Posts Tagged ‘timeline’

Gear Guide: Backing Up and Restoring Presets on BigSky, Mobius, and TimeLine

Posted by Hugo

BigSky, Mobius, TimeLine - preset librarian

If you have a BigSky, Mobius, or TimeLine, you can save the custom presets you’ve created onto your computer using the Strymon Preset Librarian software.  You can also use our Librarian software to load these and other saved presets for your pedals from your computer to the Strymon pedals. You can download the Mac or PC version of the Strymon Preset Librarian software at the link below:

Strymon Preset Librarian — Download Latest Version

 

Setting Up Your MIDI Interface

Once you have downloaded and installed the Librarian software, you will need to connect your Strymon pedal to a computer using a dedicated MIDI interface that uses developed drivers for your computer’s specific operating system.  We recommend the Roland UM-ONE and the Yamaha UX-16.

On most MIDI interfaces, the MIDI OUT cable connects to the MIDI IN port on the pedal and the MIDI IN cable connects to the MIDI OUT port.  However, some MIDI interfaces (such as the Roland UM-ONE or the M-Audio MIDI Sport UNO) have arrows or text on the cables to indicate the direction of the data to tell you where to connect the cables to on the pedal.

After you have installed the Strymon Librarian software and connected the pedal to your computer through a MIDI interface, launch the Librarian and click on the SETTINGS menu option to choose your MIDI IN and OUT Ports and run the connection test. The test bar should turn green and display “success” indicating the software does detect your connected MIDI interface.

midi_settings

 

 

Backing Up Your Presets with the Librarian Software

The main Librarian screen features both a Device List and a Work List. All changes are made on the Work List side and can be “synced” up to the hardware device using the <=SYNC button between the two list windows.  After you have successfully set up your MIDI interface in the MIDI Settings window, hit the Fetch button to load the presets from your pedal to the Device List and Work List.

work_list_no_selection

Once the Librarian software has finished loading your presets to the Device and Work lists, you can save all of the presets from your pedal to your computer as single .syx file by clicking the Save All button at the top of the Librarian.  A window will popup to specify a location to save the presets to.

TL Backup Location

You can also use Save One button on the right side of the Librarian to save a single preset from your pedal to your computer.  Just highlight a single preset in the Work List, then, click on the Save One button to save that preset to your computer.

 

Loading Presets to Your Pedal

To load a single preset or bundled preset file to your pedal, click on the Fetch button to load your pedal’s presets to the Device List and Work List if you have not already done so.  (It is important to remember to hit the Fetch button every time you start the Librarian software before managing your presets.)  Hit the Open button to load a preset bundle file (.syx) from your computer to the Work List.

Preset bundle load

Once loaded to the Work List, any presets that are different than what is in the Device List will show as red in the Work List.  To load these changes to the pedal’s memory, press the <=Sync button.  WARNING: Loading a preset backup file will overwrite ALL of the presets on the device’s memory with the presets from the backup file.

You can also load a single preset to the pedal by clicking on a preset you would like to replace in the Work List to highlight it, then, clicking the Load One button to select the new preset to load to the pedal.  The new preset will show as red in the Work List and clicking on the <=Sync button will write this new preset to the pedal’s memory.

 

Troubleshooting

If you run into trouble with communicating the Strymon Preset Librarian with your pedal, this is typically due to the MIDI interface being used between the computer and your pedal.

First, make sure to download and install the latest drivers for the MIDI interface from the manufacturer’s website to ensure proper communication with that device.

Also, make sure that your connections are correct:  MIDI IN cable to MIDI OUT port and MIDI OUT cable to MIDI IN port.  In some cases, the MIDI cable ends tell you where to connect them (TO MIDI IN and TO MIDI OUT, for example).

 

For further details on the Strymon Preset Librarian, please check out the Strymon Preset Librarian Usage Instructions FAQ. And if you have any questions about managing your presets, please feel free to post in the comments below or send us an email at support@strymon.net. :)

 




Artists Feature: Ambient Music

Posted by Angela

Ambient music can be anywhere from relaxing to inspiring to mind boggling (in a fun way). While listening to a good ambient song, we can sit back, close our eyes and have the most interesting images fly through our heads. Below is just a small sampling of some of the great artists out there who are teasing our minds with their ambient goodness.

Don’t close your eyes for this one. Hammock stimulates your ears and eyes with their haunting tale “Cold Front” from their album “Departure Songs.”

Mikhail Medvedev doesn’t just have an amazing cat, he has created a beautiful song called “Memories.”

You can learn a lot from Andy – really you can.  His site reverbnerds.com has video tips to help you if you are just starting to tinker in ambient sounds.  Andy has so many good videos to feature, but we had to go with “Famine and the Death of a Mother” from his new album “This Is For Our Sins,” which captures a sense of isolation and loss.

Jeffrey Niemeir teases 15 seconds of ambient beauty.

This is a perfect one to close your eyes to and let the song take you away. “Gravitáció” by …A Többi Néma Csend is a perfect journey through your mind. Maybe a gallop on the beach or a run through the poppies, On Mountains provides the soundtrack for a gorgeous day.

Want to hear more? Also check out Ivan Ujević, Chords of Orion, and Jon Carolino. If you have any of your own ambient songs or enjoy someone else’s that you’d like to share, please post the link below.




Pedalboard Feature: Blake Stranathan

Posted by Angela

DCIM103GOPROBlake Stranathan is a guitarist, producer, and writer currently working with Lana Del Rey. After being a finalist on MTV’s Making His Band at the age of 20, Blake has gone on to work with artists such as Mary J. Blige, Keyshia Cole, Nicole Scherzinger and many others. He is currently on tour with Lana, and helped write and produce on her new album, Ultraviolence.

What kind of pedalboard do you have and what is your signal chain?

Right now I’m using a Pedaltrain pro with a fairly simple set up:

Guitar–> ProAnalog Supaquack Wah –> Suhr Riot –> Berkos Third Stone Fuzz –> Klon Centaur –> Boss Tuner –> Ernie Ball VP Jr –> JTM45/100 (with FX Loop and Master Volume)

FX Loop:
Strymon TimeLine –> Strymon BigSky –> Strymon Flint–> Boss GE-7 EQ

blake pedalboard

Can you share what the co-writing process was like with Lana Del Rey on the new album Ultraviolence?

It was probably the best experience of my life so far. I was in New York visiting family, and Lana invited me down to Electric Lady Studios, which was always a dream of mine being a Hendrix nut. It was surreal being and working there. We wound up being there for 8 or 9 days with basically the entire place to ourselves. I had played guitar on a couple tracks that were pretty much finished, but one morning I came to the studio super early just to work out some tones and play in that amazing live room. As I was coming up with some progressions, Lana walked in and we came up with “Pretty When You Cry” on the spot. It was recorded through a Neve 8078 which just sounded unreal. None of it was planned which certainly added to the vibe. The same happened with “Cruel World”. I was actually watching a video of the ‘BigSky’ on my computer and showed it to her. She said, “Fuck! That sounds amazing. We need that.” (Laughs) So a couple of hours later, a runner went out and grabbed one. On the last day while Phil Joly, the engineer, was bouncing down a couple sessions, and she asked me if I wanted to play around with the new pedal in the live room. I played maybe a few chords and we immediately started writing ‘Cruel World’. We recorded it just guitar and vocal in one take, and then Dan Auerbach went on to produce the song not long after. Everything about the recording and writing process was super organic, plus the energy in that studio is very powerful. I came up with the guitars for ‘Flipside‘ at home in Los Angeles using the BigSky as well. I made a quick video clip and sent it to her phone. We wound up writing the song a couple days later at her house, and then recorded it at a studio later that night. Strymon definitely played a big role in shaping the sound of the record.

Now that recording software and equipment has become more accessible, what are your thoughts on home recording vs. going into a studio?

Home recording and the technology today is such a big advantage. I do most of my creating at home using an Apogee Duet and my MacBook Pro, which is loaded with plug-ins. It gives you the ability to make really awesome demos and record ideas without having to waste time and money at a big studio. Through trial and error, you also become a better engineer and mixer as a result. However, I think a combination of the two is the best scenario; Being able to work out your ideas at home, and then recording it for real in a nice studio. Being in your room is just not the same as being in a great space and collaborating with others.

After finishing working on the Lana Del Rey album, how did you musically prepare for the tour to support the album?

blake coachella 2014We are still adding in new songs here and there. There are multiple guitar tracks on many of the songs, so it was important to find the best way to incorporate all of them and make sure it sounds super full. It’s important to approach the music with a ‘producer’s ear’, like what you can add sonically to bring the music to life. During the live show, the sounds of the keyboards and some of the drum triggers are controlled off-stage via MIDI. The BigSky and TimeLine are hooked up via MIDI, and I made presets for each song. When the next song is loaded up, the pedals sync up to the specific patches. It’s such a life-saver on stage because I make guitar changes on a lot of the songs due to the different tunings. I use Fenders and I am always manipulating the tone/volume controls and pickup positions. The Klon is on all the time, and I have the Strymons in the FX loop to give me the atmospherics I need.

What would be a top tip you would give to an aspiring songwriter?

Be constantly learning and be unique. Don’t be quick to filter your ideas. Trust your gut.

We would love to know if you’d be willing to share a preset you used on “Flipside” with BigSky.

For the verse part I used the first Cloud preset with the mix turned to 3 o’clock, with the tone rolled off on the neck pickup on a strat. For the choruses I just flipped down to the bridge pickup.

BIGSKY_Factory_Presets.inddLike Blake Stranathan’s “Flipside” Preset? Want to share some presets of your own?  Send us a tweet of your own Preset using #StrymonPreset for a chance to be featured on our blog!




This Week’s Preset: TimeLine – “Flange Delay”

Posted by Ethan

This Week's Preset - TimeLine DelayLet’s push TimeLine‘s Dual Delay machine to the edge and get some flange tones going on!  To get started, minimize the delay time by cranking it all the way back to 60ms. We can set the second delay to 1/8 of the original delay time, which would be 7.5ms.  We’ve set the second delay Mix and Repeats to track with the first, and set up everything in a Series configuration.

With these low delay times, we can turn up the repeats a bit, and crank up the modulation, and now you can really start to hear the flange take shape. Play with the Repeat level, Mix, Modulation speed and depth to tailor the intensity of the flanging sound to your liking. Enjoy!

Listen here:

Audio clip starts off with TimeLine bypassed. Effect is engaged at 0:04.

Preset details:

Knob settings and secondary parameters are shown below. Dial it up and give it a try.

This Week's Preset - Timeline - Flange Delay

Download the preset:

Using the Strymon Librarian? Download the preset and load it up into your TimeLine.

What do you think?

Let us know what you think in the comments. Made your own tweaks to this preset? Post them below or share online using hashtag #strymonpreset. Are there other preset types that you’d like to see in upcoming blog posts?




Pedalboard Feature: Mike Longworth

Posted by Angela

imageMike Longworth is a serious player who is a veteran of the L.A. rock scene. He’s the guitarist in the punk rock band Mest, and has performed and toured with Jessica Sanchez, Colton Dixon, Candace Glover, Kree Harrison, and Angie Miller—all winners and runners up of American Idol. He was a member of the band Prong for many years, and has even written a song on the band’s 2012 album Carved Into Stone.

What kind of pedalboard is this, and what is your signal path?

The board and case were custom made by me. Since I use an effects loop, I have two paths going. The first path goes into the front of the amp and is the OB.1, and various tremolos, flange, and distortions. The second path is the Mobius and Timeline, and they go through the effects loop. I have it all wired into a single router that sends it out to the amp. It makes setup time very quick. And it keeps everything very neat.

photo

You have called your pedalboard “clean and quiet”. Can you expand on that?

I keep both paths in separate true bypass loops so they keep the signal quiet while I’m not using them. It also lets me select presets before I need them. When I’m ready for a group of effects I can just hit one button on the loop pedal and engage my effects. It keeps me from having to step on multiple pedals at the same time. I also send MIDI from the Timeline into a Voodoo Lab Control Switcher, and that changes the channel on my amp all with one button.

Can you elaborate a little more on building your own pedalboard?

It mainly started as a project. I’ve always been tempted to have an actual board filled with my favorite pedals, rather than one multi-effects unit (which I still use occasionally). It was about a 6 month process going through all my pedals. Space is limited, so I didn’t want everything on there. Once I got them all in order, I wanted the whole thing to be super quiet, so I added the true bypass loops. I had contacted a few places about wiring it up and the cost was quite high. I know how to solder and I know what cables to use, so I went for it. It worked! Maybe I should build boards?

Mest recently released the new album Not What you Expected! Can you share how your pedals played a part in this album?

I don’t usually use pedals while recording. I need to recreate those sounds live though and that’s where the pedals come in. For this record, I needed certain delays, choruses, trem, and on the song “Radio” I needed to make the guitar sound like it was coming through an AM radio. I actually was able to do all of this with the help of the Timeline and Mobius.

Mest and Kisses For Kings are more hard/punk, but you also play with Jessica Sanchez. Can you share how your pedals differ between the two genres?

I really don’t change much to be honest. My current board is pretty versatile in my opinion. It’s always evolving, but where I have it now, I can get pretty much any effect and sound I want. Because I use several multi-effects units, it saves some room and keeps me from tap dancing too much. For Mest, I let my amp do most of the work as far as clean and dirty. For Jessica Sanchez, I like to go into a cleaner sound as my main, and the OB.1 and other distortions act as a dirtier sound if I need them.

Do you have any advice for musicians getting into the punk scene nowadays, has much changed since back in the day?

The punk scene hasn’t changed much in my opinion. Besides the bands who broke into the mainstream in the early 2000′s, I still see the underground scene staying alive. There are now many different sub- genres of punk, but it’s still there surviving in the underground. The best advice I can give is to just play and don’t get discouraged by what people are saying is a dead music industry. There are always going to be bands playing live and fans going to see them. That is never going to end.




This Week’s Preset: A Delay That’s Not A Delay

Posted by Ethan

This Week's Preset - TimeLine DelaySo I wanted to come up with a sound that really pushes the boundaries of what TimeLine can do. Let’s create something that doesn’t even sound like a delay! The sound you get here is more like a weird modulated ambience that floats around your signal.

This sound utilizes the very versatile Filter machine. First, let’s crank the Time all the way down to 60ms. Now let’s turn the LFO Speed all the way to 32/1. Because the LFO is set so fast it doesn’t really matter which LFO you choose.  The goal here is to really remove the delay and turn it more into a wash of sound that occurs around your signal. Next I dialed in a small amount of filter and grit, and a good amount of modulation to really move the sound around.

Listen here:

Audio clip starts out with TimeLine bypassed. Effect is engaged at 0:05.

Preset details:

Here are the knob and parameter settings. Dial it up on your TimeLine and give it a try.

This Week's Preset - TimeLine Float Around

Download the preset:

Are you using the Strymon Librarian? Download the preset and load it up into your TimeLine.

What have you created?

Have any TimeLine presets that you’ve created that don’t sound like delays? Post your settings below, or hashtag them with #strymonpreset on Twitter or Facebook, and you might be featured on our blog.




This Week’s Preset: TimeLine – “Corrupted Flowers”

Posted by Ethan

This Week's Preset - TimeLine DelayOne of my favorite things to do with TimeLine is to use the Lo-Fi machine to corrupt my signal, and then soften it up with Filter, Grit, and Modulation.

With this preset, I’ve created a jagged, lo-fi sound by setting the sample rate way down to 4KhZ, and set the bit depth at 10-bits. To soften things up, the full resolution signal is mixed in, and Filter 8 (Apartment Intercom) is used to give the repeats a slightly narrow sound. We top it off with up a fair amount of Filter, Grit, and slow-moving Modulation.

Listen here:

Preset details:

Knob settings and secondary parameters are shown below. Dial it up and give it a try.

TimeLine Preset - Corrupted Flowers

Download the preset:

Are you using the Strymon Librarian? Download the preset and load it up into your TimeLine.

What do you think?

Did you like this preset? Let us know what you think in the comments. Made your own tweaks to this preset? Post them below. Also be sure to let us know if there are other preset types that you’d like to see in future blog posts. Thanks!




Pedalboard Feature: Andy Othling

Posted by Angela

AndyOthlingAndy Othling is a guitarist from Albuquerque, New Mexico who writes and records his own music under the name Lowercase Noises and plays with bands Archabald and Future of Forestry. He runs a YouTube channel and a site called Reverb Nerds that focuses largely on ambient guitar playing and sounds. Let’s learn a bit more about his current pedalboard!

What type of pedalboard do you have?

I’m using a Pedaltrain PT-3. It gives me enough space to have a good amount of pedals without getting overwhelming.

What is your signal path?

this1smyne buffer
Walrus Audio Deep Six
Electro Harmonix Micro POG
Walrus Audio Mayflower
Earthquaker Devices Bit Commander
Xotic EP Booster
Ernie Ball MVP (with Boss TU-3 on tuner output)
Electro Harmonix Superego
Malekko Ekko 616
Dr. Scientist Tremolessence
Strymon El Capistan
Boss DD-5 (in hold mode for stutter/glitch effects)
ZVex Instant Lo-fi Junky
Strymon TimeLine
Strymon BigSky
Disaster Area DMC-3 XL controller is connected to both the Timeline and BigSky via MIDI
Two this1smyne mini expression knobs are also controlling different parameters on the Timeline and Bigsky

AndyOthlingPedalboard

How many variations have you gone through on your board?

Oh man, definitely a lot. It seems like I’m usually doing at least two or three different projects at the same time which all require different sounds/styles, so I’m always trying to figure out ways to make my board more versatile. Sometimes I entertain the idea of splitting things out and making different boards for different occasions, but that just seems more complicated. I also just like to leave room for experimentation and weirdness… things outside the standard overdrive/delay/reverb sounds.

What are some important tips for putting together an Ambient board?

Well obviously having some solid reverbs and delay are key. A volume pedal is pretty important if you want more synthy/swelly sounds, and I like having a compressor on board for added sustain and fatness. A lot of people are confused when they see multiple delays on my board, but honestly one of my favorite things is to stack two or even three delays to get a big soupy sound. I’m also a fan of the more textural side of ambient guitar, which to me is about very non-guitar and even non-musical sounds to fill the space and provide a complement to the more standard ambient sounds. The Lo-fi Junky, Micro POG, Superego and even the wacky modulation on the Ekko 616 can provide sounds like that.

You get to play with a lot of pedals. What’s the first thing you usually do when you get a new pedal?

Usually when I get something new it’s to serve a pretty specific purpose, so the first thing I do is see if it actually does that thing well. But whether it does or not, I always take the time to really explore all the possible sounds from the pedal. I’ve had it happen where a new pedal didn’t actually do what I originally wanted all that well, but ended up sounding really cool in some other setting or for some other purpose.

Tell us about reverbnerds.com

I’ve been making ambient guitar related YouTube videos for about 6 years now, and last year I really started feeling like it would be beneficial to make a place outside of YouTube where I could put all this content together, make it easier for people to peruse and digest, and really just provide a single place where people can go for tips specifically about ambient guitar. So far it’s been a great success and people are really getting a lot out of it!

Lowercase Noises Preorder Lowercase Noises new album “This is For Our Sins” here.




Artist Feature: Strymon + Keyboards = <3

Posted by Angela

What do you get when you combine Strymon gear, synths and some creative minds? Check out some artists we have enjoyed recently with their mad keyboard and synth skills.

 

Peter Dyer joined us here at the Strymon shop and brought with him a ridiculous arsenal of cool keyboards. When he arrived his car was loaded up with a Dave Smith Prophet 12, Nord Stage 2, Korg Volca Keys, Arturia Microbrute, and the Therevox ET 4.3. We had a ton of fun recording these sound clips with him, and enjoyed hearing the many unique sounds he put together with BigSky.

 

Seif Sherif – Musician and visual artist Seif Sherif shared this picture of his Korg MS-20 and El Capistan.

 

Dylan Thomas
Check out this great tour photo that Hillsong United’s Dylan Thomas sent us.
hillsong

 

Jonì Velásquez
We came across this picture that Jonì Velásquez hash-tagged us on and enjoyed all the Strymon synth goodness going on.

 

Yasmin Hadisubrata
Yasmin Hadisubrata hash-tagged us for this one which was shot while he was getting ready for his tour with Ivy Quainoo.

 

Scott Brown
Scott Brown took this atmospheric picture while experimenting with some drone sounds, hope we get to hear some of it!

 

TheStrangeAgency
TimeLine, BigSky and 5 Novation Bass Stations, yep you heard us right, 5 Novation Bass Stations. Got to check this out.

 

Edwin Lucchesi
Well this might be cheating putting this in the Keyboard/Synth feature, but it is crazy cool and we live in the digital age now and this Virtual ANS is a software simulator of the Russian synthesizer ANS. So that’s fair! Enjoy :)

 

Tim Oliver
Tim Oliver’s Roland Paraphonic-505 is full of wonder and that just builds up with the addition of El Capistan. Get taken on a wonderous journey while you listen to this one.

 

Jon Carolino
Jon Carolino’s videos have a way of soothing you into a nice calm. This one especially can help bring your heart rate down and you can just sit back, close your eyes and relax.

 

zibbybone
We’d be pleased if most of our “just noodling” turned out this beautiful. Noodle away zibbybone, we could listen for hours.

 

Trygve Stakkeland
Simple, beautiful and can we say even a little haunting.




Pedalboard Feature: Chris Wrate

Posted by Angela

WrateChris Wrate is a guitarist, songwriter and musical director that works with Ariana Grande, David Foster, Randy Jackson, Daniel Powter, Cher Lloyd, and Charice, among others. Chris originates from southeastern Wisconsin, where he got his first live experiences sitting in with local blues musicians around the Chicago and Milwaukee area. He recently sent us a photo of his pedalboard, and we wanted to learn a bit more about it.

What was most important when first starting building your board?

Having a good overdriven tone. A lot of guitar players I looked to when building my board (Eric Clapton, John Mayer, Trey Anastasio) weren’t necessarily using a large amount of effects—but had these great overdriven tones that they are noted for. So I kind of looked to them when I first got started out.

What type of pedalboard is this?

PedalTrain 3. I’ve been using their boards for a while and they seem to withstand the abuse from frequent traveling well.

What is your signal path?

Sonnus Wahoo Wah, Ernie Ball Jr. Volume Pedal (modded by Mercy Seat Effects), Empress Effects Compressor, Em-Drive by Emerson Custom, Walrus Audio Mayflower Overdrive, Mercy Seat EffectsTree of Life Overdrive, Empress Effects Multidrive, Xotic Effects EP Booster, Mercy Seat Effects Zacchaeus Boost, Electro Harmonix Micro POG, Strymon Mobius, Strymon TimeLine, Strymon BigSky.

wratepedalboard

When you are on the road what is the biggest challenge or advantage of your pedalboard? What about in the studio?

I think both in touring and in studio work, the biggest advantage I find with my board is it’s versatility and my understanding of it’s capabilities. The guitar is often thought of as a lead instrument but is capable of so many sounds and textures that can be used in great support to the music and musicians around it. Once I started to invest in modulated effects, delays, and time-based effects I really started to understand their power and ability to make you more valuable as a player when you understand how to use them in context. Especially in the studio, I do a lot of work with film and writing cues. Having a wide range of sounds to pull from can again really increase your worth to other composers/producers. The disadvantage I’ve found at times, mostly when playing live, is that I might find myself trying to do too much with my effects. It also becomes another thing you have to be paying attention to when playing, aside from remembering the form of the song, vocals and lyrics if you’re singing—now you are also thinking about what effects come when throughout the song. It can trip you up and take a little more time to become comfortable with each song especially if the set gets long.

What current project are you working?

Currently I am the musical director and guitarist for Ariana Grande. I have also recently been writing and recording a lot of cues for TV and commercials.

» Follow Chris on Twitter
» Visit chriswrate.com




Hey Pedalboard… Shhh!

Posted by Angela

We recently heard from pedalboard builder Mike Vegas of Nice Rack Canada, and he gave us the story behind a challenging job to create a board for a Jazz & Chamber Orchestra guitarist, Rob Piltch. We thought the board turned out great and were intrigued by the nuances and wanted to learn more.

Strymon_Tech21_Series_Wired_Stereo_Parallel_Dry_Before_and_After

We asked Mike to elaborate a bit more on this unique board.

What needed to be considered when creating this board?

Guitarist Rob Piltch has long been one of Canada’s “A List” players with a decided lean towards very clean sounds that don’t have a lot of extra harmonic reach added through overdrives or distortions. The signal path had to be super transparent to allow the guitar to speak very dynamically with the amp while combining the “colour” of the effects. Due to the super quiet stage volume of the chamber orchestra environment, the signal path and “noise floor” of the system had to be as quiet as possible. Each effect pedal’s mechanical switches had to be quiet as possible as well. In respect to the producer and client relationship that a session player has to maintain we built a rig that has a set up and tear down time of less than 2 minutes.

What did you need to do to address the super quiet environment?

Strymon pedals are shipped from the factory with “soft touch” momentary switches that work very quietly, so we emulated that in each other effect pedal that previously had mechanical switches. We used these “soft touch” momentary switches engaging switching relays we installed in each pedal.

To accommodate producer / client effect requests that fall outside the scope of what the system contains, we built an “external” effects loop with clickless switching between the dynamics and post effects for easy insertion of extra effects into signal path. We also built a clickless clean boost circuit of variable gain from unity to +20db.

What is the signal path?

Guitar » DriveTrain OD » Sans Amp Classic » External Loop » Marshall ED1 Compressor » Nice Rack Canada Clean Boost with 3 outputs. #1 » Tuner #2 » dry feed to Sound Sculpture Volcano & line mixer. #3 » Strymon Mobius (mono in – stereo out) » Boss FV500L stereo volume & expression pedal » Strymon TimeLine » RJM Music Mini line mixer combining 100% wet effects with 100% dry signal to create a parallel “50/50″ blend of wet & dry signal into the left & right Fender Princeton Reverb amps. The expression pedal jack on the FV500L is connected to the Sound Sculpture Volcano which acts as volume pedal for the dry signal from the Clean Boost into the line mixer.

The Clean Boost’s buffered split to send signal to tuner constantly, provides a visual “cheat” for hitting certain intervals on a pitch bend, also allows for volume swelling a bent note while coming in on pitch with other players. We included switching circuit to sum stereo effects to mono for single amp gigs, no re-patching, no signal loss, no phase issues.

We also sync’d tap tempo from TimeLine to Mobius.

Strymon_Tech21_Series_Wired_Stereo_Parallel_Dry_02

Why does set up and tear down need to be so fast?

For a session player to be able to walk into a studio and set up the rig in under 2 minutes says to the producer & client that not only does the player have chops but is also respectful of the “time is money” credo in relation to studio costs etc. This factor helps the player get repeated calls from producers.

And what did you do to make that happen?

We built latching in & out connection points for signal & power to & from the pedalboard. The amplifier I/O box features switchable ground isolation transformers for the left & right amp outputs and clickless relays for silent switching to mute. A multicore cable with custom cut lengths to reach input jacks etc helps streamline the set up time. In under 2 minutes Rob can uncase the board, plug in all cables in seconds, uncase amps, plug in multicore to amps, plug in to power point, tune guitar, start playing.

Although Rob is not using MIDI to control the system we included a MIDI Integration point for connecting the Strymon pedals to an external sequencer/recording suite for clock input and possible program changes & continuous control movements as necessitated by the session that Rob may be playing on.

Why the dollar coin?

We put one into every system build for good luck. It seems to work for Canadians! http://en.wikipedia.org/wiki/Loonie#Lucky_loonie

Strymon_Tech21_Series_Wired_Stereo_Parallel_Dry_04

MV-3.1Nice Rack Canada is passionate about building guitar rigs, bass rigs & keyboard rigs. Our mission is for musicians to get the absolute best tone and functionality from their equipment. We can build a rack or pedalboard system to suit your desire & budget. We offer a number of lightweight & easy to setup systems that maximize your tone and conform to your unique criteria. We are committed to building the best implements we can with the highest quality materials. We consciously source as much of our materials as possible from domestic sources. We seek to help build our community by creating value for musicians through our assemblies while creating jobs through our purchasing and the forward going opportunities that our assemblies create. We value the role that we play in a musician’s creative process and are honoured to have a hand in making many forms music to be enjoyed by everyone.

Rob Pitch is one of Canada’s best known sidemen and session players. Starting in the late 70′s with his brother David on bass, both Piltch brothers played with their saxophone & clarinet playing band leader / father Bernie Piltch. Rob moved on to playing with David Clayton-Thomas in Blood, Sweat & Tears during the Nuclear Blues period. Rob has recorded & toured his own solo works as well as works by Don Johnson, Hugh Marsh, Kim Mitchell, Shirley Eikhardt, Marc Jordan, Guido Basso, and Rob McConnell. Rob also works with his avant cabaret combo NickBuzz which itself is a “super group” of Canadian jazz musicians featuring Rob alongside Hugh Marsh, Jonathan Goldsmith & Martin Tielli. Rob is also a regular contributor to the Art of  Time Ensemble which is regarded as one of Canada’s most forward thinking and musically talented chamber orchestras.




Intro to MIDI for Pedalboards

Posted by Ethan

TimeLine MIDIStrymon Firmware Engineer (and resident Jeep repair expert) Dave Fruehling recently contributed an article for the September 2013 issue of Premier Guitar magazine. The topic? MIDI! And how you don’t necessarily need to fear it!

“MIDI (Musical Instrument Digital Interface) is an oft-maligned, yet cherished technology. Today, more and more guitarists are joining in the fun by using the MIDI features included with many of their pedals. Once you learn a few basic things about MIDI, you don’t have to fear it. Instead you can use MIDI to add some very cool and useful functionality to your rig.”

Head on over to the Premier Guitar site to read the whole article:

Read the article

 




TimeLine firmware public beta 1.42

Posted by Ethan

TimeLine firmware updateWe always work hard to improve the experience our customers have with our products. We have been working on adding a few new features and improvements to TimeLine.

We are releasing this version as a public beta to allow additional testing in many different real world usage situations. This is not a required update— please feel free to continue using your current version. Should you choose to update your TimeLine you are always allowed the option to roll back.

Update instructions are included as a PDF with the download. If you have any problems updating, please take a look at these updating troubleshooting tips. :)

Download

What’s New:

  • MIDI Clock Sweep (MC SWP) global parameter:
    • We’ve added the option to keep or remove delay pitch artifacts when changing TAP tempo from external MIDI Clock source.
  • MIDI Clock Reset (MC RST) global parameter:
    • Now, you have the option to re-sync TimeLine back to an external MIDI clock source tempo after manually tapping in a new tempo or sweeping the Time knob on TimeLine.
  • Added new MIDI Commands for looper:
    • We’ve added two new absolute MIDI commands for Reverse and Half Speed looper controls. Reverse = 103
  • Changed MIDI Preset Recall Behavior
    • In older code revisions, recalling presets via MIDI automatically altered the bypass state of the preset to ON. Now, if your preset is bypassed before you send a new MIDI preset program change, the new preset recalled will remain bypassed.
  • Improved Swell Delay triggering:
    • We’ve made improvements to the way the swell is triggered when using the Swell Delay machine.
  • Global Tap Tempo per preset:
    • You can now turn Global Tap Tempo on or off per preset. Useful when you have some presets that require Global Tap and others that don’t.
  • “SUCCESS” indicator when installing factory/user presets:
    • Now, when a factory or user preset SysEx file is loaded into the TimeLine, the LED will display “SUCCESS” indicating a successful file transfer.
  • Preset Dump:
    • We’ve added a Preset Dump function in the Global menu. This is a great way to make a backup of your TimeLine presets.

What’s Fixed:

  • Improved looper design to remove audible ticks when controlling looper reverse and half speed functions with a MIDI controller
  • Fixed and enabled Global TAP per preset feature. You can now turn Global TAP Tempo on and off per preset. Useful when you have some presets that require Global TAP and others that don’t.
  • Fixed an issue caused when using the looper with the pattern delay machine
  • Kill Dry function now kills dry signal when TimeLine is bypassed
  • Fixed audible glitch in spillover from dBucket to Dual delay machine when in parallel configuration
  • Resolved an issue caused when utilizing the feedback loop while TimeLine is bypassed

If you come across any issues with this beta release, please email us at support@strymon.net. Thanks very much! :)

 




Big end-of-year giveaway

Posted by Ethan

Contest has ended. Congratulations to Jeff Kerwin from Tallahassee, FL. Stay tuned for other giveaways!

Present from StrymonWe wanted to celebrate the holiday season and give you the chance to win a Strymon four-pack! Enter to win a holiday care package that includes our TimeLine delay, blueSky Reverberator, OB.1 Optical Compressor & Clean Boost, and our brand new Mobius modulation. I’m not sure what we were thinking— that’s over a $1400 value!

All you need to do is fill out the form below. Contest ends on December 18. Good luck and happy holidays. Ok, go!!

Big End-of-year Giveaway

The rules:

  • Enter the contest form below.
  • Please only enter once. Entering more than once will not improve your odds.
  • That’s it!

The prize:

  • Strymon TimeLine multidimensional delay pedal and 9V power supply ($449 value)
  • Strymon Mobius multidimensional modulation pedal and 9V power supply ($449 value)
  • Strymon blueSky reverberator pedal and 9V power supply ($299 value)
  • Strymon OB.1 optical compressor & clean boost and 9V power supply ($218 value)

The terms:

Enter the contest:

Enter the form below.

Contest has ended.

Contest has ended. Congratulations to Jeff Kerwin from Tallahassee, FL. Stay tuned for other giveaways!




Enter to win a TimeLine, Ola, and blueSky!

Posted by Ethan

Contest has ended. Congratulations to Jeff Goldey from Parker, CO. Stay tuned for other giveaways!

Win 3 Strymon Pedals!We teamed up with The Deli Magazine and Guitar World to give away a tasty prize package— TimeLine Delay, blueSky Reverb and Ola Chorus/Vibrato! Head on over to the Guitar World website to enter to win. Their contest ends October 20. Enter to win now!

Enter to Win!

And if you’re in the Brooklyn, NY area on October 19-20, 2012, be sure to visit the 2012 Stomp Box Exhibit, put on by The Deli Magazine. We’ll have two complete Strymon pedal boards there for you to check out!

About TimeLine:

When we decided to create a studio-class stereo delay effects pedal, we knew we must go well beyond what has been done in the past. We spent months locked up in the Strymon sound design labs with an intense focus on dreaming up the most lush, creative, and musically inspirational delay effects ever heard.
[ learn more about TimeLine here ]

About Ola:

When we set out to design Ola dBucket Chorus and Vibrato, we knew that we wanted to take a high-performance SHARC DSP and dedicate all of it’s horsepower to doing one thing—providing the most lush and organic chorus and vibrato sounds ever heard.
[ learn more about Ola here ]

About blueSky:

The philosophy behind our blueSky Reverberator is simple—take a ridiculously powerful SHARC DSP and dedicate it to doing one thing only: producing the most lush, majestic and stunning reverbs ever.
[ learn more about blueSky here ]

Contest has ended. Congratulations to Jeff Goldey from Parker, CO. Stay tuned for other giveaways!






 
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