Audio Samples

We are expanding the use of this page to include contributed tracks by some professionals and created original songs.  (see more description at bottom of page). Use Good headphones if possible, and turn up the volume graph at the left side of the player flash widget. Iphone & Ipad users, sorry they don’t support flash yet….

Phat Beam (Compressor): Just In!  Chordal plucked arpeggios, each section ends with a pause: first dry, then side band shape control with HIGH filter on, then with it off (LOW), then pedal off again, then with Audio path Filter on, varing the Shape and Blend controls in each case to give different compression ratios on selected portions of frequency response. Compression was on Max, and Limiter was disengaged for these demos. Note that you have control over the treble, midrange, and bass of the compression at different frequencies. Sideband shape control is subtle (first half) and audio path filter is more drastic (last half). In all cases, you can blend from 100% dry (uncompressed, unlimited) bass to full 100% compressed (and or limited) signal. The blend will all attack to be added back in, or whatever is missing from the 100% signal, which depends on the filter, compression, and limiting settings….Finally a versatile compressor that is not boring.

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Phat Beam (Compressor): Long and windey bass riff on J-bass with passive Nordstrand humbucking pickups, each section ends with a pause: first dry ….than on with sideband shape control, then on with audio path filter (you can hear the blend at 100% when the filter thins the compressed signal, then the blend adds back the dry signal. The filter allows certain frequencies to be compressed, and blended with the dry original signal for fullness.

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Edge Activator (Funk Machine): Just In!  Jarad May blues funk vamp. Note it starts with Edge “off” and you can hear the Tone Open up for “Marcus Milllerlike” tone at 00:20 seconds in

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Edge Activator: Just In!  Trip Wamlsey original composition Cinematic Mind Activation.  Layers of bass, with different settings on Edge Activator

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Edge Activator: Jarad May blues funk vamp. Note it starts with Edge “off” and you can hear the Tone Open up for “Marcus Milllerlike” tone at 00:20 seconds in

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Laser Cannon: Trip Wamsley’s incredible Industrial Heavy Jazz Multilayer song called “MONS MEG“.  Laser Cannon is used on two Bass tracks, two guitar tracks and Drum track. Depth and Versatility. Song written and mixed by Trip Wamsley — Video coming soon.

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Edge Activator (finger tapping) from Russ Hodges at NAMM 2011 show

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Edge Activator (mild slap pop) NAMM 2011 show

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Edge Activator (funk slap) with active MTB 5 string with Demeter onboard preamp (played with mid boost on)

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Particle Beam (rock riff) using ESP LTD model with humbucking pickups with active onboard preamp. This loop is long and contains a few different blend knob sweeps and cut knob changes and beam knob changes.

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Particle Beam using Passive Fender Jazz bass with Nordstrand pickups

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Particle Beam using Passive Fender Jazz bass with Nordstrand pickups, playing chords

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Laser Cannon with passive Aria Pro II, this bass has weak output

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Laser Cannon with active MTB 5 string with Demeter onboard preamp

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Laser Cannon (slow chord tones) using Aria Pro II bass passive with humbucking pickups, starts off, then does several slow blends and range changes. Note this bass has particularly weak output.

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Many of the earlier recordings are recorded direct here and done as loops from Boss RC-2 in to the Daring Audio unit then into Avalon 737 Preamp, with no EQ and No compression into Protools. No modifications done after recording.  MP3 files are encoded at 320K bps, constant bit rate. Over time, we will add more samples with different setups, different instruments, and different playing techiques.  Each loop starts with the unit off for one loop cycle, then turns the unit on for one cycle, then changes the settings slightly for next loop cycle on, etc.

In the future more formalized comparison showing the knob placements with videos will be available.  On some of the samples you can hear the blending wet/dry taking place toward the end of the sample.  Most samples are about 1 minute in total length.   These are direct, no amps, no speakers, no microphones to color the sound.  Use Good quality closed back Headphones for best listening environment, or large speakers with decent bass response. Remember that earbuds do not have good bass response!  Apologies to those who are listening to this now on your Iphone or Android smart phone.