![]() ![]() Naturally, active basses raise certain issues based upon the strength of their active circuitry and pickup output, so adjustments need to be made depending on your bass. The Sensitivity control works wonders when it comes to dealing with glitches based on your instrument’s responsiveness (or lack of it). Each synth setting is notably different from the last, so there are plenty of interesting options available to the player, all of which sound highly usable to these ears. The sound quality is quite stunning - possibly the most considered and thorough synth sounds we’ve heard using a bass guitar as a trigger. When you want to recall it, simply press the switch. The Bypass switch turns the effect on and off, while the Preset switch allows you to store a preferred sound for easy recall set the pedal as you require, press and hold the preset switch for three seconds and your control settings are stored. The manual gives you an easy-to-understand breakdown for each synth setting. The CTRL control has a different interaction with each synth setting, from decay and attack times to envelope filter resonance, sweep depth, oscillator volume and modulation rate. The Sensitivity control also has an effect on the sweep ranges of several synth effects. If your playing isn’t triggering the synth, turn the control up - but if you’re hearing ‘false’ triggers and resonance, turn the control down a touch. Bear in mind that the ‘Mono’ reference means that only one note can be played at a time as a multi-oscillator monophonic device, only one note per oscillator can be played, so the unit can’t cope with chords.Īn LED indicator gives you a visual reference as to how ‘hot’ your signal is. Various modulation and filter settings contribute to distinctly different synth sounds, and the control set allows the player to extensively tailor the voicings. With 11 synth types and voicings to choose from, there is inevitably some experimentation required before you find the sounds you’re looking for. The pedalboard footprint is very modest too. EHX’s Micro Synth, with its array of sliding controls, was a benchmark for many years, and the new Mono Synth is typically rugged, with a metal chassis and well-sized controls, clearly labelled and intuitive. Perhaps things are about to change with this new pedal. The passing of time has seen more and more players taking to keyboards to get the sounds required. So there you may want to look at the individual case and use model.Fiddling around with pedal controls on a gig, with something as temperamental as a bass synth, when the sounds you’ve spent hours mastering just aren’t working onstage, can be a major pain in the butt. ![]() Stuff like a wah or flanger can kind of fall into the middle ground b/c you're messing with the timbre, but not "reconstructing" it like with a fuzz or a microsynth In this case, the difference between the states can be offputting.so ther TB can be less appropriate and cause a "mismatch" Sometimes the loading is actually part of the sound (ever here people say "my fuzzface hates buffers"? - that's because it's voiced such that the loading is part of the 's "tonesuck" but it's "tonesuck" that is pleasant)īUT, with things like, chorus or delay (notice Julian mentioned the guy modded a memoryman delay) you might not want the tone or volume to be different between the on and off states (you just want the addition of echo or chorus or reverb or what-have you) Now, with an effect which has a primary function of saltering tone or volume.like a 's not a big deal b/c you are altering that stuff anyway. So, by using TB you have 2 different load/impedence conditions.one when the effect is ON, another when the effect is OFF ![]() OK, TB prevents an effect (the input stage) from loading the signal.but here's the thing when the effect is off What volume issues? Doesn't tb usually help with volume issues? ![]()
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