Osiris

Can't recall the exact settings at the minute but with the dual parametric, I set one band to the lowest frequency which I think is 20 Hz with maximum cut and a wide-ish Q, then the second band I set up at 32 Hz (I think) with a large (but not full) cut and a slightly narrower Q. Does that make sense? I'm happy to post the exact settings I used later if you like? I'm at work at the minute and don't have the pedal to hand

The short cuts certainly make navigation much quicker and work well with the limitations of the device. As with any multi-effects unit there's a lot of stuff that isn't going to get used by everyone. I probably only use about 5 or 6 of my favourite compressors and pre-amps (I set up a great HPF using the 2 band parametric eq for my little 1x12 cab) plus the occasional touch of chorus. Only a fraction of what it can do but it suits my needs. Looking at some of the other Zoom models, a lot of the 'new' delays, reverbs etc in the last firmware update are direct ports from other units so I guess it was quick and easy to add them to the MS-60B for not much additional R&D expense rather than giving us a shed load of genuinely new patches. Not that I'm complaining

The Spectracomp is both the simplest and at the same time probably the most complicated compressor currently available There is the one physical knob for simplicity, the function of which can change depending on what Tone Print you are using. You can also create your own Tone Print and assign up to 3 different parameters for the single knob to control so you could set it to do some crazy things control the threshold for the lows, attack time for the highs and volume of the mids all at the same time if you really wanted too! The Tone Print editor app allows you control over something like 50 different parameters and is crazy stuff. I'm still getting to grips with it myself, but there is an infinite amount of control available if you want to whip up your own sound. I usually start with a Tone Print that I like and then fine tune it to my tastes e.g. slight tonal changes by altering the respective frequency band levels and adjusting the amount of dry signal blended back in etc. Your language analogy is spot on, in compression terms for single band compression I can hang out with the locals for hours, but with the multi-band stuff I can just about order a couple of beers ask where the toilet is

As far as I know it can't be done, although admittedly it's not something that I've tried to do myself. I have also read the manual and don't recall it saying anything about whether it can or can't be done. But I have updated my MS-60B, did it months ago and it was quick and easy to do. The effects are grouped together by type and although navigating through them can be a bit of a faff on the unit there is a shortcut to the different effect group types (dynamics, modulation etc) that you can access so you can get to the right area and then manually trawl through the various options. I'm still lying in bed at the minute and off the top of my head I can't remember exactly how you access it! Not the this answers your question

Possibly not life changing as such but a lyric that resonates with me often enough, particularly on days like today where it's Christmas jumper day at work and I'm getting a barrage of comments for not joining in with other people's idea of 'fun' - there's only so much canned laughter that a man can take. Add to that pretty much any other vacuous passing fad, band wagon etc. Taken from Nirvana's All apologies; I wish I was like you. Easily amused.

@51m0n that's a great post For me this is the critical point. I think some people assume that compression will be an obvious effect in the same way that a drive or delay is. While it can be, for compression to be useful and usable, you will almost always need to use it sparingly. Due to it not always being obvious, I think there is a tendency to dial in a sound that you can obviously hear, which as you rightly say, by that time you have squeezed the life out of your bass sound. With compression less is usually more. The analogy I like is to think of it adding salt to a bag of chips (I'm not really sophisticated enough for the spice cliche ). If you buy a Kilo bag of salt and tip it all over your chips they'll be inedible. But just add a pinch and there's an instant agreeable improvement.

Me too.

Oooh, I might have to pop round for a quick fiddle!

It's good to see you publicly embracing your inner Bill Oddie Maybe you could change your user name to Owl Crow in homage to the great man? PS - you forgot Freebird.

According to this article, compression has been around since the 1930's. Although admittedly it's a bit light on specific details.

Yeah, I'm an unashamed Genzler Magellan fan boy The 350 model is a bit bigger than the TE Elf, but it's only 345 x 305 mm and 67 mm tall, so it's still very much a small amp. I have done a review of it (along with its big brother) here. In summary it's a great sounding amp with very sensibly voiced eq frequencies on the pre-amp, it delivers a surprisingly 'big' (dare I say hefty?) tone and does a great clean sound with the option of using the dual voiced Contour control to dial in either a scooped eq curve or a great sounding, mid-rich old school tone that works great in the mix. It also has 2 Speakon outs so you can run both of your cabs without having to daisy chain them. Oh, and it's ridiculously loud too. I've gigged it with the volume control below 9 o'clock alongside a shed-building drummer, guitarist and keys. I can't recommend it enough!

Before adding any drive or distortion, try pushing the lower mids on the amp to help give the bass a bigger presence in the mix. It might not sound too sexy when it's just the bass on its own but once the rest of the band fires up it will fill a hole in the mix. Distortion can suck the low end from the bass (depending on what pedal you are using and how much distortion you are adding) so in this case it could actually be counterproductive.

Let us know how you get on. As they say, The Kevin is in the detail.

Looks like a textbook case of Stigmata to me

Having happily dealt with Alex in the past I was more than happy to deal with him again. We've just completed a pedal trade and despite the best efforts of the royal mail to delay things (but I guess it's that time of year) everything was fine - the pedal I received from him was as immaculate as he'd described it and really well packaged. It was promptly posted too and he kept up good comms throughout until he knew I had received the pedal and was happy with it. How's that for service

If you're happy with your sound might it be wise to quit while you're ahead and not add anything that could possibly detract from what you're happy with? If you like the Tone Hammer sound, why not get the pedal version and set up a clean(er) sound on the amp and use the pedal to kick in some drive?

Doncaster

Ocelot.

Don't forget perineum.

My mates kids have a pair of kittens, Tess and Tickle. Named by their father though, does that still count?

Frankenstrat?

@Al Krow is spearheading the 2018 Darkglass revival.

So the rumours about your stick are true then? I'm actively avoiding it at all costs I seem to recall you being the Farage-like figure head of the anti DarkGlass campaign due to what you consider to be their fizzy drive sound, but yet you rise from the dead like Lazarus with your imminent purchase of the Microtubes 900 amp

Possibly, but getting a driven bass sound to work in a band context is an issue that a lot of people have. Many bass drive pedals can be mushy or fizzy, but by pushing the mids you get a more usable sound that works well with other instruments regardless of what they are. And for most guys seeking a driven sound there's usually going to be a driven/distorted guitar or 2 in there somewhere, a driven bass with a mid bump will usually compliment this especially if the guitar(s) are scooped. Flea and JPJ lurking in the background? Wow, I've clearly got the wrong end of that stick