly be used for bass. There are 10 bass presets in the manual on page 17. http://www.tech21nyc.com/t21manuals/PSA_2pt0_OM1.pdf There are also a number of stompbox emulations like Fuzz Face, MXR+ etc. The PSA-1.1 was used by engineers and artists in the studio for years on guitar, bass, drums vocals etc.

Pricing aside, 128 presets vs 1 is meaningless unless you're happy with the overall tone. Nothing against SA, but that is an apples to oranges comparison. Those units are all digital whereas the PSA 2.0 is an all analog signal path. It's an entirely different technology. It's the same reason a modeler can claim to give you the sound of 100 different tube amps and dozens of effects for a fraction of the cost of the actual units. Whether it sounds "better" or just "close enough" is ultimately in the ear of the beholder. It's the better, cheaper more convenient argument. Pick two. 😉

There was simply no room to add the XLR in the size format of the PSA 2.0 and it was also not needed. The concept for the pedal is for it to integrate on your pedalboard with all the effects you are already using. You can run pedals in front of the unit and time domain effects after it. It's best to have the DI come after your pedalboard if you need to go direct.

We haven't really had any issues with control knobs being broken on the FlyRigs and dUg pedal etc. People have reported losing the knobs sometimes. The new PSA 2.0 is a pretty cool pedal, of course I'm a bit biased. I've messed with a proto here and at home and want to experiment with the midi aspect of the pedal when I get a chance.

I really don't know how the pricing is structured in your area. There are so many variables. It's very different in the US.

There is no room for a battery in that unit. Between the lights and the tuner you "might" get through a gig if you don't tune too much. When I used to do gigs with a multiple bands for a single event I would just bring an inexpensive 2 prong 10' extension cord in case power wasn't readily available at the front of the stage. Changing drummers takes more time than plugging in 1 extension cable unless you're talking about busking or something.

It's best to contact your local dealer for pricing outside the US. We can't predict or dictate the price as there are too many variables has previously mentioned.

You can use the Midi Mongoose with an expression pedal for certain CC messages but it will depend on the device. It's not set up to be a full featured controller like the Voodoo Labs Ground Control etc.

Sounds like a good idea. I will pass it along to our design team.

Thanks for posting your review. I was a little confused. Were you running the YYZ into the VT Bass or the VT Bass into the YYZ. Since they are both SansAmps with speaker emulation you might get a better idea of the tones by running the YYZ on its own. The Low and High do not change the amount of Drive available as they are both post SansAmp. There might be a perceived change as overdrive boosts the harmonic content and increasing highs with distortion will accentuate the effect. The mid control however is before the Drive and that will influence the amount of distortion.

The Q\Strip is very capable as an analog speaker sim if set correctly. I'm not familiar with the other pedals you mentioned. For a speaker sim, it's best to use after any distortion producing pedals. You should obviously have the LPF engaged. You need to make sure everything is gain staged correctly as you could be getting fizz from overloading the interface. If you're running a number of pedals in series you want to set the gain structures so you have unity gain. Here is a video showing the Q\Strip as a speaker sim in action.

When you use the external DI are you plugging your bass into the DI and sending the DI's through to the GK?

Yes, but you should reply here first. TalkBass is 7 hours behind. 😀

"Tight button to add definition to your notes in cleaner settings and make distorted tones snappier." A signature piece of gear doesn't mean that you will automatically sound like the artist it's associated with or it can only be used for one sound. With a stringed instrument there are way too many variables. As a player you have to consider the approach of anyone if you're trying to sound like them. For the artist it's a piece of gear that makes it easy for them to dial in their tone. They can probably obtain similar tones with other gear but it may require more work. In a piece like the dUg Ultra Bass 1000 that's a pretty unique amp. It was designed for dUg but it can work for a lot of people that may or may not necessarily want his tone.