Eagle
Shredder
- Messages
- 2,392
So no then
Strymon BigSky MX
- Thread starter came the rain
- Start date
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- 4,417
Eagle
Shredder
- Messages
- 2,392
Some old gear still sounds better than the newer stuff. Certain old rack units have a tone that is still definitive. Old PCM units still sit better in the sound than any Strymon pedal. The Eventide H rack harmonisers are way better sounding than the H9/90. The TC2290 rack pisses the pedal. The old tri stereo chorus. There is a list of stuff that often for reasons other than spec sounds right.
laxu
Rock Star
- Messages
- 3,983
Yes. Check the manual for the possible signal routes.
laxu
Rock Star
- Messages
- 3,983
While nice, I think that would be overkill for what is after all mostly aimed at guitarists. For synth players it would probably work if you just run two synths into a mixer of some sort and output that into the BigSky MX.
I was messing with the dual reverbs in paralllel on my SA Collider yesterday and could get some pretty cool tones that way by combining e.g hall reverb with something more distinct like a spring or shimmer. I hadn't bothered exploring this feature on it before. Dual delays was more tricky to get working in a way that made sense.
Boudoir Guitar
Rock Star
- Messages
- 3,151
It's very useful on the H90 for processing a few different instruments, although it sounds like plastic with a digital sheen. Not that important for just guitar, I'll admit.
Interesting, IRs are the reason I’m buying the MX. To each their own. I have bought the algo units since the 80s and love them for “that” sound. It’s still a must for the polished reverb sound that adds signature, but when you’re looking to create real space, loading a true stereo response IR can get you there.
MirrorProfiles
Shredder
- Messages
- 2,361
The thing with IR’s for me is they always end up getting congested and lumpy sounding, and when modulation is added on top it just kind of sounds tacky and fake. With algorithms, the movement and modulation within the reverb can be much more complex and subtle which just makes things sound more lively and spacious.
Arguably those limitations on guitar are less critical than when used in a mix, as there is many other ingredients being thrown into the soup. But I still generally prefer having deeper parameters to edit and fine tune a reverb with.
WordI'm actually surprised it's taken this long for convolution reverbs to get some mainstream attention at the pedal level. I've been using eMagic's Space Designer IR comvolution reverb (included free with Apple Logic Pro v7) for over 20 years on a Power Mac G5 2.0 GHz Dual Processor with 1 GB RAM.
Emagic Space Designer
Convolving reverbs are coming down in price as more manufacturers make their own. We check out Emagic's new plug-in, which is one of the more affordable ones around, but still allows you to create your own reverbs from favourite spaces.www.soundonsound.com
Now that Strymon has given the idea mainstream legitimacy, all their competitors are going to be compelled to follow suit, and that can only be good for the industry and for us as musicians.
Sascha Franck
Rock Star
- Messages
- 4,397
Yeah, I have always been wondering about that, too. I can run tons of Space Designer instances at 32 samples buffersize on the "live core" of my actual Macbook Air - but even back in 2007, I was able to run quite some instances on one of those pretty cheap plastic Macbooks.
But then, hardware makers seem to like making a big fuss about how oh-so powerful their units are, when in fact, they really aren't. Also doesn't seem as if those specialized DSPs trump generic processors anymore. As a rough figure, I can run 4 fully stuffed (so not even inserting a gain block is possible anymore) Helix Native instances on the live core of my MBA.
And fwiw, in case I'd ever feel adventurous, what I might do would be buying the cheapest MBA (8GB of RAM and a 256GB SSD are more than sufficient for just a live rig), slap it into a rack along with a Motu M2, put my Behringer BCR 2000 on top and my old Rolls MIDI Buddy in front (plus 2 EXP pedals), install Mainstage (for just €35) and the plugin armada I own anyway. That'd be an insanely powerful and flexible setup.
In fact, just thinking about it is causing mild GAS already. Well, maybe one day (and I hate racks).
Am I the only one here that’s really looking forward to running True Stereo impulse files? The BSMX has a way of doing this using both reverb channels set to impulse.
A bit of background:
Typically, one would capture a stereo image by placing two equally spaced mics, left, and right in the best location they’ve determined in the listening area (audience). They may also capture this with binaural mics, or XY pattern (you got the idea).
Next they would sound off an impulse transient (such as a balloon pop), or frequency sweep in the stage center. You would want it center to try to keep equal levels at the mics. It may be a good idea to monitor mic peak transient levels, this way you’re looking for equal signal levels for the initial transient (dry signal). The latter part of the signal will be directly correlated to the geometry of the room, or location. This is the room reverb and can be different between left and right mics; therefore, look at only initial signal transient, and not an RMS level for each channel. This is the best way to capture basic stereo impulses. Of course, it will take experimentation to determine best location for source impulse location and mic location. You may want to predermine many locations and prepare for it. If you know the room, you may already know where the “sweet” spots are, and probably the reason you’re there making an IR.
TRUE Stereo Impulse Response:
In the basic stereo impulse response, we’ve only created a stereo response from how a single stage position centered source excites the room. What’s missing is the affect of energy exciting the room from stage left and stage right. The room acoustics will behave differently.
Create a TRUE Stereo Impulse Response:
Place your transient stage source stage Left and with the stereo mics still located in your predetermined location, capture the transient or frequency sweep. You will then have a stereo recording with the majority of the signal weighted to the Left. Now, do the same thing, but this time place your transient stage source ( ballon pop, sweep) stage Right. Now this recording will have the majority of the signal on the right.
Next,
Deconvolve and prepare both stereo files ( Left and Right ). Load these in the BSMX in pallallel mode (dual reverb) left 1 and right 2.
Now your reverb will sound incredibly 3D and will also behave correctly as dry signals come in stereo into the BSMX. Strymon has lit the market and will propel others to do the same! Love it. My BSMX is due here today.
A bit of background:
Typically, one would capture a stereo image by placing two equally spaced mics, left, and right in the best location they’ve determined in the listening area (audience). They may also capture this with binaural mics, or XY pattern (you got the idea).
Next they would sound off an impulse transient (such as a balloon pop), or frequency sweep in the stage center. You would want it center to try to keep equal levels at the mics. It may be a good idea to monitor mic peak transient levels, this way you’re looking for equal signal levels for the initial transient (dry signal). The latter part of the signal will be directly correlated to the geometry of the room, or location. This is the room reverb and can be different between left and right mics; therefore, look at only initial signal transient, and not an RMS level for each channel. This is the best way to capture basic stereo impulses. Of course, it will take experimentation to determine best location for source impulse location and mic location. You may want to predermine many locations and prepare for it. If you know the room, you may already know where the “sweet” spots are, and probably the reason you’re there making an IR.
TRUE Stereo Impulse Response:
In the basic stereo impulse response, we’ve only created a stereo response from how a single stage position centered source excites the room. What’s missing is the affect of energy exciting the room from stage left and stage right. The room acoustics will behave differently.
Create a TRUE Stereo Impulse Response:
Place your transient stage source stage Left and with the stereo mics still located in your predetermined location, capture the transient or frequency sweep. You will then have a stereo recording with the majority of the signal weighted to the Left. Now, do the same thing, but this time place your transient stage source ( ballon pop, sweep) stage Right. Now this recording will have the majority of the signal on the right.
Next,
Deconvolve and prepare both stereo files ( Left and Right ). Load these in the BSMX in pallallel mode (dual reverb) left 1 and right 2.
Now your reverb will sound incredibly 3D and will also behave correctly as dry signals come in stereo into the BSMX. Strymon has lit the market and will propel others to do the same! Love it. My BSMX is due here today.
BROCKSTAR
Roadie
- Messages
- 610
new update
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BigSky MX Firmware Revision Release Notes - Strymon
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