Baloney Balderdash

Very interesting. A genuine mystery. And pretty cool if there really is a connection to John Entwistle. Neck cavity though?

Well, it is nothing like the TC Spectradrive. About the only thing they got in common is that they both pedal form bass preamps. It's an original product, not a clone of anything, as with most of NUX's products, and it's Melvin Lee Davis's signature preamp, developed in co-operation with him. As said it got 3 different great digital amp emulation of great quality to chose from (more is claimed to be added in the future), and is IR cab sim compatible as well, featuring 8 great stock IR cab sims, with additional 8 empty IR user slots, giving the option to load and use any 3rd party IR cab sim one should wish (the IR section also features an adjustable respectively HPF and LPF that can be added after each of the 16 IR cab sims independently). The drive sounds great, but I haven't actually tested out its full range, I just have it dialed in to deliver a low gain overdrive blended with clean signal at an about 50/50 ratio, just adding some nice warm tube like grid and extra harmonic complexity and depth, using it as an integrated part of and to enhance my basic "clean" tone, which it, like the drive section of most pedal form preamps really, does function best as, rather than as a standalone extra drive effect (I got other pedals for that).

Got to be my NUX Melvin Lee Davis Bass Preamp + DI, which got 3 different digitally emulated bass amps of really high quality to chose from, as well as 8 great stock IR cab sims, with the option of loading an additional 8 3rd party IR cab sim files of your choice to the pedal. Pretty amazing preamp, as said really high quality, 32bit AD/DA converter, 1ms latency, and at a pretty amazing price too for what you actually get. Now an essential, and main tone shaping, part of my "amp-less" setup.

On a more serious note, this might be a great alternative for laying down drum and percussion tracks on my home recording projects, and then eventually being able to edit further to correct mistakes and other inconsistencies afterwards (if used as a midi controller), instead of having to program everything or using the weighted keys of my midi keyboard. What would the latency be though? Same as pretty much any other midi controller?

If you do like clank though, which I happen to do, the discontinued Tech 21 Oxford, or the current production much cheaper, but genuinely great, Joyo Oxford Sound clone of it, does a much much greater job at that than any Darkglass distortion, which sounds more like thin fizz than clank really to me, but if you happen to like fizz for some strange reason, which apparently, judging from how popular Darkglass is, many does, most cheap generic guitar distortion pedals will give you all the thin fizz you could ever want.

I hate when treble pierce my knees like tiny knifes and bring me crying to the ground. So painful.

Perfect for those new hot hologram bands. In the future I bet we'll be able to have a completely empty stage but still hear music at concerts. Heck I predict we will not even need to go anywhere, and not even be restricted to hear just one band playing, just plug in your headphones and you'll be able to hear any music you'll want. Emperors new music!

.

The emulation of the DBX 160A compressor on the Zoom MS multi stomp boxes and B1/G1(X)on units is indeed a great compressor, and perfect for exactly this purpose. For a subtle compression that add a bit of punch, snap and bite, adds definition and articulation to the top end and tightens the low end slightly, I have personally used following settings on the Zoom DBX 160A emulation compressor model: Threshold: -7 ; Ratio 2.5:1 ; Gain: 7 ; Knee: Hard ; Level: 50 (for unity at this setting). However if you want the compressor to make things punchier, as OP actually asked for, you would want a longer attack time for it to emphasis the attack, rather than dampening it. 10ms, as is the maximum attack time setting for the compressor OP currently got, even seems a bit on the short side for this on bass.

Yeah, I never got why people were so eager to do free advertising for big corporate companies and their mass produced products that they'll even pay said companies to qualify for that questionable honor. I guess sadly by far the last idiot who will thank you when you kick them in their butt have been born yet. Personally in by far most cases I will cover up any branding, regardless of price point, unless an independent luthier or a piece of art (which by the way seems far less blatant about their branding in most cases).

Way overproduced and very oddly mixed as well, it kind of sounds like everything has been run through a ton of really cheap reverb, something the like of the Behringer pedal one, making everything sound oddly thin as disjointed, but beside that I love it, and I can imagine how awesome it could sound if produced and mixed better, I totally get what you were going for though, and actually the bass tone is pretty amazing still.

I never ever bought a pedal with an USB socket that came with a cable, heck I don't even remember my midi keyboard with weighted keys coming with one. I would be surprised if I bought a pedal and it came with an USB cable. As much as I would be surprised by a new pair of shoes coming with shoe polish and a pair of socks included in the box.

Sven Wunder :

Not short scale enough! This is more like it:

Make one out of spare clay from Christmas decorations, and then when an appropriate form is achieved quick dry it in your micro oven about half an hour at max wattage....

Lucifer Over London - Current 93

Highway To Hell - AC/DC Damn too late

Well, except, for what it is worth the Spark Booster is all analog, while the Spectradrive "Clean Boost" Toneprint is a digital emulation, and that the regular big version of the Spark Booster offers far more options for shaping your drive tone. The "Clean Boost" Toneprint of the Spectradrive in other words is just a digital emulation of one setting of the Spark Booster.

That would be correct, yes.

The legend go that the designer of the bongo got the idea when he was taking a poo on the toilet. Well, purple and black actually mix really well, not quite as well with that redish/light brown fretboard though, as well as a darker purple shade would have looked much better. If the fretboard had not been so redish brown a plain (non pearl/sparkle) deep dark metallic purple pickguard would have looked awesome.

Danish band "Smag På Dig Selv" (Taste Yourself), with the track "Hvide Mænd Spiller Afrobeat" (White Men Playing Afrobeat), from their album "Middelklassen Avler Kun Skeletter" (The Middle Class Only Breeds Skeletons) :

The Markbass Compressore ! Genuine tube compressor, pretty fat tube sound, and with a lot of control over the compression going on, with a complete set of compression parameters. And I can easily tell the difference, and don't really understand compression often being described as a subtle effect. I mean it can be, and it isn't exactly like a high gain distortion or a phaser with all the controls cracked, but it is definitely notable, and can have a quite substantial effect on your tone. And I do think that relatively subtle changes often can make the whole difference between a decent and a great tone.