MXR Carbon Copy Delay Manual:
I was referring to the CC when I said that analog gear is subject to design choices. So, when someone designs a guitar pedal, the types of filtering that occurs and circuit configuration will be voiced for a guitar. As I’ve said before, even though it is counter intuitive, a Rhodes or Wurly are actually voiced very similar to a guitar and seem to work well with guitar pedals.
A bucket brigade circuit loses frequency content and resolution on each echo. So the longer it goes, the less like the original sound the echo is.
Sorry I missed answering this in my other reply. Technically, the output is probably not a pad … I just refer generically to leveling switches that provide reduction in level as a pad. Probably because most pre-amps I’ve used have a level reduction switch labeled pad. The point is that you have a way to provide an attenuated signal to the pedal that is more in line with the level it wants. I think of that as padding the signal for possibly bad reasons.
Putting to one side the line/output/(expected)guitar signal level issues I really don;t think going to all this trouble is going to be worth it. As I said wearlier there are plenty of delays even with Cubase Artist - you can also download Steinberg’s vintage tape emulation delay free (Karlette) http://www.steinberg.net/en/support/unsupported_products/vst_classics_vol_2.html
If you’re new to all this then trying to confuse yourself with outboard effects is pointless - particularly as delays are one of the effects where, IMHO, the type you use doesn’t make that much of a difference - it’s how you use it that counts.
Ok, thanks a lot.
And also mechanically both are constructed around having PICK UP’s.
Oh ok I see. So like, as you say, a derivative of the word padding.
Well I am going to try feeding the MULTI into the MXR with it’s VOLUME set as LOW as I can get it. It is certainly worth a shot at least.
Oh wow, I never knew that you could obtain such downloads for FREE on the Steinberg site! Cheers.
Mmm, ok. I guess I am trying to gather whether, very generally speaking, which one is BEST in the hardware vs. software debate. Though have spent three or so days messing with the MXR, I am getting more comfortable with getting the DELAY FX I want from it. Just a shame I/we have had to wade thru all this other nonsense in the mean time. Also, I am getting a feel for what WORKING METHOD best suits me.
I found the MAGENTO and QUADRAFUZZ:
by the way, i would trust your ears, unless you want some signature modulation aka soundtoys echoboy or ohmboys, most delays will do and if it sounds good… you know ;]
I am going to continue experimenting with the MXR CC because it does not seem to cause any issues (as far as my ears can tell [and I spent a great deal of time running comparisons]) in the MIDDLE and LOW registers. However, I will take a look at the VST FX options within CUBASE ARTIST.
I used this exact MOD FX in the INTRO and ENDING of my last UPLOAD (“Funky Slap Back”). It sounds like rapid detuning.
by the way, I’m not sure what amp you are running the multi to, or if you are going DI. If you are micing an amp and that amp has an FX loop, that is the best possible method to use the MX.
Also, if you have a multi-input output audio interface, you can use the external FX buss in Cubase to route to the MX, which will solve a lot of the leveling issues you may be having.
No amp for recording = Just MULTIMOOG, to MXR, to CI2+ CUBASE INTERFACE, to PC.
I have never gigged the MULTIMOOG (yet). I have a FENDER DeVILLE amp (heavier than my RHODES!) which would probably be better than my MACKIE (powered) SRM (350’s I think they are) speakers.
I have a YAMAHA MG (something or other) small-ish desk. I am thinking of using this in my home set-up as my soundcard only has 2 x IN’s and it’s driving me mad swapping leads all the time!
The CI2+ has 2 x IN’s and 2 x OUT’s (for instruments and powered monitors respectively). So nothing fancy as such, just meat & potatoes.
So, on the mackie, run the multi into that and use the effect sends/returns to go to the CC. Or use a TRS insert cable so you can use the mackie faders and such to control the level going to the CC.
By the way, learning how outboard gear works in what setups is a huge thing if you ever plan to play out. It is well worth the time. Like most things, this initial stage of learning will get easier and make more sense as you go. Then you will get fast at identifying sounds in your chain and likely suspects for their occurrence.
Well when I gig my NORD piano and a couple of MODULES etc, all running thru the YAMAHA MG desk and into the pair of MACKIES, it is never really a problem. And recording the NORD piano and ROLAND XV5050 module seems to be fine.
But since trying to record my YAMAHA DX7 and the MOOG (ie vintage) into CUBASE, this is when the problems have arisen. And then compounded with the addition of hardware stomp-boxes! I wonder how well the MINIMOOG might record? That is for a later date . . .
The MACKIES are the SPEAKER’s.
The YAMAHA desk is the MG82CX:
So hopefully it will do all of the above?
Yes. That mixer has a send and master return. Go to the mixer with the multi and put the cc in the aux send and return
Ok, thanks. I will test it over the weekend. Are you thinking this could be a way to ATTENUATE the MOOG pre-MXR?
Spent nearly 2 x hours trying to get a SAXOPHONE sound out of the damn synth tonight!
Yes you will get much finer control using aux return
So get a sound level you like without echo then slowly up the send and return levels