Boodang

If the pa is just for vocals, then the vocalist/s buy it. Most bands I've been in, the pa is used by everyone but when it's not I don't think others should contribute. As you say, we spend quite a lot on gear as it is, but even if we didn't, still not our problem. Why do singers think they're so privileged?!!

I actually don't have a problem with it, except... our last vocalist in our covers band had a great voice but at times he would be in full flow but looking down at the music stand like he was reading a text. Not a cool look. I think provided it's not used overtly it's ok. Having said that we've got a first outing for our punk band on Saturday, music stands and Anarchy!

As I'm on a compressor run at the moment I'll check that out.

I think because the comps I'm using are working in completely different ways they compliment each other. The PDR does the top end dynamics but in a very lazy optical way, and the TC I've set to be more aggressive in the bass region. But also I think the PDR works well at the front to bring up the treble before the pedals reduce them and the TC helps contain, but also focus, the low excessives that the phasers and EFs can promote. As I said, I'll do some comparison clips later in the week when I've experimented a bit more.

The TC is powerful but I like the way the optical comp works in tandem with the TC. It's like the best if both worlds, optical does the lazy high end stuff and then after the phaser/EF pedals the TC takes care of any low end transients but in a more limiting way.

I'll do some clips later this week.

So, as a result of a recent thread about compressors, i started experimenting. This is what ended up sounding the best. At the start the photon death ray is an optical comp that basically works on raising the level of the higher notes and not taming the low. At the end of the chain (well pre reverb) I've got the TC with the Captain East toneprint which works it's magic on the lows. I compared this setup to just boosting highs and lows (using a pultec plug in) but it's not the same. I guess compressors have a dynamic interaction with the signal and it's certainly a different sound. And awesome, my new basic eq'd sound! Switching off either comp makes for a drop in tone and you just want to switch it back in straight away. I might have to experiment with more comp options, I can see an obsession coming on! Next will be the Rocket Airchild, a pedal version of the famed Fairchild 660, plus I'm interested in the Drawmer 1973, a Tri band comp which could be very interesting.

The funk machine! Two phasers, two EFs and two comps!

My heart sinks whenever someone says they're using FedEx to ship to me. Apart from anything else it's so difficult to speak to a human being at FedEx. At every turn they try to use chat bots. A horrible company to deal with. Good luck!

To blend in clean signal a EHX tri mixer would work well. I use one for running effects in parallel and switching in multiple pedals with one kick.

All this talk of compressors made me put my photon death ray back on my board which is where it will still stay as I'd forgotten how much I like it. I've also realised you can have more than one comp on your board so I'll still be using the Spectracomp for some stuff. So, for those interested, I got re-acquainted with the pdr last night and here are my thoughts; it's optical plus has the logarithmic 'human ear' side chain filter, consequently it definitely applies more compression the higher on the neck you go. D & G strings light up the death ray led way more than the E & A. As mentioned in the ovni lab review, if you want to tame errant low end dynamics, this won't do it. The three position threshold switch is where the action is. On high, it doesn't kick in much but still changes the overall tone with a warmth to the bass frequencies. Mid allows the low notes to bloom before kicking in with the high register activating the comp much more, high end air is how I would describe it. Although the bass notes isn't activating the comp as much as the high, the overall tone in the lower register sounds bigger. On Low threshold the low notes activate the comp all the time and here you need to back off the blend to about 50% otherwise it sounds a bit strangled, but at this blend setting you just get a tight sound overall. This was with 75% comp, so backing off that a bit releases the stranglehold somewhat and you still get a tight sound. Mid was at 75% comp, 75% blend, and is my fav setting and always on. A great pedal but only if you take into account the limitations of an optical comp that won't tame big low spike dynamics.... potential not great in a slap setting.

The PDR has a three position threshold switch. With a high threshold it can feel a bit slow and grabby but in mid or low threshold it doesn't feel like that. There can be a bit of 'pump' when pushing the amount of compression but the mix control sorts that out. Basically I use in low threshold, mix and comp at 12o'clock and it adds a nice amount of punch.

Yep, I got mine direct from Doc Lloyd (so had to add uk import duty) and then only after being on an email notification list of first come first served. He only makes about 20 at a time. Good luck finding one s/h (I’m not selling mine!). All I can say is that it’s worth it.

PS check out the review on ‘compressorpedalreviews’ of the Doc Lloyd photon death ray. I own this and would agree with the comments of big, wide, grunt & punch but not a versatile comp and not necessarily easy to get hold of.

The Aguilar TLC I like for heavy compressed sounds but for more transparent settings I think the spectracomp is better.

As always I’ll suggest the TC Electronic Spectracomp. For a few reasons but mainly because the tone print ability makes it so versatile. You can have two or three band compression settings as well all types of single band. Toneprints make it easy to set up but you can delve deep into the settings in software if you want. It’s versatility is like having many compressors rolled into one. My fav tone print is the Captain East which lets everything breath but adds a bit of punch to the signal.

I well remember seeing HF playing with Sky. Was so inspired I’ve played all my gigs sitting on a bar stool ever since! With everything he’s ever done, I’ve even forgiven him for writing grandad’! What a legend.

In a similar move I now do all processing off bass with an xr18. It’s small but gives me access to classic compressors, eq’s and effects plus a full parametric eq if I want it. I bought the xr to use live and recording with a band but I’ve got so attached to the processing power, and the sound I get from the processor modelling, that I use it when it’s just for me… including when I’m out with the ekit.

There seems to be a common misconception that onboard eq somehow works with the bass in some magic way that an amp or pedal can’t. Electrically there’s no real difference between a short wire from a pickup to a slightly longer one to an amp or pedal (cable capacitance aside for these short distances). The electronics don’t know where they are located. One of the downsides of onboard preamps is size and power constraints. An amp, pedal or rack doesn’t have such limitations. Send a signal straight from your bass (blend pups to suit, no other eq) to your amp, pedal or rack and you’ve potential got more control. However, like anything it’s all in the ears. If you like the sound of an onboard eq then you’re sorted. But eq’ing off bass has no downsides either. Whatever frequencies are produced by your bass will be present at the amp, pedal or rack equipment for you to manipulate.

Just use a 7 band eq on your pedal board, simple. More versatile & cheaper than onboard, plus any bass you have can use it. Get something like the Source Audio EQ and you’ll have presets to recall.

Subjective of course, but a recent discovery for me for funkier sounds is the use of phasors, which I find preferable to envelope filters. Currently using an Aguilar grape phasor and Warm Audio Mutation. Together they sound super funky. Out of interest with the re-ordering of effects, with the hpf after the octaver, will this have the effect of the octaver producing a sub frequency and then the hpf taking it out? Or is it more subtle than that?

Sorry.... I was referring to 'shine on' (obviously!). It's sort of there but something about the vocal melody just doesn't seem to cut it. Maybe it just feels too familiar, or maybe I should listen to it without watching the video! I always thought Anderson was the epitome of a vocalist who didn't know what to do with himself on stage when he wasn't singing.

I’m an early Yes fan but to me the vocal melody line on this one sucks. And the lyrics just a little too obvious?

Give this a go!