Dood

[quote name='Callumjord' timestamp='1456777990' post='2992243'] Really looking forward to your review, can't wait to see how this compressor holds up and all of its features. Any chance you will be comparing it to some other compressors out there like the darkglass and Seymour Duncan studio? [/quote] For a pedal that looks so simple on the outside, it's going to need a long review to go through every single feature! - Well, I've already reviewed the SD Studio Bass and we've not had the DG Comp in for review. It's unlikely I'd do a side by side with the SD, but since I own that one too, I can discuss here I guess! [quote name='Muppet' timestamp='1456779314' post='2992261'] I've got both of these (the Hypergravity and the Spectracomp). Both are brilliant and using the editor you can assign three parameters to the single knob of the Spectracomp which then increase or decrease uniformly. So basically you can assign very similar mappings to both pedals. I think TC are releasing a Spectracomp toneprint for the HG. I'd be very interested in your review Dood! Steve [/quote] Yes, exactly that! There are so many parameters that can be set under the bonnet. Even down to the ratios of parameter to knob turn. So you could have a gain control that has more effect in the lows and mids than it does on the top end, but all increasing as the control is advanced. As I'd said elsewhere - for those who worry about knocking controls mid gig, well, you can un-assign the controls altogether! I've enjoyed using the HG as a sort of valve-alike EQ & compressor. A great way to add bloom and low end to a signal, blending in with the direct bass tone but not boosting too many frequencies when you're digging in hard (if that even makes sense!!) - I mean, a bit like the ole Aphex Exciter in operation. Another favourite is to split up what would usually be the 'compression' control over two knobs. Middle and low end gets one knob and the top end gets another. A great way to EQ the compression. I could go on, I really could! I'll update the Dood Reviews thread when I have the SpectraComp done.

YAY!!!! SpectraComp arrived just a few hours ago! Very excited and yes it will be getting a full review. Can't believe they've managed to squeeze so much in to a tiny pedal. You can use TonePrints AND the TonePrint Editor with the SpectraComp (as well as the HyperGravity pedal which can too). Oh and guess what - it does 3 band parallel compression. And you know how much I love that!!!

[quote name='Norris' timestamp='1443896328' post='2878611'] You're going to be gutted the first chip it gets. It looks too nice to play - it should be hanging in an art gallery [/quote] After owning a couple of basses with flip paint already, I have had to go through that feeling. Especially as the first ding was in a 'top of the range' custom Shuker build! - But on the flipside, basses aren't for hanging on walls, they are for playing and every ding tells a story!! p.s. yeah, gutted though ha ha!

[quote name='steve-soar' timestamp='1456612182' post='2990849'] Dood, I remember you saying about this nearly 10 years ago. I bet it was incredible. [/quote] Time flies eh! - It does make me pause to think that there are people I've 'known' on BassChat for 10 years+, some I have met, but many I only know their BC ID and little else, but we know lots about each other's bass gear history! ha!! If it wasn't for the fact that it's combined weight would be enough to deck a Mini, I'd still be gigging it regularly too! Something had to give and unfortunately the chiropractor bills demonstrate it wasn't the gear!

The SVT 2 Pro is a 300W RMS amp head. The Marshal cabinet will be fine with the amp switched to 4 Ohms and the pair of Edens will be fine also with the amp switched to 2 Ohms. You won't be able to pair all three though, in case you fancied a bit of extra thunder. I used to run mine with a pair of Hartke 4.5XL cabinets and it was a beautiful thing to behold. What a great sound!

I modified the pickup configurations instead and the results have been great on my AB1. I changed them again last week! Preamp is still the three band Glock' which I think will stay! Look up 'DV1' mod on the Dingwall Forum to find out what I'd been up to previously.

[quote name='D'AddarioUK' timestamp='1456333229' post='2987996'] Elaine & I will be on hand to answer any D'Addario related enquiries. Come and see us on stand D12 to try out NYXL Bass. [/quote] This makes me very happy! See you both there!

[quote name='Stylon Pilson' timestamp='1456334690' post='2988023'] I get what you're saying, but it doesn't seem right to say "hey, I've got an explanation, but one of your symptoms completely contradicts it, so how about we just pretend that symptom doesn't exist." I'm sure all will become clear in time. S.P. [/quote] I'm not pretending it doesn't exist - but if it were a problem with the bass, then CamdenRob will have noted the pickup issue plugged in to an amp long before using the recording kit. Everything else, the phasing sound and the doubling effect is a very normal occurence when using audio interfaces with a DAW, usually in it's default settings. - I hope to be able to exclude what is the most usual cause (to those experienced with DAWs) and if the problem still exists, continue to locate it. - Maybe that comes across as confusing, but I blame many years in IT break-fix.

[quote name='Stylon Pilson' timestamp='1456333977' post='2988011'] Software monitoring was my first thought, but: S.P. [/quote] I feel it's a red herring. The 'phasing' sound is a result of two signals, one of which is being delayed (latency) - as the two combined will cause certain frequencies to be cancelled out and others to be summed.

Just had a quick look at GarageBand - on your track you are recording on there is a button called 'input monitoring' - if you enable that setting, that is the sound coming back from the computer (including any plug ins / effects added to the track in a DAW) turn this off and the problem will go away, but you won't hear that processing. The alternative is to find where your 'dry sound' is being added and mute that. Without knowing your full signal path, I can't isolate that straight away.

The way I get round this problem when recording is to turn off any software monitoring on the computer and directly monitor my bass sound *before* it goes in to the computer. For example my interface I use allows this functionality built in - though my recording set up pretty much does away with too many latency problems anyway, I am speaking generally about this issue. You 'll need to track down where the worst part of the latency is occurring.

Ok, this is a familair one. It sounds as if you are hearing both your direct sound and what is called 'software monitoring'. You are indeed hearing a doubling. Your direct bass sound is instantaneous and that is what you'd like when recording. However it sounds as if somewhere you are also monitoring the sound out of the software too. This is subject to latency. This is the time for you bass sound to go in through the interface, be analogue to digitally converted, processed by the computer then back out to the interface to be digital to analogue converted. Even the very best pieces of hardware out there still suffer from this but to a much smaller degree. The worst case is that a lot of effects units that you plug in, even before using your computer are subject to their own latency - add that to the computer's latency and any other 'digital' effects boxes you have in the path too will only compound the issue.

[quote name='Bigwan' timestamp='1456236192' post='2986873'] And a veroboard layout has pretty much been done for me! [url="http://www.sabrotone.com/?p=3173"]http://www.sabrotone.com/?p=3173[/url] Just remove the noise making circuitry from the schematic, adjust cap and pot (and series resistor!) values around the 2 filter stages, and change up the last opamp stage to incorporate a volume control to the design and it's done. Should fit in a 1590b no problem. [/quote] Crickey! That's great!

A very swift and easy transaction from a long standing BassChat member! Thanks Andy!

Happy Birthday chap! Well, i;d also go for the 'birth year bass' - I've just done the same for my 40th. I adore the bass to bits and it wasn't even an expensive one - '76 must have been a good year! Well, Bohemian Rhapsody was at number one as I entered the world. Thanks Queen for writing me such a brilliant song to arrive to ha! Ok, anyway, back on topic - my other choice would be to choose a custom bass! Ok, so it might take some time to actually get it, but how about something special that just screams 'you'. Just a really great bass you won't want to part with. I like that idea.