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One other thought about all those E-H boxes. I'd want to sit down in the music store, and really go through all the sounds, exhaustively. I think you'd find enough of them are, well, redundant, such that you probably don't need all four. For me, the appeal of the Mel9, above the others, is the idea of having those sounds available for any and all of my Guitars. Getting that Orchestra sound with one of my SG's . . . Oh, yes! Getting my 7-string LP to sound like a Suitcase EP just does't have the same appeal, somehow.

 

I got the EH B9 when it came out because, well, Hammond. In truth, I pretty much just use one of the 9 presets. The others are all variations of Hammond tone, but not hugely compellingly different. The Mel9 though, those are mostly all pretty distinctly different. I can see using at least half these sounds pretty regularly for my stuff. I would have given my left arm for this box back in the 70's.

Scott Fraser
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One other thought about all those E-H boxes. I'd want to sit down in the music store, and really go through all the sounds, exhaustively. I think you'd find enough of them are, well, redundant, such that you probably don't need all four. For me, the appeal of the Mel9, above the others, is the idea of having those sounds available for any and all of my Guitars. Getting that Orchestra sound with one of my SG's . . . Oh, yes! Getting my 7-string LP to sound like a Suitcase EP just does't have the same appeal, somehow.

 

I got the EH B9 when it came out because, well, Hammond. In truth, I pretty much just use one of the 9 presets. The others are all variations of Hammond tone, but not hugely compellingly different. The Mel9 though, those are mostly all pretty distinctly different. I can see using at least half these sounds pretty regularly for my stuff. I would have given my left arm for this box back in the 70's.

 

The biggest reason that I wanted the B9 and want to also get a C9 is to use them together in parallel for pseudo Jon Lord & Ritchie Blackmore toothsome grinding roar; B9 and C9 through my RT-20 Leslie sim, "straight" guitar signal bypassing that, and all of the above getting pretty heavily overdriven/distorted.

 

Getting cool Fender Rhodes electric piano-like sounds to send through my phasers or flanger, or anything evoking a pipe organ, is also very appealing.

 

And now these sounds evoking the flavor of Mellotron string, cello, and orchestral sounds is also quite alluring... Mellotron flutes? cool, bring 'em...

 

If the SY-300 can do any of that better than these EH stomps, I'm interested...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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And now these sounds evoking the flavor of Mellotron string, cello, and orchestral sounds is also quite alluring... Mellotron flutes? cool, bring 'em...

 

If the SY-300 can do any of that better than these EH stomps, I'm interested...

 

@Caevan - from what I read of the SY-300, it's not going to give you anything like a convincing instrument emulation, it's meant to sound more like a Virtual Analog Synth, with multiple Oscillators, Filters, etc.. You might be able to wrest an Oboe or Flute sound out of it, though it would probably sound as much like a real Flute as that Mellotron sound does.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Thanks for that.

 

Caev was having a setup issue involving connecting one in his effects loop and a another pedal before his amp. He wanted to use- and thus, engage/disengage both simultaneously. I had an idea, but was ultimately stumped because of where the pedals were connected to the amp.

 

Got any clue?

 

First thought would be to ask if it's a two-channel amp. You might be able to save some excess tap-dancing, just by hitting a channel switch. Have the RT-20 in the Amp's FX Loop, use a simple passive splitter box before the Amp's Inputs, so each of the B9/C9 pedals is going to a separate channel. Caevan mentioned that Jon Lord sound, so maybe one of the pedals would want to feed into a Drive Channel for that.

 

Another possibility would be to have a simple passive splitter right before the two B9/C9 pedals, then place an A/B box after them. Most A/B boxes that I've seen can act as 1-In/2-Out, or 2-In/1-Out, depending on whether you're switching instruments or Amp Channels. Split the signal, then use the A/B box to choose which one is feeding into the Amp's Input.

 

I have yet to see a Stereo A/B box? Would that be an AA/BB box?

 

The other way to go might be to look into some of those pedalboard signal routers, although those things aren't cheap, by any means.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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I was trying to suggest an Octa Switch like mine, so he could trigger both with a single tap.

 

But then I realized that either the pedal he wanted in front of the amp would effectively be moved into the effects loop, or the pedal in the effects loop would effectively be moved in front of the amp, depending on where the Octa was placed.

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I was trying to suggest an Octa Switch like mine, so he could trigger both with a single tap.

 

But then I realized that either the pedal he wanted in front of the amp would effectively be moved into the effects loop, or the pedal in the effects loop would effectively be moved in front of the amp, depending on where the Octa was placed.

 

I was also thinking of something like the Octa-Switch, or the Digital Music Ground Control. Lifted this from the Carl Martin site, concerning the Octa-Switch - "There are also two External Switching jacks which allow you to use two amplifiers and/or switch channels on those amps." Maybe trying something like the "4-cable method" Boss GT users employ, with our Guitar Amps. Here's a decent primer on the technique, for anyone who's tried to integrate any MFX system with a Guitar Amp's S/R Loop:

 

4-Cable Method

 

Sounds like we're getting close to a solution, although the price point keeps going up. To be honest, this is part of why I went over to Multi-FX, years ago. I get a movable, assignable S/R jack, an onboard Looper, and I can assign the onboard pedals to control up to 8 different onboard/outboard functions, including MIDI Control Commands, Program Change Commands & Amp Channel Control - it's all already in there, I just have to tell it what I want it to do.

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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Now, as for Mellotron type sounds- I for one want some sounds that sound very much like what a Mellotron sounded like, and not so much 'more life-like' improved flute, string, orchestral simulations. I am very nostalgic for those not-quite-perfect-replica sounds of the Mellotron- the types that were immediately recognized from record to record by various bands of the era. Beatles, Moody Blues, King Crimson, Yes, Led Zeppelin... I love that wonky, wavery, watery sound!

 

Now- as for the Think Tank cogitating on my B9 and RT-20 switch trials...

 

You guys are great. :wave: Thanks!

 

That's not a pressing matter right now, it can go to the back burner- partly because it can wait until I can and want to throw money at it.

 

Regardless, I will likely solder together a Super8 Programmable Looper-kit from B.Y.O.C. ("Build Your Own Clone"), an original design from them and NOT a "clone" of anything despite their brand-name acronym and usual mission-statement. It looks to be a particularly excellent 8 channel true bypass looper, as well as a fantastic deal.

 

____ [video:youtube]

 

 

B.Y.O.C. also offers their own Amp selector and Stereo FX Router-kit; truly a genuine AA/BB/Y-switcher, Winston! :D:thu: Eghrr, :2thu:

 

____

 

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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That's not a pressing matter right now, it can go to the back burner- partly because it can wait until I can and want to throw money at it.

 

I approve of this! :laugh:

 

I thought of one $$$-based solution:

 

1) one Octa in front of the amp, one in the effects loop.

 

2) into each Octa, put an individual RT-20 and B9.

 

Result- you have 2 distinct B9 + RT-20 sounds available one from the front Octa setup, one for the looped Octa setup.

 

All you need is 2 Octas and one more B9 & RT-20...that's what...$1000?

 

Oh yeah, and some more cables & power supplies.

 

 

 

 

 

...and a LOT of floor space. :crazy:

 

 

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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That's not a pressing matter right now, it can go to the back burner- partly because it can wait until I can and want to throw money at it.

 

I approve of this! :laugh:

 

I thought of one $$$-based solution:

 

1) one Octa in front of the amp, one in the effects loop.

 

2) into each Octa, put an individual RT-20 and B9.

 

Result- you have 2 distinct B9 + RT-20 sounds available one from the front Octa setup, one for the looped Octa setup.

 

All you need is 2 Octas and one more B9 & RT-20...that's what...$1000?

 

Oh yeah, and some more cables & power supplies.

 

 

 

 

 

...and a LOT of floor space. :crazy:

 

:D:thu:

 

Check out that Super8; if you like that but are daunted by the prospect of soldering and assembling it yourself, I'd be happy to do the building for you. I've some Mil-Spec experience and enjoy soldering perfect little solder-joints. :cool: This offer goes for any of you fellow Forummites here. :wave:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Seriously, though, if any of you here like the idea of having one of the pedals from B.Y.O.C. or MOD Kits or the like, BUT DON'T want to do any soldering and assembly, hit me up, I'll gladly solder 'em up for ya free of charge.

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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  • 2 weeks later...
Here's a little something for those kooky crazy kids, the Industrialectric 4046-M:

 

[video:youtube]

 

i love this!

 

In that case,you need to check out Skychord. The Glamour Box, Sleepdrone6 and Cloudbuster at the very least would seem to be your thing!

 

http://skychord.com/glamour-box.html

http://skychord.com/sleepdrone6.html

http://skychord.com/cloudbuster.html

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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That's pretty nutty!

 

It's not as crazy as it may seem. Many old-school Analog Synths had the ability to patch in an external Audio signal, treat it as an Oscillator, and process it through the rest of the Synth's components, like the Filter. A lot of current Analog & VA (Virtual Analog) Synths have the capacity. Anything with a built-in Vocoder, like the MicroKorg, or the Alesis Micron, will let you plug in a mic, Drum Machine, Guitar, or even another Synth, and process it.

 

IMHO, the MicroKorg is a lot of fun, much deeper than it looks from the front panel, and it's a great introductory tool for learning about Synthesis. Used ones run around $200-250, and there are tons of Patches available online. If you're thinking about getting a Synth module as a Guitar processor, might as well get a whole working Synth for the money . . .

"Monsters are real, and Ghosts are real too. They live inside us, and sometimes, they win." Stephen King

 

http://www.novparolo.com

 

https://thewinstonpsmithproject.bandcamp.com

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I'm kinda finding a lot to like here:

 

______ [video:youtube]

 

I'm certain that there will be one or another ring-modulator stomp in my near future...

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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Some very nice metallic ringing in there!

 

I love Knobs' channel...always something wonkwise from normal.

 

And now they have a new one called Meet.

 

 

 

Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: âNinety percent of everything is crapâ

 

My FLMS- Murphy's Music in Irving, Tx

 

http://murphysmusictx.com/

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I'm kinda finding a lot to like here:

I'm certain that there will be one or another ring-modulator stomp in my near future...

 

I bought a Maestro Music Modulator (designed & built by Tom Oberheim, marketed through Gibson,) in 1971 & have been happily ring modulating ever since. It's a big part of my sound, though I now use the built in ring modulator in the Boss GX700.

Scott Fraser
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