Osiris

I've just downloaded this and had a quick play on my MS-60B and it's great, so simple and intuitive to use and much easier for editing than the limitations of the Zoom interface. Hats off to the guy who developed it Just need to figure out a way to drag my desktop along so that I can programme the pedal at a rehearsal

That part of the body would actually be almost entirely obscured by the end of your strap. I doubt if anyone else would even notice it when you're using the bass on a strap. Considering the savings to be had compared to the cost of the same model in immaculate condition I could happily live with it in your shoes if I wanted it - which I don't as it's not my thing

Just completed a transaction with Gav and it was a pleasure and a doddle. Great comms throughout, he's a knowledgeable and funny guy plus he also paid promptly too. Really can't add much more than that other to say you can deal in confidence with him

Yes indeed, I'm a big fan of the M-Comp model too, I love the way it it adds that mid range punch to help the bass cut through a busy mix.

This is Basschat. What did you expect???

Ostensibly being one of the cloth eared in question, I'm intrigued to know how arrived at this assumption. Do tell.

Interesting. That's not something mine does though, so it could possibly be an issue with your particular pedal?

This is a difficult question to give a single definitive answer to, unfortunately! I'm sure that the likes of 51m0n and Skol can give you some far more informed advice than I can here but here's a few pointers/guidelines to help get your started. There are many variables that can have an impact here e.g. the instrument you play, the type and amount of compression you want (i.e. just a touch of dynamic control, some tonal shaping, say a punchy mid-range, the other instruments you're playing with etc.) Setting up compression can be very difficult especially if it's just the bass in isolation and not playing along with other instruments. This is where I suspect some people think it's not doing anything and then set up so they can noticeably hear the squash, but by that time you have killed all of your dynamic range. Try setting it up at a rehearsal when playing along with other people as it'll be easier to get it right without completely flattening the bass dynamics. The main thing to listen out for is a consistency or evenness of the bass throughout its range in the mix, so the low notes are not overpowering and the higher notes stand out and are clearly audible too. Your lowest notes will will be as even as the highest ones. The Threshold is the point at which the compressor starts to squash; anything exceeding the threshold will be compressed, anything that falls short of it will remain uncompressed. For me, I like to have this set so that the compressor kicks in on the lower notes to stop them overpowering the higher notes. The Ratio is the amount of squash that is applied to the signal once it passes the threshold. Too much and your bass gets too squashed, too little and you may find that things are still uneven. Getting the Threshold and Ratio right are the main things to focus on for now. Try experimenting with the extremes of the range of both the Threshold and Ratio so you get a feel what each of them does. Once you understand what's going on start backing them off until you find the point where they are enhancing the bass and making it more consistent in the mix but you still have dynamic range and subtlety. It's not an easy thing to explain what exactly to listen out for but once you have found what works for you, you'll start to be able to hear and feel it when setting it up for another bass, for example. Things like attack and release times and hard/soft knee setting are also important but I'd focus on the threshold and ratio for now. Hope this helps

If you're looking for an amp that has a switchable drive channel and has the versatility to cover the styles you mentioned above, I'd highly recommend the Genzler Magellan 800 over both the Tone Hammer and the Dark Glass. The drive channel is low gain and warm with a strong mid range bias so it's more like the Tone Hammer in that regard but I found it to be more defined and a little smoother than the TH. But it is very much the opposite of the scooped B3K sound. The Genzler also has more tonal weight and flexibility with clean sounds than both the TH and DG too, in my experience. More details of my personal thoughts and experiences here And here.

The Custom IEM company have a few ex-demo universal IEM's for sale, but you need to be quick as the offer ends at 1 p.m. today, 29th March. http://www.custom-inearmonitors.co.uk/offers.html

Don't let the wave and disarming smile fool you, I don't think he's exactly Mr. Popular

If you have enough spare patches to free on the B3n it sounds like that's the best way to address it i.e. have different versions of the same patch configured for your different basses. That way whenever you use a different bass you just pull up the appropriate patch with the right compression (and whatever else) settings. But if you use loads of different patches/sounds per bass then I can see how it will be a ball-ache . If you're anything like me and keep things simple with just one or two patches per bass it shouldn't take more than a few minutes once you've figured out the optimum compression settings for each different one.

Are you actually using a compressor or limiter in your patch(es)? If you are then try adjusting the threshold and/or ratio to compensate. If you're not then I'm not sure what the issue is or how to trim the input signal from the device itself. I occasionally gig with a Zoom MS-60B that I only use for tuner and compression duties, and I also gig with a variety of basses including a couple of Sandbergs, one active, the other passive. Space permitting on the gig I use my pedal board featuring a TC Spectracomp as my usual compressor, but on those tight gigs it's the little Zoom on top of the amp. My sound is never more compressed by the Zoom - other than the by amount of squash I dial in - regardless of which bass I'm using. In fact my highest output bass is a cheap Peavey with a Di'Marzio model P pup and that has a massive output signal, noticeably hotter than my active 'Berg VM, but it never sounds overly compressed through the Zoom. Obviously my Zoom is a different model to yours but I'd have thought they were generally comparable? Just a thought, are you using the Zoom inline or through the effects loop of your amp?

Looking at this photo it looks as though the only things he needs are a couple of decent meals and a long shower

Shouldn't that be "what an absolute Ernie Bell End"

True. But my personal preference is still to use my ears. I should probably clarify and expand that to say that it is not a good idea to set up the compressor in isolation as you run the risk of over compressing your sound as you have rightly pointed out, but set it up playing in context with your band, i.e. using the rest of your gear (i.e bass, amp, cab, any other effects) at gigging volume with other musicians. That way it is much easier to tell when you are going overboard with it and to get things right. Anyway, back to affordable compressor recommendations ...