Anyone who has been working with Python knows that its rigid indentation rules can only do so much in the way of improving readability. However, with increasing code complexity, one can easily get lost without knowing their position in the “indent tree”. Some IDE’s give some sort of guidance bars on the side of the text hinting at the indent level you’re at. Moreover, strong indentation is good for reading the code, not necessarily a good thing when writing and testing.
But I am a vim user, and after a few years learning and harvesting the power of vim, one does not simply forfeit vim for an IDE. On top of this, I often program over the net and through a series of firewall, making the use of more advanced IDE’s somewhat unpractical. So there is a neat little trick I use. Let’s say I’m writing a function that must iterate over a series of compounds in a data base. For each compound I want it to collect some data, make a few calculations and then plot some data for each compound. The code starts like this:
def myAwesomeModel(myArg): if(myArg != "Valid Option"): print("ERROR: Your argument is invalid") return(1) for compound in compoundList: name=getName(compound) for method in methodsList: for property in interestingPropertiesList: (...)
When I first look at it in a catalogue, I mistaken i by my beloved VP-1. However, the Behringer VB-1 Vintage Bass has little in common with the VP-1, apart from the relatively large metallic case and the scarcity of controls. Like the VP-1, this is a relatively large (at least by today’s standards) grey metal box with one stomp switch, one knob and one small switch on the side. It is also a mono machine (but you probably won’t buy a second unit just to have it working in stereo).
So, what is the VB-1 Vintage Bass. Well, as the lettering on the front panel says: it is a Dual Dynamic Filter for bass guitars. However, there is no individual control for each filter… nor much documentation on their characteristics.
Whether it is in life, music or the YouTube scene, two years is a lot of time. I first brought my Behringer FX600 in late 2015, trying to complement the rather limited sonic palette offered by my volcas. At the time I made a small demo video of it with the volca keys. I was particularly impressed by the chorus and delay effects. I also enjoyed the pitch shifter, but ended up never using it ever in my productions. I also remember finding the phaser to be a little bit too shy, an the flanger to be as annoying as any other flanger out there.
However, time comes and goes, and I grabbed this pedal on a number of occasions. For example, when preparing my Berlin School Experiment no 4 I initially planned to use the Nux Time Core tempo-sync’ed to the sequencer. However I forgot to unlock the “tone lock” memory of the Nux Time Core and, not being able to realise my mistake, I went forth recording the video with an un-synced delay from the FX600. I also used it on my Microbrute through guitar pedals video, which is still one of my favourites.
Last year, I updated this website and started adding some interesting information regarding Electronic Music production and gear, as well as some demos and reviews of my own gear (specially guitar pedals on synths). I also published some of my musical compositions, which is something I love to do, but it is still just a hobby.
This year will be the year for the more serious matters. I intend to start filling out the items for the Computational Chemistry and Linux & Programming sections. Indeed, I already started it by publishing the collected abstracts of my published works, with some personal notes on the side. Hopefully, this week I’ll publish some of my annotated example calculations, as well as the first few pages of my Python for Chemists notes.
About a year ago, I managed to score a lot of pedals by not a lot a money. Most of them have had a comfortable life, in their boxes, in a shelf at home. Still, I remember I brought them, and decide to take one out of the box to test and see what they have to offer. Now, as many of you know, I have a thing for phasers (specially the Behringer VP-1), so it made perfect sense to add this pedal to my collection. The Behringer SP400 is a digital, monophonic phaser pedal made back in the day Behringer wasn’t too busy releasing spoof’s of possible future products. It might not sound as vintage and warm has the VP-1, but it has some interesting features I wanted to convey in the video demo bellow.
The build quality of the SP400 is similar to all other Behringer pedals of the 400 series: it has a blue plastic chassis with relatively firm knobs and the overall feel brings it closer to the 600 series than to the rather flimsy and fragile 200 and 300 series. Continue reading “Behringer SP400 Super Phase Shifter”
A few weeks ago I managed to score a rarity on e-bay: an almost new Behringer VM1 Vintage Time Machine. This is an old Behringer pedal (perhaps one of their earliest models) that is no longer in production, and hasn’t been for a long time. It is not an expensive pedal (usually it goes for less than 100€ on e-bay), but it is hard to come by. It is an analogue delay effects pedal, with some interesting features.
The first word that comes to mind when I think of this pedal is “Huge”. This pedal, like the VT999, is bigger than my volcas. It is also considerably heavy and can only be powered from a 9V power supply (center pin negative, like most pedals). In fact, the similarities with the VT999 Vintage Tube Monster are so many, I think the level knob on the VM1 is there only to accommodate the number of knob holes on the casing for the VT999. They were also made at about the same time and are fully analogue effects pedals. Both have a power switch on the back, but the effect is only engaged when you press the stomp switch on the front.
Taking a tour of the controls on the VM1, you’ll find the stomp switch and five knobs on the front panel: LEVEL, MIX, FEEDBACK, DELAY and CHORUS/VIBRATO. On the back panel, you have the power socket, an ON/OFF switch, one INPUT socket (6.5mm unbalanced TS mono), an EFFECT OUT socket and also a DIRECT OUT socket that send the unaffected dry signal. You also have a switch to select between CHORUS and VIBRATO as the modulation for the delay effect. This latter feature is a great addition I do not see very often on delay pedals at this price point, and greatly enhances the expressiveness of anything going through this pedal. There are also two LED indicators for POWER and for OVERLOAD. Continue reading “Behringer VM1 Vintage Time Machine”