Disarm D'arcy wrote:Love the crazy drone around 9". The Volca beats stuff sounds great, especially with the CT5 and RRR! The cleaner stuff at 15" sounds soooo soothing. Super cool board hubby
Brandsmannen wrote:Oh I can tell I would have soon much fun with that board. I think I need a CT5 and a volca for my droning needs
Beats+CT5 is for sure a lot of fun!
Tristan wrote:Great great demo, awesome sounds, very inspiring!
I too loved the Volca Beats stuff, the wooshy ambient noisy stuff you started out with stuck in my mind as well.
Just curious about the line-up and your thoughts on it, are some things for practical reasons or did you mostly put everything in that order to get the sounds you wanted?
Thank you so much!
Well, I do talk a little bit about the chain in the video, but I could do into a little more detail I suppose.
I knew I wanted to have a pre-fuzz verb+delay, and the plate on the RRR and the crisp repeats on the Memory Loss retains enough highs for me, seeing as my buckers are quite warm/dark sounding to begin with. Just trying not to make the sound too mushy/bleedy.
The (OD/)fuzzes I just really like the sound of by themselves and I think that they stack well. The Fuck allows me to play "clean" without running a completely dry signal to the amp, the 141G gives me a lot of options both when it comes to playing the guitar and droning/causing oscillations, and the Fuzz Overloader is just super chunky and badass which are great for just straight up Smashing Pumpkins-like power chords, that I tend to play a lot.
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CT5 is first in the chain because it allows me to kneel down and start screwing up the loops. I placed the Digital Water in the middle of the chain because A) I won't be adding fuzz to a normal (read; not CT5ish) loop post-recording anyways, B) the crazy water effect just sounds too harsh running through fuzz, and C) loops at the end of the chain is useless to me. Dead end.
I will perhaps swap places between the Digital Water and the Rapito. For science/more glitch.
Echo Degrader -> BitQuest -> No Memory. I consider this to be a sandwich of sorts. Both the ED and NM are relatively dark sounding, while the delay on the BQ is very digital sounding. Placing them like that, I can choose between dark repeats from the ED that stay intact through the BQ, or the crystal clear repats of the BQ slowly becoming warmer through the NM. And; modulation/filter sandwich! I generally like modulation and filters post-delay, but this way I sort of get the best of both worlds. That's also why the NM is placed last. I like pitch bending all the incoming repeats.
Vessel's end is near the end because who doesn't like obliterating the entire mix?
Particle. Same reason, really.
RM-1N. Like the Echo Degrader, it's pretty lo-fi. Having it at the start of the chain (like I've seen a few people do) would perhaps be a little too soupy considering the rest of the chain. I don't use the momentary feedback knob, so there's no need for me to have it in front in that regard either. It escalates too fast and fades out too abruptly for me to get much use for it mid-song. As a song-ender, it's pretty neat I suppose, If I manage to bend down and turn down the level knob without releasing the footswitch. Other than that, adding a little pre/post gain to the verb causes a bit of an apocalyptic effect to the entire signal, which is yummy as hell. The only real downside to not having it earlier in the chain is the drone knob. It sounds great, but it can eat up every bit of signal that's coming into the pedal if you're not careful when tweaking the knob. Would have been fun to run that drone through the board.
I don't know if that covered it. Feel free to ask me any other questions (or questions left unanswered).
Again, thanks for watching! I had fun making this.
141G is so great.
