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Microsynth
If you are using a six string guitar get the Microsynth not the
Bass
microsynth; or perhaps I misread and you are in fact using a six string
bass, either way I recommend this device without hesitation. The
interface
is wonderfully useful for "on the fly" manipulation and it can create an
incredible range of unique sounds. For what it costs it is an
unbelievable
tool. It doesn't have the versitility of a Sherman Filter bank but it
also
doesn't have the price tag either.
Used in conjunction with a multi-effects processor or other unique
pedals
it is deadly. I've been able to achieve a reasonable approximation of the
Methany sound, mini-Moog, synth flute, various Wakeman-esque gurgles and
an
endless assortment of picantique funk noises. I apologize to dissenters,
but if you can't have fun with this pedal something must be wrong (or
perhaps you are just beginning to swing away from funky analogness,
devastating the vintage market and leaving all these wonderful toys to me
alone).
Concrete sound examples: I've turned my Yamaha PSR: built in
speaker, 70
unprogramable sound and rhythm, cheapo keyboard into a nasty sounding
machine with the Microsynth's help. Really, I've gotten some seriously
dangerous funk synth bass sounds which are fantastic on Drum and Bass
tracks
and in looping.
In conjunction with a pitch shifter, you can get some convincing
synth
bender sounds and also overcome the MS's monophonic tracking. I've used
my
Boss SE-50's realtime to create a whole tone bend that sounds killing with
the MS. I also use the SE-50 to do pseudo-smart harmonies. I created a
minor 3rd harmony and used the Realtime control to toggle between Major
and
Minor 3rds. In conjunction with some delay and chorus I can create
incredible "Blade Runner"-esque synth pads. Which getting to my point is
but one of the endlessly uses of the Microsynth in a looping context.
I have to say that before I bought it I thought of it as a novelty
item
that I would use for certain specific roles. I was mistaken, it has
become
a centerpiece to my rig. I use it for, the attack delay when playing
slide
for pedal steel volume swells, laying down pimp-nasty bass loops,
processing
cheesy keyboard drums, or playing soaring leads (while making the GE Smith
Hot-Face) with the octave overtone. I guess I sound like an
Electro-Harmonix plant, but this is really an incredibly musical pedal
that
induces creative responses. It has it's quirks and draw backs
(monophonic,
gating, wall-wart) but it's incredibly useful. Check Tonefrenzy.com for
some audio samples. I do find their test suite a bit limited, so if you'd
like to hear some other uses I'll send you some short snippets as
compresses
AIFF's.
Best of Luck, Sean
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