So much awesome here.
I’ve had a few pedalboard layouts now. The big issue I have had with the other setups is size, and transporting it. I started off with a Q-Tron on the board. But that got dropped off due to it feeding back a lot. Plus I could never tell if it was engaged or not.
The main input is the Eventide MixingLink. It sounds great, and lets me bypass my effects chain if necessary. It has a couple of different settings, I usually keep it in the latch mode and FX Only. You can set it to be like a mini-mixer if you choose one of the other modes, but I don’t do that.
The first item on the effects chain is the Nano POG. Now, this pedal is probably not going to survive much longer on the board. Why? Cause the next pedal, the Eventide H9 pretty much does everything it does, plus I can control it via bluetooth. I suppose I have left it on the board cause I could engage the Nano POG, and then run it through the H9 to get like 3 octaves of Q-Tron like sounds. Or Distortion. But in reality that has yet to happen. Ideally, I think I am going to sell it to get like a dedicated reverb unit. The orange pedal is a Valeton EP-2 Volume Expression pedal that I’m using as an expression pedal for the H9.
The pedalboard is a Pedaltrain PT-M16-TC Metro 16. Basically, I wanted something small, portable, but also protects the pedals.
The whole thing is powered by the new Eventide PowerMax.
Generally, this setup is pretty solid. Originally, I wanted to run an EWI 4000s through the board, but inconsistent volume issues killed that. I haven’t had time to revisit it yet.
Anyone else use pedals on their sax?
Bob Franceschini is one of the best players out there right now.
There has been an interesting tool that has been sitting in my Amazon wishlist for a while. The BandTool BT-1. It is a multi-tool specifically for those who would need to fix a “band” type instrument. I carry a Leatherman Wave in my gig bag, and I have found it very useful. So why wouldn’t a multi-tool specifically for instruments be even better?
Agree on everything said here.
DPA seems to be one of the mics everyone who does a LOT of live playing go to. Jeff Coffin uses them with the DMB. They are everywhere. MusicTech Magazine had an interesting article about how the microphones are made. Worth a look at.
DPA originated back in 1992, when two employees at the sound and vibration measurement company Brüel & Kjær, Ole Brøsted Sørensen and Morten Støve, left the company to found ‘Danish Pro Audio’, transforming the technical ideas fostered at their former place of work into incredibly accurate and clear pro-audio microphones, including the well-regarded 4060 omni.
John Williams really will be remembered as a Mozart in a 100 years.
Google has a thing on it’s homepage for Leonard Bernstein’s 100th birthday. Well done Google.
True words spoken here.
Interesting history of the Yamaha company.