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behndy wrote:i'm getting curious about the Boomerang Midi syncing.

The Rang III can receive MIDI Clock signal and ON/OFF command.
For example, if you use a drum machine to provide a drum track as a foundation for your looping work, you can link it to the Rang III.
The Rang will be synced on the MIDI Clock signal sent by the drum machine.
Should you want to stop everything, you can stop the drum machine and the Rang will stop too. When you start the drum machine again, the Rang will follow in perfect sync. Neat.

In my board the Timefactor sends the clock signal (until Koma issue the RH-301 in sept.) and the Rang receives it.
I also have the Side Car. The Rang does not send anything to the Side Car, it is the opposite: the Side Car sends info to the Rang. So to get everything in sync, you go: TimeFactor[MIDI OUT]>[MIDI IN]Side Car [MIDI OUT]>[MIDI IN]Rang III.
If you want to sync another Rang (or anything else) you can use the MIDI OUT port from the first Rang.

I guess you are curious about the MIDI integration because you also have 2 Timelines.
For the time being the Timeline cannot generate a MIDI clock signal. So it has to receive it from somewhere else. You can however configure the MIDI OUT port to act as a MIDI THRU so you can put the Rang after and it will receive exactly the same info the Timeline receives.

As you know there is already a looper in the Timeline. Many of its cool functions can be accessed via MIDI (Reverse, half speed/full speed, undo/redo, etc.)
The good guys at Molten Voltage (PedalSync) have released a nifty product that pilots the Timeline looper via MIDI; a bit like a Side Car but for the Timeline. At $189, if it has what you need it comes much cheaper than the Rang.

Thanks for the info on the Molten Voltage thing, I didn't know that!
The only thing I haven't figured out yet though is how to be able to use the MIDI in for the looper but also use an expression pedal to control different parameters of the delay, I don't think that's possible with this thing.
I'm also a bit sad they put the volume control on the side with a tiny knob you can't control with your feet, if at least it would be on the top you could put an option knob or something on it to control the loop level with your feet.
I asked them some questions about the MIDI-5 but they never answered unfortunately, I might try and send a mail again about this thing, I hope for the better this time.

I'm not sure why you could not use an expression pedal with the timline and the Oz Controller too. The Oz uses a MIDI port and the exp. pedal has its own input.

Replacing the volume pot on the side of the OZ by a exp. pedal input should be pretty straightforward and its odd location makes it perfect for this purpose, but it also depends on the room inside.

I contacted them twice 2 weeks ago to obtain some info about a potential futur product and the existing CTL-Sync, they replied within 48 hrs to both emails. Nice comprehensive answers too. Give it another go!

Cool, thanks, you're right offcourse, I always get confused with the MIDI tempo thing and the exp input doubling as a tap input.
Could be a good idea indeed to just get a exp input on it instead of the knob, I'd still prefer it on top with an option knob though (TWSS).
I'll have another go.

chillerthanmost wrote:Still moving some things around...

Tony I am loving this!

MaxMaps wrote:

chillerthanmost wrote:Still moving some things around...

Tony I am loving this!

I love it too... will be awesome with the Demo Tape Fuzz!
Who build that beautiful pink Tone Bender?

sylnau wrote:

MaxMaps wrote:Tony I am loving this!

I love it too... will be awesome with the Demo Tape Fuzz!
Who build that beautiful pink Tone Bender?

Thanks, guys. I'm really digging it too and I wanna sneak a Demo Tape Fuzz in there. I have the Fuck going into the Mini with delay in between them and the looper at the end, to my Sound City 100, and I absolutely love stacking those. The MKII, built and etched by DannyW (I don't know if he wants me to say that yet though, haha!) and Sleepverb (also built and etched by Danny) are going before the splitter to both amps. The Pharaoh followed by the Elements are the only two I need more time figuring which to put first/last. Right now they are going into my Traynor YBA-3. I might wanna try them with my Sunn Sorado though, since the Elements will help add more EQ to it.

Playing with my pedals within arms reach is one of my favorite things,...but being able to switch the pedals where twisting knobs isn't critical to cool sounds;
wwwwwwith mah feet is also pretty important.

Solution.



Signal flow: =>Shiva=>SD-2=>OC-2=>Supercollider=>BEF=>VPJR=>LS-2 (A<->Bypass)=>TU-2=>
In the LS-2 Loop Send=>WSOU=>Atoner=>DL4=>Return

Mainly just wanted the DL4 in the loop so I can set tempos prior to injecting the delay into the signal. And I can make the switch over with a foot stop.

Having everything on the floor board running through the input of the LS-2 means that everything can be fed into the DL4.

I seriously love LS-2s. Probably one of the best pedals that Boss has ever made.

Obviously not going to be taking a piano bench with me on gigs; so I'll likely design a solution for that. Considering I'm not currently in a band; this will do the trick for now.

chillerthanmost wrote:

goddammit that dirge looks so good

Elements at the end of the chain? I love it.

Exclaimed wrote:Elements at the end of the chain? I love it.

Yeah, I originally got it to plug into my Sunn Sorado, which only has a treble and bass EQ. So I figured the elements will give me more EQing and a bit more hair/drive plus tightening up since the Sunn gets a bit saggy at times. But my Sorado just sounds 100x better on bass than on guitar that I haven't even tried that set up. I'm playing the YBA-3 on guitar and kinda realized I don't need an extra EQ for that, it is pretty damn balanced all around. So I might put the Elements before the Pharaoh to give my guitar (P90 pickup) a bit more EQ flavor, plus adding some depth and thicker mids going into the Pharaoh. But maybe, just maybe, I might try the Sorado on guitar again now that I added the elements to the chain. Though, the yba-3 doesn't sound as good on bass as the Sorado, so who knows.

I play bass in my band but our guitar player uses my equipment (including my/this pedal board) on guitar.

chillerthanmost wrote:Still moving some things around...

that Pharaoh is SIIIIIICK awesome board

chillerthanmost wrote:Still moving some things around...

what's the sleep pedal?

penusanis wrote:what's the sleep pedal?

1776 effects long brick Rub-a-Dub Reverb with volume pot mod. Best reverb I've played.

rustywire wrote:^I can dig it, B. Anytime a rig overshadows the music it feels like art not living up to the hype.

Personally cant stand complex instrument setups and think outboard/rack gear is better left in the studio; used for tracking/mixing/post-prod and creative routing with a patch bay.

I'm one of those ppl where a setup like *that* (it is a sick rig btw, don't get me wrong) would only get in my way.
It would keep me up at night, overthinking how to do things.
The longer I play, the more I find myself striving to achieve zen minimalism as a bricoleur.
And the further along I go, the more I notice new temptations to deviate from that path.

But one can never have enough fuzz and delays.

I think it's more of a project that an actual necessity to music and sound. Designing and setting up rigs like that is a mission all on its own. I like that. I would never have the patience for it, but I'm of the understanding that it's not a declaration of power or penis measurement, it's actually just a project some people enjoy working on and perfecting, as if it's separate from playing guitar. DIY is seen in the same kind of way. You're not necessarily building for functionality or to save money. You're doing it because it's fun and satisfying. You may end up ripping them apart or selling them for a few bob, but you'll still have the memory of creating something cool and complex.

synthezatory wrote:ps: matt bellamy was once a great musician, now he is just so ridiculously boring with that asthmatic banshee singing and gone r'n'b disco shit to the point that is laughable, not to mention his taste in ufo suit on stage.

Matt Bellamy was once a hero of mine. He was the Tom Merollo/Jimi Hendrix/Eddie Van Halen of the 21st Century, IN MY OPINION. He's completely lost it now. They should have quit for a ten or so years after Black Holes and Revelations and come back with something legendary. Spent ten years in hiding honing a new sound. Avoided fucking dubstep.

Midnight Rider wrote:Hi, Im new member & this is my board...for now



Boss TU2- VOX Wah - Digitech Hardwire CM2 - Mooer Black Secret - Black Arts Toneworks Pharaon - Jim Dunlup Univibe - EHX Small Stone - EHX Neo Mistress - Mooer Pitch Box - Boss RE20 Space Echo - Boss DD20 Giga delay - Boss RV5

Dig the angled pedals. FUCK UNIFORMITY! I@M A MUSICIAN!!! Welcome to the forum, mate.

digi2t wrote:As for the MIDI addiction, that`s come in handy actually. Three years ago, my buddy keyboardist whom I play with, suffered a stroke. It fucked up his left side. With rehab, and surgury to his eye, he`s almost back to normal, but the left hand dexterity is not what it used to be. He`s got major problems with chords. With a MIDI keyboard, and Ableton, I figured out how to let the laptop do the heavy lifting for the left hand, while he can concentrate on the right.

We`re just a couple of garage artists. That`s it. But, we love what we do, and we love being part of a community that shares. In a way, if it wasn`t for all the years I put into that «rig», I would not have amassed much of the knowledge I have today.

This really resonates with me. It's awesome you and your mate didn't give up and found a way to adapt.