elephantgrey

[quote name='mcnach' timestamp='1363991471' post='2020803'] unless I misunderstood... what you can do with that approach is have a spot where you don't hear (much - it's never perfect) but you'll still hear a lot everywhere else... [/quote] Ah yeah, my bad. That does makes sense. I did say i had never tried it out >.> I guess it works for recording because you put your mic in the deadspot.

Disclaimer: this is purely theoretical, i've not actually tried this, but the theory is sound. (i kept meaning to try this out in the studio, but the whole time, everyone i was recording whilst i was there had good enough headphones.) You could aim two ams at the spot you'll be standing, and reverse the phase of one of them. With some careful positioning (about 90 degrees from each other) this could cancel out the noise elsewhere, whilst you should be able to hear it fine.

[quote name='phagor' timestamp='1363974004' post='2020439'] Unfortunately, octavers don't work that way. They do generate a square wave down one octave or two, but that square wave is then multiplied by your bass's signal. That result is your bass's signal, but with the polarity flipped every half cycle of the squarewave, to add an octave down component. The output is also filtered to remove any high frequency bits of the squarewave. This can make the soloed octave sound very sine-ish. I think you will need a synth pedal to get different waveforms. [/quote] Isnt this technique called phase modulation?

Foam is used for sound dampening. It is mainly used to disperse lower frequencies, as they get 'caught' between the cones in the foam. @Mr.Foxen ive always been taught that layers of porous and solid material diffuses the sound best. (well other than sticking another room inside your room with a vacuum in-between). I wouldn't discount foam though, it does help, but not completely.

Are there any octave pedals out there that give you control over the waveforms used? Im mostly interested in a sine -1 & -2 and triangle -1 with clean at 50% volume, sines 20% each and triangle 10% (maybe 15% on the triangle and -1 sine, depending on the song). PS, sorry to OP for piggybacking off the thread, didnt really want to clutter up the place with another.

And i thought normal volume/expression/wahs where too small... (i have size 15 feet)

Yes, you are right in that noise gates close (reducing a sounds volume) only beneath a set level, and are otherwise open (letting through the sound). If you are familiar with compressors, think of sound gates as the opposite of them. It might help us help you if you could tell us what pedals/effects are you running at the moment? and how are you powering them?

yes, of about $36. edit: well whatever 20% of the value is in sterling

In a band situation i improved more by learning the basics of drums than being able to play guitar.

[quote name='Left Foot' timestamp='1361975569' post='1993878'] Firstly, wow, I must be a dumb ass. I have played bass for over ten years and never actually thought/understood the benefit of getting a compressor.[/quote] I wouldn't go that far, you can play perfectly well without any effects (maybe with the exception of a tuner. The whole "i dont need a tuner, i have perfect pitch" thing makes the sound engineer in me want to scream. But i don't really want to get into that conversation), a compressor is just a tool to help shape your sound into what you want it to be. [quote name='Left Foot' timestamp='1361975569' post='1993878'] Hi guys, I found BC searching for insight regarding signal chains on google. Firstly, wow, I must be a dumb ass. I have played bass for over ten years and never actually thought/understood the benefit of getting a compressor. So yeah, any decent ones I should look out for bass guitars. I'll use google a bit here, loads of questions about them. [/quote] I am a big fan of the markbass compressore pedal,but i know there is alot of love on this forum for the MXR compresser. Theres a few links to blogs/sites that are really useful for explaining how to get he best out of your compressor but ill let people more involved plug away. (if your impatient, try looking at other threads about compressors on here) All id say is that id look out for one with input and makeup gain, threshold, ratio and attack controls at the least. also good monitoring helps.

bitcrushers have two main controls, bitdepth and samplerate, just play about with these to distort your signal (the lower they are, the more distorted). A point to note is that the lower the signal going into them, the more distorted the sound it (opposite of almost all other distortion types).

Have you thought about a bitcrusher maybe? not technically a distortion, but fun as heck.

+1 to what xgsjx said. That being said, tuners tend to be more accurate the closer to the start of the chain they are, so do octave and synth type effects that require tracking what you play. Anything that follows the envelope of what you play (envelope filters and he like) seem to work better before a compressor (though using a compressor to play about with your envelope can be a nice way to control them if they aren't adsr). There are a lot of rules of thumb floating about, but really, playing about with the order yourself is a good way to go. Only other thing would be, if you know someone with a similar sound that you are going for, maybe see if you can find there order for a jumping off point, but id still recommend fiddling yourself.

[quote name='JTUK' timestamp='1360496619' post='1971144'] You wouldn't want it to add any bias if set flat...that would be rather crap, IMO... but people like them to notch the P.A and I see this as the primary use otherwise you are second guessing the desk...which is NOT good So. you would use it to get the general room and P.A sound in harmony..and then use channel EQ for the instruments. You EQ the P.A to the room first and then shouldn't want to touch it again... [/quote] The other use for a graphic EQ is to cut sll the mic's feedback frequencies in there monitors, by individually turning the mic's gains up until they start to feed back, and then cut that frequency from there monitors. Repeat this for each mic maybe two or three times. This has the dual advantages of both allowing you extra headroom on the gain of the mics, and also making your life easier during performances by reducing how likely it is a mic will feedback.

Those where my thoughts really. No soundclips on the site, and no YT videos of them. Would like to see what someone who has held on thinks about the build quality also.

Today i noticed that gear4music where doing there own pedals now, link follows: http://www.gear4music.com/Guitar_--_Bass_Effects/Gear4music.html They seam to have there own branded multi effects for both guitar and bas, but seam to be endorsing RedSub pedals under there own brand in bass effects. For £30 a pop for the most part, i must admit theyve got me curious. im wondering how they compare to the joyo pedals which seam to be kicking about amazon for about the same. They seam to come in metal casings, but with rubber end points at the top and bottom, which seams an odd choice to me. Does anyone have any experience with these?

Personally id take a b9.1ut over a b3, mainly cause it has midi ports, so it can temposync up to my other pedals. Thats just me though. Was hoping they'd do a larger b3 with more connections on the back before i noticed the g5 doesn't have midi i/o either.

[media]http://www.youtube.com/watch?v=vn58lxX3Crc[/media] video from EHX.

I'm wondering if it can do more than one effect at a time...

[quote name='51m0n' timestamp='1359020181' post='1948456'] BTW if anyone wants a true upwards compressor download the free pack from here:- [url="http://www.jeroenbreebaart.com/"]http://www.jeroenbreebaart.com/[/url] Red Phatt (included in the bundle) is a very fully featured compressor that includes the ability to turn up signal below the threshold (rather than turning down signal above the threshold which is normal downwards compression - the diff is that downwards compression changes the transients, as does parallel compression). [/quote] interesting... thanks for the link.

[quote name='thumbo' timestamp='1358944931' post='1947370'] Would you achieve the same effect as parallel compression by running any compression pedal through an effects loop - using something like a Barge VB-JR? I'm going to try running my Demeter compressor through my Barge loop later, I'm intrigued to see what it sounds like. [/quote] [quote name='charic' timestamp='1358945281' post='1947380'] I'm wondering similar to the above but using a compressor and an LS2 to blend [/quote] yes, you would achieve the same thing by having a blend control on the compressor, or running it though a looper with a blend.

you can just solder all the points to the point on the SLV.