In this second part of my two-part series, I would like to show you how you can combine a synthesizer like the Arturia MicroFreak with reverb effect pedals for guitars as a small suggestion for sound experiments. As already shown in the first part about the combination with delay pedals, this relationship can also open up completely new worlds of sound. Have fun trying.
I guess, you are well versed in planning pedalboards.
I have a big studio board, which I like a lot, but for it is not even easy to manage the transport.
Now, I want to assemble a smaller and more compact pedalboard.
For overdrive effects I use my amp and the Ibanez Tubescreamer TS 808 and the Vahlbruch Kaluna.
Due to the lack of space, delay and modulation ought to be (as far as possible) combined in one enclosure. I also think midi might be important…
The Boss GT 1000 Core could be one of those which offers all the sounds I know (DD, MD and RV of the 500 series).
But it also has uncountable overdrive effects that I do not need. Nevertheless, is the quality of the delay, modulation and reverb therefore worse?
Do you know an alternative to the GT 1000 Core, or do you think it is ok?
I really like Boss pedals, live on stage and also in the rehearsal room. And especially here, I need a compact pedalboard.
In the studio I use my big pedalboard – mostly analog.
By the way: I am not even a fan of editing, so a small display and a easy handling would be perfect.
Its always a bit difficult to assemble a compact pedalboard that is also flexible.
The Boss GT 1000 Core might be a solution, but for you already have several overdrive pedals, it would be even better to choose a pedal that is specialized in creating delay- and reverb-effects. The more features a pedal offers, the less capacity can be used for every single effect.
But if you want a multi effect anyway, the Eventide H9 might be interesting for you. It offers midi, is compact and has a superb sound. Furthermore, you can select 4 parameters per preset directly and control them via a pot. After you have successfully completed the programming, it is pretty easy to handle. But it is not able to combine several effects. Thus, it would only act as a delay or a reverb.
As an alternative, you could also choose the Line6 M5. It offers midi as well, sounds pretty nice, is a real bargain, the programming is quite easy and it is compact.
I use the M5 on one of my pedalboards as a supplement. But, similar to the H9, it only offers one effect at the time.
The handling of the HX Stomp whereas seems somewhat confusing to me.
For most combined pedals have a certain focus, it makes sense to think about your preferences first. What is more important to you: a delay or a reverb?
The Boss devices (DD-500 and RV- 500) also offer a reverb and a delay setting. If you are looking for a flexible delay and only need a little reverb, the DD-500 might be the perfect match for you anyway.
And the Empress Echosystem offers reverb besides the numerous delay effects.
For the Boss pedal as well as the Empress pedal offer the possibility to combine two presets, you would be able to get both.
But the only “real” pedal that combines delay and reverb and that can be controlled via midi is the Source Audio Collider. It is a combination of the Nemesis and the Ventris. But for a really distinguished adjustment, you will have to use the app. Anyway, if you have adjusted the basic sound (or use the presets), the pots will be sufficient to customize the sound.
Sound vs. handling
Provided that you are also looking for modulation, things will get a bit more complicated.
Of course, you can use the delay part of the Collider to create effects like chorus/vibrato (modulation of the delay time) and tremolo (modulation of the level), but this is not as easy as with one of the common modulation- effect. In this case, the handling of a multi-effect would be easier. In the end, you have the choice between sound and handling.
If the pedal ought to be compact and extensively equipped at the same time, you won’t be able to avoid menus and a display to adjust your sounds. Or you chose two pedals instead of one. The Collider for superb delay/reverb and a separate modulation pedal. With midi control in addition, this might be a very good option.
It always depends on your individual preferences and needs. For there is always too little space on the pedalboard, I dispense with a modulation pedal and create the vibrato- or tremolo-effect with my delay pedals. And I can also forgo flanger and phaser.
Regarding a compact pedalboard, to me it is generally more important to pare my pedals down to those which are really necessary for my music.
And to be honest, I don’t like menu-diving or the use of apps as well, thus I use the space on my pedalboard for the most important effect pedals.
Mostly, it makes sense to start with a little number of pedals first and add further pedals later. Removing a (unused) pedal from the pedalboard is habitually harder.
For I love delay- and reverb-sounds, I use only little space on my pedalboard for drive pedals (either booster and overdrive in one enclosure or even a single overdrive pedal).
And less pedals on the board will in the end improve your basic sound.
Enjoy planning your new pedalboard!
I use a Mr. Black Vintage Chorus Mini and it sounds superb.
I just notice a little latency, which might be just in my mind. But I asked Mr.
Black himself and he said it’s ‘fully 24-bit DSP’. So, it has no analog dry through.
Now I wonder if for example the TC Electronic Corona Mini, which has analog dry through, would be even better.
But on the other hand, the TC Electronic Corona Mini is unable to reach the sonic quality of the Vintage Chorus.
I’m just curious about what you think about this issue. Continue reading “Mr. Black Vintage Chorus or TC Electronic Corona Mini?”
This is a comparison of the Boss DD-200 with the Source Audio Nemesis. Both digital delays provide likewise functions and have the same form factor.
Check out their sonic differences and similarities in varying settings.
0:10 digital setting Continue reading “Boss DD-200 vs. Source Audio Nemesis”
Last year (after several years of playing the guitar) I finally bought my first effect pedals: the Walrus Audio Slö, the Earthquaker Devices Westwood and the Ditto looper.
I mostly listen to minimal, indie and ambient and therefore, I would love to create such sounds myself. But unfortunately, I have not made up my mind about a specific sound. Continue reading “Which pedal should I get?”
This is a comparison of the Strymon Brigadier with the Source Audio Nemesis. The Source Audio Nemesis is, as well as the Brigadier, able to emulate numerous analog delay sounds.
For it has about the same size, I decided to compare these two digital delays.
0:11 tone pot at noon Continue reading “Strymon Brigadier vs. Source Audio Nemesis”
The Source Audio Nemesis is a rather pedalboard-friendly digital delay.
Dressed in a classical black, the stereo stompbox provides up to 2.4ms of Continue reading “Source Audio Nemesis”
This is a comparison of the Nux Atlantic with the Source Audio Ventris.
Both pedals provide the combination of delay and reverb.
Besides the direct comparison of varying reverb- and delay sounds, you will also get a soundscape of shimmer to float away.
This is a comparison of the Source Audio Nemesis with the Line6 DL4.
The Line6 DL4 has been launched decades ago, but still doesn’t have to be shy about a comparison with the Source Audio Nemesis.
In this demo I compare different modes of these two workhorses.
0:09 DL4: tube tape / Nemesis: noise tape with slight modulation Continue reading “Source Audio Nemesis vs. Line6 DL4”
This is a comparison of the Neunaber Expanse with the Source Audio Nemesis.
The Neuaber Expanse is quite more than a reverb. Thus, I compare different settings of both pedals like tape and digital. But also modes like scatter (Expanse) versus rhythmic (Nemesis) and echelon stock (Expanse) versus digital mode (Nemesis). Last but not least, you will get a demo of how both pedals sound in the mix.
This is a comparison of the Source Audio Nemesis with the Erica Synths Zen Delay.
For these two are digital stereo delays, please use your headphones.
Both delays do not have true bypass, I used a true bypass looper (Lehle Parallel) for the audio recording.
0:08 digital mode (Zen Delay)
digital mode (Nemesis) Continue reading “Source Audio Nemesis vs. Erica Synths Zen Delay”
This is a stereo comparison of the Empress Echosystem with the Source Audio Nemesis. Take a ride from digital, noise tape to reverse and Echoplex.
Please, use your headphones!
0:11 digital mode Continue reading “Empress Echosystem vs. Source Audio Nemesis”
This is the third and last part of the video of creating anbient sounds with the Chase Bliss Audio Thermae.
In this video I used a POG2 to create a bass-like guitar sound, which than has been pitched one octave up by the Thermae.
Thereby you can create nice lofi sounds.
Everything in sync with the DelayDude Midi Sync Cable.
gear: Fender Stratocaster, Fender Deluxe Reverb, Cubase.
“I decided to spend a bit more money for a pedalboard and to buy a Gigrig G2 and, beside others, a Strymon Timeline. I am almost sure, that the analog dry through function makes a decisive difference regarding the dry signal.
Here is my question: Is it true, that modulation effects can not really deal with analog dry through and phasing problems may occur? Continue reading “Ask the Dude: Modulation effects – analog dry through yes or no?”
This is a comparison of the Source Audio Nemesis with the CCrazy Tube Circuits Echotopia.
gear: Fender Telecaster, Fender Tweed Champ, Celestion G12M, Shure SM57, DigiTech Trio, Cubase.