elephantgrey

that would be two of the True Bypass Loopers - No LED, DPDT Switch, under the True Bypass Loopers section (image shown below). to put two of these in one case, you have to basically make two of them up, but instead of the 1/4" Mono Jack ports in the middle, you would run the wire from where the TIP would be on the OUT from one "half" to where the TIP would go from the IN on the other, and the same for the SLV (sleeve). I hope that made sense. =] EDIT: i crudely paint'ed up what i meant, please ignore the poor paint skills... im a musician not a graphic designer >.>

They don't actually say what Multi-Dimensional Processing is. They say it analyses the sound in multiple dimensions, and bla bla bla, but that doesn't explain what it does... Maybe they mean they use your envelope and pitch and then modulates the effect an amount based off of them. EDIT: if so, why don't they just say so? why hide behind meaningless acronyms?

I'd just like to say, great book.

[quote name='dood' timestamp='1358773065' post='1944662'] A great description! Better put than my post. - I totally agree and that's exactly why I use it. Really 'squishy' compressors with a blend work really well. Certainly units based on the 'Ross' compressor with the added blend control (and sometimes a way to soften the attack) adds a really nice warming effect to HiFi sounding basses and is certainly one of the reasons I am interested in pursuing further. loop-blended with a nice bass distortion I think it'd be a great pairing. [/quote] i dont know why i hadnt thought of using the effect on bass, but i imagine it would go nice things to a nice growly fuzz.

[quote name='51m0n' timestamp='1358771581' post='1944619'] No, parallel compression is a completely different thing from changing the attack on an inline compressor. You can (and probably would) set up parallel compression with a (far) faster attack than you can an inline compressor, since the dry signal is going to contain all the transient info you will need, so you get all the benefit of that nice juicy spike with all its associated top end and so on, whilst at the same tame beefing up the meat of the sound as soon as the spike is passed. Even then this is a very differetn thing from carefuly regulating attack, since you tend to have enough of the dry signal to convey dynamics as if there were no comrpessor running at all. Its quite tough to describe precisely why and how it can be so different, but I promise it is (sorry!). Because the compressor is parallel you can 'get away' with far more overt compression than with an inline comrpessor, with all the benfits of massive amounts of compression (really fattened punchy sound) with far less overt side effects (diminished dynamic range, and asssociated nasty feel to playing into a really smashed compressor, implications of compressing the nuts out of the transients leading to a far darker apparent timbre than you want etc etc). Upwards compression is not striclty speaking, exactly the same as parallel compression, although there are similarities, to the extent that a lot fo the time people suggest parallel compression in place of upwards compression. [/quote] What i meant was "what OP is talking about" in reply to BigRedX.Thats interesting that parallel compression is different than upwards compression (I had always thought that parallel was a type of upwards). And yeah, when i use parallel compression (most often on drums in a DAW) i set the compressor quite harshly, almost to the point of limiting.

[quote name='BigRedX' timestamp='1358765653' post='1944495'] Surely all you need is a compressor with an attack control? [/quote] what he is talking about is another effect, known as upwards or parallel compression. Its more often known for use in electronic music on drums, as it does nice things to snares. Thats where i usually hear it talked about anyway.

I have an RC50, but i still want one of these. darn it, now i'm thinking i could also have a baby board of the board i haven't even finished compiling the pedals for yet. Darn my unrealistically GASy mind.

[quote name='squarezero' timestamp='1357746375' post='1927724']I guess that is another question, is there an art to getting volume without affecting the effect sound, particularly on the double muff?[/quote] I don't know if i can help with anything particular to the double muff, but giving "gain structure" a google might help you. Its the art of balancing levels, usually in the context of sound engineering though, but i think allot of it is transferable to your effects signal chain.

your looking for a looper pedal, id check out boss' RC range, i have an RC 50, and i love it. things i would look for would be, how long you can record for, how many phrases you can have (how many "tracks" that you can start/stop/overdub individually), and MIDI in/out for connecting to other time-based effects you might have (ie delay)

Cheers for the advice, ill give them a listen.

I am looking to start playing more swing, the jazz sub-genre, not the rhythmical technique (though i'm guessing that has something to do with it anyway). I am wondering if i can get some hints/tips/advice about techniques specific to the genre, and its popular scales scales, it would be appreciated. Many thanks in advance, elephantgrey

[quote name='BigRedX' timestamp='1354372968' post='1885304'] IMO anything that does more than just take the acoustic sound of instrument and just make it louder is an effect. End of story. [/quote] I would argue that even increasing the volume is an effect, ie OD/distortion. Even AD/DA conversion can be used as an effect (Bittcrushing/sample rate reduction).

[quote name='bartelby' timestamp='1352453507' post='1863160'] [url="http://www.zoom.co.jp/downloads/b3/manual/"]http://www.zoom.co.j...oads/b3/manual/[/url] Have a look at the manual. Probably the best way to answer all your questions. [/quote] Thanks for the link. Couldn't find anything about syncing up with other devices, so thats probably a good indication that it cant. Theres does seam to be a comb and a formant filter, but the formant seams to be modulated.

Ive been thinking about buying a B3, but i have a couple of questions: Are B3's able to sync tempo to other devices somehow? maybe via the USB? cause otherwise i don't think id ever end up using the modulation on it, and it seams a bit off a waist buying a milti-pedal and then not being able to sync the modulation to my existing pedals (currently a looper and a delay, synced via a midi cable). And then, what types of filter does it have? just LP/BP/HP or does it have like comb and format filters as well? Lastly, what is the bitcrusher like? does it compare at all to dedicated bitcrusher pedals? I'm really just looking for samplerate and bitdepth, without a waveformer over the top of it. cheers in advance.

[quote name='E sharp' timestamp='1351549443' post='1852606'] These guys may be able to do a custom jobbie . [url="http://www.brightonion.co.uk/products/Triple-Looper.html"]http://www.brightoni...ple-Looper.html[/url] [/quote] +1 for Bright Onion Pedals

you can make that sound with just about any delay pedal with an expression pedal. i like my timefactor, i midi it up to my RC50 to tempo sync and then change the synced delay time, so it keeps in time and still produces those weird sounds. but whilst that effect does have a cool radiohead-ish vibe to it i prefer my ehx flanger hoax for random oscillations. heres a vidio found on the tubes of it making weird sound by itself. really fun toy, and i got mine fore 125 off the bay inc postage if i remember correctly. [media]http://youtu.be/KQGK0XdG0To[/media]

[quote name='mcnach' timestamp='1334313670' post='1614235'] I got mine from... Amazon.co.uk It took 3 days to arrive. [/quote] Ah cool, seams to be some up there now, they where saying out of stock last night.

im likeing the look of this pedal, theres a youtube vid of it played on bass that sounds pretty decent, is there a demo of it on bass with a clean blend anywhere? Im also having trouble tracking one of these down from a uk site, most places seam to be out of stock, any suggestions on where to get one from?