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New Darkglass Pedal


Cuzzie

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The signal path is analog. In most analog compressors, the bit controlling the volume level (like the engineer's hand on the fader) is also analog (e.g. a light bulb for an optical comp). However in this case, the sidechain is totally digital. So you can have the flexibility of a digital comp where you can have control over tons of parameters like attack, release, knee, etc, but your output signal has been kept pretty pure by only passing though a simple amplifier stage rather than being converted to 1s and 0s and back again.

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25 minutes ago, dannybuoy said:

The signal path is analog. In most analog compressors, the bit controlling the volume level (like the engineer's hand on the fader) is also analog (e.g. a light bulb for an optical comp). However in this case, the sidechain is totally digital. So you can have the flexibility of a digital comp where you can have control over tons of parameters like attack, release, knee, etc, but your output signal has been kept pretty pure by only passing though a simple amplifier stage rather than being converted to 1s and 0s and back again.

This hybrid approach is the future: analogue authenticity + digital direction.

Combine with presets and you have a live musicians's nirvana.

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6 minutes ago, Cuzzie said:

@Al Krow only if you use compression of course.......

No need to limit the discussion here :) For me the point is much broader than compression and one where I think pedal makers need to reach a minimum threshold if they are to remain relevant.

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7 minutes ago, Al Krow said:

This hybrid approach is the future: analogue authenticity + digital direction.

Combine with presets and you have a live musicians's nirvana.

I'd be happy to go purely digital though once a few things had been straightened out. All we'd need IMHO is a commercially successful attempt at providing a universal standard for pedals to be able to download new single FX like you can for VST plugins on your DAW. Then you could buy plugin host pedals either as single pedal sized units or huge multis, that can all interchange the same FX, that can be bought from app stores, or from open source.

You'd be able to buy either Zoom's, Line6's or Darkglass's own B7K model for example, and either load it into your cheapo Mooer pedal with a couple of knobs on, or your behemoth Helix style unit, or your DAW in the studio. One day!

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8 hours ago, dannybuoy said:

I'd be happy to go purely digital though once a few things had been straightened out. All we'd need IMHO is a commercially successful attempt at providing a universal standard for pedals to be able to download new single FX like you can for VST plugins on your DAW. Then you could buy plugin host pedals either as single pedal sized units or huge multis, that can all interchange the same FX, that can be bought from app stores, or from open source.

You'd be able to buy either Zoom's, Line6's or Darkglass's own B7K model for example, and either load it into your cheapo Mooer pedal with a couple of knobs on, or your behemoth Helix style unit, or your DAW in the studio. One day!

orange have the omec transport which lets you do this in a studio at the min, or live if you wanna take a laptop out etc.

andy

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2 hours ago, 0175westwood29 said:

orange have the omec transport which lets you do this in a studio at the min, or live if you wanna take a laptop out etc.

andy

That’s just pretty much just a USB audio interface shaped like a pedal though, not quite what I had in mind. The closest thing in existence to what I’m talking about is this:

https://www.kickstarter.com/projects/modduo/mod-duo-the-limitless-multi-effects-pedal

Various manufacturers could produce a range of devices from the size of the Zoom MS-60B up to the Line6 Helix that could all run the same common plugin format, with no need for a connected PC.

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4 minutes ago, cattytown said:

We are grateful for your selfless sacrifice 🙂

 

Ah, yes... ummm I definitely won’t be trying to take advantage of the opportunity to get my grubby mits on one! 

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First impressions are very good.  I have basically set it up in FET mode as I had my Cali76 unit, using the knobs and the suite, with the added bonus of setting the HPF to the Hz.  It sounds fantastic, and seems to have an extra depth that I don't recognise from the Cali.  Not used the BUS mode yet, but the SS mode sounds like the Super Symmetry to my ears, and also reiterates my view on preferring 1176 type action.

Ill keep playing!

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It a great idea and I can see it being quite popular. When a company like DG gets behind a ‘mystery’ effect like compression I think many people will ‘back the brand’ and try it. Kinda like “Oh if these guys make it then maybe I do need it? sort of thing. 

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31 minutes ago, krispn said:

It a great idea and I can see it being quite popular. When a company like DG gets behind a ‘mystery’ effect like compression I think many people will ‘back the brand’ and try it. Kinda like “Oh if these guys make it then maybe I do need it? sort of thing. 

Didn't they do that already with their SS?

Not sure it has particularly changed folks' minds about compression since they brought it out back in [2015?]

It seems to me that the TC Spectracomp gets way more "air time" on BC than the SS ever did, so question mark over how much impact DG 'getting into compression' has had?

Now that the SS has been superceded (in the same way that the B3K and VMT seem to have been overtaken by the more recent DG dirt pedals), a great place for it to find its way to would be a new edition DG M900 amp as an additional feature, which would set it apart from most other amps. Now that would be a statement about the importance of compression.

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14 minutes ago, Al Krow said:

Didn't they do that already with their SS?

Not sure it has particularly changed folks' minds about compression since they brought it out back in [2015?]

It seems to me that the TC Spectracomp gets way more "air time" on BC than the SS ever did, so question mark over how much impact DG 'getting into compression' has had?

Now that the SS has been superceded (in the same way that the B3K and VMT seem to have been overtaken by the more recent DG dirt pedals), a great place for it to find its way to would be a new edition DG M900 amp as an additional feature, which would set it apart from most other amps. Now that would be a statement about the importance of compression.

Darkglass released their first comp around 9 years ago or so, its an ongoing development.  Certainly not a new or recent area for them!  I don't think they are hell bent on trying to conquer the compressor market, Doug just has a real passion for it, hence its constant development.  This is his best yet, and undercuts many other high end pedal compressors in cost.  Ultimately though, its a compressor, and unless you know how to use on effectively, you shouldn't go near one.

The B3K was upgraded this year and has far from been superseded ;) 

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Agreed the B3K and VMT have not superceeded, they have been expanded in their various iterations, and then a completely different engine was released with a different sound to them.

The SS has not been superceded, it had to be reinvented as he could not get the parts anymore, hence this.

Remember anytime you are kicking in any form of distortion, you are already adding compression, and any amps with limiters on them (most do in some form whether it’s has a dedicated dial or not) are also hailing compression. Compression is all around you.

The new pedal certainly is good, form soundbites I have heard which is not the same as playing with it, the SS sounds like it should, the BUS is really good, the 1176 put the box needs tweaking, but you may be able to get it sounding as good as a Cali. If it did that, definite winner having 3 different sounds to affect your signal.

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9 hours ago, Kev said:

The B3K was upgraded this year and has far from been superseded ;) 

Oooh I completely missed that! What changed?

I presume that Doug, however, has not changed the B3K engine in his M900 amp and this continues to be the original B3K (and VMT) engines in the amp head?

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