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  1. It's new to me so I need to spend a while with it, first impressions are it's great value and small size (and there isn't a huge choice in mini sized envelope filter pedals) and I like some of the sounds it makes, but I wish it has a volume control - that's partly why I've moved my compressor to the end of chain.
  2. It's basically a Tubescreamer (with volume, gain, tone controls) with added Symmetrical/Asymmetrical clipping switch, and Bass boost switch https://gojira.co.uk/product/gojira808/ I'm in two minds whether I sell it as I also have a One Control Hookers Green that sounds similar enough and is smaller (but doesn't have the variety of tones - or Homer's face!)
  3. I've learned that mini pedals can be annoying as there's no standard placement for the connections - so they often don't align and squeeze in closely together. Much bigger pedals with top mounted connections don't actually take up much more room on a board like this e.g. an Aguilar Grape Phaser would probably fit in that Phase 95 slot.
  4. SumOne


    Bought a pedal from Martin and it arrived quickly and is all good. Thanks!
  5. The more I read about this the more interested I get. I like nerding out with compression and there's a lot of nerding potential here! And £200 from Juno seems a decent price. My reservations are that good compression is a subtle thing and just because SA say it digitally replicates various types of analogue compression doesn't means it actually recreates all the subtleties. I mean, SA say the Aftershock can do tube OD and silicon transistor Big Muff Fuzz (and lots of other things) but my experience is that it doesn't do it quite as well as the analogue originals. The SA website goes into detail of how optical compressors use light and a photo resistor and why this sounds good..... all very well, but the Atlas isn't actually using those components, it's using digital processing to emulate an optical compressor so it all comes down to how good the digital emulation is (can you accurately emulate light and light-sensitive resistors , or can you digitally emulate Field Effect Transistors?). I'm keen but am looking forward to some expert head-to-head comparison reviews.
  6. I wasn't over-excited about a digital compressor being put into a generic SA one control housing for £275 (that's the Bax price anyway. Edit: Juno are doing them for £200), .... But then read that you can use it as both start and end of chain compression: bass> input 1 > compress> output 1 > rest of pedal chain > input 2 > compress (or limit) > output 2 > amp. .....That is impressive! I'm not sure if it's impressive enough to sell my Cali 76 to then buy an Atlas but I'll consider it.
  7. Matumbi started as a backing band for Jamaican vocalists visiting the UK. I take them as inspiration for why there's no shame in playing reggae instrumental covers ('riddims', in the same way as jazz musicians playing jazz standards for different vocalists).
  8. Vein-tap 'dark arts v2' tap tempo phaser. £100 (+£5 recorded delivery) Perfect condition and working order, boxed. It does so much that a look on the Vein-Tap website is probably the best way to describe it: https://www.vein-tap.com/product/dark-arts-tap-tempo-phaser/
  9. Laney Digbeth Preamp £100 (+£5 postage via recorded delivery). Perfect condition and working order, boxed.
  10. There's one for sale in the classifieds for £220 which seems about the going rate. If you don't like it you could probably sell it for a similar price.
  11. That's a good price for a good bit of kit. I recently sold one but am tempted to buy again. £130 for tuner, boost, compressor, 5 band EQ (with HPF, and sweepable mids), DI, with option to run on battery power.....that's hard to beat. There are plenty of pedals that do a lot less than that for more ££. I now have separate compressor, EQ/DI, and tuner pedals though so really don't need it.
  12. I found the SA Gemini and Aftershock are well suited to the One Control housing: 6 presets of modulation or distortion is enough so after a Laptop session getting the right ones saved I rarely felt the need to re-connect. The hardware controls are also intuative for the effects parameters and are the main one's you'd want to adjust. I didn't find the housing worked so well for the C4 though. Input/sensitivity don't really need adjusting once set to your Bass so that's a bit of a waste of a control. And Control 1/Control 2 can control completely different parameters on different presets so it's difficult to change something playing live and be sure what it's going to actually change. The Aftershock is fine live to adjust drive/tone/clean/level that's most of what you'd want and is obvious what controls what, C4 is different story if your synth is sounding like it has too much low-end resonance or the envelope filter frequency needs changing - perhaps you happen to have set those parameters to control 1&2 and you remember how they are assigned, that wasn't usually the case for me though. Also, as it's so good at doing different synth, envelope filters, and octavers 6x presets is frustrating (especially when you know the pedal actually stores 128 and just needs some simple way top scroll through them). I know I've posted this a couple of times before but:
  13. Nice. I'm tempted with the Ibanez mini Chorus, Tube Screamer, Phaser. I have three other mini pedals and like the idea of a multi-coloured board full of them.
  14. Sid bought a pedal from me and it was all smooth sailing. Thanks!
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