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I was checking a post of Beka Gochiashvili covering Roy Ayers here, and I am curious about that vocoder setup.
Can someone identify the chain of this vocoder effect? I see that he's controlling the notes with the Prophet, probably sending the balanced signal into the Boss Vocoder VO-1, and then there's a send (with the white cable) into a bigger black box (no idea) what that is, and a return (going somewhere).
Any ideas here?
I've been on the fence about this pedal for 2 years before I bought it and I regret not getting it sooner. So many great OD sounds, bit also great for pushing my Orange Dark Terror.
Put the baby to bed then ducked into the basement and pulled out my bass vi I haven’t picked up in a while.
In my continuing search for gnarly fucked up tones I decided to pick up a Death By Audio Octave Clang. I kind of got turned on to this a while back by Ty Segal who likes to use the Apocalypse pedal in the Octave Clang mode but this version wasn’t available at the time.
The octave is what really sets this thing apart from other fuzz and drive pedals IMO. Without it engaged it sounds like a pretty normal muff style fuzz. I do think the tone control has a wider range and really responds well to switching pickups or the tone control on your guitar. Either way I’m pretty happy as it gets that Velcro sound I’ve been trying to find without being too out of control like a Fuzz Factory or something.
An MXR Dynacomp clone that I put together and painted. I named it Cladode because I was looking at an pickly pear cactus and their pads are botanically cladodes and look compressed. Anyways it was a fun project and it sounds great!
I’m mystified how this isn’t a more well-known pedal, it’s about the most perfect fuzz tone to my ear. The sub switch takes it from a high, sizzling tone that cuts through a mix like a saw, right through to the noise of an earthquake. It’s in a similar realm to the Carcosa (which I reckon is probably the best value fuzz ever made, really versatile) but a bit weirder and heavier. Joyous.
Every single one fits and works perfectly. And the curves makes them feel great.
Bunged a couple of pedals from the B-team box onto a little board I’d bashed together a while ago. I’ve had to cut the right-hand end down a bit to plug the Dirty Robot in.
I’ve been using this on synths, just as a bit of fun really. The dirty robot is fantastic, and very versatile. Seems redundant, using a synth pedal on a synth, but on rhythms it does all sorts of joyous things. The Bass Overdrive is a great little budget drive, and the wet/dry mix and low/hi tone shaping makes it well suited for synths. The Aurora is a nice, simple delay that you can manhandle nicely, and the Exosphere is a reverb that can be rather wild especially with the Little Monster expression switch.
This is my travel board of tone. I mainly stick to plugins for effects.
The Nano Cortex is there just so I can capture and share tones I have nailed down, to give me a few effects when need a little something, to give me headphones out, and to act as a digital interface. I still haven't decided if it is a keeper.
The Notaklön is there for tone and volume boost more so than distortion.
29 EUNA magic box of mystery.
The Enigmatic's tones and a thing of absolute beauty.
Don't sleep on the Lion's clean tones.
The Woodrow is just a cool vibe sometimes.
