Sascha Franck
Rock Star
- Messages
- 6,114
Which to be fair, might have some value on a dark stage if you are the type of player who likes to do the "turn knob to zero or max, then quickly turn it to about where you want it" thing.
Sure. But as there'd be LED readouts, you'd have to add a "want to adjust your amp without looking at it" criterium. And that's when it gets absurd.
The only reason why I could accept standard pots would be for things such as, say, wild manual delay maneuvers when playing with the feedback knob or so. But even in that case I think endless pots would be almost as suitable.
It's an inconvenience but it's not a dealbreaker for me.
For me it might be a dealbreaker. Not for common adjustments but in a live context. As might be known, I'm often playing "thrown into unknown waters" gigs, so I have to adjust small things here and there even when the gig is already going (which is why I'm as well thinking about proper remote control options, so I don't have to crawl on the floor...). Usually, I may just hold a note or chord and adjust. Parameter jumps are the worst thing you want to happen at that particular moment and soft takeovers aren't exactly what the doctor ordered, either, as you'd have to watch things. All that is instantly solved with endless encoders.
And fwiw, while I can sort of understand the aesthetic aspects on those "looks like analog but it's programmable" units from Strymon, I think that at least on their larger units (Timeline, Big Sky, etc.) endless encoders would be a way better solution.
Last edited: