![]() ![]() ![]() Studio Veteran), Juan Alderete (Mars Volta), Michael Rhodes (Nashville Studio Ace), and Marcus Miller. MXR Bass Innovations products are found on the pedalboards of artists like as Robert Trujillo (Metallica), Leland Sklar (L.A. MXR's commitment to bass players has been solidified by the development of the MXR Bass Innovations division-devoted to developing cutting-edge tools for bassists on stage and in the studio. CHT also protects against incorrect reverse polarity and AC voltages.īass players world-wide rely on MXR pedals to overdrive, funkify, EQ, and compress their bass sound. For example, CHT will produce 18-volt headroom from a used battery down to 4.5-volts and voltages up to 30-volts. CHT utilizes voltage step-up techniques, which supplies constant 18-volt headroom regardless of source voltage. The MXR CHT circuit produces 18-volts of headroom from a single 9-volt battery or external power source. The Bass Octave Deluxe boasts a durable, lightweight aluminum casting and has the same high-quality jacks and switches that make MXR pedals the road-ready standard on pedal-boards around the world. Bass players love the 2 separately processed and individually voiced octave controls-Growl (for throaty, midrange octave-below tone) and Girth (for deep and smooth octave below). ![]() Use the Dry knob to mix your direct bass signal with the octave effect, or hit the Mid+ switch to add up to +14dB of internally adjustable low-mid punch (400Hz) or midrange pop (850Hz). It corresponds to GNU Octave version 7.2.0. The MXR M288 Bass Octave Deluxe is a dual-voice octave pedal using MXR's 18-volt Constant Headroom Technology (CHT) to provide studio-performance headroom and superior tracking. GNU Octave (version 7.2.0) This manual documents how to run, install and port GNU Octave, as well as its new features and incompatibilities, and how to report bugs. 1974 Electro-Harmonix Big Muff Pi (Volume: 4, Tone: 6, Sustain: 6) GUITAR: 1969 Fender Stratocaster (alder body) with late-'70s Charvel birdseye maple neck, DiMarzio FS-1 single-coil pickup (bridge), two 1971 Fender Stratocaster single-coil pickups (middle and neck) and custom neck pickup engage switch (bridge and neck pickup setting first solo, bridge pickup only second solo/outro), Volume: 10, Middle Pickup Tone: 10, Neck Tone: 10ĪMP: circa 1973-74 custom Hiwatt DR103 100-watt head modified with linked channel input (Linked input, Normal Volume: 7, Brilliant Volume: 4.5, Bass: 6, Treble: 5, Middle: 4, Presence: 6, Master Volume: 5) with WEM Super Starfinder 200 4x12 cabinet with Fane Crescendo 12A speakers, Alembic F-2B preamp (Input 1, Bright: On, Volume: 3, Bass: 4, Middle: 4, Treble: 5) with Yamaha RA-200 revolving speaker cabinet (internal preamp/amp bypassed)ĮFFECTS: MXR Dyna Comp (Output: 7, Sensitivity: 4), c. The key to Gilmour’s smooth, singing sustain is to provide a strong signal up front (courtesy of the hot FS-1 pickup and MXR Dyna Comp ) while also stacking gain via the Big Muff and Hiwatt, each set to moderate volume levels that combine into something bigger than the sum of their individual parts.Īutomatic double tracking, distant room miking and a subtle hint of long delay added during mixing polish the final performance with ethereal ambience. The Yamaha rotating speaker cabinet provides subtle modulation and also adds body to the throaty midrange tones produced by the Electro-Harmonix Big Muff Pi. Gilmour’s Hiwatts also have custom linked inputs that combine the Normal and Brilliant channels in parallel, similar to jumping the channel inputs on a four-input model or using a Y-cable. The Strat’s DiMarzio FS-1 bridge pickup provided hotter output than stock Strat pickups, and a separate toggle switch that engages the neck pickup allowed Gilmour to use the bridge and neck pickup together for the first solo for added body and sustain. The Strat and Hiwatt head had custom modifications that shape much of the distinctive tonal character of both solos. ![]()
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