It’s summed back together and into a 10 band graphic EQ.Īnother way it sounds amazing is to add the Klon to FS1, Timmy to FS2 and stack them for FS3. Path A is two drives and an SVT amp but no cab. It all starts with the tube style compressor then splits using a mic preamp and eq for a fat clean path B. Provides some nice flexibility.įS1 Engages a boost/drive and eq to lower the volume.įS2 Bumps the volume and increases the drive I leave that eq block in there so I can use it on other songs as well.
#Where to put ehx microsynth in chain full#
This allows you to have full control of the volume of your signal right. This setup is the same as the first one above, however, the volume pedal has been placed near the end of the chain right before the delay and reverb effects. Using a bright SVT amp and cab tone with a boost, two drives, compression and an eq in FS1 to lower the volume for the intro. Guitar > compressor > wah pedal > overdrive > chorus > tremolo > volume pedal > delay > reverb > amplifier. It has that gnarly high mid tone when you really dig in. We play it in D (female key) and I like the heaviness of this patch. I left that in as an option for the end user.įS2 Amp/cab with a Klon style drive with a good amount of breakupĬame from my version of Graves into Gardens. There is an added low/high shelf-style EQ block that I sometimes use depending on the song. I use FS1 for down parts and FS2 for the up parts. Because the original track has real bass and sub bass I can have a lot of fun combining the parts. I use it on Reason I Sing, in the intro I use the micro tone but slightly mute it to get a sub bass type tone. I came up with this preset for our version of Be Thou My Vision and found myself using it for a lot of other worship songs-kind of like a catch-all patch. Analog Microsynth The Bass Micro Synthesizer has the same feature set as the Micro. The micro synth tone sounds massive in this preset and the band (excluding the keyboard player, haha) will love it when you step on FS3.įS2 Little more lift and hair on the notes via a Klon-style drive The Electro-Harmonix Big Muff Pi is the pedal that started it all. Starts off very clean with a tube compressor and SVT amp with no cab, which allows for a big, direct-in type tone but with a ton of warmth. This preset is thick and meaty.įS1 Timmy style drive for some light breakup.įS3 Micro synth tone, disabling the cab to let the octave shine through There is an always-on tube compressor and EQ at the end of the chain.
#Where to put ehx microsynth in chain Patch#
This patch also includes a micro synth style tone. SVT amp and cab tone with some good breakup replicating that famous overdriven woofy tone by using a couple drives. We hope these patches help you focus less on tone and more on worshiping the Lord Jesus Christ! The difference is that the Helix presets are mapped for Stomp/Snap mode. There’s two folders: One for the Stomp and one for the Helix. The Micro Synth tones floor me every time he steps on one! If you want to hear what these patches sound like in the context of a song, search Spirit And Truth Music on YouTube, Apple Music or Spotify.Īll patches utilize stock Line 6 cabs-no need to mess with IRs. Turns out, he loves the Line 6 stuff and has a knack for creating top-notch bass tones for the Helix/Stomp. He never expected to replace his entire pedalboard (even the EHX Micro Synth), as he’s always been an analog pedal guy. So there you may want to look at the individual case and use model.My buddy and bass player for Spirit And Truth Music, Jeff Norris, created these patches when he was trying to move away from his old Tech 21 Sans Amp for amp modeling. 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 Analog Microsynth Original released in 1979 USA MSRP: 432.00 USA MAP: 324.80 Related Items.
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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