P lol I actually really like this idea 
- We need the ability to quickly flip through various effects in the selected category and pulses.
- From the presented videos, it can be seen that in order to replace, for example, the type of delay, you will need to make several taps and swipes. This is acceptable when we know exactly what we want, but when we are in search of sound, we just want to quickly flip through one by one and hear the result. If possible, a rotary control will be better for this task than the buttons on the screen.
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+1 for having the ability to customize footswitch layouts - ie bottom row presets top row scenes
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Not a software feature…for those who want to integrate this floor unit into a pedalboard, tapped holes in the underside of the chassis so it can be bolted securely in place.
I have already written about the features of the equalizer used at the output of the device, but I was in a hurry and forgot a few details, so I will repeat, with clarifications.
This is an incredibly powerful tool that can be used not only to change the nature of the sound, but also to effectively eliminate feedback and achieve maximum volume even in tiny unprepared rooms. However, on all the effects processors I know, the implementation of PEQ is very ascetic and is suitable for use only by professional sound engineers who are able to distinguish frequencies with an accuracy of one Hertz by ear. Quad Cortex, thanks to the touch screen and powerful stuffing, should break this rule.
- The lack of visualization is the most difficult obstacle preventing the effective use of parametric equalizers. I have already mentioned that the most convenient visualization for tracking feedback is used in EQ2 (FLStudio), it really is. Take a look at the screenshots:
Although we see a pronounced peak on the curve, it is quite difficult to position the selector exactly on its axis. The EQ2 visualization draws a very bright vertical line and it is easier for us to set the selector more precisely, which allows us to use less bandwidth and cause less damage to the overall sound. However, visualization in EQ2 has drawbacks: note how well you can see all the noise from my microphone and amplifier on the curve, but there is almost nothing on the EQ2 visualization. Thus, it is useful to have two types of visualization. In some cases, the ability to switch between a linear and logarithmic graph helps.
However, the best way to achieve greater accuracy is to scale the graph horizontally. - In different usage scenarios (for example, the case of multiple musicians using the QC presented above), separate equalization may be required for each of the outputs. Therefore, you should add the ability to apply the equalizer separately to each output in stereo and mono modes.
- And finally, we need presets for the General equalizer, because it is quite a time-consuming task to adjust it every time we return to the base and at the points where we regularly perform.
Sum up
- For accuracy, we need two types of visualization and a switch between a linear and logarithmic graph.
Or the ability to zoom the chart in the horizontal direction - For flexibility, we need the ability to assign a different equalization to each output
- For convenience, we need presets
Here is one of the options how the overall equalizer should look like:
On the presented layout we see:
- Separate EQ configuration tabs for outputs
- activation button on the current tab
- a stereo\mono switch (In this case, it is activated for XLR and Phones, and deactivated for output 3-4 and send 1-2, so their tabs are divided)
- visualization switch
- switch the type of graph
Perhaps the idea with tabs and the location of buttons on\off and stereo\mono is not the most successful, however, concentrating all these functions on one screen would be quite convenient.
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I’d love to see a mixer utility, kinda like Octatrack MKII’s A-B sliding fader, that would enable smooth x-fade between any number of sources or fx chains.
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This reminded me of one great feature in the BOSS processors, they went much further than a simple fade mix. Here is an excerpt from the manual: You can use the divider to switch between channels “A” and “B,” to assign strongly picked notes and softly picked notes to different channels, or to assign different frequency bands of your guitar sound to different channels.
6 Likes
Here is my wish list:
- Boss HM-2
- Boss HM-2
- Boss HM-2
- Marshall JVM & JVM HJS
- Marshall Valvestate 8100
- Framus Cobra
- Mesa Grid Slammer
- Boss PH-1
- Boss OD-1
- Boss SD-1W
- Boss CE-2W
- Boss DC-2W
… - Boss HM-2
Also, because the QC doesn‘t have an S/PDIF out, it‘s really important that the USB audio drivers provide a very stable and low-latency performance.
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Chase Bliss MOOD and, em… Korg Kiku (lol).
A bit about ergonomics. In the demonstrations, we can notice that in order to go to the settings of another block, we first need to click the “done” button. It would be better to be able to immediately click on the desired block. Of course, this is just 1 gesture, but sometimes when setting up you need to repeatedly jump between two blocks, and a faster transition is significantly more convenient. It should also be noted that the pop-up window closes the 2nd, 3rd and 4th stereo paths, so when setting up blocks in these paths, you should raise them to the visible area instead of the first path, which also gives the opportunity to quickly move between blocks.
It would also be cool to introduce the option “Compact editing mode” in the main settings, which will slightly change the appearance and size of the block editing panel, and place a pop-up window at the top, closing the preset name and buttons that are not needed during editing. This will keep all 4 stereo paths visible and navigation on them will be very fast and convenient, here’s something like this:
By the way, next to the “Bypass” and “Done” buttons, the button that turns on the level monitoring mode on each block, about which I wrote above, fits quite well and logically.
It is possible to leave a pop-up window at the bottom by raising stereo paths, but at the top it seems more appropriate - the interface will “jump” less
10 Likes
Hello! Please add an amplifier Erasov Detonator.
All guitar processors usually contain a huge number of different amplifiers, but none of them ever contains devices from Russia. Meanwhile, Erasov make very interesting amplifiers. Most of the devices of this company are replicas of recognized world leaders, but Detonator is Erasov’s own development, and it sounds simply amazing.
https://www.yerasov.ru/catalog/lampovye-usiliteli/lampovyy-gitarnyy-usilitel-detonator
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I plan on using the 4C to process both my vocals and guitar and a feedback detector/killer would be a really nice feature. Also IRs of emperor cabinets would be great as well.
I don’t think I’ve been this excited about a piece of gear in ages. Can’t wait!
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Hi. I think It will be great to add a very realistic and plausible Stereo Doubler effect for guitar and vocal. Like Mimiq by TC. And ofcourse many vocal effects. First of all realistic smart harmonisers that can be directed by your guitar, or keys.
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P.S. I suddenly realized that the description of the “Monitor” button might be interpreted incorrectly. When pressed, it should display the monitoring scales on all blocks at the same time. Turning on one on each block will be quite time consuming.
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Some good presets for acoustic guitars/piezo please!!! Does anyone ever model acoustic amps?
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A good video library of how to best use the quad cortex for those of us new to modelling systems.
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Not much to model. Acoustic amps are mostly just flat(ish) amplification systems with some compression and reverb.
Friends, you must admit that the lack of a drum machine in processors of the highest price category is one of the worst practices of today. The manufacturer, as it were, implies that the owner of such a device is already super professional and does not need to train a sense of rhythm, or uses a DAW or a slave-drummer for this. But this is not so, even pros sometimes just want to sit on a sofa in their penthouse to put on their headphones and play under four simple strokes before the concert. And since it is stated that QuadCortex is the most powerful device on the planet and it is from the future, then the drum machine in it must correspond to this level! I took the liberty of describing what it should be 
Let’s get started!
Of course, this should not be just a set of a dozen different rhythms. Thanks to the touch screen, it can be a full-fledged sampler with a sequencer. Drum sample libraries can weigh quite a bit, a library of 12 samples will take ~ 1.5 Mb in wav format and ~ 150 kb in ogg or mp3. So can easily embed 2-3 libraries, as well as allow users to download several of their own. Given the ability to process the sound of drums with a reverb and equalizer, we can achieve a very wide range of sounds. This is what the main screen of our drum machine should look like:
Everything is pretty standard here, I will only describe the purpose of some buttons and interface elements. The largest window is the sequencer itself, in it we mark which instrument should sound at which moment of the measure, the red dots are the running light that marks the current time fragment during playback. The list of our instruments on the left is the sound of the drums. The “Kit” button is used to select a sample library.
And finally, on top the panel with several control buttons, now more about them:
- Load - allows you to load a MIDI file from the device’s memory
-
Save - allows you to save a MIDI file
You can create files with drum parts on a computer, this will allow you to rehearse in the absence of a drummer. - The following two buttons (“4” and “b/4”) allow you to specify how many beats contains a bar and how to split each beat. The sequencer layout is based on these settings.
- The yellow button “120” is tap-tempo, the current rhythm is indicated on the button, and if you hold it, a panel will appear on which you can set the rhythm with the slider and +/- buttons
- The Play and Stop buttons speak for themselves.
- The purpple button “bar” depending on the selected mode, displays the text “bar”, “bars” or “Song”. Tap opens a panel with some playback settings.
- Countdown - adds a zero bar to prepare. Of course, you can add a countdown to the MIDI file, but it spoils the mathematical beauty and order, I don’t like when the verse ends with, for example, 33 bar and not 32. Or the whole song has 129 bars, not 128.
- Repeat - serves to loop the drum part.
- The second row of buttons allows you to set the playback of one bar, the whole song or part of it using the sliders and buttons below. This is useful for practicing a specific piece of a song, such as a verse.
- Next are the buttons for moving through the bars one at a time, the central button contains the number of the current bar, when you click on it, a panel appears allowing you to immediately move to the desired bar.
- Edit, a cool button, it contains a panel that controls the clipboard and a command to clear the current bar from all notes. The clipboard can greatly simplify the creation of long batches of drums. It contains several cells at once, you can tell it, for example, to remember bar 1, bar 9, and then insert them as necessary. In this screenshot, we see that 2 cells are ready for insertion, and 4 are empty, you can remember something in them
Pay attention to the part of the HiHat, you may notice that some notes are a little darker. Thus, the volume of beats is marked, this allows you to set accents and vibration. To edit the volume of each beat, you just need to click on the instrument of interest, the sequencer will take on this form:
Here, in addition to the volume of each note, we can adjust the overall volume of the instrument, its panorama and the send level to the effect chain.
- “Settings” button, opens this panel:
Here we again see the ability to customize individual volume, panorama and send to the chain of effects, but for all instruments at once in a convenient table. The inconspicuous chain icon, to the right of the inscriptions vol, pan, fx is used to link all the faders, to simultaneously change. On the right we see the effects themselves - a reverb and an equalizer. And a few more buttons at the very top.
- The first allows you to specify which MIDI-channel will be on, this will allow you to control it from the outside or vice versa, use it to control other devices.
- The second button is the drunk drummer mode Allows you to set some random quantization, making the drum machine more lively, contains 4 modes - off, light, medium, hard. Generally a pretty good feature, it really enlivens the drums.
- Inverted. As you noticed in this sequencer, the “Kick” is located on top. Usually in different DAWs it looks the other way around, a note C1 corresponds to the “Kick”, and it is located below. I don’t really like it, let there be a button for inverting the view.
- And the last button indicates instructs the drum machine to use global settings or different for each preset.
And finally, a small nuance of the sample library. Since the drum machine allows users to load their libraries, you cannot hard-code the names of instruments. It is necessary to agree on the name of the samples and take the names from them. For example, like this:
01.Kick.wav
02.Snare.wav
03.HHopen.wav
etc.
The numbers and the file extension should be discarded, and take the middle part as a name. And please do not start numbering at 00, most people are not programmers and are used to counting objects from the number 1
I hope this impresses you, I killed a couple of evenings to develop this concept =)
17 Likes
One other thought that could be very useful, is making the volume on presets all the same, or close to it to start. This would make the experience of auditioning sounds much less frustrating. From there all of the volumes could be adjusted. For those of us who play mostly with headphones at home, this would be a great thing.
3 Likes