radiophonic

Yup.  One of my bands plays Hungarian Folk music. 'Do you know any Stone Roses' (complete with fake Manc accent)

Well today is payday, so it would be a good moment for one to materialize. 

3 minutes ago, Al Krow said:

Nah - you can pick up both the Manta and Hub second hand for £150 all in.

The Hub really comes into its own if you have more than one SA pedal on your board. And on mine, it doesn't take up a vast amount of space or more specifically if I took it off my board it wouldn't leave enough space for anything else! 

Point is the Manta is a 'best in class' pedal for the money. For around £90 to £100 second hand you won't find anything to touch it.

 

I've not seen a s/h one for anything close to £90. For that money I'd bite your hand off and just use it without the expression option! I think BD wanted 120 or similar for the pedal alone last time one came up. Nothing on ebay or Reverb at the moment. 

24 minutes ago, Quatschmacher said:

As I said, your current expression pedals will work just fine with the Manta via the hub (which does indeed use a proprietary TRRS cable). You’re really missing out by ruling it out due to that.

Worth considering if you want a 2-pole or 4-pole filter. There are fewer 4-pole ones out there (Moog, Manta, Xerograph and WMD Protostar are the only ones I know of). Actually the Protostar might be up your street. It’s actually very much smaller than it looks. 

The Hub adds another £100 odd on top of the cost of the Manta + more footprint + another power draw.   For that money/real estate, you're into Moog territory!  The footprint is a real dealbreaker - I've deliberately limited my board size for the sake of sanity (Novo 18).  I can swap out a Phase 90 and I have about one additional pedal's worth of space. The Manta without hub would fit with some rejigging and I already have an expression pedal off the board - which is why I originally asked about compatibility.  Something MXR / Proton / Spatial Delivery sized would be a straight swap out for the phaser.  If I cramp the pedals up any closer, the board becomes prone to random switching errors when playing live and I wouldn't want any more satellite pedals. WRT to the slope, one of the things which appealed about the Xero was the 2 pole / 4 pole switching option. I'm assuming the Manta is switchable too, given it's overall flexibility.  I've just finished the other thread - no-one mentioned the Spatial Delivery. Has no-one tried it or is it a bust??  

Just looked at the Protostar - $$$ but looks very configurable. 

@Quatschmacher @dannybuoy It's that sort of detail that's important though. The implication of the Xerograph manual is that the range knob of most other pedals would just replicate the minimum value set at the pedal itself, rather than the upper limit. I'm not sure how you establish this kind of thing short of just demoing a lot of pedals (impractical). I'm using a re-purposed Boss FV30H volume pedal with the Malekko (small footprint, built like a tank and I had one lying around). Actually, I've just realised that the Malekko works  in almost the same way as the Xero - lower limit set at the pedal if sweeping up / upper limit if sweeping down. As with the Xero it's the 'end' point that is set by the expression pedal.  All a bit pie in the sky though, because I don't think you can buy a Xero at the moment and the one that came up here last week coincided with my car windscreen breaking, so money went elsewhere. I think the Manta is a bust for me - I just don't like the idea of dedicated controllers or proprietary cables. I've already got an expression pedal and a volume pedal on my board and my plan had been to use the spare channel from one of these as a second expression controller. Three treadles on one board just isn't practical for gigging. Given the limited options, it might be simpler if I go for a conventional small footprint envelope filter (maybe the MXR, which I've owned before, or the EQD for the LP/BP option) and make do with the Malekko if I need expression control. Time to re-read the 'if you could only have one' thread.  Thanks for the input.

1 hour ago, dannybuoy said:

Contact Taylor at IE and ask him what the optimal range is for the expression pedal. I'm sure it's not just the Moog it'll work with. Also any idea what resistance yours is? I think the Moog if 50K if memory serves.

This is what I'm on about:

"The recommended expression pedal to use is the Moog EP-3. It's wired to correctly interface with the Xerograph Deluxe and has the range attenuator knob, which is necessary for setting the range of the sweep. Set the low frequency with the Freq knob on the XD, then use the range knob on the EP-3 to set the maximum frequency. Using these two controls, you can define a sweep as narrow as a few semitones, within whatever frequency band you desire. Most other expression pedals have a minimum value limiter, rather than the maximum value. This is not useful here as it duplicates the function of the Freq knob on the XD".

19 minutes ago, Quatschmacher said:

I have one too and you’re absolutely right. The gating isn’t as tight as the Mastotron though.  

Some control over the gating would be nice, but it was a minor compromise. I wanted the Octave and figured the fuzz came for free at that price. I'd originally intended to use the octave into a bitcrusher, but as it turns out, using all three together is where the magic is. Something about the gating really interacts with the Scrutator. It gets pretty industrial.

The Xerograph needs a Moog pedal - the range knob works differently. It’s in the manual.  I already have a couple of non moog pedals and I was hoping to avoid additional outlay - the source pedal is pricy too. I’ll pass I think. 

I did look at the enigma but I’ve struggled to find a decent demo and nothing using the expression option. It is very bulky too. 

9 minutes ago, Quatschmacher said:

I do need to add that running the fuzz in parallel to the octave sound way better so an LS-2 or Cog-T65 (with its own loop) are worth looking at. LS-2 is so versatile that you’ll find loads of uses for it. 

Interesting comment.  I have an Okto Nojs, which has an octave and gated fuzz in parallel. In fact the fuzz has has an additional sub harmonic so you sort of get a taste of series/parallel. I'd been led to believe that his was not the ideal way to do it. I think it sounds great though, into even the very basic filter I'm using. 

The Digitech is a fun pedal if you can pick it up cheap - although I think the basic filter (setting 1 and 2) is the weakest thing about it.  I'd say 'worth £50' but if your are into this kind of thing, you'll want more flexibility almost immediately. I find I can get some pretty sick sounds out the vocal formant settings by really sitting on the sensitivity, so it only releases the formant as the note starts to decay, but for standard moog type sweeps, you are much better off with the analog octave/gated fuzz/filter approach IMO.  I've also found gated fuzz into a Boss PS6 (or presumably any 3 voice harmoniser) can sound absolutyel epic (provided you don't need to suddenly change key, in which case it can all crash and burn spectacularly...). Add a little delay to the end of the chain for maximum effect. 

I've waded through the 'If you could only choose...' filter thread, but my question is a bit different. I'm after a filter with expression control, but my options look pretty limited - certainly for 'in production'. I have a basic filter on my Malekko Scrutator, but there's no real control over the resonance or the slope (just sweep direction, LP/BP and Q midpoint). Quite usable for an 'extra' but lacking flexibility. One option I've considered is the SA Manta. It ticks all the boxes in terms of functionality that I need, but has a lot that I don't. Also, what's the deal with the expression control? It looks like a proprietary cable (risky). Do you have to use the SA pedal or is this just for additional  control, beyond the usual  parameter sweeps?  What I'm after is just a really good synthy sounding LPF that I can trigger with an envelope follower or expression pedal. The LFO control on the Manta looks interesting, but much of the  other functionality look superfluous (I have all the phasing and distortion sounds I need already and I doubt I'll get a better foldover distortion for my purposes than the Scrutator, which is  a beast in that department). Are there any alternatives out there for similar money, but without all the additional knobs and buttons and ideally in a more standard form factor?  I almost pulled the trigger on the s/h Xerograph that came up on here, but again the need for a specific expression pedal to get the most out of it put me off. Wonderlove is a lot more money of course. Any others? 

Cancelled!I I was supposed to be playing Saturday and next Saturday, partly to warm up new material for some festival slots over the summer.  However, middle of last week, both  the bands I play in suddenly split up within two days of each other and I'm now gigless and bandless. Likelihood of finding anything remotely interesting to replace this unfamiliar gaping hole? A brief survey of JMB suggests low to nonexistent, I'd say. Grrrr.

I've been waiting for something like this for Max/MSP. Assuming the latency is OK, it would be a very neat solution.

2 hours ago, Quatschmacher said:

@radiophonic?

Gah! Too Late I'm afraid. I got a Malekko Scrutator and now I have  a big evil grin but no money.

Bump - Price drop to £850. 

28 minutes ago, Monkey Steve said:

In general I agree and it's definitely true for singers. 

The exception would depend on what the band have told you about what they're looking for, and how bad the previous incumbent was...if they're saying that the last bloke was rubbish, or that they want someone who can do something different then it's probably not the best idea

I was thinking mostly of bands playing original material, which have got as far as making a recording. Although I have encountered the situation where everyone thinks they've leaned the right parts to 'The Letter', only to discover the guitarist meant The Boxtops, the singer thought Eva Cassidy and the rhythm section and horns meant Joe Cocker (which isn't even in the same key). Ker-smash. 

The best advice I've heard on auditions was from Juan Alderete and it's something that seemed obvious to me, but apparently not obvious to a lot of people who've tried out for bands I've been in:  If there is a recording of the song - album, demo, live tape, youtube, whatever - learn the part as it was recorded by the old guy, irrespective of what the band say about your artistic freedom. You can change it later if you get the job and you're more likely to get the job if everyone is hearing what they recognise as being right. 

On 5/1/2018 at 16:08, hairyhaw said:

I totally get criticism of early MIM basses. The white P in my avatar is from 1992 and the neck pocket has a gap on the E side big enough to slip a penny into - hey, I was 17 and didn't know what to watch out for when I got it!  That said, there's never had a problem with tuning stability and the thing is a tank that has had over 25 years of abuse and just keeps going and going.

Also have a black 2017 Precision with a maple board - plays beautifully and I can't find any fault with the construction or finishing. Finally, there's a 70's reissue Jazz Bass too and I'd just echo what other folk say about them - really great playing (and looking) bass for the money. If only they made them in more than two colours!

It's interesting you mention the neck pocket. When I first picked up the MIM last weekend, I though the gap looked a little wide (not a penny width, just not perfectly seated), however the bass was white which will tend to emphasise any void. Then I looked at the US one and it was identical. Whatever the tolerance is, it looked consistent. 

The Gotoh I have is a bridge that I bought in about 1990 for a Tokai Jazz and looking at it now, it's almost identical to what Fender a putting on their USA Pros. Apparently it cost me £21. I'm still slightly leaning towards the Nate Mendel though, just for the neck.

I played a MIM and USA Std Precision yesterday. Both RW boards, and both the same colour (in case of unconscious bias). My main comment was that the MIM was higher output and maybe a little more scooped - perhaps a more modern take on the sound. Both sounded like {P-basses though.  The USA had slightly nicer finishing on the edge of the fretboard (I assume this is the rolled finish) and the neck was a little shallower at the headstock. In terms of relative difference, I'd have paid maybe an extra 150 quid for the USA over the MIM. Both basses felt light, comfortable and well balanced. The ticket difference was £800.  I have a sunburst USA Jazz fretless, which is a beautiful instrument and it's possible that with a sunburst finish, you'd notice some nicer wood on the USA models, but honestly, I'm not even considering the USA P. It's more a case of do I get a MIM and replace the bridge, scratchplate and maybe the pickups (so about 200 quid tops and I already have a bridge) vs a Nate Mendel and replace nothing. £900 gets you a very nice P-Bass and even £550 gets you most of the way there IMO.

Same experience with Rotosound and similar short life with Ernie Ball. The longest lasting non-coated string I've used is the D'Addario Pro-Steel. They don't sound like new for any longer, but do seem to retain enough harmonics to still sound rich for a decent stretch.  I've had my current set on for a month, which amounts to about 8 rehearsals, one gig and a couple of recording sessions. I'm not a hard player though, so YMMV.  I've also had reasonable success with DR HiBeams (expensive though) and Dunlop Super Brights - but they do sound very toppy to begin with (almost scooped really).  

I'm now pretty certain that all the limitations I'm getting are down to the deadspot problem. USA Fretless jJazz is glitching in exactly the same spot and both basses track comfortably to open A with a sustained note.  In fact I was surprised at how little improvement I got, moving from a Stingray to the neck P/u on a Jazz. Almost nothing in it under normal playing conditions.

9 hours ago, tonyxtiger said:

The odd bit that glitches will probably only bother you, I’ll bet no one in the band even notices. 

Unfortunately, the big intro to one of our songs involves an octave down filter sweep, played into a delay and held for 2 bars. If that glitches, EVERYBODY notices! Although that's more of a technique issue really and to fair to the Okto, even open A usually survives that kind of demand. I do sweat a bit during that bit though.  

5 hours ago, Al Krow said:

Interesting. If the basic filter on the BSW is pants, what's the point of it (if you have a decent octaver already)?

The synth and formant settings are quite useable (settings 3 and 5 specifically) and - for some reason - the filters in these modes aren't bad. In fact I really like setting 3 with the sensitivity set so the filter is on the edge of triggering under normal playing - you can get some really responsive dynamic filtering. I'll keep it for that at least. It's just the plain envelope filter is really anaemic. 

2 minutes ago, Al Krow said:

Yup, you could do worse than a SA Aftershock  

Btw £45 is a very good price for the Digitech Bass Synth Wah - there's one currently in the FS which has been reduced to £70...if it was going for £45 I'd be tempted to buy it too!

Based on Facebook gear groups and ebay etc., I think 45 - 55 is about what they really sell for.  People ask for more, but I'm not sure they go.  I wouldn't have paid 70 for one. The basic filter setting is bobbins for starters.