So I'm in a band that is a tribute to the more indie side of the eighties, stuff like Talk Talk, The The and Echo and the Bunnymen rather than Duran Duran and Spandau Ballet. For most of the work I can get by fine with my normal simple pedal board but there's a few songs that need some special effects, namely
Auto Fade in effect ... whatever that's called
Intelligent harmonizer .... needs to stay in key rather than fixed interval
Big reverb with octave above ... whatever that effect is called.
Tap delay with dotted 8th
I've been using a Pod Go and it can do all these but it simply sucks too much of the tone and headroom out of my sound, even when no effect is used so whatever I buy needs to be true bypass ... I don't want my whole signal going through an AD - DA chain even when the device isn't being used.
Be nice if it wasn't huge, maybe the size of 2 pedals ish ?
Not interested in any Line 6 stuff unless you can bypass the complete device inc convertors. Don't need amps or cab simms as I'm using a real amp.
www.2020studios.co.uk
Comments
Otherwise, the intelligent harmonizer is going to be pricey for a special effect that you don't use much. That's Eventide territory.
FYI the HX FX can be set to 'true bypass' by clicking both the MODE and TAP switches simultaneously - if not powered on, signal passes straight through. No idea if the HX One does that someone too, but that's by far the most obvious candidate if so.
Quick edit - I deffo CAN tell the difference between the bypass and DSP through on the HX FX. Tiny bit less headroom. Most apparent with an offset/1 meg pots and the extended top end that comes with them.
It also has variable input impedance, which the HX FX doesn't.
Get that
The Boss Harmonist will do in-key harmonies, but from memory it's quite limited in the harmony options.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
What I notice about the Pod Go when it's in line is not the volume, I mean you can turn up the master so it's louder than the guitar would be plugged directly into the amp ... it's the loss of dynamics. the loss of touch sensitivity and sheer presence in the room.
I don't mind paying £400 or similar if the effects I need are there and high quality
Ah now that looks good and ... off to find a demo of it
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The Slow Gear effect is the closest thing on it to an auto swell. Odd triggering and I found it hard to be musical. It's one reason I still keep a Mobius on my board. The auto swell on the Mobius is excellent.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
https://www.ebay.co.uk/itm/196159447171?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=VR-r2zsSRfu&sssrc=4429486&ssuid=uEHZI4kMS8y&var=&widget_ver=artemis&media=COPY
as for the auto fade in - can’t you just volume pedal or am I missing something?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
DigiTech made the Space Station which was basically this, or this by the standards of the 1990s. Didn't sell well, hugely collectable now.
The harmony functions don't really work for me - a little bit laggy, and an utter pain to fiddle precisely with a tiny little button every time you want to change key.
I just leave the gadget set up to give parallel fourths. This works really well (the person credited with the insight was Joe Zawinul, who used it to thicken up MiniMoog lines):
* In a dominant scale (alright, mixolydian for those classically trained), a fourth up from any note is in the same scale, except that a fourth up from the 7th gives you a sharp 9 ... which usually sounds awesome. Simply channel the ghost of Jimi Hendrix for confirmation.
* In a major scale, a fourth up from any note is in the same scale, except that a fourth up from the 4th is a flat 7, which will sound wierd. The work-around is to play a sharp 4 instead of a 4. Trust me, it just works.
* In a minor scale, a fourth up from any note is also in the same minor scale, except that a fourth up from the 3rd gives you a sharp 5 (or flat 6 if you look at it that way). So the third might be an "avoid" note if you are in a dorian or medodic minor scale. It will be fine if you are in a phrygian, aeolian or harmonic minor, or you are playing Jazz and using Altered harmony. Try it on your specific tune and see.
In simplest form:
Dominant: just play
Major: use a sharp 4th
Minor: maybe avoid the 3rd - try it and see