dannybuoy

I bought a cheap flightcase from eBay for mine, fit like a glove except no room for cables, so they had to go in the gig bag!

I don't know much about filter designs, but if you use a charge pump, watch out for noise. Most of the ones I've encountered produce a high pitch whistling that can leak into the audio path. e.g. a big culprit was the RMI Dual Band Compressor - it was fine on isolated power, but stick it on a daisy chain and it was pretty audible. I put it down to the charge pump having heard the same result from using 9V-18V adaptor tips in the past.

You might not see the Spark or Mojomojo as they're analog pedals. They could try to approximate them though, they do have the Spectradrive and Tubetone algorithms after all. I would have expected to see TC try out standalone digital drive, amp/cab sim and filter pedals at some point before they tried their hand at a multi-fx. Interesting to see what they come up with though!

A couple of other things I used with that setup: An Option Knob to be able to change modes with my foot (well, it was cheaper than a MIDI setup!): Also, feeding the fake guitar into a TC Mimiq stereo doubler sounds amazing. Not too useful if you're just using a single guitar amp, but if going to the PA, recording, or just listening in headphones, it really helps separate it and make it sound like a double tracked guitar.

^ This I've left 3 bands now, with big long stints of doing nothing in between, but not once did I ever consider selling the gear. I've put too much hard work in finding gear that I like, and I love just plugging in every now and then to annoy the wife!

You can power it with a general micro usb cable / phone charger. The battery is internal, not easily removable, and charges over USB. You can leave it plugged in permanently if you wish. I'd say the original is fine, new one seems to be overkill! But it looks like the Vox can do everything this can do. Is there a particular reason you're looking at the PJB? You can use either of them alone, using both together would only serve a purpose if the headphone out on the Vox was not loud enough and you wanted to boost it with the PJB.

Surprised you managed to break one of those picks to be honest! You referring to these ones? I did find the edge to wear down quite a bit with those though: I use these:

The SVT210AV weighs less than 12kg. It's the lightest cab I've ever picked up!

Love my double SVT210AV stack!

Tapping on an iPad screen isn't quite the same as hitting a pressure senstitive pad with a stick. I think you might break the screen if you tried that! You could use the MIDI out to an adapter on the iPad though if the drum sample engine on the iPad was better than what came with your drum pad. Which may well be the case if you get a cheap unit. They're good for learning on, I have an old Yamaha DD-55. More pads than those other two, plus it comes with foot pedals. But the built in sounds are probably a lot better on the more recent devices.

Kev's right in that it's not generally good form to filter out most of your mids with a HPF then apply a vicious mid boost to bring them back again. That can lead to noise issues, as well as the fact each EQ stage introduces phase shifts which you want to minimise. It would indeed be beneficial to have a freq control like the DuG amp does and the Darkglass pedals, that way if you wanted more upper mids you could simply lower the cutoff frequency rather than try to boost the mids back after the crossover. But in my experience you don't really need to boost that much, and it's a non-issue for me. You should definitely try one out Kev! My wishlist for this pedal would be a dial to control the HPF frequency, get rid of the Mix switch and have it control the mid shift instead. Shift in to boost the high mids sounds better in a busy mix, but if it strips back to just bass and drums, it sounds better with the shift off.

I bump my mids to 2 o'clock with the mid shift pushed in. This raises the mid frequency, so I still have a fairly big gap around 500KHz. But this is where the guitars and vocals are most prevalent, so it serves a purpose. If I play lightly, I can only really hear bass and low mids <250KHz, as if you'd rolled the tone control off. The compressor is really punchy too, it's not just a leveller/limiter, it accentuates the attack of each note so that it really hits you in the face - but of course only in the low freqs since there is no compression of the highs. The high mids / drive channel only becomes audible when I dig in, so I play that way sparingly to accentuate certain parts. But when you do so, it pokes out above the other instruments to complement them without battling for the same sonic space.

I had similar reservations about the DP3X until I tried it in a mix. You end up punching under and cutting through above the guitars - it's like it was made to work with a band mix rather than sound good solo. There's still plenty of midrange grind on tap if you boost the mids. I'd very much like to try the X Ultra though, might treat myself once I've offloaded all the pedals I no longer use.

Interview with Al where he talks about the bass: https://www.musicradar.com/news/al-cisneros-sleepom-when-im-stoned-its-readily-apparent-whether-a-rhythm-has-a-shelf-life-or-not

Yeah when I saw a pic of the Sire rolled edges, I thought that was a little extreme, and would either result in issues with the strings slipping down the curved edges, or them having to make the neck wider to compensate.

Even the cheap Ray4 has a really nicely finished neck. One of the best feeling necks on a cheap bass I've ever felt!

I don’t know what’s funnier. The fact Bas took the time to calculate it, or the fact you guys are arguing about it!

It’s not just about the fret ends, it’s the sharpness of the fingerboard digging into your left hand. I had a MIM Classic 50s Fender P that had a pretty sharp edge to the wood, which combined with the wide nut width, made it uncomfortable fretting a low F. Some rolled edges on that neck might have made a difference!

Not in my experience. The Fwonk had me instantly pulling funk faces. The QBalls had me instantly looking up return policies!

So you were leaving the cable plugged into the jack most of the time when not playing? If so I think you were lucky to get more than one month!

Why? C4 does everything the Spectrum does, just get that! @Al Krow I agree on the jack of all trades thing, I just want a couple of basic filter sounds, but I want them to be perfect for me and my playing and I'm happy to shop about and try things vs compromise for convenience. If this pedal can deliver, then great, but since filters are so personal, it's impossible to tell from a demo and I didn't hear anything in there that particularly floats my boat. I'm in no rush to try one as I'm happy with the Fwonk for a basic funk envelope and the Discumbobulator for playing into overdrive/distortion. But if I see a used one for a great price I may try it out of curiosity!

It can do quite a bit more. Octaves for one, including an OC-2 clone. And rather than just a few generic 2-pole / 4-pole lowpass filters, it has models based on the Mutron, Meatball, and others.

Plenty of squelchy ones out there, Fwonkbeta, Discumbobulator, Filter Twin... I've found that many filters do make that noise, including Mutrons, Q-Trons and Meatballs when the resonance is turned up. You can avoid it by turning the resonance down, but then it sounds more subtle. It's a big reason why I like the Fwonk, it's anything but subtle, but does not have that whistle!

You need a hub to use a generic expression pedal, but the Source Audio expression pedal can plug straight in I think.

Yes. I asked Source Audio on 'the other forum' and they confirmed that the C4 has everything the Spectrum has plus more.