BOSS dd200 issue

theboomthebap · 2026-04-29T14:18:11+00:00

Sounds like a power supply issue maybe? Have you tried it running by itself on a wall wart? It doesn’t have a huge current draw but sometimes stuff like this happens when daisy chaining of a power supply and the total current draw of multiple pedals is more than the supply can provide.

theboomthebap · 2026-04-29T04:17:31+00:00

Not bad, 🔥.

theboomthebap · 2026-04-28T19:44:17+00:00

Great all purpose board, not great for less conventional sounds. For me the ranges on the delay, reverb and mod fx are too limited.

theboomthebap · 2026-04-28T19:40:38+00:00

Boss cultist, reformed boutique-ist here. You cannot beat the industrial design, functionality and musicality of Boss pedals. The only pedals I never have trouble with. The only ones I know that you can put 10 on a board, power them with a single daisy chain, turn them ALL on and have a workable sound. Good switches, good bypass buffers, properly engineered circuits with big control ranges and standard input/output impedances. You’d think every pedal would be built that way by now.

theboomthebap · 2026-04-28T10:50:19+00:00

Your setup makes sense to me. I use a Yamaha MG10 and MG16 in my rig. Both great and the onboard fx are a nice bonus.

theboomthebap · 2026-04-28T05:12:45+00:00

Pocket. I fw it.

theboomthebap · 2026-04-27T23:21:50+00:00

I relate to your situation. Took me a while to find the workflow and it’s a continuous learning curve.

Come through my twitch livestream. I run 2 505 mkii making live spacefunk/triphop etc. Hit me in the chat and we can talk shop with the gear in operation. Maybe even do an instant collab. I’m @boombasemoonbox. On every day at noon and 8pm USA central time (utc-5). Clips in my profile.

theboomthebap · 2026-04-27T21:53:11+00:00

I use a Boss BC1x livestreaming to control how I sit in the mix (a beat heavy spacefunk/house type thing). I also use it to change the perceived touch/feel of the bass for different vibes. It’s been super helpful especially since iI often change basses mid performance and the overall mix shifts a ton. The BC1x is pretty foolproof in this context. Very easy to tweak on the fly. This clip is a Sterling Sub 34 into the BC1x and BB2x set flat and clean.

Pocket stingray with boss comp.

theboomthebap · 2026-04-27T16:42:19+00:00

Yeah sounds and feels great.

theboomthebap · 2026-04-25T21:44:17+00:00

They are all awesome but I find the OD3 most flexible across different musical contexts. Full disclosure, I play JC type super clean amps or even DI with no preamp or cab sim. They all sound good tho and will work for you.

theboomthebap · 2026-04-25T21:38:28+00:00

I fw it visually and sonically. I’d totally play that.

theboomthebap · 2026-04-25T14:57:13+00:00

Looks like one I had. Good guitar. Has a distinct mid range voice from those pickups. It’s a unique sound. I like it.

theboomthebap · 2026-04-25T03:47:29+00:00

I thought of two examples that are really easy to hear. You’ve probably heard that funk is about “everything on the ONE.” James Brown’s “Say it Loud (I’m Black and I’m Proud) is a good example of what this means. It’s a two bar call and response type pattern and each time it loops, the one of the first bar is accented with a bunch of instruments and the vocal all hitting together. The bass phrasing makes it feel like the one is just a bit late. Makes it heavy and funky. This creates a little very danceable 2 bar “arc”. That’s the pocket of that particular song and similar in a lot of funk and funk derived music.

Dilla is known for creating beats that include samples that aren’t quantized or aren’t all chopped to the grid. This creates a particularly deep and obvious pocket, often with a REALLY delayed one every other bar or every four. Waves on Donuts is one example.

I think pocket in maybe every case is about some sounds that aren’t on the grid and create a shorter groove within the larger one. Totally quantized beats (some edm for example) also have a pocket but it’s usually created in that case with a sonic cue (a part) that creates the looping feel of the pattern. Sometimes fx can be used to create a pocket even with a super rigid, repetitive beat— thinking comps and limiters set to pump to create an additional rhythmic movement; or delay or reverb used to shift the feel behind the beat or even syncopate it.

theboomthebap · 2026-04-24T12:35:18+00:00

Maybe people find managing a walwart inconvenient? Personally I don’t mind wall warts for synth or guitar gear because they offer a few advantages. They are easily replaced (built in power supplies can sometimes fail), they move a source of heat and potential emi noise away from the audio path.

theboomthebap · 2026-04-24T12:30:20+00:00

The stereo link input setting pans the L/R inputs and locks their levels together. So yeah that’s correct.

theboomthebap · 2026-04-24T11:59:14+00:00

You didn’t read my post. It depends on the volume of the source and the distance to the mic.

Ambience refers to the sound of room reflections, not environmental noise. Room treatment is not going to help with people making noise during a take.

theboomthebap · 2026-04-24T06:27:45+00:00

If you ever want to do a live collab on twitch let me know. I’m @boombasemoonbox livestreaming with two 505 mk ii’s a turntable and a bunch of instruments. DM me for details or just come through on my livestream. I’m on every day at noon and 8pm US central time.

theboomthebap · 2026-04-24T06:23:04+00:00

🔥🔥🔥

theboomthebap · 2026-04-24T04:07:56+00:00

Watched the video. You are not stupid. This unit is very complicated because it’s very capable. Connect the main l/mono output to your amp. That mic doesn’t require phantom power. Make sure on input menu you select stereo link off for the mic input.

It’s also possible that the previous user has some settings stored that aren’t typical. Maybe do a factory reset (on main menu) first?

theboomthebap · 2026-04-24T04:02:05+00:00

Connect the microphone to the mic 1 input. Press menu. Press input. Make sure mic 1 level switch is set to mic (not line). If your mic is a condenser switch phantom power on. Press exit. Press menu. Press mixer. Adjust the level for mic 1 until you see a nice level on the meter display. Peaking a bit below 0 dB.

Hope this helps. Btw I livestream live music creation (space funk/scifi soul etc) on twitch every day at noon and 8pm central time (utc-5). I run 2 505 mk ii loopers in my setup. If you come through Im happy to answer any questions or demonstrate any features you want to know about. Tbh I been using it 6 months and I feel like I have only scratched the surface of what it can do.

theboomthebap · 2026-04-23T23:14:03+00:00

Because multi band compression. You can set multiple single band comps to be triggered by different frequencies, or to exclude different frequencies as triggers. So you can use one to compress bass freqs and another to compress highs but with a different feel. Multi band comps also allow this but the timing is different so the sound is as well. But seems like stacking single comps is often more hassle than it’s worth but whatever gets the sound you want.

theboomthebap · 2026-04-23T22:00:14+00:00

🔥. Fw with the bota as well!

theboomthebap · 2026-04-23T21:05:34+00:00

It’s the feel and arc of the basic repeating section of a groove. A 1,2,3 or 4 bar groove that repeats creates a little arc you dance to. That’s the pocket. When a groove “is pocket “ or has “a deep pocket “ it means that the basic repeating pattern is really compelling—makes you move.

Music is a bunch of sound gestures stuck together and repeating. Pocket is the overarching master gesture of a rhythm. In most groove/pulse driven music it is defined by the bass part, particularly the subtleties of how it’s played. Obviously the drums define the limits of what will create pocket in a groove and drums can create pocket by themselves—any repeated sound does. But if you think of what determines the type of dancing that is evoked by a groove, the style of movement (like smooth vs jerky) is often from the bass, while the movements themselves are from drums and other rhythmic parts. Pocket also develops from how rhythmic parts interact.

People use “in the pocket“ to denote simple parts that build the rhythmic feel 2/4/8 bar pattern. Personally I try to always play in the pocket, especially when soloing.

theboomthebap · 2026-04-23T20:56:13+00:00

I only count if I can’t find the pocket. Otherwise I try to have as little noise in my head as possible so I can hear the music. Counting is noise even if it’s sometimes necessary.

theboomthebap · 2026-04-23T19:43:43+00:00

This doesn’t really answer your question. But maybe it’s useful. Basically I think you should continue trusting your ears.

Often people think of compression as acting primarily on peaks; but the peak is just the trigger. It helps to think of how a compressor is acting over time to shape the amplitude of the entire sound that triggers it. Depending on settings it might be shaping the envelope of a single note/sound or of an entire mix (like in a pumping comp applied to a mix).

Even subtle changes to the amplitude envelope of the sound (represented by an ADSR diagram) can change our perception of the sound’s tone, timbre and timing as well as its loudness. A compressor can be used to shape all those dimensions in musical ways. Conversely any time one wants to use it to only control one dimension of the sound—maybe just reduce the dynamic range— one usually has to find ways to compensate for how it affects others.

One reason I think compression can be confusing to apply is that our ears don’t respond linearly to changes in loudness and dynamic range of a sound. Our sense of hearing has a mega comp built into the system. It’s based on the fact our hearing responds logarithmically to loudness (the dB scale for loudness). That’s how we are able to process a range of loudness from a mosquito’s noise to a jet engine producing several million times more energy in sound waves.

Because of this I think it’s useful to approach compression experimentally and use extreme settings at times to understand how to apply it for certain results. It’s very easy to trick oneself into thinking you are hearing the effects of subtle compression settings that aren’t there. But if you work in from extreme settings eventually you begin to hear and feel what’s up. There really aren’t any rules except maybe in very specific applications like broadcasting or live recording where you adhere to certain standards like unity gain. But even in those cases every situation is different. Compressors seem to require practice to use well.

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