Hot Sawz best practice

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    • #115095
      bansta
      Participant

      I wonder, how do you, guys, use the new HotSawz algorithm?

      It sounds pretty damn good by itself. I mean: guitar – H9 – mix desk.

      But if I place the H9 before my amp, it sounds thin (of course I use the clean channel of my Mark V)

      In the effect loop it sound dull and somehow quiet.

      Thanx a lot!

    • #150762
      brock
      Participant

      I can’t help you with the loop end, but I’m finding HotSawz anything but thin on the front end.  Quite the opposite, with extreme filter settings.  I do run in stereo, yet I don’t see anything internal to the algo that might cause phase cancellation in mono.  Maybe the detuned oscillators … but I don’t think so.

      Without much modulation going on, a low MIX and/or CUTOFF below 50 or so really damps things down.  I’m finding them to be fairly interactive together.  HotSawz is dynamic to to input level, so I might check there second.  Compression might help, but I’d tend to think on the output, to preserve input triggering.

    • #150793
      bansta
      Participant

      it looks like not so many H9 owners use the Hot Sawz 🙁

    • #150798
      mistercharlie
      Participant

      I use it in into a mixing desk.

    • #150801
      Herr Mosa
      Participant

      I defintily use it a lot for Bass, it’s fat’n marvelous!

    • #150805
      davebrubaker
      Participant

      I’ve been getting great results running various pedals after Hotsawz. Adding an overdrive after adds alot of punch. And I’ve been getting some really interesting sounds with two H9’s after. When I first tried out Hotsawz I felt it had a limited range, but treating the output with additional effects opens up alot of possibillities.

      • #150889
        brock
        Participant
        davebrubaker wrote:
        I’ve been getting great results running various pedals after Hotsawz. Adding an overdrive after adds alot of punch. And I’ve been getting some really interesting sounds with two H9’s after. When I first tried out Hotsawz I felt it had a limited range, but treating the output with additional effects opens up alot of possibillities.
        mistercharlie wrote:
        HotSawz > fuzz . phaser.

        I see a similar pattern developing here.  As full-featured as HotSawz is, it makes sense to to add ‘modules’ to many synthesizer emulations.  HotSawz being the main component of a modular system.

        HotSawz likes to be first in the routing, but there’s room for experimentation before it.  Something that doesn’t confuse the pitch detection too much [envelope mods, even reverb!].  Like the others here, I’ve been using another sustaining / harmonics / envelope section [freeze; distortion; compression].  Then a ‘master effects’ module to blend it all together [modulation; delay; reverb; harmonizers].

        The most pleasant surprise has been using slicers, tremolo, & sequencers in the final module.  Complete transformations with HarPeggiator, QuadraVox, Diatonic, … Arpeggiating powerhouse.

      • #150890
        mistercharlie
        Participant
        brock wrote:
        The most pleasant surprise has been using slicers, tremolo, & sequencers in the final module.  Complete transformations with HarPeggiator, QuadraVox, Diatonic, … Arpeggiating powerhouse.

        I’m trying this out right now!

    • #150863
      mistercharlie
      Participant

      HotSawz > fuzz > phaser.

    • #154335
      brock
      Participant

      This seems like the best place to drop this one.  I needed a deep, resonant filter sequencing.  ‘Welcome Back My Friends’ ELP opener, but more intense.  I have a lot of random modulation presets to choose from for processing the input … https://www.eventideaudio.com/community/forum/stompboxes/some-random-h9-presets … but then HotSawz came to mind, as the complete package.

      Disclaimer wrote:
      You’re going to need some (external) source of sample-and-hold control here.  For expression input, along the lines of:

      • EHX 8 Step Program [Depth = 5]
      • Source Audio Reflex
      • Copilot FX Broadcast
      • TWA Side Step
      • Other LFO-to-EXP pedal, with a Sample & Hold (or Random***) waveform

      MIDI / synth people … you know what you have to do:

      • Sequencer / DAW
      • Synth outputting Arpeggiator / Sequencer CC values
      • RND CV [0-3.3V]
      • Lexicon MPX-1
      • Molten Voltage add-ons
      • A really fast foot on your switching looper
      • Others I’ve left out

      A small amount of dry input – pick attack, aided by fast ATTACK / DECAY.  Some GATE SUST & ENVELOPE to fatten it out.  Medium OSC DEPTH & detuned oscillators.  For the minimum expression position, enough CUTOFF & RESONANCE to always be present.  That hefty OUT LEVEL worked best for my gain staging.

       

      At the other extreme [Toe position], full on CUTOFF & RESONANCE.  I added a little LFO AMOUNT with the HotSwitch.  The beauty of using an external device with a pass-through expression input … is that you can fade in the overall sequencing effect.  A nice synthesizer filter growl at the Heel position.

      But also acting as a ‘master level’ over the random steps.  In this case, the CUTOFF & RESONANCE position [via the pass-thru] sets the upper limit over the sequence steps.  Result?  Gradually introducing the RND sequencer, while raising both the CUTOFF & RESONANCE at the same time.

       

      As an example (in the 8 Step Program), set the overall Depth to 5.  Change the Exp. Mode to Depth, for the pass-thru pedal.  Don’t set the sliders like the image above.  Give them a nice range from minimum to maximum values.  The order really doesn’t matter.

      With any external device used, let the Random*** control or waveform do all of the heavy lifting.  We’re looking to bounce among 8, 16, or more discrete combinations of CUTOFF & RESONANCE.

      ***Boring Random Addenum wrote:
      You’re going to see the terms Random and Sample & Hold / S&H used interchangeably.  Fair enough:  either one works.  In my mind, “random” implies a continuously variable control, without discrete steps.  “Sample & Hold” was what I was after.  But again, either will work, and the control label could be either one.  It might ‘glide’ between steps (or allow for some waveform skewing), or it might snap from step to step.

    • #154478
      aliengtr
      Member

      one of my favorite algorithmns for h9, I use it all the time with live looping slap that pup before loope straigh into 2 amps, here is a music video I did which features algorithmn well

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