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I played a bit more today... I think if you have good gear it is possible to reduce this high bass octave note..
But even without it .... I have very simple amp at home and bass goes to pc and then to speakers... even with this I managed to regulate it in a way that this octave stays almost unnoticeable...
I also put looper in a bass chain... only bass part is looped. good way to check if your bass line in this poly mode sounds really as a bass line
The technique is tricky thing of course ... first you try to do some jazz you know but you end up playing some soul boom boo boom stuff because it's the simplest thing to do this way naturally right way without practice...
But I really intreagued and will try to go further with it.
And next week freeze should arrive...Last edited by Jonah; 04-23-2017 at 09:23 AM.
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04-23-2017 09:20 AM
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All the aspiring jazz guitar players know how to play bass line but this pedal made me re-listen Ron Carter and Don Thompson again and much more carefully
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How did you reduce the high note Jonah? Was it just with tone controls?
Originally Posted by Jonah
I'm tempted by this pedal but I'm not that keen on hearing both notes in the bass line.
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You see I do not have good gear at home)
Guitar goes to bugera v5 and bass to pc line in... and I have big but not expensive speakers with pc... I want to try some bass amp simulator later.
I can't say I reduced it completely... But it got melted somehow...
I can't hear separately two notes but something like a bigger fatter bass note
I made bass chanel on pedal all up and dirrcy at 2 o'clock so the guitar sounds quieter but still the highs are very audible and clear and added more reverb to guitar than I usually do
Since the bass octave sounds absolutely accurately together you don't hear it any more as bass and guitar...
It becomes a part of technique more maybe... the more independent the textures of the two parts the less noticeable is the higher note.
Still I suppose Gilad uses something else... Or maybe he uses some other filter for effects... his guitar tone is heavily under effects but bass is almost clean.... maybe he did this on purpose to split the parts strongly and the effects on guitar part have some range filter too
I see he has synth or something like that behind the bridge
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Thanks Jonah, that's helpful.
I can see me getting one for solo guitar playing, would be cool.
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Another observation...
The split point in poly mode does not work like with e-keyboards where you exactly set the pitch. This is understandable e-piano is perfectly tuned.
And e-guitar is electric but not before pickups...
So when you set the range knob you begin to hear that the effect is there not immediately but getting gradually stronger... like g is just a bit coloured with bass, f# you can slightly hear the low octave, f you get the bass clear... actually after that you do not notice it much any more.. But still the lower you go the cleaner and louder the bass note is.
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I got one and i had the same issue... Now it sits in its original box. If it means anything, I don't hear Gilad use it in his John Raymond, or home FB Live's anymore.
Last edited by eh6794-2.0; 04-29-2017 at 10:10 AM.
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Come on.. it's just a tool.
It means as much as we can imply.
Things come, things go, then come again ...
I enjoy it... it's fun now... maybe late I'll throw it away.
But I like to bring it to certain degree of competence and efficiency not just play around a little
As I said it's an effect and using it as an effect seems to be the most natural way for me
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I've just got one and I'm experimenting with it. Actually I like the fact that the cut-off is slightly gradual, it makes the transition a bit less obvious as you move out of the range.
It gives an effect like that 'Tal Farlow' sound which is cool (e.g. his Autumn in New York intro where he detuned a string by an octave).
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Actually I tried to use that pedal as an instant drop 8ve tool... like you play g a bb c on 6th string and then f on 5th you use a pedal then when you get 6th strong you go off the effect
Funny thing i did it on autumn in new york changes without any thought of tal farlow
But using it this way you should be really quick and also the tone is a bit different when you press a pedal
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I decided to try my OC-3 on a solo country club gig I had tonight. It was a four hour gig that paid $400, so I thought this would be a good chance to see how the split octave would work on a long gig.
I decided to use my Borys Jazz Solid with my AI Corus and RS-10, because it was a big hall, and I'd need all the sound I could get to fill it up. I did the cocktail hour with just the Corus, because that was held in a smaller room.
The rest of the gig was held in a much larger room, and I had trouble dialing in a good balance between the lower octave bass and the normal octave. Anyone can get a decent sound out of this equipment in your living room, but in a big hall with all the carpeting and people talking, it was really difficult.
I tried adjusting all the variables on the amp and guitar, but the only thing that helped was lowering the Oct 1 Level on the pedal. I'm not even sure what that knob does, but the balance between the lower octave and normal octave had a better balance. Although I didn't touch the Range knob, I started losing the lowered octave on the A string. As the crowd began to dwindle, I was able to get a great sound out of my setup, but it seems that the larger the crowd and size of the room, the harder it is to get a good sound, no matter what equipment you've got.
After over 40 years of playing 'ballpark weddings' I should know by now.
Any Super Octave OC-3 owners have any advice?
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At 0.58' there is a close shot of Gilad's Oactave pedal. It might help.
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I've seen that video before. My point was that all of that gets thrown out when you're doing a gig in that type of gig described above.
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Bass requires much more power than guitar to be perceived as the same volume. If you split your signal and send the bass to a dedicated bass amp you'd probably hit the mark more easily.
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Can’t tell if you’re using a separate bass amp? Originally Posted by sgcim
I bought one after seeing that video but didn’t love it. I sold it but in retrospect I’d like to try it with a bass amp before passing judgement. That’s what Gilad is doing I think.
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Yup. He says so in 1:50.
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sounds like you just have to play bigger... emptier spots!!!
haha
but really, lower octave is never going to respond/track as well..esp in a (relatively basic) boss pedal format...an eventide harmonizer might provide better results but at more $$$...the early octave dividers (eh deluxe octave divider) would just start oscillating a cascade of notes on certain fretted notes, so in a way we've come a long way
& sure u know, tal farlow, later in his career incorporated an extra pickup into his guitar for octave divider duty..shame he didn't have todays tech!!!
cheers
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Actually, the problem was the bass overpowering the normal octave chord/melody stuff I was playing all night. I wound up getting a lousy sound on the normal octave.
If I had time, I could have split the signal betwixt the Coda amp I had in my trunk, and just use the Corus for the normal octave.
I'll check the Gilad video and see if that's a good solution.
Yeah, I just checked it, and that might work, thanks for the advice!
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How did it work?
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I just meant that I watched the video again, and went over the part you told me about. To see how it would really work, I'd have to test it out in the same situation.
BTW, I got a nice email from the manager of the country club, and she said that the members enjoyed the music, and I'd be getting other gigs in the future.
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I have the OC-3 as well and although I don’t do solo gigs with it using the octave splitter, I use it quite a bit in my funk-quartet, but then purely to double every note with two lower notes under it. It’s a great effect for single note solos! (I don’t use it every solo, that gets boring.) With my Twin Reverb the lower octave holds up perfectly. Maybe it is indeed a matter of amps? The Twin is a beast that fills out larger rooms without much trouble and can produce deep bass notes without running short on power.
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Yeah, using my SF Twin would be another possibility, although this place has a steep flight of stairs to get up to the entrance. Originally Posted by Little Jay
This thing has made me fall in love with playing solo guitar all over again. The only limitation is that you can't use voicings that sound too muddy involving the Low E and A string.
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Don't need any octave divider with a 7-string. I play lots of solo gigs, always 7-string (nylon) and looper through a Bose Compact, sounds great, fills the room without too much volume, nice fat bottom end, crispy highs, no feedback.
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I do about 75 solo gigs a year, all 3-4 hour events. Like the OP, I have a list if several hundred tunes that I bring for those times when my stream of consiousness leaves me with a blank. Everything is always improvised and I have not brought a music stand to a gig in many years.
I have tried 7 string and using a looper, but neither of those tools clicked with me. A guitar, an amp, a cord, a strap, an extension cord, some spare strings, a tuner and a few plectrums are all I need to get the job done well.
Along with the aforementioned list.
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Yeah, I'd rather just play the gig without an octave divider or 7-string guitar, but there's a reason why keyboard players are the first call for most of these high paying gigs. The added bass range makes things sound more full and complete, no matter how much you turn up the bass tone control on your amp when you're playing a six string straight to the amp.
I've tried 7-string guitars, and I just don't feel comfortable on them. I went down to Roger Borys' shop a few years ago, to try out the same model guitar I'm playing now, a B-222, except that this was a 7-string model, and it was a bad experience. I felt like I was lost in a maze. I waited till a B-222, 6 string model was available on Reverb, and got a great deal on a guitar that I'll never part with.
These four-hour function solo gigs always pay good bread, but one time I had a big Christmas party gig where they expected me to play Christmas tunes for four hours. I don't think there are enough Christmas tunes written to fill up four hours!
I had another high paying solo gig in Manhattan for wealthy art dealers, and the woman said she wanted me to play jazz guitar. I really looked forward to the gig, and started playing hip jazz tunes. The woman runs up to me and starts complaining that I'm not playing jazz guitar. i told her I was playing Monk, Duke, etc..., and she said, "No, I want you to play JAZZ guitar, you know, 'Hello Dolly, 'Mame'- happy music!"
I launched into her stupid show tunes, and thought, "Manhattan ain't what it usedta be!"
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