Midi Foot Controllers and Pedals Thread

Discussion in 'Gear & Equipment' started by c7spheres, Sep 5, 2020.

  1. c7spheres

    c7spheres GuitArtist

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    - Basically what the title says. To talk about anything midi foot controller and pedal related, how you use and program them and everything else and any questions people may have too.
    - I feel this topic is rarely talked about and not many people use them but they are so powerful and customizable that they can really control just about anything in thte right hands.

    - I'll start it off with a simple question and observation. I only know of two midi controllers that currently have a "direct" access mode which are the Rocktron MidiMate and the OLD version of the Digital Music Corp (Voodoo Lab) Ground Control (Not the Ground Control Pro).
    - This mode of operation is called direct access and allows you to quickly access 100 presets by just pushing in the numbers. For example; if you're at preset 12 and want to go to preset 57 you just press "5" then "7" and your there. No need for custom bank programming or banking up a bunch of times etc. Just two button pushes and you're there.
    - I'm really surprised it hasn't taken off more as a feature on midi controllers because most people don't use 100 presets anyways in a performance situation, and if they do use more than that it's likely in the studio anyways where switching on demand and instantaneously isn't as critical.

    _ Does anyone know of other midi controllers that also have this feature or does anyone else use this feature too?

    - I've used many controllers over the years and what I've found is that setting up a rig for realtime control is quite an undertaken and very personal thing.

    - I've found that in reality for live performance that at any given time these are SOME of the things you want access too:
    - Push a button and have the entire rig reconfigure itself to anything you want.
    - Push a button and be able to turn on/off indivdual effects and sounds
    - Push a button and have only the amp channel change at any given time
    - Push a button and have certain effects and amp channels changing at same time.
    - Have a real time expression pedal to control stuff too.
    - Integrate outboard loop switcher devices along with rack processors to accomodate pedals and processors and preamps as well.

    - By having this type of control you can have both a system that supports individual songs AND supports random on the fly jam and experimentation sessions too which gives some freedom to change things up.

    - I just thought I'd throw this up here so people can discuss and bounce ideas off each other.
     
  2. StevenC

    StevenC SS.org Regular

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    I've never heard of that "direct" mode you're talking about, but it is quite interesting. Not sure it's something I'd use, as in a live setting I'd just prefer either a "next" button or more of a pedalboard setup where I can select certain sounds or just switch effects on and off.

    I currently have a lend of a Diezel Columbus for my H9000/Herbert/Twosie rig. Still need to really dig into the scenes on the H9000 before I get everything configured. Mostly trying to get my eye in on MIDI programming before I invest massively into a RJM GT22 and Switchblade GL.

    Was planning to have my rig finished this year with utilities and an amp/rack case before the world went crazy. Should have enough loops in the GL to have pre and post effects from the H9000 plus the loops of the amps and a few pedals I want. I'll hopefully find some time next month to start digging into everything.

    The plan is to have a bunch of expression pedals connected to the H9000; it can take 2 or 4 via jacks on the back and then a few more via MIDI though the GT22. Then allow these pedals to be assignable to various parameters depending on active effects. Having the GT22 over the smaller ones allows me to have a few extra spaces for utility controls like tap tempos and looper controls.

    My main rig inspiration is Robert Fripp and despite watching/reading every bit of info on his rig, I'm not exactly sure how he runs things in an on the fly setting.

    Columbus is cool though, switches are nice and rugged as anything.
     
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  3. Shask

    Shask SS.org Regular

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    I have a Behringer FCB1010. Easily the best controller for the price.

    Sadly, I am not using it much right now though, lol. That is only because I am always switching up rigs and don't really set anything up permanently.

    Right now it is programmed to go to with my Axe-FX II. The bottom row of buttons is scenes 1-5, the top 3 are the 3 main presets, and I think the other top button is tap tempo. The left expression is wah, and the right is delay/reverb mix.
     
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  4. TheWarAgainstTime

    TheWarAgainstTime "TWAT" for short

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    I've never seen the "direct access" mode before, but I feel like it would be a love-or-hate thing. The logic of it is pretty cool, though.

    I really like the way I have my GCX and Ground Control Pro set up for my main rig. The GCP is set up so each bank has 4 presets on the bottom row of buttons then the other two rows are instant access switches. I have all my banks of presets arranged in a way that was logical for my old band so I would never have to go more than one bank up or down to access any of the sounds I'd need throughout our songs. Sort of counterintuitive on paper, but I'm used to it.

    I have all of my front-end effects in six of the loops of the GCX, then the two remaining loops are used as mute switches for the left and right sides of my ABY to go into the front of whatever two amps I'm playing through. All of my loop effects are switched via midi by presets since I don't really need instant access for little bursts of reverb/delay or whatever.

    I also have my pedals arranged in a weird order numerically, but again, it makes sense to me with how their corresponding instant access buttons are laid out of the GCP and the actual signal chain is very normal. From the input on the front of the GCX, my guitar goes to loop 1 with my compressor, then loop 2 with my phaser, loop 5 with my first gate, loop 6 with my main overdrive, loop 3 with my lead overdrive, and finally loop 7 with my second gate. From the output of loop 7, I go into the input of my ABY box set to the "Y" setting. The right output of the ABY goes to the input of loop 8 and the left output goes to loop 4, then I'm using the sends from loop 4 and 8 to go to the front of their corresponding amplifiers. That way, I can have either or both amps "on" preset by preset and I can also mute/add amps with the instant access switches as needed.
     
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  5. budda

    budda Do not criticize as this Contributor

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    Im pretty bent on the morningstar MC8 once I find a band. There are a couple tutorials on programming - their editor seems pretty good. Originally it was going to be the MC6, but 8 scenes and 8 buttons per row makes sense (and it's not huge). I know a lot of fractal guys swear by their FC6/12 and layouts, but with up to 16 messages per button I doubt I'd be lacking. I never used scenes with my fx8, but I think I can sort it out :lol:.

    I have a midimate given to me by a buddy, but it's massive. MC8 + exp (and power) and the rest of my PT-2 can be pick holders.
     
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  6. c7spheres

    c7spheres GuitArtist

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    This is quite a complex setup for sure. Obviously a lot of midi power needed for it. That GT22 looks like a beast! I once had the h7600 and it was phenomenal. I just didn't need all that power. I realized I'm more simple than that, but god these units are on a different level. I know the h7600 had virtual rigs inside it so you could load a ton of stuff up and have seemless switching between blocks. I'd bet the h9000 has it too.

    The Behringer! That's the controller I wsa trying to think about but couldn't remember. I agree. hands down best controller for the cash. There's even those expansion chips for it too to customize it. It comes stock with the ability to do the "direct access" mode like I was talking about earlier. Yes, 3 pedals have it now!

    This is what's great about all this stuff. It's totally customizeable and everyone can have their own mad scientist setup that nobody else understands!~ : ) I was talking to Ben I think it was at Voodoo Lab about the GCP and how I didn't upgrade to it specifically because it don't have the "direct access" mode. I was telling him how I set up my rig and think about it and he seemed impressed. I hope I got him thinking and I suggested they update the GCP to include it. I really hope they do include it because it's awesome plus the GCP has .sysex message support so backing git up is easy-peasy.
    - I prefer the layout of the Old Ground Control because it's just two rows and you can plant your heal at the middle of the board on the floor and just sweep it left and right and acccess every button just fine, plus the switches are silent like keyboard key buttons so if in a room doing a quite part usingg a mic that click won't be picked up. It's those little things I like.
    - Voodoo Lab is a great company. They''ve always been there for me and stick behind their products the best they can. Even after they're discontinued. Nothing but good stuff to say about them.

    - These things really interest me. Ton's of power in a small package, expression pedal ports etc. 8 buttons and 8 scenes is plenty. That's the thing I found out over time. You can program these huge rigs to have all this capability but it's really not needed for just about any song. The main reason for doing it I think is for free jamming and experimenting.

    - I remember the Gordius Little Giant pedals and the stand alone modules. Those were the coolest things ever but sadly they stopped making them. I had the Little Giant and sadly had to sell when I was hard up for cash once, but It was incredible, robust, powerful af, had silent switches and everything. It was like the perfect controller for just about eveything.

    http://www.gordius.be/midi-footcontroller-lg.php

    http://www.gordius.be/midi-footcontroller-lgm.php
     
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  7. c7spheres

    c7spheres GuitArtist

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    The way my midi foot controller rig works nowadays is using the Original Ground Control upgraded to v2 and expanded to have up to 4 GCX units active. I don't use a GCX unit but use an Axess GRX4 loop switcher for pedals. - The GCX expansion and the v2 software allows up to 32 on/off or momentary midi cc#'s to be sent per preset along with 2 expression pedal ports and up to 8 devices and the VCA cc control for the System Mix Plus unit they had. I use to use GCX's and the System mix and all that but don't need it anymore. I do use the Ground Control for all it's midi messages however. I actually decoded most/all the messages sent from it using the midi scope inside the program MidiOx (a handy little freeware program that is perfect for midi scope, .sysex handling etc. )
    - I also use the Ground Link which works in tandem with the Ground Control for on/off midi messages. It also updates it's status when switching presets etc. I'm actually looking for another one if anyone knows where I can get one. Pretty rare unit. The PX-8 and PX-8 plus can do the job as The Ground Link too.
    - I then use an Axess MFC5 for amp channel switching which is being handled by a Rockman Midi Octopus and have a couple Ernie ball volume pedals to control real time effects which for the time being is a Rocktron Replifex.
    - I also route and merge these units in various ways by custom programming a Midi Solutions Router box and in combination with a Midi Solutions Splitter and merger as well.
    - I'm controlling two Mesa V Twin rack pre's and can also vary the input gain via a Sound Sculpture Volcano in the loop as well. I look at it as 4 basic channels; clean, clean grit, heavy/chunky, heavy. But using these V-Twins with a channel switcher they can run multiple modes at the same time and create dozens of sounds and channels normally not accessible otherwise. Very verstile.

    - Anyways, the whole point is that by using this combination of pedals, and routers etc. I use the Ground Control in "direct access" mode to acheive "real-time domination" of my rig. This is the very basics of how it works and why I like this driect access mode setup;

    = The Ground Control presets in direct access mode will morph/configure the entire rig if wanted or even just one thing like any normal preset.
    - I look at the physical buttons on the pedal board as columns being channels and row's being different effects etc.
    - Since I see my rig as 4 basic channels I see column on the left of the pedal (buttons 5 and 1) as the clean, buttons 6 and 2 as grit, 7 and 3 as chunk, 8 and 4 as heavy, and 9 and 0 off to the side as "special" stuff.

    - The way to think about this is that anything starting witha 1 or 5 is going to be a clean tone and have the ability to morph anything. So presets 11, 55, 51, 15, will all be my 4 main clean tones. stuff like prest 12, 13 14, 52, 53, 54 etc will also be clean tone variations. Say maybe preset 11 is a clean with no delay, 55 clean with mono delay, 51 is clean with a L/R delay, 15 is clean with a R/L delay, 12 might be a clean with a slow rotary speaker, 16 a clean with a fast rotary speaker making the 6/2 column for rotary effects and so on.
    - The same concept is used for each channel for easy to remember organization.
    - Once a preset is selected the Ground Link updates the on/off status of any cc#'s and the expression pedals allow control etc. The Axess MFC5 allows indivdual cahnnel swtiching if wanted etc.
    - So basically anythign is possible at any time and able to be organized.

    - It's much more complex than this but this is the gist in case anyone wanted new ideas for how to use this direct access mode along with all the other stuff too.


    Here's what the pedal setup looks like;

    IMG_5752.JPG


    AND a link to my rig rundown thingy for more info;


    https://www.sevenstring.org/threads/random-pics-of-your-rig.49005/page-199#post-5004747





















     
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  8. odibrom

    odibrom .

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    Hey there folks! WARNING: wall of text follows ahead.

    I'm a MIDI user for about 22 years already (gosh, time flies by fast). I'll reply in 3 parts (3 different posts due to 10000 character limit per post):
    1) MIDI messages and Assigns,
    2) my rig description, setup and how I use it, and
    3) final thoughts/conclusion

    Although it's quite some time, my use is purely with direct interaction. I don't know any SySex MIDI code, so I can't program anything that way, only by reading the gear's owner manuals...

    This PART 1 may look like a beginners' starting point for those unaware of MIDI possibilities. I felt the need to clarify them, please feel free to correct me.

    PART 1 - MIDI messages and assigns

    Regarding the direct access to programs by pressing pedal numbers, I think the Roland FC200 did that and I'm not sure if the newer FC300 can do it either. I had the first for 21 years and at the moment use the second.

    MIDI for guitarists consists in 2 types of messages (in my opinion, that is): Program Change and Control Change (includes continuous control messages). SySex messages can be useful for program backup, but note generation only if one works with synths simultaneously. Program Change Messages (PCMs) do what they are supposed to do, change the program of the receiver MIDI units. Control Change Messages (CCMs) will control the FXs' parameters of said units, which include tap tempo, FX ON/OFF, volume, rate, freq
    control, either with ON/OFF or expression pedals.

    As far as MIDI controllers and messages, when the controller has the possibility to send CCMs, they usually also allow for customization/mapping of the MIDI # associated to each pedal, so pedal 1 can send CCM message #1 and so on. I did that on both the Roland FC200 and FC300 pedalboards, so when programming my rack gear, I know which pedal I'm pressing. This is an almost irrelevant question, since it's more important IMO that this flexibility to exist on the rack units. If I want some parameter to change, I can assign it to whatever pedal number and not be locked to a specific one from factory (as I've been told the Helix Stomp does, please correct me if wrong).

    This pedal# and CCM# mapping can be a bit confusing at first, but it is also something to set and forget. Only to remember when programming the rack units to respond to this or that CCM# for the intended FX parameter change. Some MIDI boards can change the behavior of their ON/OFF pedals when operating with Control Change Messages, they can either be Latch or Momentary. Latch means press to turn on, release and it keeps on, it generates only one message; press to turn OFF, release and it keeps OFF, generates another message. Momentary means it turns ON only when pressed, so the step on and release action sends 2 messages. Unfortunately, not all rack gear understands this well. More on this at the end.

    Expression pedals or continuous controllers have a path from "0" (heel down) to "127" (toe down) levels. With the Roland GP100 I could turn ON/OFF or manipulate an FX parameter from any portion of the path, like from point "80" and forward. For example, I could set the Wah OFF at level "0" and Wah ON at level 1, then program the frequency sweep from level 1 to 127. I could also program what frequency level limit I had in level 1 and in level 127, so it could work backwards if I so wanted it to. G-Force almost does this, I can program what happens when heel is down and toe is down, but I can't access to specific path points. The Roland GP100 would use a linear conversion from the expression pedal movement to the FX parameter change, the G-Force allows me to control the movement tapper. It would be awesome to merge both possibilities. So this to bring up different approaches to MIDI programming on FX units and their benefits. Would love to read your experiences in this point.
     
    Last edited: Sep 6, 2020
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  9. odibrom

    odibrom .

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    PART 2 - Rig description, setup and use

    My rig was a rack based digital preamp+FX for about 10 years, then I started to slowly bring in some tube tones for Pre and power amp as well. My actual rig consists in Mesa Boogie Triaxis + TC electronic G-Force + Mesa Boogie 2:fifty, controlled by a Roland FC300 MIDI board with 3 additional expression pedals (5 total).

    Both the FC200 and the FC300 allow to cycle through different operating modes, sending all types of MIDI messages. I program all my MIDI devices to receive messages through the MIDI channel 1 or on OMNI mode. The MIDI chain is one direction only:
    1. out from the MIDI pedal board,
    2. into the Trriaxis' MIDI IN,
    3. MIDI through to G-Force MIDI IN.
    The MIDI Through sends unchanged and received MIDI messages, so I can control whatever number of units I want simultaneously. My programming consists in coordinating all units' programs, so for example, Program 1 in Triaxis works only with Program 1 in the G-Force. If I want any of those to work with another program, I'll duplicate one and build from there another program on both units.

    The way I set my rig is so I don't have to change programs during a song. I used to have a program per song, but at the moment I use almost only one program on my rig for all PSIORB songs.

    I control the Gain and Drive (and other) parameters on the Triaxis with expression pedals so can access to several different drive settings. They let me go from clean to mean with everything in between. I mainly use LD2 yellow mode on the Triaxis for crystal clean and really heavy gain. Playing with the guitar's controls and Gain/Drive expression pedals allows me to get a huge array of base tones.

    The TC Electronic G-Force is set in the Triaxis' FX loop. I play a lot at night with headphones and prefer to use the Triaxis' Record outs to use IRs with a mandatory IR loader through a DAW. The G-Force is program so all FX in the chain are OFF when the preset loads, except for Reverb, which is always on. I have one expression pedal dedicated to reverb parameters, either FX volume or something else. Then, I use the ON/OFF pedals to turn FX ON/OFF as I see fit, as well as the remaining 2 expression pedals. They control the rate, frequency, volume, pitch and other parameters of most common FXs. If the parameter is available to be assigned to a pedal, it will probably be to an expression.

    So, the way I do this is to select one program at the start of a song/jam with the PCMs, change the operation mode on the MIDI board to CCMs and only then start playing. If needed, I'll turn ON or OFF some FXs for the performance. Since I can achieve full wet and dry, as well as full clean and dirty, I won't have any "pop" sounds or "cut outs" during the performance when changing sounds.

    The G-Force pedal assign is made global for ON/OFF functions, so all numbered pedals do what ON/OFF function is programmed to them. I could have programmed it so ONE pedal would turn ON/OFF all FXs at the same time, but that doesn't make much sense to me. I do have an exclusive MUTE pedal and another exclusive TAP TEMPO for delays or other tempo based FXs. So, one pedal turns ON only one FX, but the expression pedals can control multiple parameters from different FXs at the same time, considering those FXs are turned ON. This opens sonic possibilities not achievable with analogue stuff, unfortunately.

    At the moment, my rig doesn't have any FX in front of the Triaxis, it's guitar direct into it and I'm missing the Wah, compressor or some pitch modulation that I like in front. I used to have it with the old Roland GP-100, but using it with the 4 cable method sucked way too much clarity and tone. The G-Force is crystal clear compared to the GP100. I'm a bit thorn on what to choose for front FXs, either another G-Force/G-Major, an AXE FXII with the 4CM (which is a bit expensive for the present moment and then I'd ditch the current G-Force) simple analogue pedals (meaning they'd be always ON), smaller multiFX units like the Line6 Helix Stomp or the recent Source Audio EQ2 (which doubles as wah as well, full MIDI with 4 parameters to assign on controllers). I'd love a ProStage WahryTone (MIDI controlled analogue Wah, Volume and/or Boost), but for their steep price, I think I'd rather go to a Source Audio EQ2.
     
    Last edited: Sep 6, 2020
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  10. odibrom

    odibrom .

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    PART 3 - Conclusion

    So, this briefly describes my understanding of the proposed thread. I shared my experiences because I read a lot people complaining about pops and cut outs when changing programs middle song. My guess is it is due to people not using their gear at their best and just stay with the first approach to their gear, even with pros and touring musicians. I got tired of seeing Rig Run Downs guys explaining their hugely complex rigs because they'd only use PCMs... I'm not being judgmental here, don't take me wrong, if it works for them cool, that's what's important, it's just that it could be soooooooo much simpler most of the times and rig simplicity is good for tone (prove me wrong, I dare you, hehehe). Who here only use Program Change Messages on their rack/MIDI gear?

    I said earlier that I used a Roland FC200 board and am now using an FC300, but didn't say why. The main reason is I got the second cheap/fair price and after having the first sold, it cost about 50€. The differences are obvious, the FC200 is bigger, has more expansion jacks for extra expression/latch/momentary pedals (6 expansions, total of 7 expression pedals) and all numbered pedals accessible at once for Control Change messages. The FC300 is more compact, has 2 expression pedals included with ON/OFF buttons at the toe position (allows for a more conventional Wahwah control), but only 3 expansions jacks (maximum of 5 expression pedals), 2 amp control jacks assignable to any pedal (I don't use these) and pedals numbered 1 to 5 double with 6 to 10 on Control Change Messages, meaning the user has to change the range before accessing to each group. I use the first 5 to control dynamics, like compressor and noise gate on the G-Force, as well as Presence and Dynamic Voice on the Triaxis. The 6-10 pedals control the ON/OFF of most G-Force FXs. The FC300 CTL1 pedal is a MUTE and CTL2 is tap tempo. On both FC200 and FC300, any numbered pedal can be programmed to work as latch or momentary, as per user needs or likes. For the FC200 this programming is global, for the FC300 is per "scene" and it has a few scenes.

    Regarding the Latch and Momentary working modes for CCMs, the G-Force doesn't recognize the momentary concept for a tap tempo with the Roland FCs MIDI boards. This means that I have to press ON and release and press OFF and release to send 2 tempo measures. With momentary pedal modes, the G-Force understands the release as one message, so it gets a bit weird/confusing. I haven't tried it with ON/OFF messages or parameter changes on FXs... The Roland GP100 worked flawlessly in this matter.

    I also used a Boss VF-1 unit for a few years as an additional FX unit for the Roland GP100. It worked quite well and its programming was about the same as the GP100's, at the functions assign at least. I liked a lot its ring modulator FX and using an expression pedal to play with its rate parameter, super cool effect it generated.

    So, this sums up my experience share. Feel free to ask anything. I used to mess a lot with FXs and MIDI controls, recently my game have been more into the Guitar to preamp play, changing Gain and Drive settings and swapping pickup coil combos to achieve different sounds, textures and expression. Nevertheless, MIDI control is always there.
     
    Last edited: Sep 6, 2020
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  11. c7spheres

    c7spheres GuitArtist

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    Wow Odibrom! That's some great info there. This is great hearing how other people control their stuff. I like that everyone finds their way of doing things and they're all relevant and people can take bits and pieces of how others do stuff to really hone in their own customized system. Good stuff.

    - As far as I can tell the Roland FC200 looks like it can do the direct access mode. I scanned the manual and it looks like it has it. I checked out the FC300 manual and that's pretty powerful stuff in there. I'd have to really study it more to get my head around it but it don't look like it does the direct access thing.

    - Regarding the taper movements using expression pedals. I've tried different stuff using this. My Ground Control can change the taper and so can my Sound Sculpture Volcano. I honestly don't notice much of a difference using differtent tapers. It seems that it really depends on the effect being controlled and also the rate the pedal is moved. - When I was using guitar synth back in the day (an Axon Ax100) it really made an impact on string sounds while controlling their vibrato. It's more of a feel thing for responce if anything. I always just keep it at linear and control it with my foot to how it feels. It seems whatver you do your brain adjusts for it anyways. I find the alternate tapers like a steep curve effectively seem to limit the range in practice, although they don't in reality if that makes sense. Most units like a G-Force for example will accept a linear taper and convet that to the alternate taper sent, so wether that's programmed from the controller or within the unit doesn't seem to make much difference.
    - As far as combining or mergeing different tapers simultaneously, I have not tried that. It seems if you did that and were to control the same effect with both tapers you'd effectively get a "bump" or a knee (kind of like how a compresor has a knee shape) and it would likely just feel or react in a rough way. This might be good or bad. I could see controlling a filter this way and that knee/bump would effectively make it almost percussive ( I would guess/speculate) Interesting idea though.
    - The Triaxis' ability to do that midi control really upped it's game with that v2 update or whatever it was that gave it that possibility. When I had mine I didn't mess with is much and really wish I did. I keep eying Triaxis units now knowing about he different versions and being smarter than I was then. I'd like to check it out again someday (The Recto board version).

    - That Prostage unit looks really nice. All kinds of stuff in one unit. Pretty amazing what's coming out these days.

    - All these possibilities and I keep getting simpler and use less and less effects it seems, but I like the idea of having all these one-off special effects type things for a littel extra flavor in songs. That type stuff is making me always think about Eventides and AxeFx units and such. Or maybe specialty pedals and loop switchers again. I've been down this road before with advanced units and loop switcher and pedal racks and stuff but nowadays it's really a different thing. The effects and quality are so good and flexible it may be time to dive back in and give it a go.

    - I've come to a similar spot like you. I mostly mess around with my dynamics and gain/amp channels. I like the bio-feedback type response that I get just messing around with dynamic breakup and core amp tones and such. More rewarding for me personally, but sometimes I just wanna get weird with effects and soundscapes. I've had Eventides and Tc's and Lexicons and higher end stuff and I just didn't really use it and the costs and things didn't make sense at the time. Now with the power and flexibility of something like an AxeFx III I'm thinking use it for all oddball effects and soundscapes along with the looper, I/O routing and utility type tools like it's Eq's and such, along with it's midi and modifier capability. This stuff isincredibly powerful now and can actually deliver the goods without using two 24 space racks or something. It's a great time to be a guitar player!
     
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  12. c7spheres

    c7spheres GuitArtist

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    Another strange controller i had for a short time I just remembered was the Yamaha MFC10. I didn't really figure it out back then but now it's pretty interesting. It has a x10 button and differnt operating modes. You can have banks of programs and banks of functions. It's an alternate take on direct access mode so to go from say program 12 to program 56 you'd hit x10 button, the 5 button and then the 6 button. It also send note messages as well. I gotta get my head around this thing.

    - I've also had the Rolls Midi Buddy and Midi Wizard. Those were great simple controllers and really comfortable too, but not nearly as complex. The Midi Wizard had 8 expression pedal ports though and you could also plug in tap pedals to if wanted. They were cool and simple.

    - Another cool device I've been scoping for a long time now is the Sound Sculpture Switchblade F8. It's got 8 loops with full mid control but you can also adjust the gain settings for the inputs and outputs internally. It will also be controlled via program or control messages but it can also send up to 4 other midi messages per preset, so when you select a preset it will spit out other midi messages, saving you more hassels of buying other midi mapper devices.

    - Speaking of midi mapper devices. The Midi Solutions stuff is great. Stuff like the Event Processor and Event Processor Plus. It's basically a midi box that just lets you send it whatever command you want and transform it into another type of command. It also has functions like being able to turn on/off those custom command via other midi commands so you can choose when and how those custom commands work under certain conditions. Truly a unique product and quite the problem solver.
     
    Last edited: Sep 6, 2020
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