Boodang
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So, in the case of the ehx tri mixer, once the bass is connected you have access to 3 parallel, switchable, channels. Plug your synth into a channel and you can control the send level and and return mix, plus phase.... and it's switchable.... and you have 2 other channels to play with.
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EHX tri parallel mixer will do it. Also gives you a phase switch on each channel, plus gain control and the ability to switch.
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Might be interesting to try as a fretless though.
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It looks an interesting product. Apparently has a low moisture content so presumably quite stable. There might be resistance to non traditional products in guitars but in an era where sustainability is an issue it's good to see an innovative product like this.
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I'm a great believer in not leaving the output level and impedence of a bass to chance. So each bass, I use 3 live, goes into a small mixer where the gain structure is set so each bass has the same level to master. The effects send/return loop is the pedalboard and within the pedalboard there is a EHX tri mixer where I set the gain for the pedal loops.
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I get my tone from the pedalboard these days, so a bass amp is superfluous in that sense. Consequently I now use PA cabs/amps. The Mackie DLM12 and DLM12s works particularly well.
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Instead of buying a C4, buy individual pedals for each sound.... why would you do this? Because it means more GAS fun! Who wants to buy one pedal when you buy dozens!!
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Sadowsky started to make their bass bodies chambered.... in an interview he reckoned they were not only lighter but sounded better as a result. By accident (long story!) I ended up with a Tobias Toby which has a pine body and is super light. Nothing wrong with the tone and made me realise that you don't need a heavy bass for heavy tone. Chambered pine basses are the future!!
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I've got all 3 on my board, so now it's a supa funk fwonk machine! I did actually try playing all 3 in parallel through my tri mixer thinking it would be the ultimate funk envelope sound but turns out it was just a mess!
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Actually on that score, my basses have passive pups and electronics, I've got some effects where the signal needs to be boosted, and a few which are easily overdriven. Consequently ive ended up using the EHX parallel tri mixer. Apart from being able to run fx in parallel, which is fun, and being able to switch between fx loops, you can also control the amount of signal on each channel and there's a fair amount of boost if you need it. Bought it on a whim, thought it might be interesting but can't live without it now. It's the hub of my board.
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That was a quick turnaround!! Have to say I like the supa funk for the way the color control works.
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How did go? Are you suitably supa funked?
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PS I use the Fwonkbeta when I want a really fat sound. It takes over where the supa funk stops, so mostly using it when I don't want subtle!
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Clip 1. Depth @ 2 o'clock Freq @ 12 o'clock Attack @ 10 o'clock Color @ 11 o'clock Direction @ forward (left) Unlike in the manual I like the color turned up a bit in classic mode. Clip 5. Depth full ccw (ie. off) Freq around 1 o'clock; too low (ccw) and it's too sub). Blend around 2 o'clock. I find this gives a nice tight push in the bass frequencies without being too sub or drowning out the rest of the tone. With the depth off you can experiment with the frequency and blend to suit. Hope you enjoy the pedals, I think they're quite special and along with the Fwonkbeta are permanently on my board.
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Thanks. The sound clips for the supa funk, funk machine and Fwonkbeta are in the review section, but I see you already you already found these ones. As for songs, I play almost exclusively jazz groove from the 70s... things like Headhunters, Billy Cobham Spectrum, Lenny White, Bennie Maupin, Herbie Hancock, Brecker Brothers etc plus some tv theme/film tunes from the era. Red Baron and the Get Carter theme work well with the Seamoon in dub mode. Maupin's It remains to be Seen is great with the Supa Funk in classic mode, Herbie's Swamp Rat for the Fwonkbeta and of course Brecker Brothers Sponge for the Funk Machine in full on mode.
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John Entwistle or Chris Squire, who do you prefer and why?
Boodang replied to The-Ox's topic in General Discussion
For the OP, it's like saying Mozart or Beethoven... which is best! As far as Entwistle vs Squire, in a way it's academic but... from a personal perspective it's Squire. I remember listening to Roundabout and thinking, ok now that's a bass line! -
I guess it depends on the pedal but my Aguilar octamizer and grape phaser are noisy with the 'one spot' and super quite with the Palmer isolated psu.
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The 'One spot' daisy chain psu and it was too noisy (and that's with quality pedals and patch leads. Psu's with isolated outputs is the way to go, I bought a Palmer with 12 isolated outputs, 4 of which are variable up to 18v, it was about £120 and works perfectly. I think they do an even cheaper one with 8 outputs.
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It's a great pedal. The toneprint thing is genius and there are loads of presets. I've got 2 on my board, one for my EUB and the other for BGs. The 'Captain East' toneprint is one of my favs. It's also a tri band comp so despite the one knob it's quite versatile and if you really want to, you can dig in to every setting with the editor (which is too much faff for me and the toneprints work brilliantly).
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Well it's not just tuners.... changed the tuners on my Squier jazz for better & lighter, but you could say other hardware on the bass is not the best... and you're right, so changed that as well, everything. Literally the only thing left that's original is the wood, even the strap locks and neck plate got changed. Is it worth it, hell yes, comes in cheaper than a USA jazz but has exactly all the hardware I prefer.
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Eberhard Weber. Changed my perception on melodic bass playing... genius.
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Graphtec ratio tuners for more precise tuning accuracy might be a reason.
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Is it a digital pedal?
