Osiris

Hats off to you guys for all your hard work updating the new site! Part of my day job involves the validation of post migration systems from an end users perspective, so I fully appreciate the complexities of the behind-the-scenes 'fun' that you've all been having

[quote name='Jus Lukin' timestamp='1510327779' post='3405657'] That is how they are most used! They can be used to noticeably alter the envelope of the sound, but most of the time a comp is used to make the bass more consistent in the mix, without a perceptible change in the 'sound' of the instrument. The majority of compression is [i]very, very[/i] subtle indeed. A good way to get a feel for the difference is to play half a set with one on, then turn it off half way through. You may not notice much when you turn it on, but you may realise what you lose when it's gone. Nothing wrong with not feeling the need though, if you don't experience any benefit, just ignore them! [/quote] This sums up compression (at least the way I use it) perfectly Al Krow, in response to your post #34; (1) I've never been entirely convinced by this point of view. Yes drive pedals compress your signal but I'm not convinced that they do it in the same way that a dedicated compressor does. Or at least not as efficiently. No doubt someone with far more knowledge on the subject can explain the differences, if indeed there are any A dedicated compressor will give you much more control and will allow you to get clean compression without any colour from the drive circuit. (2) I agree with the first half of your sentence but not the second half. An even touch is all well and good but I'm yet to be convinced that a good technique is as efficient as a good compressor for keeping things even. But I'm happy to be proved wrong on this. (3) You're in the right ball park with this one . A limiter is a compressor with the ratio set to infinity i.e. the ratio acts like a brick wall that no signal spike can smash through. So yes a limiter is perfectly suited to slapping.

[quote name='elephantgrey' timestamp='1510303966' post='3405388'] I think that every compressor worth its salt would have: input volume, threshold, ratio (atleast a switch, but preferably a pot), attack, makeup gain (output volume), and metering (either a row of LEDs or one that changes brightness). I don't know how you could set up a compressor to do what you wanted without any of those. [/quote] I've used a number of compressors with metering over the years but I much prefer to use my ears to find the sound I'm looking for.

That's possibly the funniest thing I've seen all year

[quote name='Al Krow' timestamp='1510247245' post='3405009'] There's also an argument that compression is needed less when playing in passive than active mode. [/quote] I've not heard the argument that compression is needed less when playing in passive than active before. And I'm not sure that I agree with that, although admittedly I don't know the detail of the arguments either way. [quote name='Al Krow' timestamp='1510247245' post='3405009'] Like Funkshui I like to have the freedom to play more loudly or quietly without a compressor unduly tying my hands. [/quote] If you've set it up sensibly you're hands aren't tied at all I use mine to tame the big peaks and generally even things out but I still have tons dynamic range for when I need it without any sonic compromises. [quote name='dave_bass5' timestamp='1510247536' post='3405016'] Yep the Muscle comp is the one i use already and i too keep the knob under 11 o'clock. I do liek the top end boost, although it can be a bit harsh when i kick in a dirty tone. Just have ot back the top off on the amp though. [/quote] Definitely, too much top end into a drive pedal sounds horrendous on bass!

[quote name='dave_bass5' timestamp='1510240385' post='3404927'] I have the same feeling. I also play with a pick most of the time and yes, a compressor makes things sound good (when set up right), but to my ears its really just a volume boost with a bit of something else on top that gets lost when the band strike up. My latest comp is a Spectra comp, and i can definitely hear a difference in the different presets (tone prints), so as an effect i can see the point, but a lot of what i read says when a good comp is working its transparent so i dont understand why some people obsess about them unless they are used in a non transparent way, in which case get it. I also find the phrase 'kills all your dynamics' to be a bit of a generalisation and not true at all unless thats what you want. [/quote] I agree that when a compressor is set up right that it makes things sound great. But to say it's just a volume boost, although it can be, is to miss out on what a good compressor can deliver when it is set up right When set up right it will make the bass more prominent in the mix so if you're getting lost it sounds like your signal is too squashed. Try lowering the threshold and ratio until the bass begins to punch through. I'm another Spectracomp user and I absolutely love it! Next time you're gigging or rehearsing, try using the MuscleComp tone print. That's the one I love as it adds masses of punch to the bass in the mix. It does add some top end to the signal, you might like this but I prefer to eq it back out. For me, setting the control knob on the pedal to about 10 o'clock makes the bass punch like Tyson

Compression is something that I think is widely misunderstood by a lot of people. When used in moderation it is the icing on the cake of a great bass tone, in my opinion of course. Because it isn't an obvious effect as such in the way that something like a drive pedal is, some people (and I'm not saying that you are one of them ) have a tendency to set the compressor so that they can hear it working, at which point you're invariably adding way too much squash to your tone and killing all dynamics. The secret of great compression is to use it in moderation so that the peaks are tamed but you still have dynamic control when you're playing. A little goes a long way. Compression is more obvious in a band mix that it is when it's just the bass in isolation. Once you have found the compression sweet spot, the bass will be more punchy and even across its range in the mix that without any form of compression. I find the best way to find the compression sweet spot is to set it up at a rehearsal while the rest of the band are playing, it is more obvious in the mix and at a louder volume than at in-house levels. I prefer to use my ears rather than any sort of in-built metering in the compressor itself. I used to play a lot with a plectrum and used a touch of compression. These days I play more with my fingers and still use compression and I do think it is more obvious with finger playing that with a plectrum, but it is still a subtle effect to listen out for. As with everything in life, there are people who won't like it and you might just be one of them. Nothing wrong with that at all I personally won't leave home with one

[quote name='M@23' timestamp='1509998371' post='3403167'] Try to slap 'through' on the G, rather than bouncing off it. [/quote] Can you clarify exactly what you mean by this, please? Are you saying that rather than slap in to the string perpendicular to the fret board that I strike it more parallel to the body?

That's certainly an interesting looking and sounding pedal. I liked the brief sounds of it in the clip where the gain is at 12 o'clock or lower.

I can't be the only one who's been hankering for a bass with an integrated barometer, can I?

Cheers guys, there's some interesting points for me to work on. [quote name='NickA' timestamp='1509727700' post='3401254'] I'm now having your harmonics problem trying to tap (ie hit the strings with finger tips) which allows for great percussive chords - but get a totally different chord from a a tap than from a pluck ... [/quote] I tend to play finger style like that a lot of the time, it's a combination of bad technique, a failed attempt at the John Entwistle typewriter style of playing and a perverse love of fret clank (despite never really warming to slap as such). [quote name='ped' timestamp='1509729144' post='3401270'] I find slapping a G string sounds better with a lower tension string. That gives the string a bit more bounce and flexibility which helps sound the note rather than sound like a harmonic as you say. It's also about technique - practice slapping very lightly across the strings and let the amp do the work. If you are getting a good slap sound from your E but thumping it hard you'll never balance the G. Use a light touch and lean on your amp. I also favour a super low action and flat neck so this enhances the 'clank' which helps define the note. Again, a light touch is required for playing with this setup, but when you're done, you'll probably find your slapping is quieter than your finger style playing. [/quote] Sounds like there's a couple of key points where I'm going wrong; First off I prefer 50-105 gauge strings which I'm guessing are higher tension that the lighter gauges that I understand slappers prefer. And also I'm tending to slap quite hard on the lower strings so backing off the attack to balance things makes perfect sense. However a flat neck and low action are something I like in my basses so that should help. Fortunately it's still very early days for me yet so I should be able to stop myself getting into any bad habits - unlike my finger style playing!

I've been playing bass for more than 30 years but have never learned to slap. To be honest it's a sound and technique that has never really done anything for me. However, I've recently decided to give it a try to improve and expand my playing. But in doing so I've come to realise that it's actually the octave pull sound that grates on my nerves. I appreciate that it's an integral part of the slap technique but it's one aspect of it that I'd like to avoid. However, I'm struggling to get a successful slap sound on the G string, it comes off sounding more like a harmonic than a slapped note! I appreciate that it's still early days and that I'm still working on my technique, but am I right in thinking that I should still be able to get a usable slapped sound from the G string? And if so, has anyone got any pointers, please? I appreciate that I really ought to be learning to do octave pulls too, but I find the sound really irritating and that it puts me off learning to do thumb slaps. Maybe once I've got to grips with slapping in earnest I'll revisit the pulls but for now I want to give it a miss

I'd pay good money to see that.

Dragging the Genzler down to the Gallery to test drive the BF Two 10 sounds like a plan to me I've already had the pleasure of playing through a pair of One 10's (albeit without my own basses or amp) and they are just incredible and fully deserve the hype and praise they receive. But I think a single Two 10 would be a better option for me in terms of cost and the fact that I'm not too old and knackered just yet to manage a cab that weighs some 13 Kg or so

Hi Kevin, Just a thought in regard to your original post. You said that you're running out of steam (whether it be volume or headroom) only when you're slapping. When you slap, do you cut all the mids out of your signal for that classic super scooped slap tone? If you are, I suspect that that is the cause of your problem. Try leaving the mids in your signal and you might well be OK.

Great detailed review. Did the gallery have a Barefaced Two 10 in stock? It'd be interesting to hear how that compared to the VK.

[quote name='SpondonBassed' timestamp='1509455385' post='3399024'] [b]SPLUTTER![/b] [Wipes tea splattered screen with a snotty sleeve] It can't be true because bags are not hefty enough to contain heft without risk of rupture. Now... if you'd said [i]skip-loads of heft[/i], I'd have believed you without question. [/quote] They are big bags. [i]Really [/i]big.

I haven't made too many purchases this year as I'm really happy with my gear setup, my basses, amps and cabs all give me exactly what I want and what works with my band. Admitedly it took me years to get here though! [b]Best purchase:[/b][color=#282828][font=helvetica, arial, sans-serif] Genzler Magellan 800. The best bass amp I have ever used or heard. Infinitely flexible, bags of heft. Seriously. [url="http://basschat.co.uk/topic/314013-genzler-magellan-800-and-350-bass-amplifiers/page__pid__3395611#entry3395611"]More of my thoughts on it here[/url]. [/font][/color] [b]Runner up[/b][color=#282828][font=helvetica, arial, sans-serif]: Genzler Magellan 350. As above. [/font][/color] [b]Best value purchase[/b][font=helvetica, arial, sans-serif][color=#282828]: TC Electronic Spectracomp. Jaw droppingly brilliantly versatile compression that is both stupidly simple to use and infinitely tweak-able if you want it to be. [/color][/font] [b]Worst purchase[/b][color=#282828][font=helvetica, arial, sans-serif] [/font][/color][font=helvetica, arial, sans-serif][color=#282828]: Haven't made a duff purchase myself. [/color][/font]

Any chance of you nodding off again so that you could give him a good slap from me, please?

[quote name='gs_triumph' timestamp='1508967266' post='3395756'] Pedal performed flawlessly tonight. Totally silent in switching off and on. I was using same bass, same cables, my own head, same as I use at home, only difference is it's their cab. I use a pedaltrain volto power supply so can't even blame the mains. (Obviously the amp is plugged into the mains) I arrived at rehearsal first so had a chance to set up and check it before anyone else arrived. Any ideas why it might be noisy in the house and not at the rehearsal rooms? [/quote] That sounds good, hopefully it was just one of those things and won't happen again. [quote name='funkydoug' timestamp='1509009306' post='3395935'] hope you don't mind me hijacking this... what does the tone spark sound like? There's nowhere that says it is a tube preamp emulator, but that is my guess ... or is there something else going on? Cheers, Doug [/quote] What do you mean by the tone spark???

Looking at [url="https://youtu.be/DzwJplADU8g"]this clip[/url] from about 3 minutes 30 onward, it looks like making my own out of Lego is the way forward

[quote name='Cuzzie' timestamp='1508921082' post='3395285'] Sid, eloquent as ever and thanks for that, its a real gem of a review and sounds like a real gem of an amp. I reckon you should have your own youtube channel. I can't, i have a face for radio...... [/quote] Obviously we all have own own tastes and ideas of what makes a great bass sound. But the Magellan amps are massively versatile and I think they'd suit most people who plug into them regardless of their tonal preferences and the styles of music they play. My own YouTube channel. Now there's an idea! [quote name='Rich' timestamp='1508931958' post='3395415'] This is not helping my GAS one bit great review, thank you! [/quote] Just give in to it and give one a go

Cheers guys, some good suggestions here. Something like a tablet stand or the [color=#282828][font=helvetica, arial, sans-serif]MB amp wedge could be the way to go as it's only for a single stomp box. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Al Krow, have you got a link for that wooden shelf like contraption, please? [/font][/color] [quote name='Cuzzie' timestamp='1508920874' post='3395283'] Is that a childs 9 or big boy sizes Sid........ [/quote] One of each, mate. It's true what they say about us villagers. All of it.

[quote name='dannybuoy' timestamp='1508911812' post='3395225'] Mobile phone stand perhaps? [/quote] That looks perfect. Does it come in size 9?

I occasionally use my Zoom MS-60B as a tuner and compressor on small gigs where it's standing room only and there's no room for my pedal board. I usually sit the pedal on top of my amp but it's sometimes awkward to see the screen when tuning so I'm looking for something to angle it up a bit. I've had a look online for something like this but couldn't find anything. Does anyone know if such a thing exists? Or is there something else I can use to angle the pedal up?