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Jason Squinobal
เข้าร่วมเมื่อ 14 ต.ค. 2009
Jason Squinobal is a professional Saxophonist, Composer, and Professor of Music at Virginia Wesleyan University in Virginia Beach. He directs the Jazz Ensemble, teaches courses in Music Theory, Music Technology, and Private Lessons in Saxophone Performance, and Composition. Jason has a PhD in Ethnomusicology from the University of Pittsburgh, and he majored in Music Education at Berklee College of Music. Jason has studied privately with Jerry Bergonzi, George Garzone, Bill Pierce, Nathan Davis, and Dave Santoro.
Wind from Soundscaping Official Video with Polyrhythm, Euclid Algorithm, Daoism Trigrams,
Listen to the full Album Here:
jasonsquinobal.bandcamp.com/album/soundscaping
Let me take you on a journey through a musical soundscape of the Bagua
First, there is no saxophone on this recording, if you know me as a saxophonist and you’re waiting for the saxophone you won’t hear it. The saxophone has been such an important part of my life that it becomes an overwhelming preoccupation in my music making, by putting it aside for this project I’ve had the opportunity to focus on other things I’m interested in.
This project is about Soundscaping. What is Soundscaping? It is the act of creating a sonic landscape, a world of sound. Every sound on this project was created with an analog oscillator (often more than one at a time). Although some sounds emulate acoustic instruments like the percussive sounds of drums and cymbals or the melodic sounds of bass, guitar or strings, it was never my intention to try to recreate an acoustic sound. These sounds are not supposed to fool you into thinking they are real snare drums or cymbals you are hearing. If I wanted the sound of an acoustic instrument, I would have just recorded the real thing. The point of the project was to dive deeply into sound design and to explore how one might go about creating every sound very much from its point of origin
I approached each song, to the best of my ability, from a Zen mindset. (Trying not to try, Ha!) At the outset of recording each song I zeroed out every parameter I had set from the last song. I attempted to create and shape every voice within the song anew. I never worried about whether the sounds on the current song matched or were similar to the voices of the previous song I just attempted to shape each voice to what the part or song required, what I felt the song was calling for.
Third, these soundscapes represent universal musical aspects of sonic space and time. Music ultimately is dependent on relationships in space and in time. Musical space is represented by the distance between two or more pitches, we call these distances intervals, scales, triads, and chords. The relationship of musical time is what we commonly call rhythm, but this relationship goes way beyond what we usually associate with rhythm. Normally we might think of rhythm as being the domain of drums and percussion, or we might think of the single note melodies that are sung or played by other instruments. But this is just scratching the surface of the relationship of musical time. Each song on this album explores a different combination of time and space relationships within music.
Lastly this album is an exploration of Daoist philosophy. The eight songs on this album are named for the eight fundamental elements of the Bagua. Each of the eight tracks represents my attempt to explore the characteristics of these eight fundamental elements as I perceive them within a musical context. It is completely expected that when you listen to these songs you say “well that doesn’t sound like what I would expect fire, or water, to sound like. He’s got it wrong!” But in that, I fear you have missed the point. Unfortunately, there is so much baggage attached to words of our everyday speech that I struggled in deciding to use the most common names associated with the Bagua. What most people commonly associate with the attributes of fire or water, earth or (especially) heaven, are not always related to the Daoist attributes of the same name. Additionally, without understanding the musical elements I am attributing to the different aspects of the Bagua it would be impossible for you to decide whether the song accurately reflects these characteristics. It’s impossible to go into so much detail here, but I hope this music encourages you to explore more about the Bagua and Daoism in general.
In brief, you should know that the elements of the Bagua are cyclical, one aspect or element leads to or develops into the next. Additionally, there are numerous ways for one element to lead to the next. The music on this album can be listened to in two different orders. The order listed on the album is the “Before Heaven Arrangement,” and this is the order I composed the songs. This is a very cyclical order with the last song leading back to the first again. But there is a second song order that works just as nicely, the “After Heaven Arrangement”. The After Heaven Arrangement is the order that I recorded, mixed, and balanced each song. To me this order has a more linear quality to it because it begins with 1. Heaven and ends with its opposite 5. Earth. If you are interested in listening to the songs in the After Heaven Arrangement the order would be:
1. Heaven
2. Valley
3. Fire
4. Thunder
5. Wind
6. Water
7. Mountain
8. Earth
I truly hope you enjoy the journey through this musical soundscape.
jasonsquinobal.bandcamp.com/album/soundscaping
Let me take you on a journey through a musical soundscape of the Bagua
First, there is no saxophone on this recording, if you know me as a saxophonist and you’re waiting for the saxophone you won’t hear it. The saxophone has been such an important part of my life that it becomes an overwhelming preoccupation in my music making, by putting it aside for this project I’ve had the opportunity to focus on other things I’m interested in.
This project is about Soundscaping. What is Soundscaping? It is the act of creating a sonic landscape, a world of sound. Every sound on this project was created with an analog oscillator (often more than one at a time). Although some sounds emulate acoustic instruments like the percussive sounds of drums and cymbals or the melodic sounds of bass, guitar or strings, it was never my intention to try to recreate an acoustic sound. These sounds are not supposed to fool you into thinking they are real snare drums or cymbals you are hearing. If I wanted the sound of an acoustic instrument, I would have just recorded the real thing. The point of the project was to dive deeply into sound design and to explore how one might go about creating every sound very much from its point of origin
I approached each song, to the best of my ability, from a Zen mindset. (Trying not to try, Ha!) At the outset of recording each song I zeroed out every parameter I had set from the last song. I attempted to create and shape every voice within the song anew. I never worried about whether the sounds on the current song matched or were similar to the voices of the previous song I just attempted to shape each voice to what the part or song required, what I felt the song was calling for.
Third, these soundscapes represent universal musical aspects of sonic space and time. Music ultimately is dependent on relationships in space and in time. Musical space is represented by the distance between two or more pitches, we call these distances intervals, scales, triads, and chords. The relationship of musical time is what we commonly call rhythm, but this relationship goes way beyond what we usually associate with rhythm. Normally we might think of rhythm as being the domain of drums and percussion, or we might think of the single note melodies that are sung or played by other instruments. But this is just scratching the surface of the relationship of musical time. Each song on this album explores a different combination of time and space relationships within music.
Lastly this album is an exploration of Daoist philosophy. The eight songs on this album are named for the eight fundamental elements of the Bagua. Each of the eight tracks represents my attempt to explore the characteristics of these eight fundamental elements as I perceive them within a musical context. It is completely expected that when you listen to these songs you say “well that doesn’t sound like what I would expect fire, or water, to sound like. He’s got it wrong!” But in that, I fear you have missed the point. Unfortunately, there is so much baggage attached to words of our everyday speech that I struggled in deciding to use the most common names associated with the Bagua. What most people commonly associate with the attributes of fire or water, earth or (especially) heaven, are not always related to the Daoist attributes of the same name. Additionally, without understanding the musical elements I am attributing to the different aspects of the Bagua it would be impossible for you to decide whether the song accurately reflects these characteristics. It’s impossible to go into so much detail here, but I hope this music encourages you to explore more about the Bagua and Daoism in general.
In brief, you should know that the elements of the Bagua are cyclical, one aspect or element leads to or develops into the next. Additionally, there are numerous ways for one element to lead to the next. The music on this album can be listened to in two different orders. The order listed on the album is the “Before Heaven Arrangement,” and this is the order I composed the songs. This is a very cyclical order with the last song leading back to the first again. But there is a second song order that works just as nicely, the “After Heaven Arrangement”. The After Heaven Arrangement is the order that I recorded, mixed, and balanced each song. To me this order has a more linear quality to it because it begins with 1. Heaven and ends with its opposite 5. Earth. If you are interested in listening to the songs in the After Heaven Arrangement the order would be:
1. Heaven
2. Valley
3. Fire
4. Thunder
5. Wind
6. Water
7. Mountain
8. Earth
I truly hope you enjoy the journey through this musical soundscape.
มุมมอง: 65
วีดีโอ
Rising Sign; Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 60ปีที่แล้ว
Trio Atomic plays "Rising Sign" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music. Fou...
"Sikyi: New Dawn" Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 47ปีที่แล้ว
Trio Atomic plays "Sikyi: New Dawn" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music....
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มุมมอง 47ปีที่แล้ว
I met Akin Euba when I was a graduate student at the University of Pittsburgh. He was vibrant and energetic teaching his seminars on African music, and I think his positive, playful energy was what first encouraged me to take every course he taught. He epitomized much of what I hoped to be after graduate school: an ethnomusicologist who uses his knowledge of music to inform his compositions and...
"Mind's Eye" Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 103ปีที่แล้ว
Trio Atomic plays "Mind's Eye" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music. Foun...
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มุมมอง 85ปีที่แล้ว
I met Akin Euba when I was a graduate student at the University of Pittsburgh. He was vibrant and energetic teaching his seminars on African music, and I think his positive, playful energy was what first encouraged me to take every course he taught. He epitomized much of what I hoped to be after graduate school: an ethnomusicologist who uses his knowledge of music to inform his compositions and...
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มุมมอง 100ปีที่แล้ว
I met Akin Euba when I was a graduate student at the University of Pittsburgh. He was vibrant and energetic teaching his seminars on African music, and I think his positive, playful energy was what first encouraged me to take every course he taught. He epitomized much of what I hoped to be after graduate school: an ethnomusicologist who uses his knowledge of music to inform his compositions and...
Heaven from Soundscaping Official Video with Polyrhythm, Euclid Algorithm, Daoism Trigrams,
มุมมอง 95ปีที่แล้ว
Listen to the full Album Here: jasonsquinobal.bandcamp.com/album/soundscaping Let me take you on a journey through a musical soundscape of the Bagua First, there is no saxophone on this recording, if you know me as a saxophonist and you’re waiting for the saxophone you won’t hear it. The saxophone has been such an important part of my life that it becomes an overwhelming preoccupation in my mus...
Movement II Sikyi: New Dawn, from Five West African Rhythms for Akin Euba, With Full Score
มุมมอง 68ปีที่แล้ว
I met Akin Euba when I was a graduate student at the University of Pittsburgh. He was vibrant and energetic teaching his seminars on African music, and I think his positive, playful energy was what first encouraged me to take every course he taught. He epitomized much of what I hoped to be after graduate school: an ethnomusicologist who uses his knowledge of music to inform his compositions and...
Movement I Adowa: Horizons from Five West African Rhythms for Akin Euba, With Full Score
มุมมอง 106ปีที่แล้ว
I met Akin Euba when I was a graduate student at the University of Pittsburgh. He was vibrant and energetic teaching his seminars on African music, and I think his positive, playful energy was what first encouraged me to take every course he taught. He epitomized much of what I hoped to be after graduate school: an ethnomusicologist who uses his knowledge of music to inform his compositions and...
"Akom" Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 58ปีที่แล้ว
Trio Atomic plays "Akom" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music. Founded in...
"Heroes," from Serendipity, by Jason Squinobal, Official Video, WARNING FLASHING LIGHTS
มุมมอง 38ปีที่แล้ว
This Album, Serendipity: Selected Works from a Pandemic, Vol 1, represents a project I have worked on sporadically over the last two and a half years. I began working on these songs in the summer of 2020 around the beginning of lockdown during the Covid Pandemic. Like most people’s experience, I didn’t have much to do at home, so I decided to get better at producing my own music. I have always ...
"Solstice" Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 130ปีที่แล้ว
Trio Atomic plays "Solstice" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music. Founde...
Expect It, From Serendipity, By Jason Squinobal, Official Video
มุมมอง 23ปีที่แล้ว
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"Toil & Trouble", Trio Atomic Live, at Virginia Wesleyan University, Saxophone with Pedal Effects
มุมมอง 67ปีที่แล้ว
Trio Atomic plays "Toil & Trouble" in a live Concert from the Susan S. Goode Fine and Performing Arts Center at Virginia Wesleyan University Trio Atomic: Jason Squinobal; Saxophone & Pedal Effects Will McPeters; Bass & Loops Mike Laubach; Drums The Trio Atomic performs an eclectic fusion of a multitude of musical styles ranging from African inspired grooves to jazz, rock, and electronic music. ...
Sunday Morning, From Serendipity, By Jason Squinobal, Official Video
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I really love to listen to your music and reading about your search, approach and philosophy behind it. Thank you!
Thanks for the kind words. It's wonderful to know that people enjoy this music.
Who produced the record?
It sounds much better than the one from 2011
Thanks! I recorded, mixed and produced this album on my own. I paid a recording studio to do the 2011 album.
Hi Jason, thank you so much for all the information! I'm starting to tap into the pedals world and having a lot of fun trying things out. I'm currently using a BOSS VE-20 as mainly a harmonizer due to the fact that I'm using a condenser mic that needs phantom power. I saw that you're using an audio technica power module. Would that be the same? I'm afraid of creating a pedal chain without figuring this out first (can't seem to find enough info online). Do you know how can I run a chain with a condenser? should I run all the pedals before and use the boss ve-20 at the end to send my mic signal out? Sorry if it's a beginner question. Thanks again!
I'm not really familiar with the Boss VE-20 but I'm assuming it is supplying the phantom power for the condenser mic. If the VE-20 doesn't have a built in effects loop then this might be a difficult set-up to add external effect to. One issue is that you need to give the effects pedals enough, but not too much signal volume so that the audio can be processed. If you plug the mic directly into the Pedals first then there won't be enough signal strength to send audio through the pedals. In fact the mic won't be able to get any of the phantom power it needs. But if you send the audio signal though the pedals after the VE-20 then the signal will be too powerful and will overpower the pedals. One solution is to invest in a pre-amp with an effects loop so that the mic can get the power it needs and then you can send just the right amount of audio signal to the pedals. That's what the Voice-Loco is used for in my effect signal. Another option is to invest in a mic that has power at its source. The "IntraMic" is designed to be used with pedals and comes with a power supply that then gets plugged in directly to the pedals. A quick fix if you want to experiment with some pedals before deciding which ones you want to set up in a chain, is to use an old-school mixing board like a Mackie. if you can find one you can send the mic through that and then set the pedals up through one of the sends Chanels therefore you can send just the right amount of audio through the pedals and back into the return of the mixing board. I hope on of these solutions helps.
Hi @@JasonSquinobal ! Thank you so much for your response! Yes, the boss VE-20 has a phantom power in it, that's why I'm using it. I'm not using it for loop FX but for harmonizer effects, reverb and delay. What I understood is that if I have a pre-amp in the beginning of my chain I can them run the chain with other pedals, is that correct? I have the option to turn on and off the phantom on the VE-20 so I wouldn't use it to power the mic, just as a regular pedal on my chain.
Yes that should work, but the most important thing is that you have control over how much sound is running into the effects pedals, too much and you will distort the sound too little and you won't hear it.
Thanks for sharing!
Great videos, thank you! Just ordered a Voco-Loco to use my reverb/delay guitar pedals. What clip on mic are you using? Have you tried different mics for recording into a DAW? What brand/model horns are you playing? Awesome sounds!
Did you ever look at the Boss Rc-202 or RC-505? They have line level inputs and a mic input. The mic input can be either phantom powered or not powered. There are tons of effects that you can control via midi. Plus they have multiple tracks (2 on the 202 and 5 on the 505) that you can use for recording or playing your backing tracks. Plus you can overdub on a track. Not sure if the mark 1 DL4 has overdub... The mark 2 does. The RC-202 or RC-505 could literally replace most, if not all of your effects as well as your daw. You can use a midi foot controller with them as well. Even if you don't replace your big setup with one, you could have one that you take to smaller gigs with your foot controller, sax and a single speaker PA. You could literally put the RC-202 in a backpack with your foot controller. Then you would just have your sax, a backpack and a small speaker that you could take into a gig in one trip from a tiny car. (No, I don't work for Boss lol).
Hey Thanks for the recommendation!. I've actually replaced this whole rig with a Maris LVX which also has a ton of effects that can be layered in a variety of ways. I bet the Boss effects sound great as well.
The LVX is definitely a winner. Has an interesting interface if I remember correctly with circles linked together...Kind of in the class of the newest Eventide pedal.@@JasonSquinobal
Just found you today (Oct 30, 2023), and to be honest, wasn't actively looking, but should have been looking for a genre that gets entirely too little attention. Really superb use of electronics in music specifically with saxophone. Wonderful song and playing, and I will poke around on your channel after writing this to you. Electric tenor sax has been a passion for me (as a practitioner) since 1987 (started playing tenor in 1978 at 13 years old, after playing piano from age 6), when I obtained as an unexpected but fortuitous barter that delivered an Electro-Harmonix Polyphase (phase shifter/envelope follower), which still works and I still own. (I had recently started begun to uncover the exposure I'd had already to Mike Brecker and was just about to find Eddie Harris, Tom Scott, and Van der Graaf Generator (amongst others).) I leave on a slow and deep chorus (Amdek) constantly and have a Roland octaver pedal that I kick on and off. I sometimes use a Yamaha SPX-90II, but that is a big hunk to haul around. The band isn't into the one-man4-horn-section playing intervals. I use a Samson C02 with a pre-amp at the moment, but my favorite mic was the Sennheiser 421, which is long gone. Can't wait to hear your experiments, because this one was so enjoyable that I am going to find out about your other contributions to art. I have just picked the horn up again after several years off as a band found me when I wasn't looking. So far, so good. They are exceptional players and people. In due time, I will share my own crimes against art. It is a pleasure to wander across the paths of others with comparable options, ideas, and influences. Rock on!
Thanks for sharing your story! I can't wait to hear your new band.
I just found your video on yt. Amazing setup and sounds man!! I used a Ditto X4 looper-pedal ( the bigger one) and had 3 of them , 2 of them for the other musicians. You can Connect them just using a long midi-cable. Then all 3 can be used in sync and tap the master in tempo. It helps to make empty loops of a certain length.
That's awesome, I'll have to try it. Thanks for the suggestion!
@@JasonSquinobal Got it! Thank you so much for your time and patience! Hope to see you performing live at some point! Your sound is very interesting! Hopefully you'll come to WA some day! :)
You need some pedalboard junction/interface boxes. It’s not good practice to plug in/out of your pedals every night. Eventually one of your 1/4 jacks will fail, it’s better for it to fail on the interface side. When it happens you can just plug into the pedals for the night. Y’all sound great!!!!!
yeah, that's a really great suggestion. I just gotta find the room, but you're right. Thanks!
Mount them underneath the top part of your boards.
great! im setting up a pedalboard.. cant decide between the hedra and the whammy for sax. is it possible to control the hedra with the expression pedal from the fcb? wouldnt the hedra become like the whammy? many thx
Yes you can control the Hedra with the expression pedal from the fcb. You have the option to set any of the parameters from the hedra to be affected by the expression control so that there is a bunch more potential for expression from the hedra than from the whammy. The whammy is great for what it does but in my opinion the Hedra is a lot more flexible. I actually gave my whammy pedal to my bass player shortly after making this video and just focused on using the hedra in its place.
Sax player here, tryna figure out a pedalboard setup. Not a lot of these vidz out there. Thanks for sharing with us!
I'm happy to share!
Very nice smooth jazz with an unusual sounding sax! Is the sax plugged into guitar effects boards?
Yes this is sax plugged into guitar effects. If you take a look at my other videos you will see I have a whole series explaining how to play sax with pedal effects.
Listen to the full Album here: jasonsquinobal.bandcamp.com/album/soundscaping
Listen to the whole album on Band Camp: jasonsquinobal.bandcamp.com
I like this content mate keep going !! Your content deserves a service like S M Z E U S!
<3
Right on man, genius
Listen to the whole album on Band Camp: jasonsquinobal.bandcamp.com
Listen to the whole album on Band Camp: jasonsquinobal.bandcamp.com
Thank you for this. It is nice to see another saxophonist that is aware of and uses the electronic technologies that have propelled the guitar to legendary status.
Thanks for this nice video! Freaking FX in usage, nice! I'm a trumpetist, also using the voco loco and the same 1 spot power supply. My question to you is just: How do you power your voco loco? I'm currently using it's standard power supply coming with it, but the extra cord really stresses my nerves. I really want to connect the voco loco to my power supply. Yeah, but it runs on 15VDC... How do you use it? Please help ;) Cheers & Rock on! Albo
Thank you very much!!!
Enjoyed listening to your music and the explanation. Got a link to your music? How do you find Meris pedals to edit?
Hi Jason, I was wandering how you setup the DECAY on your Noise supressor? Thanks in advance! :D
Excellent! Very impressive!
Glad you liked it!
Thanks for this video! I have a Voco Loco. What voltage are you running through it since the power supply that comes with it is 15 volts?
Crazy man! Respect!! I m at the Start of the Journey and still have to understand how can i connect my condenser mic to pedals and than to audio interface, can i just use a preamp? can you or someone help me please ?
Voco Loco (Radial Engineering) or Mixing Link (Eventide) or Shark (Behringer) should take the signal from the mic and then... the magic is up to you!!! Stay well!
Wow. Sounds incredible! Thanks for sharing
Very impressed... my only gripe... the zip ties are killing me! Lol VELCRO BABY! Heavy duty!
Thanks for making these videos man!! So I just got the Meris Enzo, I've playing around with putting my tenor sax through it, but I'm having some issues with getting it to sound good, it seems like the tracking for the synth is pretty dirty and doesn't work very well. Just using the filter env sounds cool, but I'd love to get a nice saw synth sound out of this pedal, do you have any advice? Any settings I should try playing with? Or some way to prepare my sax signal before putting it into the Enzo? I've been using a TC Helicon Harmony M for my pre-amp and keeping it dry while testing this. Thanks again man, I'm loving the badass sounds you are getting out of your setup, lol now I want to buy a Hedra too 🤦♂️
Hey! I hope you're enjoying your Enzo. Here are some ideas that I have: 1. The "dirt" you're hearing in the sound might be coming from the ring modulator setting. If you don't want any Ring Modulation or dirt, be sure that setting is turned all the way off. 2. Another thought I had was that if the "Glide" is turned up the Enzo might have trouble tracking your notes if you are playing fast runs. If you are unfamiliar with Ring Modulation and or Glide, I would look into how to use those settings because they are both super cool when adjusted properly. 3. Now if you're settings are all cool, then check how much gain you are sending to the Enzo. It's designed to take low "instrument" level volume of a guitar input, without amplification. BUT, there is a global setting you can choose so that the Enzo can accept a higher "synth/line" level input. If you are getting too much dirt then you might be giving the pedal too much gain, especially if you are sending it to the pre-amp first and then to the effect. If that's the case switch over to "synth/line" level input. I would actually check on the input level first! That might be your most likely problem. I hope these suggestions help, sorry it took awhile to respond I've been pretty busy over the past few weeks. My Best!
I'm thinking I may get a VE-20 fx pedal for the reverb,multiharmony etc. This doesnt' have the wah pedal feature. Would you think that an envelope filter coould be used for the wah pedal?
Well, I think so. I use the envelop filter on both the Enzo and the Otto Bit Jr, basically as a wah pedal and I've been happy with the results. If the filter envelop has a good follower, (meaning it responds dynamically to your sound) then you can really manipulate the way it filters your sound by changing the timbre of your tone. You know, as you change the shape of the inside of your mouth, the filter will respond differently by picking up different resonating overtones within the core of your sound.
@@JasonSquinobal Thank you so much. I got the hang of it now!!! Amazijng video you made by the way.
Should just get a digital mixer, then you could mix your whole group, and all these pedal inputs. Plus you can compress everything and mix it…..from like an iPad,….
Yeah, that's a good point! I've been exploring the possibilities of using Ableton Live to control some of these things as well... If I can figure it out and get things organized I'll make another video.
Seems like you could do all this with like one hx stomp
You could be completely right. There was a point where I was looking at the HX Stop and the Eventide H9 Max. I bet I could do all this stuff with either of those pedals. I can't even remember why I decided against them. Maybe I didn't have enough flexibility, or one-button MIDI control. I don't remember. I'd interested to hear either of those pedals set up in a similar way!
@@JasonSquinobal yeah sometimes you just want more pedals to look at and not have to deal with menus and screens. old school floor gazers style
What brand of pedal boards are you using? Great sounds
Thanks! I am using Holeyboards. They are a bit expensive, but I like the construction and flexibility. Being able to attach pedals using zip-ties helps me to keep things cleaned up and it's relatively easy to move stuff around.
Always love effects on the sax 👍
Yeah, I've always been interested in the possibilities. Thanks for checking out the video!
You have a good selection of pedals for a small board.
Thanks! I've expanded a little since this video with a few more pedals.
I have been using the TC Helicon Voiceplay Live . Not really happy with it.I find it does not sound the harmony very well while playing through my wireless Shure sax mic. into my Guitar amp . I do not have a PA at home so I cannot seem to get enough volume to hear the harmony. very well. I don't use a lot of effects on my sax and just want a good harmonizer to play horn lines when I am the only horn in the band.I liked the sound of the harmony on your Hedra Meris pedal.Would that be a better choice then getting the Digitech Whammy? Thanks!
The Whammy does a great job of tracking your sound and harmonizing well with the sound source. However, it only has the capability of producing one extra pitch so the most you can do with the Whammy is two voices total. The Hedra also does a great job of tracking and harmonizing well with the sound source. The Hedra can also produce three additional pitches to your one, so you can have up to four note harmonies with the Hedra. It is very easy to determine what interval the Whammy harmonizes with you. You simply turn the knob and select the interval above or below your pitch. Of course it will not adjust for key, you will have to make adjustments on the fly with the pedal. The Hedra has a lot more flexibility in the way you decide how it harmonizes with you. But to really use the Hedra to its fullest capacity, you really need to spend time getting to know it. I've found it really necessary to use a MIDI controller to get the most out of the Hedra. The Whammy is more plug and play for me and when I use it I'm willing to put up with its limitations. Hope this helps!
@@JasonSquinobal Thank you!
I uploaded this video in May, seems like a long time ago. I'm editing a new video right now. It will be an updated version of my pedalboard. It's coming soon!
I use distortion, overdrive and clean sounds on a les Paul as I play in a blues band, I used to use. Delay in another project, I would use it as an instrument in its self to mutate the sounds, recently I have experimented with reverb for first time in 35 years, I still prefer none in nearly all scenarios though, using none makes the sound punchier and leaves spaces completely empty / quiet, I had a sax for six months, a year ago too though, I miss it so much at the time I had a crappy keyboard set up too, I want to get back to that way of practicing those different things and singing too even, it was a n approach I was developing.. A good idea will work on all those instruments I think.. Guitar almost limits me because I know it too well?
Yeah, I know how you feel. Sometimes changing things up makes you play completely different, new ideas arise. I've experimented with an analog delay as an instrument to manipulate sounds just actively turning knobs. I like that too.
As a guitarist who plays a little sax, this is crazy lol, good job man.
Thanks! Glad you dig it.
Jason your Video is great and thoughtfully explained. I play alto semi pro /Advanced intermediate . I use a Boss vocal V-20 to good effect, octaves /choirs/ 3rd 5ths etc but want to expand , I have a Mooer Bass Sweeper envelope filter I borrowed from the guitarist in our band (a Treasure trove of gear) I have to ask Have you tried a Electro harmonix "Synth 9 or Mel 9" I'm interested on any feed back on these pedals. PS I gave a thumbs up and subscribed. I'm going to need advice on building up a selection of effects and the problems I may encounter, your site is the one I keep coming back too.
Hey Thanks for watching my videos! Unfortunately I have not tied either of those Electro Harmonix pedals. I was actually considering the Synth9 at one time, it seems like it could be a great choice. For me personally, I tend to gravitate toward pedals where I have greater control over the presents. My synth pedals are usually MIDI capable so that I can make changes on the fly with a midi controller, that way I can change up sounds throughout a song without bending down to adjust the pedals. Keep coming back I'm hoping to make an updated version of my pedalboard setup. I have some new gear I'm using now. I'll have a bit more time over the next month or so once school winds down. Best,
Any problems plugging the Voco Loco into the 1 spot? I heard the Voco is 15 volts.
Yeah, it is 15 volts and the company definitely does not recommend that you plug it in to a 1 spot. I tried to do some research to find out what would happen to it and from what I could figure out there is a good chance that I might be shortening the life span of my Voco Loco. With all that being said, I haven't noticed any negative affects on how it operates or responds to the signal I'm sending it so far. It has been working very well this way for about 6 months. Time will tell...
really liked the piece. keeping the sax primary really grounded the work musically. involving
Hey Thanks! This track was so much fun to record.
Super cool, I love it! Carrie Shared it on FB!
Awesome! Thank you!