Microsynth

["Sean Witters" <seanwitters@hotmail.com>]

        If you are using a six string guitar get the Microsynth not the 
Bass 
microsynth; or perhaps I misread and you are in fact using a six string 
bass, either way I recommend this device without hesitation.  The 
interface 
is wonderfully useful for "on the fly" manipulation and it can create an 
incredible range of unique sounds.  For what it costs it is an 
unbelievable 
tool.  It doesn't have the versitility of a Sherman Filter bank but it 
also 
doesn't have the price tag either.
        Used in conjunction with a multi-effects processor or other unique 
pedals 
it is deadly.  I've been able to achieve a reasonable approximation of the 
Methany sound, mini-Moog, synth flute, various Wakeman-esque gurgles and 
an 
endless assortment of picantique funk noises.  I apologize to dissenters, 
but if you can't have fun with this pedal something must be wrong (or 
perhaps you are just beginning to swing away from funky analogness, 
devastating the vintage market and leaving all these wonderful toys to me 
alone).
        Concrete sound examples:  I've turned my Yamaha PSR: built in 
speaker, 70 
unprogramable sound and rhythm, cheapo keyboard into a nasty sounding 
machine with the Microsynth's help.  Really, I've gotten some seriously 
dangerous funk synth bass sounds which are fantastic on Drum and Bass 
tracks 
and in looping.
        In conjunction with a pitch shifter, you can get some convincing 
synth 
bender sounds and also overcome the MS's monophonic tracking.  I've used 
my 
Boss SE-50's realtime to create a whole tone bend that sounds killing with 
the MS. I also use the SE-50 to do pseudo-smart harmonies.  I created a 
minor 3rd harmony and used the Realtime control to toggle between Major 
and 
Minor 3rds.  In conjunction with some delay and chorus I can create 
incredible "Blade Runner"-esque synth pads.  Which getting to my point is 
but one of the endlessly uses of the Microsynth in a looping context.
        I have to say that before I bought it I thought of it as a novelty 
item 
that I would use for certain specific roles.  I was mistaken, it has 
become 
a centerpiece to my rig.  I use it for, the attack delay when playing 
slide 
for pedal steel volume swells, laying down pimp-nasty bass loops, 
processing 
cheesy keyboard drums, or playing soaring leads (while making the GE Smith 
Hot-Face) with the octave overtone.  I guess I sound like an 
Electro-Harmonix plant, but this is really an incredibly musical pedal 
that 
induces creative responses.  It has it's quirks and draw backs 
(monophonic, 
gating, wall-wart) but it's incredibly useful.  Check Tonefrenzy.com for 
some audio samples.  I do find their test suite a bit limited, so if you'd 
like to hear some other uses I'll send you some short snippets as 
compresses 
AIFF's.

Best of Luck, Sean
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com