RHCP's Josh Klinghoffer: ua-cam.com/video/DwlQVYD-IXk/v-deo.html Minus the Bear's Dave Knudson: ua-cam.com/video/L-15Ssh4KcE/v-deo.html Chris Robinson Brotherhood's Neal Casal: ua-cam.com/video/USLBpValqKk/v-deo.html Living Colour's Doug Wimbish: ua-cam.com/video/vtHd2v9YiEA/v-deo.html Henry Kaiser's Five Times Surprise: ua-cam.com/video/i4yZdqf-o68/v-deo.html
As soon as I saw the notification I immediately knew Josh’s board would be on here, I mean, I’m a big pedal fan myself but oh my god he has a lot of stuff
One thing I've never understood about huge pro boards is having several of the same pedal spaced widely apart instead of programmable pedals. Josh's entire setup can be condensed to at least half the size without losing a single sound
@@ileutur6863 oh I'm listening alright. I listen to the bassline, but don't listen for overdrive or compression or modulation or stuff like that. Most of the time I'm listening to how aggressive they are plucking. I am a Guitarist and can't even tell a good bass tone on it's own when it's not in a song. A bass doesn't need to stand out. It needs to fulfill it's role as a rhythm Instrument.
Outstanding points made in the Robinson segment; lot of pedals sound great by themselves, but don't play well with others, or necessarily work in a particular mix, - and that varies, band to band.I've tried many in addition that just aren't dialed in in a way that appeals to me. Both Howard from CB, and the people at EQD and BJE are players with hands on experience.EQD do some classics, but they also do many original circuits that just work. The Topanga is my early stage, usually on; it does much more than just Spring, as a sweetener and a boost. Everyone tends to gravitate towards the Strymon effects that do the more standard effects, by IMO, it's the more unusual one's that are stand outs of the type.
I built my dream rig over the last few years, run a Mesa Mark V and EVH 5153 Stealth in stereo as my take on a single guitarist in a metal band. all pedals in rack drawers, dual decimator pro rack G. Rackmount RJM Effect Gizmo full stereo loop switcher controlled by RJM GT-10 midi foot controller and Mission Engineering expression pedals. I like all the shit, tube screamer for the Mark V, wah, digitech whammy, eventide stereo harmonizer, doubler for the EVH, ditto looper, stereo midi reverb, stereo midi delay, stereo midi modulation, stereo eq, volume pedal which was quite a job to figure out a stereo volume pedal setup in the fx loop after gain before time based fx. Also had to get RJM Mini Amp Gizmos with custom cables, so the midi foot controller can switch the amp channels... coulda just got an all-in-one modelling unit, but goddamn it's awesome playing through both those amps and having everything programmed and setup just the way I want it where one button press on the foot controller does anything I want. My pedalboard is relatively simple, midi foot controller and 3 expression pedals... my bass pedalboard tho, don't get me started. Rig is done although I am seriously considering adding the Grindstein to blend in a nasty buzzsaw mid bump... I could find some uses for a Tyler Splitter as well.
@ 41:00 ... Got that "Thumb-Slap" loaded up !!! Wow So Cool ... Master of the Bass !!! Don't know how you doing it !!! But I love that technical stuff !!!
It would be interesting if there was a pedal museum with every single pedal plugged in and set up in a crazy custom matrix switching device that lets tons of patrons hook up to headphone amps, or amps and play them. The gimmick could be that you can play every single production pedal ever made at once. What would that even sound like?!
What does “follows the relative pitch” mean in terms of pedals? Sounds like bullshit to me. Isn’t relative pitch the relationship between two pitches. Musicians train to have good relative pitch bc it can be learned, unlike perfect pitch. Would love to know what Kaiser meant……
I found that phrase interesting and insightful. What he is saying is that the envelope filter follows the pitch instead of the strength of your signal... so there is something tracking the pitch, and if the pitch changes over some period of time, then the band pass filter moves in relation to the pitch, instead of the voltage envelope. The envelope for this filter is the delta in frequency, or the relative pitch, over some period of time. I could be wrong, but that's what it makes me think of.
If you are the real Robert Keeley that is amazing. I love your work. Thank you for making it more understandable, sort of lol. The problem is in the listener, not the teacher. Thanks none the less.
Not to be a jerk but what you describe still isn’t relative pitch. If the pitch changes then it changes. It can’t then be a relative pitch to something else. I don’t doubt what you describe is possible but it still doesn’t involve the relationship of two pitches right?
It follows the change in pitch, delta, not the relationship between two or more pitches. Doesn’t matter really. I don’t think he knew that when he said it.
@@andrewhartnett2140 I can’t wait to see what my DSP guy thinks of it and how we can have some fun with that concept. The relative pitch, or the change in pitch (like bending) makes an Augmented change to the effect. Usually it’s just the amplitude of the note we pay attention to, and we try to make it even More dynamic based on the signal strength. What it makes me think of is controlling the gain of dirt box based on relative pitch, when you bend, the gain goes way up! Haha crazy weird results. Thank you Andrew!!! RK
RHCP's Josh Klinghoffer: ua-cam.com/video/DwlQVYD-IXk/v-deo.html
Minus the Bear's Dave Knudson: ua-cam.com/video/L-15Ssh4KcE/v-deo.html
Chris Robinson Brotherhood's Neal Casal: ua-cam.com/video/USLBpValqKk/v-deo.html
Living Colour's Doug Wimbish: ua-cam.com/video/vtHd2v9YiEA/v-deo.html
Henry Kaiser's Five Times Surprise: ua-cam.com/video/i4yZdqf-o68/v-deo.html
This is great!!!
Wow, Doug's rundown was awesome. You know it's a good board when their demonstration makes you want to see them perform live.
omg that last one. so many cables D-:
Dave Knudsen!
I love his use of loops.
As soon as I saw the notification I immediately knew Josh’s board would be on here, I mean, I’m a big pedal fan myself but oh my god he has a lot of stuff
One thing I've never understood about huge pro boards is having several of the same pedal spaced widely apart instead of programmable pedals. Josh's entire setup can be condensed to at least half the size without losing a single sound
@@ileutur6863 For Looks.
@@ileutur6863 you mean like the 3rd guys board in this vid? Your right but to each their own.
Love the Power Trip shirt!
RIP Riley
Wasn't much of a fan of the RHCP one, but the others I found brilliant! especially the bass board of Doug from Living Color
I think it's kinda funny that some bassists have a ton of pedals. The last thing I'm listening or paying attention to is bass tone.
That's Vernon reids board
@@gavinw5469 then you're not really listening
@@ileutur6863 oh I'm listening alright. I listen to the bassline, but don't listen for overdrive or compression or modulation or stuff like that. Most of the time I'm listening to how aggressive they are plucking. I am a Guitarist and can't even tell a good bass tone on it's own when it's not in a song. A bass doesn't need to stand out. It needs to fulfill it's role as a rhythm Instrument.
@@gavinw5469 the best bands are the ones where the bass stands out
This is awesome, thank you!
OMG. I left this behind and went with MuFX units. Looks like fun to fiddle with though :). Best Regards!
Outstanding points made in the Robinson segment; lot of pedals sound great by themselves, but don't play well with others, or necessarily work in a particular mix, - and that varies, band to band.I've tried many in addition that just aren't dialed in in a way that appeals to me.
Both Howard from CB, and the people at EQD and BJE are players with hands on experience.EQD do some classics, but they also do many original circuits that just work.
The Topanga is my early stage, usually on; it does much more than just Spring, as a sweetener and a boost.
Everyone tends to gravitate towards the Strymon effects that do the more standard effects, by IMO, it's the more unusual one's that are stand outs of the type.
I built my dream rig over the last few years, run a Mesa Mark V and EVH 5153 Stealth in stereo as my take on a single guitarist in a metal band. all pedals in rack drawers, dual decimator pro rack G. Rackmount RJM Effect Gizmo full stereo loop switcher controlled by RJM GT-10 midi foot controller and Mission Engineering expression pedals. I like all the shit, tube screamer for the Mark V, wah, digitech whammy, eventide stereo harmonizer, doubler for the EVH, ditto looper, stereo midi reverb, stereo midi delay, stereo midi modulation, stereo eq, volume pedal which was quite a job to figure out a stereo volume pedal setup in the fx loop after gain before time based fx. Also had to get RJM Mini Amp Gizmos with custom cables, so the midi foot controller can switch the amp channels... coulda just got an all-in-one modelling unit, but goddamn it's awesome playing through both those amps and having everything programmed and setup just the way I want it where one button press on the foot controller does anything I want. My pedalboard is relatively simple, midi foot controller and 3 expression pedals... my bass pedalboard tho, don't get me started. Rig is done although I am seriously considering adding the Grindstein to blend in a nasty buzzsaw mid bump... I could find some uses for a Tyler Splitter as well.
RIP Neal Casal. Gone too soon.
holy! i don't use delay for about 10 years. this is the first time that i wanna have a delay pedal after Dave's crazy delay stuff. omg!!!
Tim Mahoney will have to be on one of these eventually.
Has anyone ever heard Henry Kaiser just play a D chord?😂
Can he?😂
Alwayz ,,, get'n Us ... The Dirt ... SO MUCH TONE !!! SO LITTLE TIME !!! Love ya Bro ...
@ 41:00 ... Got that "Thumb-Slap" loaded up !!! Wow So Cool ... Master of the Bass !!! Don't know how you doing it !!! But I love that technical stuff !!!
It would be interesting if there was a pedal museum with every single pedal plugged in and set up in a crazy custom matrix switching device that lets tons of patrons hook up to headphone amps, or amps and play them. The gimmick could be that you can play every single production pedal ever made at once. What would that even sound like?!
You haven't been to Sweetwater, I see
R I P...NEAL CASAL...🤘
Part 3 please?
Third guy almost did not show what they sound like... damn!
You guys have got to do John Frusciante rig rundown now he’s returned !!!
needs more cowbell
i've never seen john bollinger so quiet.
I think when a musician don't have anything to say about a pedal (imagine all that crap) they say: "Organic"
C'mon, maaaan; RADIOHEAD!!!!!!!!!
I'm BEGGING you!!!!
Where is part 1??
Exactly what I was looking for!!!
ua-cam.com/video/catPMuNCI8k/v-deo.html
Looked up Neal Casal on Wikipedia and he died 2 years ago ! :-(
By suicide, too. That really sucks.
Nice shirt…RIP
What does “follows the relative pitch” mean in terms of pedals? Sounds like bullshit to me. Isn’t relative pitch the relationship between two pitches. Musicians train to have good relative pitch bc it can be learned, unlike perfect pitch. Would love to know what Kaiser meant……
I found that phrase interesting and insightful. What he is saying is that the envelope filter follows the pitch instead of the strength of your signal... so there is something tracking the pitch, and if the pitch changes over some period of time, then the band pass filter moves in relation to the pitch, instead of the voltage envelope. The envelope for this filter is the delta in frequency, or the relative pitch, over some period of time. I could be wrong, but that's what it makes me think of.
If you are the real Robert Keeley that is amazing. I love your work. Thank you for making it more understandable, sort of lol. The problem is in the listener, not the teacher. Thanks none the less.
Not to be a jerk but what you describe still isn’t relative pitch. If the pitch changes then it changes. It can’t then be a relative pitch to something else. I don’t doubt what you describe is possible but it still doesn’t involve the relationship of two pitches right?
It follows the change in pitch, delta, not the relationship between two or more pitches. Doesn’t matter really. I don’t think he knew that when he said it.
@@andrewhartnett2140 I can’t wait to see what my DSP guy thinks of it and how we can have some fun with that concept. The relative pitch, or the change in pitch (like bending) makes an Augmented change to the effect. Usually it’s just the amplitude of the note we pay attention to, and we try to make it even More dynamic based on the signal strength. What it makes me think of is controlling the gain of dirt box based on relative pitch, when you bend, the gain goes way up! Haha crazy weird results. Thank you Andrew!!! RK
Respect Family God Bless You Guys. Hope you get by my new videos. Mad Respect Always
Yo Doug! I heard you twice the first time! why you yellin?!?