Connect with us

Gear Reviews

Review: Empress Bass Compressor

Published

on

Review: Empress Bass Compressor

Review of the Empress Bass Compressor…

Compressor pedals seem to be contentious territory for bassists.  Some players swear by them as the glue that helps keep their levels stable and consistent, while others feel they squash their dynamic range and limit their ability to play with nuance and touch.  I like certain compressors for their ability to fatten up my sound and bring the bass forward, acting as a bit of a “fat boost” if you will, but I don’t want to hear coloration, or any pumping or squashing. So, for me, it’s critical to have control over the various compression parameters to ensure that I’m getting all the attributes I want, and nothing I don’t.

There are a lot of compressor pedals available that are suitable for bass, which can most simply be broken up into a couple of different camps: The simpler vs the more complex, and the transparent/clean vs the more voiced/colored units.   I’ve owned a handful of compressor pedals over the years, bass-specific and otherwise, and it’s taken me a minute to figure out exactly what I like.   When I first got into compression, I understandably gravitated towards the simpler ones, some of which sounded darn good.  While the 1 or 2 knob comps are less overwhelming and typically harder to get a bad sound out of, the cost of simplicity is lack of control over individual factors affecting behaviors like attack, decay, threshold, ratio, etc. The flipside of course is that the more complex compression pedals require a working knowledge of how a compressor works. Thankfully, users who spend the time to learn how to dial in the parameters to their liking are rewarded with results that best suit their preferences.  

As far as the ‘transparent vs. voiced’ question, I’ve gone back and forth over the years.  There are some REALLY good-sounding compressor pedals with built-in desirable coloration that sound fantastic. Personally, my journey with compressors has led me to look for units that have studio-level transparency with a high degree of adjustability and some key features that allow me to indulge my very finicky degree of preference. My best results seem to come from getting voicing and coloration from other effects or preamps specifically for that purpose, so that color is not automatically tied to the compression effect.  Others like to achieve both goals with one pedal. Your mileage, as always, may vary.

To that end, and to get to the point, I have been using the OG Empress Compressor for the last several years with great satisfaction.  The original dark blue Empress is just a classic.  It checks all the boxes for the versatility I want while sounding transparent and clean.  The huge bank of LED’s is fantastic for level setting, and the whole package just plain works like a charm.

Naturally, when Empress announced they were releasing a new bass-specific compressor in a smaller chassis with top-mounted jacks and some bass-specific features, I was all in.   

Review: Empress Bass Compressor

So too was the rest of the market it seemed, and the initial couple of runs went quick. It took me a while to finally get my hands on one, and I’m happy to report that it was well worth the wait.

Like the original Empress Compressor, the Empress Bass Compressor has an Input knob to control how hard you drive the compressor as well as an Output level to get the desired amount of signal coming out of the pedal. I like setting the input so that it is engaging the compressor but not slamming it and setting the output to roughly match the bypassed signal so that it plays nice with input-sensitive effects downstream.  Like the original, the Bass Compressor has great LED metering: One set to show how much signal is coming in, and one to show the level of gain reduction (how much compression the unit is generating).

Dedicated Attack and Release knobs allow you to precisely control how fast or slow the compressor latches on to and releases your signal, effectively allowing you to sculpt how the pedal responds, and how long it holds on to your sound before letting go. This is where a lot of the character of the compression is controlled.  

One of my favorite features of both the new and old Empress Compressors is the Mix knob, which lets one fine-tune how much of the sound is affected; perfect for the guy like me who doesn’t really want to hear the compressor working and ultimately wants a subtle effect.  The Sidechain High Pass knob is one of two new standout features that set the Empress Bass Comp apart from the original.  In a nutshell, as you turn this knob up, it allows more of your low end to pass through unaffected, with compression applying increasingly to the low mids and mids.  This is great for those who want to tame their upper frequencies while retaining a full low end with less gain reduction in that register. Those who feel that compressors mess with their dynamics will appreciate this control, as it lets them feel the impact of the bass as usual but can help wrangle the transient spikes in the treble and upper mids.   In conjunction with the Mix knob, these two controls offer a great way to increase the subtlety and transparency of the Empress Bass Compressor while still retaining the effect.

A 3-way switch allows users to choose between a subtle 2:1 compression ratio, a more standard 4:1 ratio, or a more extreme 10:1 ratio. I would prefer a ratio knob offering more granular control over ratio, but I’ve actually never found myself struggling to find the right choice with these 3 settings, as they’re very well chosen for light, medium, and heavy compression settings.  The other 3-way switch controls the other new standout feature, the “Tone and Colour” setting, which essentially transforms the Empress into a more colored compressor on demand.  While the middle setting offers the flat transparent sound I am used to, there are gentle mid-scoop and mid-bump settings, which are really well voiced and not too overt, but shift overall tonality in a musical and effective way.  This makes the Empress Bass Comp compete strongly in both the “transparent” and “voiced” compressor camps.  One could argue that because it does both very well, its double threat capability makes it a no-brainer.  

Lastly, like the OG Empress comp, the Empress Bass Compressor features a 1/8” mini-input jack for sidechaining. This is the old studio trick of triggering your compressor not by your input signal, but from an external source.  One classic application for this would be using the attack of the kick drum to compress the bass signal, sometimes used to create dynamics and space for the kick drum by ducking the bass signal when the kick drum hits.  This is just one example though:  the sky is truly the limit for all the creative ways this can be used on stage and in the studio.

Review: Empress Bass Compressor

Overall, the new Empress Bass Comp is a slam dunk.

It took everything I loved about the original, added some fantastic new bass-specific features, put it in a smaller, more pedalboard-friendly format, and gave it a sharp makeover.  The build quality seems even better than the original, with more robust feeling pots and jacks and a wicked royal blue sparkle paint job (also available in silver sparkle).   Kudos to Empress for taking something great and truly making it better for bassists.  The new Empress Bass Compressor retails for $249.00. 

For more info on the Empress Bass Compressor, visit online at empresseffects.com/products/bass-compressor

Gear Reviews

Gear Review: Origin Effects Cali76 Compact Bass

Published

on

Gear Review: Origin Effects Cali76 Compact Bass

Origin Effects Cali76 Compact Bass Review…

Throughout the evolution of music, bass players have sought tools to sculpt and enhance their sonic landscapes, and one indispensable ally in this pursuit has been compression. Origin Effects, a name synonymous with premium audio craftsmanship, introduces the Cali76 Compact Bass Compressor, a pedal that pays homage to the legacy of compression and brings forth a new chapter in bass sonic mastery.

As we delve into the world of the Cali76 Compact Bass Compressor, we’ll explore how Origin Effects seamlessly weaves together the heritage of compression and contemporary bass demands, promising a pedal that not only honors the past but propels your bass playing into the future. Join us on this sonic expedition as we dissect the nuances of the Cali76 Compact and uncover the secrets it holds for bass players seeking the perfect blend of vintage warmth and modern versatility.

For Starters, the Cali76 is a studio-grade FET compressor pedal, based on the classic Urei 1176, but with some features optimized for bass guitar. For those of you who are not familiar with it, a FET (Field Effect Transistor) compressor is essentially a solid-state tube compressor emulation that allows for fast and precise control over the attack and the release parameters; allows for extreme compression ratios; and finally adds the typical 1176 color and character to the sound.

Together with the common controls we see in most compressor pedals – Ratio, Attack/Release, input (just like the original 1176, the threshold in this pedal is fixed), and output (makeup gain). The Cali76 offers two more controls dedicated to us bass players.

A Dry control – This allows us to mix in our dry, uncompressed signal to the pedal output. This is great for when we want to add back some of our playing dynamics to the compressed sound or for when you want some volume back in situations where the compression starts taking away the volume.

A High Pass Filter control – Low frequencies on a bass guitar signal normally overwhelm compressors. This high pass filter allows the compressor to only react to higher frequencies, which helps preserve the natural dynamics of our playing while keeping the low end intact.

Metering on this pedal can be a bit hard to get used to at first. There’s a single LED light on the pedal, that not only serves as an On/Off light, but it’s also our meter. It glows red when no compression is applied and orange for active compression. The brighter the light, the greater the amount of gain reduction. Yellow signifies that the gain reduction reached 27dB and maximum reduction occurs around 38 dB.

In practical terms, it’s all about working with the input and the LED to find the sweet spot (turn the input to zero, start playing and slowly increase the input level until you start seeing the LED glowing orange, which means there’s reduction going on).

With 6 highly interactive knob controls, this pedal implies some degree of compressor knowledge and also some amount of tweaking and experimentation to find the perfect settings. The good news is that it is very hard to make this pedal sound bad…

It can go from very subtle compression settings to very extreme, and it can do everything in between. Also, the team at Origin has been kind enough to add a couple of sample settings in the manual to get players started and to help us understand better how the pedal works.

Origin Effects Cali76 Compact Bass

Dynamic Control is a setting that provides natural compression, balancing dynamics between various playing techniques. It is a subtle compression that will work almost out of the box almost all the time. Having a medium setting for the High Pass Filter ensures an honest translation of the lower string dynamics.

Origin Effects Cali76 Compact Bass

Parallel compression is a popular studio technique, where both compressed and natural signals are blended. We get the sound and feel of hard compression while retaining the natural playing dynamics.

Origin Effects Cali76 Compact Bass

Percussive, lively & Fat is a setting that uses a slower attack time to accentuate the start of any note. Then using a fast release allows the compressor to recover between notes so that the phrases sound more percussive. Ideal for slapping and other percussive techniques.

Finally, I would like to mention the classic 1176 tonal coloration. It’s not a secret that engineers all around would sometimes use the 1176 compressor, without applying any compression, just to get the tonal coloration into the instrument sound.

And the Cali76 compressor is no different, it has such a rich, warm, and full coloration that’s super pleasing to the ear and makes you want to have it ON all the time. So be aware, that if you want a transparent compressor, this pedal is not for you!

All in all, it is easy to understand why this pedal became a favorite of so many bass players around the world. The Cali76 Compact stands as a testament to the meticulous craftsmanship and thoughtful engineering that Origin Effects is renowned for. It seamlessly navigates through the rich history of compression, offering bass players a gateway to the soulful resonance of the past while empowering them to sculpt a contemporary sonic future.

Whether you’re a seasoned bass maestro or a budding virtuoso, the Cali76 Compact invites you to embark on a sonic journey where every note is held in a delicate balance between tradition and innovation. As we bid farewell to our exploration, we do so with the realization that the Cali76 Compact is more than just a pedal; it’s a sonic companion that elevates the artistry of bass playing

For more information, visit online at origineffects.com

Continue Reading

Gear Reviews

Spector NS Ethos HP 4 Bass Review

Published

on

Spector NS Ethos HP 4 Bass Review

Spector NS Ethos HP 4 Bass Review…

Not long ago, I did a review of the Spector NS Dimension HP 5 Bass and I have just been given the honor and privilege of reviewing the Spector NS Ethos HP 4 Bass. I have to say, another great bass from Spector that is hard to put down! While there are some similarities between both basses, there are also some noticeable differences which is why I believe having both is essential to any bass arsenal.

Spector, widely used by many rock and metal bassists like Ian Hill, Alex Webster, Colin Edwin, Doug Wimbish, and many more, just to name a few, has a long-standing in these genres. Well, that’s about to change! The bass I used for the review, didn’t see any of those genres, matter of fact, I used it on a few classic country gigs and at church too! However, when at home in the studio, I let the funk out. The NS Ethos HP 4 Bass is an all-around great bass for any genre and will not disappoint.

Let’s get into the specs about the bass, and here we will find the differences between the HP 5 Bass and the HP 4.

Forget that one is a 5 string, while the other is a 4, while that is a difference, that’s not one that I feel needs to be noted as both models are available as 4 and 5 strings. The Spector NS Ethos HP 4 Bass has a 34” scale, 24 fret, 3 piece maple neck through construction with solid alder wings, ebony fingerboard along with centered and side dots and the 12th fret Spector logo inlay with a brass nut.

While the pickups are different as the NS Dimension HP 5 Bass uses the EMG 45DC and the NS Ethos HP 4 Bass sports the EMG 35DC pickups, they are the same pickup configurations, the difference being, one for 4 string, the other for 5 string. The electronics are the same, consisting of a Darkglass Tone Capsule preamp which consists of +-12dB @70Hz for Bass, +-12dB @500Hz for Mids, and +-12dB @2.8kHz for Hi Mids. Controls for Spector NS Dimension HP 5 Bass consist of Master Volume, Blend, Bass, Mid, and Hi Mid controls. The electronics are powered by a 9-volt battery.

The bridge is a Hi-Mass locking bridge with intonation screws and the tuners are sealed die-cast. All hardware is black. Same as the Spector NS Dimension HP 5 Bass, the HP 4 Bass is available in 4 different finishes, White Sparkle Gloss, Gunmetal Gloss, Plum Crazy Gloss & Black Gloss. The bass also comes with a very nice and well-padded gig bag.

Check out the Spector NS Ethos HP 4 Bass at a Spector Music Retailer today near you or visit online at spectorbass.com/product/ns-ethos-hp-4/

Continue Reading

Gear Reviews

Review: Italia Leather Straps

Published

on

Review: Italia Leather Straps

Italia Leather Straps…

Whenever I get a new bass, I like to get a new strap to christen it and I also like to find one that is “color coordinated” to my new instrument. I recently had a 6-string fretless bass created by a local luthier named Frank Brocklehurst, which started my search for a new strap.

There are a few points that I always look for when searching for a new strap. 

1-Comfort 
2-Width
3-Great color
4-Price

My most recent quest put me in touch with “Italia Leather Straps.” Italia has been in business in California for about 20 years and has been selling factory direct for the past 18 years.

When you order your strap it begins its “made to order” build process and after shipping more than 50,000 straps they certainly have it well in hand!

To answer my 4 questions regarding comfort, Italia uses some of the most comfortable and luxurious leather in a wide variety of colors. I was able to match almost perfectly the color of my bass and the color of the leather.

You can order it in either a 2.5” or 4” width as well as a standard and long model for tall players. I prefer the 4” for all of my basses. 

I received my strap and I must tell you, the leather was soft, supple, and truly comfortable when I attached it to my bass.

I must commend Italia Leather Straps for their attention to detail and beautiful selection of leather. I would say that when you go looking for a new strap, these guys should be on your shortlist.

Call or visit Italia Leather Straps online:
831-324-4277
www.italiastraps.com

Continue Reading

Bass Videos

Review: The Fuchs FBT-700 Bass Amps

Published

on

Review: The Fuchs FBT-300 and FBT-700 Bass Amps

Fuchs FBT-700 Bass Amps…

Much like our original ODS amps were initially inspired by the legendary Dumble amps, the new Fuchs FBS-1 bass amps have found their inspiration from the iconic Walter Woods © bass amps, but with Andy’s own enhancements.

Andy tapped his years of experience as a working musician, as well as servicing and tweaking guitar and bass amps for many famous clients as diverse as Carlos Santana through jammers like Jimmy Herring, including jazz legends like Dave Stryker for over 40 years as inspiration for our new bass amps. Fuchs’ 20-year list of reviews and endorsers is truly impressive to say the least.

Not unlike the iconic Walter Woods © amps the FBS-300 and FBS-700 amps are designed for maximum power at minimal size and weight. For years, the rare and coveted Woods amps have built a following amongst industry professionals. They were literally the first switch mode class-D style lightweight bass amps ever. Due to Walter being reclusive and now retired, these amps found their way to Andy’s shop to be repaired. While servicing them Andy was able to reverse engineer the preamp and power supply. Mated to a modern lightweight ICE power digital power module we have produced an amp that Woods owners agree, is equal (if not better) than their predecessors.

The FBS-1 bass amps (and our FBT tube bass amps) share identical panels and chassis and are available in 300 and 700-watt models, they feature a solid-state preamp inspired by the infamous Walter Woods © amps, but with improvements like a steep-slope subsonic filter and a DI output using high-speed audiophile op amps and a regulated power supply. The DI output is electrically balanced pre/post switch, ground lift, DI Phase, and a global mute switch.

Small and light, (downright diminutive) at less than 5-lbs and 12 x 3 x 9, they are loud and clean. Want some dirt? Raise the input gain and lower the master volume. Want total clean, lower the input gain and raise the master. They are super easy to operate, and the FBS-1  amps will easily fit in a gig bag, run ice-cold, and feature a well-thought-out, simple configuration for the working musician. A Fuchs gig bag designed for all models is coming soon.

These amps feature an input gain control allowing both passive and active bass use, Baxandall (shelving eq) high and low controls, a parametric rotary midrange control with level and frequency control and an output master volume. With the midrange pot in the ‘0’ position the circuit is flat. In this mode the bass and treble pots emulate the classic Woods and B-15 style amps we know and love. Use the mid circuit for boost and cut of up to 20 db at a fully adjustable frequency.

All models use the industry-standard Ice power modules, which are known for their rock-solid reliability and excellent cool-running, audio performance. These amps feature a buffered patch loop between the preamp and power amp. All amps offer worldwide automatic line voltage selection. Wherever you are, they automatically set their own line voltage. All amps are CE and RoHs compliant.

FBT-300 6 lbs 12 x 3 x 9 chassis. FBT-700 6 lbs 12 x 3 x 9 chassis.

FBT-300: 300W at 1% THD+N, 4Ohm • 260W at 0.1% THD+N, 4Ohm • 380W at 10% THD+N, 4Ohm • 450W at 1% THD+N, 2.7Ohm (Approximately ½ half this value at 8-ohms).

For more information, visit online at fuchsaudiotechnology.com

Continue Reading

Bass Videos

Review: Ampeg V12 Bass Amp & VB 115 Cab

Published

on

Review: Ampeg V12 Bass Amp & VB 115 Cab

A video review of the Ampeg V12 Bass Amp & VB-115 Cab from the new Venture Series.

For more on the Venture series, visit online at ampeg.com

Continue Reading

Trending