Baloney Balderdash

Opener from Low's album "Secret Name" :

From Low’s album “Secret Name” :

Ah, I see. I wasn't aware of that. But guess the reasoning being that with such a narrow board people would only have a single line of pedals? Sucks regardless though. But good you found a solution to the issue.

I've had no problems with raising the feet at the back end of my pedal board to a fitting angle, I think you might be doing it wrong. The idea is having the nut tighten against the lower ledge of the back of the pedal board, holding the bolt that the feet are attached to in suspense and fixed where you set them. Works perfectly fine. You just need to tighten the nuts instead of the bolts, the bolts doesn't have to go all way in bottomed out. Hold the bolt at the length you want it and then tighten the nut while keeping a form hold on the bolt. Sort of clamping the nut against the lower back ledge, holding the bolt in place where you want it. This is by the way how my Harley Benton SpaceShip 80 looks currently:

So by a whim I decided to order a Mosky XP Booster, which is a clone of the Xotic EP Booster, that I just received with the mail today, but after experimenting with different placements in my signal chain, as well as minor adjustments of the gain of my other always on pedals, including trying out how leaving some out all together, to counter the slight volume boost that comes with this pedal engaged, even with the boost knob at minimum position, I concluded it was no good for my setup. I mean the thing is everything it is advertised to be, seriously fattens up the tone and adds a certain extra vibrant dimension of presence and life to it, just that in my case it worked something like drowning a chocolate cake with chocolate icing and chocolate mouse in the middle in chocolate sauce, just turning everything into a mush, a delicious sounding mush for certain, but non the less mush, just drowning any sense of definition and articulation in the process. To let people know the context I already send the signal from my 28.6" tenor bass, tuned to G standard tuning, 3 half steps above regular 4 string E standard tuning, though following always on secret souse units: a TC Electronic SpectraComp, dialed in with a customized Toneprint to add extra punch, snap and bite, but without effecting playing dynamics much, and mixed with parallel clean signal, then going into a Boss LS-2 that mix parallel clean signal with a low gain overdrive from a Joyo Orange Juice, stacked into another LS-2, that mixes another Joyo Orange Juice, dialed in to a low gain overdrive, with parallel clean signal, and then into my Zoom G1Xon with an always on patch consisting of a very subtle plate reverb stacked into a subtle spring reverb, then after that an EHX Black Finger, used as a tube preamp stage, with the optical compression circuit practically dialed out of the equation, dialed in to mild tube breakup, and finally into an Art Tube MP Project Series tube preamp, also dialed in to a mild tube breakup. I don't really know what I expected to happen, I was already extremely satisfied with my tone, and it already sounded gloriously full, vibrant and present, I guess I just hoped I could somehow take that up yet another nudge, without even being able to imagine what that nudge could possibly be, and I do think the Mosky XP did in fact deliver just that, it's just that adding more air to a perfectly inflated balloon doesn't equal an even more perfectly inflated balloon, but in fact rather in best case a way too bloated balloon, in worst case a balloon blown to pieces. Adding yet another always on secret sauce pedal just happened to be what tipped the balance from deliciously tasty to obnoxiously nauseous. Simply too much of the good stuff. Of course this is a horrible analogy of what really happened, I guess what actually happened was the signal getting over saturated and cluttered with added and enhance harmonic content, in other words an already perfectly full sounding signal getting too fat and bloated. However I can still absolute recommend the Moksy XP Booster to anyone who actually are in need of fattening up their signal and adding an extra vibrant dimension of presence and life to their tone. One should probably be aware though that what it adds is pretty far from as subtle as the various YouTube demos featuring it might otherwise suggest.

Opener to Coil’s album “Musick to Play in the Dark Vol. 1” :

I got that one too, Valeton Aquaflow Vintage Chorus, it's based on the Boss CE-1 circuit. One of the few clones of that legendary circuit, to my knowledge for some odd reason, considering it is such an iconic chorus, there are very few clones of this, and to my knowledge this is the only budget one of those, though sadly it has been discontinued. And yes, it is doing a good job replicating that sound and sounds great, and sounds amazing for bass.

For full signal chain description check my profile : https://www.basschat.co.uk/profile/50585-baloney-balderdash/?tab=field_core_pfield_1 Ibanez Mikro Bass, which I name "Dud Bottomfeeder" TC Electronic SpectraComp - TC Electronic Sub'N'Up Mini - Boss LS-2 - Joyo Orange Juice - Boss LS-2 - Behringer SF300 Super Fuzz - Mosky Black Rat - Monarch MFL-22 Stereo Flanger - Joyo Orange Juice - Boss MT-2 Metal Zone - Behringer VP1 Vintage Phaser - Boss TR-2 Tremolo - TC Electronic Shaker Mini - Artec SE-EQ8 Graphic Eq - Zoom G1Xon - NUX Tape Core Deluxe - Danelectro FAB Metal - NUX Tape Core Deluxe - Zoom MS-70CDR - EHX Black Finger - ART Tube MP Project Series 4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .080 - .060 - .045 - .034 D'Addario XL nickle plated roundwound hex steel core strings, tuned in G standard tuning, 3 half steps above regular 4 string bass E standard tuning) + The Box Pyrit 10A (250W active full range PA speaker with 1x 10" woofer/mids driver + 1.4" high frequency tweeter horn, just 30.5 lbs)

For full signal chain description check my profile : https://www.basschat.co.uk/profile/50585-baloney-balderdash/?tab=field_core_pfield_1 TC Electronic SpectraComp - TC Electronic Sub'N'Up Mini - Boss LS-2 - Joyo Orange Juice - Boss LS-2 - Behringer SF300 Super Fuzz - Mosky Black Rat - Monarch MFL-22 Stereo Flanger - Joyo Orange Juice - Boss MT-2 Metal Zone - Behringer VP1 Vintage Phaser - Boss TR-2 Tremolo - TC Electronic Shaker Mini - Artec SE-EQ8 Graphic Eq - Zoom G1Xon - Danelectro FAB Metal - NUX Tape Core Deluxe - Zoom MS-70CDR - NUX Tape Core Deluxe - EHX Black Finger - ART Tube MP Project Series

This absolutely astonishing beautiful instrumental, with one of my absolute favorite guitarists, Bill Frisell :

From the, in my opinion, best album Will Oldham (Palace Brothers, Palace Music, Bonnie "Prince" Billy) ever have released, "Viva Last Blues", from 1995 :

I use the biggest Harley Benton SpaceShip 80 board, and as you say it's a great, solid, and all together well constructed and not too heavy pedal board solution. I wish it would have come with a greater quality carrying shoulder back though, I would have been willing to pay more, which would still have kept the price bellow any competitors, for a higher quality properly padded bag and shoulder strap. Not that big of an issue though, I just pack the board into a rug before placing in the bag and use a more comfortable shoulder strap from a gig bag. Here it is: (I since this picture was shot removed the Joyo American Sound from the board, as well as I swapped out the Behringer UT100 Ultra Tremolo with a Boss TR-2)

Stina Nordenstam - "Parliament Square" (The Knife remix) :

Stina Nordenstam :

The Danish band Kliché from their 1982 album "Okay Okay Boys" :

Matt Elliott, the guy behind “The Third Eye Foundation” :

The above deleted settings resulted in an extremely way too thick and muddy chorus that practically was unusable and didn't sound anything like the Boss CE-1, the bellow described settings doesn't result in a chorus effect that sound much like the Boss CE-1 either, but it is non the less an amazing and really lush sounding one. I apologize if anyone wasted their time on the now deleted old instructions from my original post, and was given wrong expectations, as said though, the bellow instructions should result in an amazing sounding chorus,. that I use myself in my current setup, if still not sounding much like a Boss CE-1 though. Much prefer the chorus I was able to get out of my TC Electronic Shaker Mini vibrato, by using the vibrato modulation type and then blend with clean signal, rather than choosing any of the actual chorus algorithms that the Toneprint editor for the Shaker vibrato actually allows for as well. If anyone is interested in the exact settings I used for the TC Electronic Shaker Mini vibrato based chorus, the Toneprint editor settings are as follows (I am writing this off memory, so might have gotten some names wrong, the settings though should be correct) )* : First of all chose the "Pete's Vibrato" Toneprint template from the "Template" menu (not sure if this actually matters though). Then in the actual editor do as follows: First tab: - Turn "Kill Dry" "Off" Second tab: - First chose the "Tri-Chorus" from the "Modulation Type" menu, to get access to adjusting the "Pre-Delay 1" parameter, and then set that to "4.9ms", this parameter is grayed out and not adjustable when choosing "Vibrato" as the modulation type, but the setting still remains when it has been set using the "Tri-Chorus" (now I am not sure if this actually got any effect whatsoever on the "Vibrato" modulation type, but as said, the value once set remains visible when you switch the modulation type, just not being adjustable in "Vibrato" mode) - Now chose "Vibrato" from the "Modulation Type" menu - "Modulation Active" to "On" - Then chose "Triangle" from the "LFO Waveform" menu - And set the "Modulation HiCut" to "6kHz" - "Output Level" to "0dB" (unity gain) - Set both the "Pre-Delay 2" and "Pre-Delay 3" to "0.1ms" - The "Feedback" to "0%" and "Feedback HiCut" to "20kHz". - "Vib Ramp Time" to "0.1ms" - The rest of the settings doesn't matter as those will be controlled with the knobs anyway, as assigned in the third tab, but just to be 100% sure set the remaining parameters not mentioned above to minimum position. Third tab: - Assign the "Rate" knob to "Modulation - Rate 1", and nothing else, then assign the range of the knob to go from "800Hz" to "4Khz" in the graph. - Assign the "Depth" knob to "Modulation - Depth 1", and nothing else, then assign the range of the knob to go from "0%" to "100%" in the graph. - Assign the "Ramp" knob to "Modulation - Clean Mix", and nothing else, then assign the range of the "Clean Mix" to go from "0%" to "100%" in the graph. (for the graph assigned to the "Rate" knob you'll properly want a less steep climb on the graph to start with, and then increasing for the higher more extreme parameter values, though a straight line with a completely even climb should work as well, and most likely this is what you would want for the "Depth" and "Mix") )* If you got the regular big version of the Shaker vibrato then you already got a knob dedicated to "Clean Mix", so you can eventual assign the "Ramp" knob to control the "Modulation HiCut" instead, as a sort of tone control.

More from “The Third Eye Foundation” : "If You Treat Us All Like Terrorists We Will Become Terrorists" : "Lost" :

These two fabulous remixes from The Third Eye Foundation remix album "I Poo Poo On Your JuJu" :