It focuses on octave-based transposing as the name suggests and can be used for both bass and guitar with very satisfying results. 03:26 am GMT How Does The Boss OC-3 Work? It really adds power to my riffs and again, having the effect separate from the pedal means I can distort the direct output or both if I need to and still have a big massive sound. It sounds great and it handles multiple notes flawlessly. As I like to play a lot of chords and I really only want the effect on the lower notes, this mode meets my requirement perfectly. And again, you have such control with levels for all three signals so you can tune it in just right. Having that second lower octave deepens your tone and really adds weight to your sound driving it much further in the mix. The OC-2 emulation is also great on the OC-3. This effect does sound better when you use the direct out and (mono) output together but you still get a great sound just using the “mono “output. You precisely dial in the right amount of drive with the octave level, and you can get a great blend with the direct signal too. The dirt/grit of the drive mode and the artifacts produced by the algorithm sound dark and eerie which I personally quite like. As the first compact pedal with true Polyphonic Octave effects, it’s no surprise the pedal receives praise from countless guitarists worldwide. It offers 3 modes of octave effects, including an emulation of its predecessor, the Boss OC-2. Ultimately, I think I achieved a wide, multi-dimensional sound while playing what’s essentially the same rhythm part throughout.If you are looking to add texture or depth to your sound, the Boss OC-3 Super Octave pedal is a superb addition to your rig. When recording this song, I additionally tracked different pairs of left and right rhythm guitars that are treated with a sub-octave effect with a wet/dry mix, and I also utilized pickup coil-tapping to add some single-coil “snap” to the overall tone. Throughout the riff, the focus is on the subtle shifts in rhythmic syncopation, with the emphasis changing from the downbeats to the eighth-note upbeats. The initial six bars then repeat, and the entire form ends in the final two bars with strummed octaves on D, fretted on the A and G strings down in 5th position, using the conventional octave shape on non-adjacent strings and played in a syncopated rhythm against the open low B note. The first eight-bar section ends with C# octaves at the 14th and 16th frets on the bottom two strings, followed by a shift down to A# octaves at the 11th and 13th frets. In bar 5, the riff becomes more “warped,” as I include more of the A# notes at the 11th fret on the bottom string, which I similarly bend up a half step. I end the bar by reaching up to D at the 17th fret on the A string followed by D an octave lower, at the 15th fret on the bottom string, again using what looks like a conventional power chord fingering shape that I’m shifting around the fretboard. Bar 3 is a restatement of bar 1, and in bar 4, I allow the open low B note to ring through the first one and one half beats, followed by the high B note on the A string’s 14th fret and the “middle B” at the 12th fret on the bottom string. In bar 2, I repeat the first two beats from bar 1 then veer off in a different direction and add a high E note on the D string’s 14th fret, followed by A# at the 11th fret on the low B string. When bending your lowest string like this, you have no choice but to pull it in toward the middle strings, as pushing the string upward, using the more common push-bending technique, would cause it to fall off the side of the fretboard “cliff.” In between these double-octave B notes, I add an additional B that’s only one octave above the open low B, played at the 12th fret on that string.Įvery time I fret this note here, I’ll bend it up slightly, approximately a half step, which lends the riff a haunting, demonic quality. As you’ll see in bar 1, the open low B note (which is actually A at concert pitch) is played alternately against a B note two octaves higher, located on the A string’s 14th fret.
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