Osiris

Just received a Gator bag from Phil, it was new as described, a great price and he kept me informed re the posting. Cheers Phil

If you don't want to use one, don't. Nobody is forcing you to. But I'm also a working bass player and gig regularly and always use one, my bass sound is more controlled and sits in the mix better because of what my compressor is doing. Plus I still have total control over my dynamics, the idea that compression destroys dynamics is a myth that refuses to die... It's worth it to me but if you see no benefit then don't bother.

Compression works on - and benefits - all playing styles when dialled in correctly. And the risk of sounding like a broken record you really need to understand how compression works, what each parameter does and how they interact with one another to apply them properly. It's more of a feel thing than an obvious tonal change, but when done right brings your bass line to life. It's very easy to get compression wrong if you don't know what you're doing which leads to the same old arguments against using it. Do some homework on the subject and it'll start making total sense, so much so that you'll wonder how you ever got by without it!

They do that if they're not dialled in with the right settings, but they do the exact opposite when configured correctly.

I took a punt on it through eBay, I've got one of the sellers civil war muff clones and it's a great pedal so thought I'd try something different. It was this one, https://www.ebay.co.uk/itm/186294077685?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=-rQ31T5FTxq&sssrc=4429486&ssuid=gZq2qOSFQFe&var=&widget_ver=artemis&media=COPY

Dunno if you're still looking for a pedal that will give you a farty mid range but I've recently picked up a clone of the Way Huge Red Llama and it nails that kind of tone, IMO. It's a very unique sounding pedal, it's a low to mid gain drive but with almost fuzz like characteristics albeit without massive amounts of gain. Excellent bass retention too, I didn't notice any significant low end loss at loud in-the-house volume. I've never played the real thing to compare how close it is to the original but from the couple of YouTube clips I've seen I'd say it's definitely in the same vein.

My thoughts of it are in this thread. In short, I thought it was hilariously 💩.

Interesting, and I'm sorry to hear that. My JMJ lives on one of two Hercules wall hangers when it's not being played, I've had the bass 4 years now and it has been hung on the wall in all that time and there's no visible discolouration or other reaction artefacts where the hanger is in contact with the head. The wall hangers have been up for around 10 years now. When I'm out gigging and rehearsing I use the Hercules headstock dangler type stands too with no issues. But the stands are only around 3 years old. Like you, I had an issue with a pair of older Hercules stands where the plastic clamping system was starting to get sticky and break down. But at this point those stands were something like 15 or more years old and credit where it's due to Hercules, when I contacted them to alert them to the issue they replaced both free of charge, not that I was expecting them too considering the age of them. So I appreciate that this doesn't help in your situation and it sounds like you've just been unlucky. And for what it's worth, I'd be annoyed too in your situation.

Thanks Nick, was it just a case of snipping off the EMG connectors and soldering the ends of the wires to the existing input socket?

@Old Horse Murphy I'm also thinking of putting a pair of EMG Geezer Butler pickups in my Sandberg short scale. You mention the jack socket being too big to fit the jack plate, by this I'm guessing you mean the little plastic cover that holds the input jack in place on the edge of the bass? Was it much of a difference, i.e. could you just enlarge the hole a fraction on the little plastic jack plate to get it to fit? Or was there also an issue with trying to fit the jack socket through hole from the control cavity to the outside of the bass? The reason I ask is that I'm a bit cack-handed at this sort of thing and if there's any extra mods required to make the GZR's fit the bass then I might need to have a rethink.

I don't want to pi55 on your chips but the CS-3 isn't really a suitable bass compressor - unless you want that super squashed compression as an obvious effect type of sound. I used one for a while years ago but quickly moved it on as it was too heavy handed even at minimum settings for what I look for in a compressor. You might get away with it if you have a way of running it in parallel with some of your dry signal, or you might just enjoy it for what it is, but you can't argue with the price!

Bass the world have got a new video up demoing both units, both sound good to me, especially the 1176 😎

I've had my JMJ Mustang, which I believe has a nitro finish, for 4 years now and have used Hercules wall hangers as well as their tripod stands with the neck gripping thingies*, and never had any issues with the materials they use in their products reacting with the finish. *One of these.

Just sold a pedal to Col and all was as it should be, no fuss and instant payment. Cheers Col, enjoy the pedal!

Recommending compression settings is difficult as there's so many variables to consider, so what works for some will almost certainly not work for others. There's also different types of compressor design that can impart different qualities on the signal. And I know I keep banging on about it but to get the best out of a compressor you really need to understand what each control does and how they interact with each another. Have a look on Ovnilab at the overview pages as they're really good at at explaining the relative complexities in understandable language. But it's still down to you to apply that knowledge to make the magic happen 😉 But from what you've said you're looking for I'd suggest a ratio of around 4:1, always a good starting point, a hard knee setting if you have control over it, and ideally a FET or VCA based circuit as they're usually inherently quicker and punchier sounding than optical compressors. But these are just guidelines rather than rules. I All good pointers. But there other options to explore that you may prefer, for example, I prefer faster attack and release times as they work better with my heavy handed playing. You can also experiment with lowering the threshold to catch every note but using a lower ratio, 2:1 for example, to give everything a gentle squeeze. There's no real absolute rules to compression but it's easier to get it wrong than to get something that works for you if you're just fiddling about without really understanding what you're doing. It's definitely worth sinking a couple of hours homework in, and if you can do that while twiddling some knobs it might help things make more sense. It's also worth trying different settings with the band at volume as compression always makes more sense in context than in isolation.

Thanks for the clarification. In that case the PC-2A might be worth a look, but as Jack tightly says...

Not trying to be difficult, just get an idea of where you're coming from... Can I ask why your want a valve driven compressor? As far as I'm aware, most valve based designs actually use the valve for the post compression gain stage and not to do the compression itself. From what I've read, the Mark Bass pedal mentioned earlier is the only unit other than some high end studio gear that actually uses to valve for compression duties and not just for make up gain. How much difference this actually makes in reality, you'd have try for yourself and see what you think - I'd guess not as much as you might expect. There's a number of different compression types, optical, FET, VCA etc, and many different designs of each type and each have their own inherent characteristics, neither better or worse than any of the others designs, just different depending on what you want. Personally I wouldn't but a compressor just because it has a valve inside unless it was doing something that I couldn't get from a different unit. If you want mellow warmth, I'd look at an optical design. Yes the PC-2A has a valve in it but I suspect some of its warmth is coming from the inherent characteristics of an optical compression circuit. It cannot be stressed enough, do your homework if you want to get compression right. Read up, learn what each parameter does and how they interact. Only then do they make sense.

Joel very kindly sent me up an IEM case free of charge. I'll be throwing some money into the charity bucket as a tank you. Top marks, cheers!

Can do, but not sure I have anything helpful to add really 🤷‍♂️ I have tried the Mk1 Lusithand Alma and it's a very good unit - and I say that as someone who doesn't really care for optical compressors but of the several I've tied this was by far my favourite. Haven't tried the Mk2 so no idea how they compare. Optical comps tend to have a slow slow attack by their inherent nature and can get a bit 'grabby' with my heavy handed playing which is something I don't care for about them generally, however, the Mk1 Alma didn't have that slow grabby thing going on which is what I really liked about it. It's a very good unit, IMO, and I liked it a lot, but not quite enough for it to displace my humble Boss LMB-3 which I've been using on and off for 20 odd years. It's not the most sophisticated or costly unit, but it works better than anything else I've tried for my playing style and I haven't found anything else that adds the sheer amount of mid-range punch that you can get from it. The Alma is one of the so call character comps that imparts its own thing on your tone, and it does to a point but it wasn't as pronounced as I'd expected from what I'd read about it. That's neither a good nor bad thing, just an observation. But as a simple, easy to use pedal it sounds very good and does what it's supposed to do. But it's not one if you want granular control over your compressor. I've not tried any of the Empress models, but they have a reputation for being very clean and transparent which is not something I want from a compressor so I've never bothered to track one down but would happily give one a go if ever the opportunity presented itself. But the Boss BC-1X is very good, I can see why fretmeister likes it, it's definitely transparent and a very clever bit of kit. If I was recording it'd probably be one I'd go for, but as I'm almost exclusively a gigging musician the simple LMB-3 works better for what I want.

Not sure how helpful this is but I tried running my LMB-3 in the fx loop to try running parallel compression and couldn't really get what I wanted from it, the LMB lost a chunk of volume and a lot of its characteristic punch you get from running it in series. So I always run the LMB into the preamp, not in the loop. I don't use much else in the way of effects as such, it's more utilitarian stuff but it's all in series with nothing in the fx look as it sounds more pleasing for my tastes. What settings were you using on the limiter when it was killing the sound of your other pedals? Without intending to be patronising, it's very easy to get compression wrong so I'm wondering if maybe the limiter was set with something extreme that was overloading the following pedals?

Shameless plug but this does the warm bluesy drive thing better than most pedals I've tried over the years.

The Warwick I had was one of their dubiously named 'Rock Bass' models which is their relatively affordable series, not that there was anything about it that made it feel, sound or play like a cheap and nasty instrument. So if you're looking at a custom shop model then I would expect it to be flawless in every regard. And as you already own the full sized version I'd expect the short scale to virtually identical, just a little more compact. Do you know if it's a standard sized body with a shorter neck? Or has the body size been proportionally reduced in relation to scale length? If it's the former it may initially look and feel a little different to what you're used to but a couple of hours playing should be help you adjust to it.