Amplitube Octave Pedal

[Jeannine Lander]

Gotmyself an oc2 today and on most of the notes it seems like the note is jumping around all over the place.........I've done some googling and people say that's a characteristic of the pedal. Is this true? Just wanted some bass chatters input

I've put a new battery in if that helps?

Yup, just what it does, it can be tamed though, if you use fingers near the neck with just the neck pup it should behave. It doesn't track well on long sustained notes though, and you can forget anything below open A. It's a pedal that requires a certain way of playing, but it's well worth it, run it with a gated fuzz and a filter and there's no better bass synth sound as far as I'm concerned.

Yup, that's the tracking it tracks some notes better than other, generally better tracking the higher the note. It's monophonic too, so can get a bit confused if you play more than one note, or of there's a bit of overlap of the notes...

[quote name='S9_S12_Bass' timestamp='1350755103' post='1843171']

Thanks! I've got it in the effects loop of my amp, octave first then the Electro harmonix bass big muff. I quickly worked out anything lower than A sounds a bit........poor.....

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Try putting it in the chain between your Bass and amp,rather than in the loop. The OC2 works better with a good signal

from the bass-it still has it's glitches (which I like) but it might help a bit

Something like a moog MF-101 with an expression pedal or a Source Audio BEF with a Hot Hand (ring controller). There's quite a few options out there.

Here's 9 bassists using different filters (myself included).

=bTmAnGzNQxE

Any excuse to have another listen

[quote name='xgsjx' timestamp='1350773977' post='1843455']

That makes sense. I think the amp's loop isn't as hot a signal as direct from the bass (not 100% positive on that though).

You do realise you now need a controllable filter?

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Just tried the effects direct from the bass and it works so much better! Thanks

That video is actually really good I quite enjoyed it!

using a compressor before the OC2 does help the boss track better" but with all its warbles and glitches.. its great fun!!!!! i also agree with the others before me there is a required way of using/fingering the instrument to get the best results from the pedal but who would doubt its sound just listen to sledgehammer or tear your playhouse down.

As anyone who saw my FX talk at the SE Bash will testify, the OC-2 tracks fine down to at least a Low E. As you go below A, the time it tracks for reduces obviously, but mine all track a low E for about a second before glitching back to just the direct signal. The amount of 'glitch' you get will often depend on how buzzy your frets are, if you have even slightly buzzing, uneven frets, it stands to reason that a pedal will struggle to track that signal. The smoother and rounder the signal you put into it, the pedal will track a lot easier.

Also make sure that your octave goes at the start of your chain, it will again struggle to track a note that effected already.

Si

I have wanted to sound like Gary Clark Jr. ever since I first heard him a couple of years ago. His massive guitar sound blew me away. It is raw, powerful and perfect if you want to play hard blues rock.

The Casino first came into popularity in the 1960s, when John Lennon, Paul McCartney and George Harrison started playing them. Keith Richards also used them for a number of years in the 1960s, before switching to his Fender Telecaster.

In addition to the standard Casino, Clark Jr. uses his own signature model that Epiphone also sold for a number of years. This is very similar to the standard Casino, with just a small number of differences.

The guitar and amps that he uses obviously have a large impact his sound. However some of the more nuanced details of his setup are less relevant once you add his fuzz, overdrive and octave pedals into the mix.

His first amp of choice is the Fender Vibro-King. Originally released in 1993, this is one of the lesser known Fender models. In some ways, it is also quite different to a lot of the Fender catalogue.

Conversely, the 68 Custom Reissue aims to take the best of both vintage and modern engineering. So you get all of the classic Fender features, but there is a modified tone circuit and reduced negative feedback.

For these reasons, if you want to sound like Gary Clark Jr., I would suggest opting for the 68 Custom Reissue. It will help you get those beautiful overdriven blues tones at lower levels, and it takes pedals very well.

Also, although there is some conflicting information online, my understanding is that Clark Jr. mostly uses the 68 Custom Reissue. So adding the 68 Princeton Reverb to your rig will definitely help you get those Clark Jr. tones.

Take the fuzz pedals out of the chain though and he has a rig that is perfect for beautiful vintage blues tones. Add the fuzz pedals back into the mix and you have a huge range of tones available from a simple set up.

Many of the links embedded in this article are affiliate links. As such, if you buy one of the pieces of gear I recommend, or an item from the same store after clicking one of these links, I will earn a small commission.

All bassists crave a deep, organic tone. The Octamizer produces an extensive range of musical sounds one octave below your original note. It boasts independent volume controls for both the Octave and Clean sounds, making dialing in the perfect amount of each a breeze. Both discrete signal paths have their tone controls intended to improve and broaden their musical possibilities. The CLEAN TONE control allows for boosting of bass while cutting treble and vice versa, while the OCTAVE FILTER control allows you to shape the octave sound from deep and smooth to aggressive and edgy.

The Boss PS-6 Harmonist is four intelligent pitch-shifting effects in one sturdy stompbox: Harmony, Pitch Shifter, Detune, and the all-new S-Bend (Super Bend). The latter, in particular, gives you control over authentic pedal-bending effects and mind-bending three- and four-octave pitch sweeps. Plug in a compatible external expression pedal and you can control the pitch even more precisely. Need rich, three-voice harmonies? Just choose a major or minor key and set the Shift knob to the 3-Voice setting.

The Caline CP-36 Big Dipper Pitch Shifter guitar effects pedal combines the modulation effects of a pitch shifter and an octaver into one sturdy, affordable stompbox. A simple three-position toggle switch lets you choose between Pitch Up, Pitch Down, and Detune modes, while a selector knob gives you a wide range of shifting modes, including one- and two-octave modes. Dedicated Wet and Dry knobs give you full blending control over your signal. The Caline CP-36 Big Dipper Pitch Shifter comes with a true bypass feature.

The Caline CP-38 Lucky 7 Seven Modes guitar effects pedal packs seven different modulation effects into a tiny, sturdy, and very affordable stompbox. You get high-quality Detune, Flange, Phase, and Vibe effects, plus custom effects including a bias tremolo effect, a classic Roland amp-style jazz chorus, and a U-Vibe effect that simulates an effect close to the classic tonal characteristics of the venerable Uni-Vibe chorus and vibrato pedal. The Caline CP-38 Lucky 7 comes with a true bypass feature.

The Octapussy from Catalinbread is an Octavia-like octave-jumping fuzz pedal. Cello-esque textures, atonal landscapes, and drone melodies are all within reach, thanks to its Body and Gain controls, custom-voiced preamp section, and Atten knob. The Octapussy brings whole worlds of sounds and works best as the first pedal in your chain. This octave-up fuzz also works well at neighbor-friendly amplitudes, allowing you to explore and produce with love, even when cranking your amp is not an option.

The Thermae from Chase Bliss Audio is an innovative analog pitch and delay shifter capable of manipulating your signal without digitally processing it, ensuring your guitar signal stays 100% analog. It introduces four reissued versions of the famed MN3005 bucket-brigade delay chips, a digital brain enabling multi-functional controls, and a bank of dip switches allowing you to come up with infinite creative and unique settings. The Thermae represents a unique approach to analog delay and harmonization and is an excellent choice as your main delay pedal.

Boasting the ability to recall preset settings and gain total control over your octave outputs, the CNZ Audio Octopus pedal is a must-have for any budding or seasoned guitarist. CNZ Audio is taking classic octave tones in its Octopus guitar effect pedal. The Octopus pedal offers a comprehensive range of octave settings which will fill your music in whatever way you wish and produce an astounding tone. When utilized properly, you may amplify your sounds and craft beautiful dynamic effects that will impress your audience and bandmates.

The DigiTech Whammy Ricochet allows you to bounce your playing up/down in pitch in crazy or controlled shifts. The adjustable independent rise and fall time ballistics and momentary switch give you that familiar Whammy action without the use of a treadle. Simply press your foot on the footswitch and let the Ricochet take charge. You can pick from seven pitch selections: Double Octave, Octave+Dry, Octave, 2nd, 4th, 5th, and 7th. The Whammy Ricochet also features a latching footswitch mode and LED ladder that displays your shift trajectory.

The Whammy DT is a welcomed addition to the DigiTech Whammy Family. DigiTech has taken the legendary pitch-shifting effects pedal, added true bypass and drop tuning to give you this ultimate Whammy pedal. The Whammy DT lets you fix your tuning without pausing awkwardly or switching guitars to make changes for the next song. It features the classic sturdy metal Whammy case and strong roadworthy metal footswitches. You can instantly create pull-off and hammer-on effects during your performance using the momentary footswitch.

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