krispn

Solid well written advice @51m0n. At some point ones skepticism has to be tested against actual real world application and your examples above explain a really easy and practical way to do so if one has the means or inclination to put their views/opinions to the test. The school of ‘I think’ versus the real world ‘lived experience and practical application of’ is a tale as old as time itself. I look forward to trying this settings in my daw! I hear Reaper has a really good comp to experiment with.

To your supposition... It’s not really ‘erosion of blocks’ if you’re using them to get a particular sound, effect or function. I’d go so far the other way and say that’s the whole point of the stomp, making it fit your set up and it’s only one patch. You could have a different patch with all 6 fx blocks doing the work if you needed. How many Stomp fx blocks are you using on any given sound or song at the minute? If you have one or two free blocks you could assign those to a loop and employ stand alone pedals in that loop to your desired effect and if you have any more free blocks use other Stomp based trickery as I’ve mentioned above. I don’t think it’s identifying limitations of the stomp and I’m simply saying your loop needs could be met by using gear you already own if you understand how to make it work for you. I alluded briefly above to my use of loops above and I think you’re already aware of my old set up. I used a Basswitch with a comp in the serial loop and a drive in the switchable loop which has a clean blend function. The Basswitch also has eq so I’d sometimes set that up for additional eq to help the drive along. Very good unit. I’m not using it for loops just now as I’ve slightly tweaked my set up on the board and it’s not quite as necessary and I’m happy with how my board is working. As for A/B switching I’ve employed an A/B switcher in an old band where I used a lot of drive sounds. I had three different drives, two set up and ‘stacked’ in one loop and in the other, B loop, a massive sounding fuzz with its own clean blend so I had 4 drive sounds availability between the three pedals. Back then I had a aguilar db924 for bass and treble boost always on but that became less necessary and came off the board and was before the loop.

A lot of BC’er enjoy having the ability to record a performance and then listen back at home especially when using new gear as it makes it easier to hear a particular pedal or effect in context but I don’t suffer from a a near pathological aversion to gigging my kit 😀😀

I asked Simon if 2:1 was a bit low. You’ll see my post back up there. I was simply suggesting that a higher ratio might be more beneficial based on an audio clip I’d heard. I was gonna expand on that and suggest with the audio and video recording set up you used you could do a live A/B and have a listen next time you play that same venue and engage the compressor for the track and judge if it evens things out etc but you’re maybe not really that bothered. Be useful as a way to measure performance and if the pedal is useful for you in its intended application. Hard to beat a real world test.

It would have to be year of manufacture based on the serial number even if for some makers this is still not an exact science (the aforementioned inconsistencies with potentially neck being one batch, electronics another, bodies another etc). Many builders alter spec every few years so it’s useful in identifying its feature set. The NOS debate is a little different but might be of importance and should come with some discount. Some links to the actual model and/or the spec might help others confirm if it’s a good deal in their eyes and offer another opinion especially if they’re familiar with that brand. It potentially opens up another question of if you’re only getting it to scratch an itch and thought it was a bargain as a 2018/2019 model what makes it less so if it’s a few years old (NOS) at a bargain price presuming the full spec was listed by the retailer and matched your desired criteria for a new bass. If resale value is the driving force behind this poll the serial number will dictate the age and for some the value to them unless it has some non standard features or is a particularly good vintage!

There is an actual fx loop on the right hand side of the pedal (which can be set up as per the image and a dig about the global settings!). One of the features of the stomp is the integration and flexibility of the unit so it can do the sort of thing you're after as well as the series and parallel thing with effects in those loops etc. You already have the perfect bit of kit to practice on. If you'd prefer to have a box with knobs and not have to deep dive (click a few buttons) then that's a different thing. I shall leave you all to it

And assign that loop to a foot switch

You can already add effect loops with the stomp as well as run that ‘loop’ in a parallel path. In addition you could set a cross over point in that parallel path - kinda like that video I posted in another thread about setting up a patch. You could effectively use the stomp as a loop unit and then add a stand alone pedal or a few pedals if you wanted then in series. Once in the loop you can add additional fx from the stomp to that path either before or after and in series or parallel such as drive filter, eq etc. So you already have the tools to experiment. The Stomp is a very versatile and capable unit limited only by imagination (and 6 fx blocks)!

That’s a pretty good solution!

What are you asking for then 😛😀

@Cuzzie had a quality blender/loop pedals for a while. He should have some good info ...the Tyler I believe it was called... with hpf and lpf available on the two channels - I think it was hpf on one and lpf on the other? In the past I’ve used the loops on my basswitch to good effect one series, one parallel for drive and comp but I don’t use much else fx wise. A gig rig switcher might be a good option but that’s more for combining effects into ‘preset’ rather than tap dancing but if it’s mainly for home and not to be executed on the gig it’s maybe not worth the expense?

Anderton’s have a Spector video with a few differing configurations to compare.

Do it! Do it! 😀

@51m0n is 2:1 a bit ‘light’ for bass comp?

Feel free to post your setting once you settle on some and whack up some audio if you can. I'm sure other and potential users would love to hear what you settle on 👍

I know it just looks right doesn't it! I recall seeing Aguilar gear in magazines years ago and really liking the look - I just knew they would be too expensive *sigh*

The advice from the review is a good starting point... Our very own guru 51m0n and other's have said it depends on the player, the desired effect, the bass used and the technique you're employing on the song etc. etc. What you want the compressor to do dictates how you set it up. If you just want a basic compression... Aim for 4:1 or more or less to taste, Slow attack, fast release and set the threshold 5-10dB's or more/less depending on how it fits in for your playing/desired compression amount. From a basic setting you could tweak the attack until the compression effect is very apparent (possibly too much by this point) so back it off until it's at a point where it's not as apparent or where you're happy with it. You could play with the release time so that the metering is returning to zero after each note or on every other note but again it depends what you want it to do or what you think you want it to do and if it's sounding how you like it. If you're using some slap techniques you may want to change things up to make it work for that style or if you're changing bass it may need tweaked again. Record a loop and use the controls in real time to hear whats happening. All part of the fun! The actual specific settings won't be that important so use your ears and discover what its doing as a unit. Compression is kinda personal so what works for one may not work for the other!

I thought I had you 😀

From the review you posted... "There’s no real need to stray from the basics with either guitar or bass: stick to soft knee, normal side chain and fast timing and it’s just a question of tweaking the ratio and threshold to taste then playing with the gain and EQ for balance. Hiss never becomes a problem, and dialing in some gritty tape saturation can be a great way to further energise a clean tone." I can already hear the reply with the usual excuses "creative home use"' 'personal enjoyment' , 'get to grips with in XX months' etc. etc. I get that one has to consider the value add while exercising due diligence and focus on the strategic execution but opaque management jargon aside don't be a craddock, just take it to a gig plug in. Go with the basic setting as listed above (maybe leaving the tape saturation out initially). Then step on and off through the gig and hear what it can do. If you like it leave it on, if you don't like it turn it off. I call it Blue Sky Thinking I'm sure half of bass chat will support me when I say... Do it! Do it!

Some rick-ups in a jazz will be bangin!

I should say I thought the head stock was boggin not the bass.

Looks like someone designed that with a hangover! Absolutely boggin'!

Me! Nah of course it wasn’t

http://www.bassdirect.co.uk/bass_guitar_specialists/Gruv_Gear_straps.html BD have them in stock 👍 I hear good things about the Dave Ellefson strap very adjustable!