OzMike

Don't know, but will know soon - bought a 12-ohm Two10 from the classifieds here to combine with my existing One10. Yes, the 8-ohm One10 will receive over half of the power of the amp, but I figured with a 500W RMS/4 ohm rated amp the end result with 3 x 10" speakers will still be significantly louder and fuller than 300WRMS into the single One10. It also leaves open the option of running the Two10 @ 200WRMS, still plenty enough for rehearsals I reckon.

I purchased an MXR Deluxe Octave pedal from Tony, shipped to me in Estonia; good chap to deal with, fast to ship. Thanks mate!

The band is endorsing the manufacturer, not the other way around, right? Otherwise it doesn't make sense. The idea is that the band is using their profile to spread the good word about the gear, not the other way around.

What digital pot are you using, out of curiosity? Last time I looked at this kind of thing in any detail a few years ago the reality of integrating digital pots with existing analog effects was not pretty for a few reasons, and referring to the actual I was using: https://www.mouser.com/ds/2/609/AD5241_5242-586728.pdf 1) tolerance - 30% - probably ok for one-off DIY projects, but not so good for predictable results 2) current handling = low 3) voltage range; max voltage is well below the 9V of standard effects pedals ... the end result being you probably can't just snip out an analog pot and replace it without a digital one without analysing how the circuit works and making sure the max current and max voltage isn't exceeded. Would love to see someone get a hardy and reliable solution going in this area, though!

I recently purchased a GK Plex preamp from CygnusX2112 aka Patrick, which he shipped to me in Estonia; the deal was friendly, fast and completely painless. A good chap to deal with!

Soon to be ex-pedal company (Prophecysound Systems) guy here... much of what I was going to write was covered by previous posters, however there is still several points to make: 1) there are many, many other companies making pedals these days (compared to the early 2000s when I started out). Given a number of pedal purchases are somewhat random (using people's spare money or just to 'try something out', there are many other competitors lining up already for the same dollar / pound / euro. What will you do to stand out? 2) if you have no technical skills yourself then you are on the hook at expensive rates when a support issue comes up (and believe me, it will). How will you deal with a pedal that is shipped across the world, and then fails to work as soon as it is out of the box? etc 3) you will be bombarded by requests for free pedals by unknown person X or unknown band Y who wants to 'demonstrate' them or 'endorse' them in a way that won't have any obvious benefits to you, yet if you don't indulge some of these people / bands then you'll be missing out on some good marketing ... or will you? 4) eventually you will come across customers who are almost impossible to satisfy - if you are considering direct sales to keep more of the $$$ yourself - just how far will you go to keep happy a complete nutter who is threatening to post to all the FX forums, Facebook, twitter, what a complete silly billy you are for not doing (insert unreasonable request here)? If you are really keen on doing this I would suggest a partnership between yourself and a tech person; you might find someone who you can work with who doesn't want to deal with emails / dealers / etc. And then prepare to put in many hours + $$s before you see any return. There's a reason why I'm getting out of the biz...! edit: Stop right there - that's already getting into a difficult area. Basses put out way more signal, in general, compared to guitar, and have much different frequency requirements for a good sound. How many overdrives or fuzzes work equally well on guitar or bass? There is a very good reason why there are 'bass' and 'guitar' overdrives. Happy to discuss privately if you don't want to post your ideas here.

Try removing the OC2 first - it's intended as a guitar pedal, and decoupling cap at the input of the buffer is smaller than for the equivalent circuits on the bass-focused pedals. Also, the active buffering components can fail or part fail in such a way that the 'bypass' is not working properly - I've seen this from time to time on some older Boss pedals I've repaired. This could be an issues with zero or all of the Boss pedals you have (or indeed any similarly-buffered pedal). As others have said, a bit of trial and error will likely give you the source of the problem. BTW - you are not running the Samsamp at the end of the chain for some particular reason?

I've uploaded an annotated version of the relevant part of the schematic here, with the octave output slider section circled, and the square output slider section 'squared': [url="http://prophecysound.com/etc/bsynth1_annotated.pdf"]schematic[/url] The (4) and (5) lead to the VCF - you can see there's not much 'savings' from eliminating these parts. OTOH, there's not much being 'wasted' by having and not using them! If you really wanted this project to happen, your best bet might be to find a few others who are also interested and approach a builder. This would let the builder spread the design work, PCB costs etc across more than just one end unit, and without them taking on the 'risk' of trying to make it a commercial product.

I had a look at the MS schematic - the square wave and octave circuitry 'savings' would only be a handful of components as these outputs are kind of 'side effects' from the processing the rest of the pedal does. It would be cheaper to buy a MS and rehouse it without those controls than to do a one-off custom project.

The sandpaper scuffing approach is the one I use in my pedals - superbright LEDs definitely need some kind of 'work' like this as their diffusion angle is pretty low.

There's two aspects to this, as others have already mentioned: 1) the frequency response of the effect 2) whether the effect is 'tuned' for guitar (in terms of frequency the EQ operates at, or drive levels etc) Most digital units should be ok, in theory, regarding point 1), as their circuitry generally operates over a range that means all bass -> treble frequencies are processed. The only trouble, with digital or analog units, is if there is internal processing (digital) or circuitry (analog) that rolls off bass frequencies. This is not uncommon on guitar distortion / overdrive units. Also, EQ for a particular effect can be tunes to be useful for guitar, and perhaps won't be so much on bass. For distortion, I find it useful to record a clean bass channel and then produce a 'dirty' channel from this during mixdown; this way the sound guy can blend in as much clean sound as necessary, and also process the clean and dirty channel separately. This works live also.

Check this out - the Fishman Fission Bass FX pedal http://www.youtube.com/watch?v=I2XKZNMR2Pc http://www.thomann.de/gb/fishman_fission_bass_fx_pedal.htm Pricey, but looks like it would do the job. I was considering one myself for the trio I'm in, but don't have cash for it right now. If it's just for occasional use, you might also find the price isn't worth it.

Oh, I thought you meant something like this: [url="http://www.youtube.com/watch?v=8C3h2AVhfrM&feature=related"]http://www.youtube.com/watch?v=8C3h2AVhfrM&feature=related[/url]

The band I'm in just got a new drummer, a guy that is way better than the previous member - for Estonia, he's A-level whereas I'm a more C-level player. So my previous "hey, I'm still better than the drummer with only occasional work" practice routine has become a much more structured one. Now I play daily for 45-60 minutes, and feel that our material would suffer through lack of precision otherwise. I can never work out how people can play really well without regular practice or at least time on the bass; I guess some people are much more talented than me, or that the 'decay' of their playing happens at a much slower rate. For me, if I'm not playing everyday, it's harder and less fun to play in rehearsal or at gigs.

I used to own a Deep Impact a number of years ago, but can't remember if the volume drop between preset changes is normal or not. Just to clarify - do you mean that the volume drops momentarily during the present change, and comes back to normal? Or that it the volume changes to a lower level and stays that way? Many repair people could be wary of working in a Deep Impact, as AFAIK there's no real tech info available for it, and beyond fixing cold soldering joints, mechanical problems, or possibly damaged bypassing FETs, there's not much that can be done.

[quote name='terryat' timestamp='1350895002' post='1844644'] I have purchased one last month.The sound is good.You can get it to try. [/quote] Single post user, last active when this post was made, clumsy English.... seems like the Joyo guys have their scouts out astro-turfing ....

Great, thanks. Good Motown coverage / brief JJ history lesson too.

[quote name='Chris Horton' timestamp='1350066960' post='1834317'] I actually felt slightly sick watching that .............................................. and i could only watch 10 seconds of that vid [/quote] Probably just as well you didn't make it to the end then! That guy is a wonderful bass player, and has good taste in lingerie also. It's a rare combination, or so my wife tells me.

[quote name='vintage' timestamp='1349882429' post='1831758'] Great. All I have had is stupid messages from Eastern Europeans.. [/quote] If you don't want to sell to people outside the UK (for example), then take the 5 seconds to write that in your (very brief - I've just read them) adverts. Also consider that English is not likely to be some people's first language. You've specifically mentioned Lithuanians - for them, English could well be a third language (after Lithuanian and Russian). FWIW, I've had successful international dealings with several people on BC, despite being an 'Eastern European' (of sorts).

Interesting, thanks for posting the link.

I don't think it's an analog 'tracking' style pedal - if it can process the signal with multiple notes at the same time, then it's a DSP pedal that's doing some real-time slicing / stretching of the input signal, like a POG or similar. Now, whether the processed signal sounds good is another thing, however I'd be guessing it does the pitch shifting more or less perfectly, probably with some slightly strange phasing-type artifacts. Need to try one myself.

That Aristocrats stuff is fantastic, thanks for putting it up! There is one pretty decent - IMHO - fusion band that plays locally here in Estonia, Phlox: [url="http://www.youtube.com/watch?v=lIcIpzx2Lbs&feature=relmfu"]http://www.youtube.com/watch?v=lIcIpzx2Lbs&feature=relmfu[/url] I don't really get the negative comments about fusion. Every genre of music has it's stronger and weaker moments. (shrug). I guess I got into it at a young age - I found a vinyl copy of 'Hymn of the Seventh Galaxy' for a few bucks when I started playing bass and bought it because I liked the cover - lucky find, and listening to it blew my mind.

Save your money, and get one of the modern clones. As long as it uses the same circuit + similar photocells, it will sound more or less the same as the Mutron III. Due to component drift and aging, each 'real-deal' Mutron III can sound different to other Mutron IIIs anyway. AFAIK the Haz Labs version doesn't use photocells for the varying resistive element, so personally I would not buy one of those myself. Last time I played around with envelope filters the Qtron / Qtron+ sounded pretty 'original' to my ears and seem to work better live, but I think there's other options available these days (from 3-Leaf audio for example), haven't tried those though. If you do get an original, chances are you can move it on the around the same price anyway as long as it's working ok, so no harm done if you can afford the cash now and don't want to keep it.