ROLAND V-BASS synth MusicMan OLP Stingray +GK3B

OLP by Ernie Ball Musicman Stingray met GK3B synth 13 pinuit
met   ROLAND V-BASS
For a device that must be technically very complicated inside the box, the V‑Bass is actually quite easy to use and is capable of mimicking pretty much any conventional bass sound, as well as producing very usable caricatures of fretless and acoustic basses. I think the synth side has a lot of creative potential, providing you don't look at it as a way of emulating other instruments. Instead, it produces quite obviously synthetic textures that may hint at, say, cellos, brass or strings, but which nobody would perceive as anything other than electronic. What's more, because the harmonic structure responds to playing technique, these sounds can carry a lot more expression than keyboard synth parts. Other than the temperamental pitch tracking on those sounds that need it, the only other element of the technology that didn't impress was the pitch-shifter, which is still betrayed by all the familiar artifacts when attempting to create large shifts, such as fifths or octaves.
On balance, the V‑Bass is a very powerful tool, especially for the live performer who needs to change quickly between very different bass sounds or who wants to use the bass guitar in a more novel and virtuoso way. In the studio, it can provide the complete spectrum of standard bass guitar sounds very easily, and most of these would be completely undetectable as emulations in a typical mix, while the synthetic sounds provide a welcome alternative to keyboard synthesizers. The cheaper alternative of a modelling bass guitar preamp may satisfy those users who don't need to model the actual guitar type and who are not interested in synth-like bass sounds, but there's no denying that the V‑Bass is as yet unique and can create bass sounds not achievable by any other means.
The Pedal Shift model is the bass equivalent of the guitarist's 'dive bomb' effect, where the pedal operates the pitch-shifter over two-octave range up or down. This can be switched to operate only on specific strings if required, though I feel a two-octave drop on the pitch of the bottom note of a bass guitar could be bad news for whatever speaker system is being asked to deal with the result! Poly Octave again adds one octave below the original string pitch, so care must be taken not to shake your monitors or bass amp to death.
The Poly Distortion model was introduced in the Roland GR300 guitar synth
Poly Slow Gear is again derived from the V‑Guitar and generates a slow fade-in

COSM Modelled Instruments:

• Acoustic.
• Electric.
• Fretless.
• Vari Bass.
• Wave Synth.
• Osc Synth.
• Filtered.
• Bowed.
• Pipe.
• Crystal.
• Organ.
• Brass.
• Pedal Pitch Shift.
• Poly Octave.
• Poly Distortion.
• Poly Slow Gear.

COSM Modelled Amps:

• Concert.
• Flip Top.
• B-Man.
• VO Drive.
• Session.
• T.E.
• Bass 360.
• Super Flat.
• AC Bass.
• MS Stack.
• Hi Gain Stack.
• Metal Stack.

Effects Algorithms:

• Comp/Lim.
• Pedal Wah/Auto Wah.
• Overdrive.
• Equaliser (fully parametric).
• Modulation (Harmonist, Pitch-shift, Flanger, Phaser, Sub EQ, Chorus, Tremolo, Pan, Pedal Shift & Vibrato).
• Delay.
• Chorus.
• Reverb.
• Noise Suppressor.

TAG  :  vg8ex , GR-55, VG-99, BOSS,VB-99, GP-10
Synthé ROLAND V-BASS vb-99 MusicMan OLP Stingray +GK3B