I have had the CE-2W for nearly two years and it’s the only chorus pedal I think I’ll ever need. It’s an incredible pedal.
I didn’t use chorus effects on guitar for over a decade until I got the CE-2W. I started noticing more of the music I was listening to used it and eventually decided I needed that sound. I tried a Small Clone forever ago and that wasn’t for me, but noticed a lot of boutique chorus pedals are modelled after the CE-2, so the Waza craft version made a lot of sense.
All three modes are awesome, and you can plug a patch cable into one of the outputs to get a fully wet vibrato out of the other output. Also sounds great on bass and synths. I don’t think you would regret it if you’re interested in a chorus pedal.
This one is pretty versatile; this video is for the first generation - they’re up to V3 now. Mostly the same, with the flexi switching they implemented across the line a couple years ago
The CE-2w is excellent. Simple high quality analogue chorus.
The DC-2w is more of a spatializer / stereo widener. You have to go stereo out of that one. Whereas the CE-2w sounds great with the mono out. The two outputs on the CE are one modulated, one dry (unchanged). If you go mono out it mixes them together and it sounds better most of the time, IMO.
The DC-2w is insanely good at what it does by the way. In Dimension-D mode it sounds great on synths, busses or even a whole mix.
Source Audio does have some neat pedals. Their ecosystem with the neuro hub and the pedals offers quite a lot of versatility. Just the fact that the L.A. Lady (distortion) offers plenty possibilities of its two drives on its stereo I/O, gives an hint of them thinking about flexibility if possible in their products.
Their midifootcontroller Soleman is small but powerful too. Even possible to recall OT Arranger rows via SPP. Just trying to find any other pedal with that feature would take a while…
By request of Fender, Johnny Marr is back with another lesson. This time he’s actually teaching, in that he’s showing where he puts each finger and stuff
There’s felt pics too, which are way more available. Not so great for sixers, more for the Bass end of the string gauges.
In other news, sadly sold my old Strat and Tele. Had to pay out a guy who’s car I totally killed with my 4WD. I’ll probably sell my new Jazzmaster next, to fix mine.
I currently own a Mustang and a P. The P I favour over anything else I’ve played cos it just sits so nicely in the mix, you don’t have to do anything to it. But I find they just don’t sound as sweet as a jazz, especially when practicing at home, or playing further up the neck.
So I’m suffering with a bit of jazz gas at the moment - if I do pick one up, I am definitely going to try your compression/high pass trick, see if I can get it working with my post-punk/shoegaze band.
If you don’t want to spend much money but still have a very decent mono chorus, then I use the TC Electronic 3rd Dimension to get a more dream pop sound. It’s around 30€. Bargain!
Anyone else here using an Octatrack as an ‘effects board’? I recently got bored of my guitar sound, so built a little setup involving a thru track and two neighbours to give me six effects in a chain to play over my synth led stuff. My first attempts involve sticking the guitar straight into input A via a EHX Pog (no amp sims or anything to boost the signal); then compressor with a lot a of gain; filter with a bit of its distortion and some high passing; chorus for dreamy modulation (the OT’s chorus is amazing!); lo-fi for bit crushing/hiss, sample rate reduction and more distortion; another filter for tightening things up and getting rid of anything in the extreme highs or lows; then the awesome dark reverb on a moderate mix setting with decay time around 100 for an ambient bed underneath. Sounds amazing imo. Next up I want to syphon off some part of the signal chain (or all of it) to a flex track for automated sampling and mangling snippets, though my first attempt at that yesterday wasn’t the best to be honest But I’ll get there. Also, I need to start employing the 3 LFOs per track for more craziness. Anyone else doing something like this?
I’ve been plugging my Strat directly into the OT using the filters distortion which gives a surprisingly decent fuzz-like sound. I need to do some further experimentation though
Early in this (great) thread folks were talking about tracking issues with synth type pedals. For whatever it’s worth, this has worked best for me with any pedals that have to track your playing; single coil pickup in the neck position (and only that pickup) directly into a compressor then into your tracking pedal. A vibrating string produces a fair amount of harmonic notes due to the node points and these “confuse” the tracking, single coils don’t emphasize this as much as humbuckers, also having the pickup as close to the center point of the string as possible de-emphasizes harmonics by getting being physically closer to the fundamental node of the string. The compressor is used to squash and kill your playing dynamics so if possible use one with extreme ratio control. All of this makes for a pretty lousy tone but is perfect for the front end of pedals that track.
The adjustment of technique is important too. Super super clean playing and muting all unused strings. It’s an awkward way to play at first but like everything related to guitar it’s merely a matter of practice and time.
Just my two cents.
Yessir, though more on viola than guitar. This was from 2015:
The liner notes from the track - “Dirty reverb” is none other than the Industrialelectric RM-1N, which I acquired just this year.
Viola plugged into one of the mic preamp inputs on the Mackie mixer. Octatrack was sitting in the mixer aux bus. This was my preferred way for getting a strong viola/guitar signal into the OT.
I was inspired by a demo of a “dirty reverb” pedal to try some effects chains on the Octatrack. I set up a project like this:
Track 1 - Thru Machine with Filter (unused - FX1 default) and Plate Reverb in FX2 slot. Reverb time set long so the FX in Track 2 swell after it.
Track 2 - Neighbor Machine (Track 1 as input) with LoFi in FX1, Delay in FX2. LoFi set to with BRR (Bit Rate Reduction) close to middle, ring mod section set up more like a tremolo effect.
Track 3 - Pickup Machine w/ Filter and Spring Reverb. Simple looper with LFO1 set to modulate pitch with Random waveform, LFO2 and LFO3 set to modulate filter width and Q respectively.
Track 4 - Flex Machine with Record Trigger, source set to Track 1 output, LoFi in FX1, Spring Reverb FX2. With the Record Trigger, this track is sampling Track 1 once every 16 steps of the sequencer. This track’s LoFi also has a moderate BRR setting, with the ring mod side set to sound more like ring mod.
Unfortunately, once I started recording I forgot to highlight the idea of distortion and bit crusher swelling after reverb or delay, as well as the other possible sounds.
Hell no. PBass low end is great.
What I meant was your standard mic HPF that’s about 50-90Hz 24dB slope. It’ll cut the warmth form the J Bass and with a little help from a compressor, give it that P Bass punch.
I’ve had a 5 string PBass sitting in my mates commercial studio for years now, and it gets used a lot, just not by me. At home it’s just easier to kick a comp pedal and press a HPF button.
