to keep from hijacking another member's search thread for a used slideRIG comp pedal:
decided to explore the ~guess~ i have that these get used in quite a varied number of different ways by owners.
mine---i leave it on at a fixed setting with both comps engaged. prefer it on the clean amp of a 3 amp rig. the other 2 are a treble pushed 12 watt single ended, and another 12 watt P-P 6V6 mildly biased from an amp schematic nearly as old as itself. it is a darker toned amp to compliment the treble monster. the current clean amp is a 30 watt voxy/marshally amp that uses 4xEL84. with it already well into the sweet spot to compete with the other 2 when clipping.
to avoid getting way involved with which is which, on my comp the knobs are, from left to right:
as stated above for "cleans" amp only, both comps are just left on.
just out of curiosity, how do you use/set yours Stevie, MM and any others.
I currently use a boss compressor (sustain set to just above zero) with a tubescreamer (overdrive set to zero), both tone on mid. It doesn't get the same result as a slide rig, but gives a slightly crunchy sustain. I like it anyhoo. TT
Post by Michael Messer on Dec 15, 2017 18:52:56 GMT
I don't use the SlideRIG often enough to have a particular setting. I like it most when I want extra sustain with a clean tone, it kind of feels like a distortion pedal without any distortion, if that makes sense. It is a wonderful unit, but for most of my playing I just like the sound of my guitar plugged straight into an amp with nothing inline, just guitar to amp. But that might change next week and everything I play will be through the SlideRIG!
I'm from a similar mould to MM. I just tweak. I do that with all of my pedals- when I use them that is, but I'm more likely to use the SlideRig than just about any of the others. I used to use a home built compressor made from a kit sold through the UK "Guitar" magazine (The Paranormal) but like an old DynaComp I own, it takes a back seat these days.
"kind of feels like a distortion pedal without any distortion, if that makes sense."
the the secret of the magician Keats' most breathtaking illusion. the disappearing pedal trick. when i first got mine, a bud stopped me from playing [after many tries] and said turn that *%#@& [unsuitable reference to high priced] pedal on, i wanna hear it. told him it WAS on. this followed by another complementary observation about a fool and his money, perhaps you have heard that'n before....
i replaced the 24" patch cord to the amp with a 6 footer, and moved the pedal from atop the amp cabinet to the floor. played a coupl'a times through-a short repetitive huge chord decay into a lead lick. then, bypass the pedal. repeat above lick and bud says,"whoa--do that again" again. again.
when the advertising world is confronted with a new-found ability from product that seems to defy any worded description, they "invent" adjectives/phrases.
here's a few of my own suggestions for the slideRIG:
I don't know if it's applicable with the slideRIG ( I'd never heard of it until these threads ). But I've found that running a gain device ( i.e. my mesa v twin pedal) into a pre amp without driving either into saturation ( distortion) gives a nice fat punch that I suppose is technically a form of distortion... without being dirty.
Post by Michael Messer on Dec 16, 2017 9:58:17 GMT
I don't own any other pedals, just the SlideRIG. I used to have a mk 1 Mesa Boogie and a few pedals, but for the past 25 years I have used small Supro and Champ amps and I get everything I want from my guitar plugged straight into them. I do like the SlideRIG because it doesn't feel like something inline messing up the signal and it does do a wonderful job. I always use it with a long cable, never on top of the amp.
I guess that my approach to amplifying electric and acoustic/resophonic guitars is quite old fashioned by today's standards. I don't use any effects, apart from occasionally using the SlideRIG, I only use 5 watt amps and I generally mic up my resophonic guitars, rather than plug them in. Old school and proud of it!
I do occasionally use effects on electric guitars when I'm recording. An example of that would be Big Wind on the Second Mind album. That is my Dave King Cooderish-telecaster through an old wah wah pedal into my little Supro/National Westwood amp, miked and running into an analogue board, and what you are hearing on that guitar is mostly reverb signal, which is turned way up, with the direct signal from the amp almost at zero. It was a while ago, but I am pretty sure that's how we achieved that effect. I think I prefer finding my own way to create an effect, rather than dial it up on a screen.
From experience I can say with confidence that it's both rare and a joy for a knob twister to engineer audio on guitar players, other instrumentalists and singers that don't need a compressor or brick wall limiting to smooth things out a bit. It's an uncanny phenomenon to watch a VU meter bounce in a very narrow range right under the limit. I envy Michael and others who can pull it off. I have to believe its a result of well intended practice and a bit of genetic talent...
The rest of us mere mortals luckily have compressors to help us out
Looking at webinfo on the slideRig, it's an intriguing device and obviously has a place in the signal chain for some players. I wonder what Son House would have thought of it...
All best, Jeff
Ps, Stanley Clarke, one of the greatest bass players of all time is known for chaining compressors on his electric sound. I wouldn't be surprised if other bass face greats like Jaco Pastorius(rip) Bonzo, and Pickers Ditch don't do the same...
Last Edit: Dec 16, 2017 16:24:30 GMT by creolian: Making funny !
Post by Michael Messer on Dec 16, 2017 18:23:54 GMT
I think I am too used to playing without a compressor and for the past couple of years I have played more acoustic than electric, which is why I only use the SlideRIG occasionally. I was one of Origin Effects first professional users of the SlideRIG, I got mine in April 2012 and its serial number is 006. It is amazing to see how successful Simon Keats has become with this and other compressors. He knows his stuff and he makes wonderful tools for musicians.
I am sure that Stanley Clarke knows about the Origin Effects bass compressor. They are pretty good at reaching out to the right people. In 1976 Stanley Clarke's School Days album was a big one for me. As well as with his own band in London, I remember seeing him in 1979 in the New Barbarians with Ronnie Wood & Keith Richards.
Post by Pickers Ditch on Dec 16, 2017 18:44:19 GMT
Pickers Ditch, when playing bass, uses a Tech21 Sansamp VT Bass Driver DI with the speaker emulator engaged. This seems to act like a compressor. My usual bass is a Fender 1953 P alike fitted with ancient La Bella James Jamerson flats and it thuds like a real bass, not one of them honky, middy lead guitar type jobs.
Post by Michael Messer on Dec 16, 2017 20:10:44 GMT
I don't think I had seen Robbie's SlideRig film until now. Interesting, so I am not the only person to say that it sustains like a distortion pedal, but without the distortion. I am sure that quite a few SlideRig users say the same thing.
guess a mention of Bill Putnam Sr. required at this point as mandated under the "background information act of 1450"
the slideRIG is a miniaturized copy of 2 UREI 1176 compressors coupled in series. universal audio is UREI. UREI is universal recording corporation, who actually is Bill Putnam. his recording industry breakthroughs are legendary. yet known by few.
he is credited with designing the current lay out for the modern audio/film/digital studio console format. but long before that he was the inventor, co-inventor, or at lest forerunner of standard practice recording industry trickery even unto today. the multi-track recording console. a separate multi-band EQ in each track mixer module. the FX inputs/outputs for each track. the use of electronic reverberation. the use of tape [first wire] deck multi-head electronic echo. isolated recording booths. vocal doubling. first studio of use both sides of record [A-B sides]. the promoting and first practitioner of stereo recordings. sure to have missed some credits there, but these stand out.
Sam Phillips even sent Elvis to chicgo to record...
chicago blues labels like Chess, Mercury and Vee-Jay were sending their up-and-coming talent to his universal records studio for their legendary initial releases READ: M Waters, W Dixon, B Diddley, "Little" Walter, C Berry. i have found no info to prove it, but suspect the Chess brothers bought his chicago based studio when he moved on to dominate the audio recording industry for hollyweird films, the next big thing.
in the top floors of his new mega-studios in filmland, he applied for and was granted a patent for an electro-optical LA-2A leveling amplifier. [compressor] eventually, the 1176 was designed to to take avantage of the higher speed field effect transistor that replaced the valves/vacuum tubes in the LA-2A.
this led to Keats' love of chained 1176 comps. only felt it needed mention here because i was not even remotely aware of the extent of "Bill" Putnam's accomplishments until researching "UREI".
didja ever have lightning hit a tree ~right~ next to a house you were inside?
did it sound like, CRACK...pause---BOO-oom?
close, loud explosions very similar.
CRACK-- the initial pressure wave you hear, feel.
...pause-- the time it takes the rumblings to reflect/echo back to you. the initial waves cancelled by "CRACK"
BOO-oom-- the decreasing of echo volumes to inaudible.
that's how a comp works. it emulates the traits of massive sound events the human mind recalls.
tubes/valves are compressors, but require specialized circuits to get highly emphasized "compression".
a cranked output stage tube/valve amp does the same thing to guitar signal. listen closely.
a slideRIG will surely modulate the signal of a distorting tube amp, even in a sonically pleasing way. listen to Page's recording magic in LZ1...reportedly made with only a single medium watt supro. really, ALL of those sonic traits? there is surely more going on here than what meets the ear. a master engineer.
but i have to roll with those who voiced the above opinions that my favorite use of the slideRIG is [what we call] clean amplifier signal.
gotta a lotta FX stashed here and there in the deepest recesses of homeplace.com. can't just get rid of them due to herd mentality that has imbued olde school FX with Gandalf class supernatural abilities. the pricing ~is~ magical...
use 2 each 10 band MXR EQ's into dirt amps mentioned above. not just to modify Hz, but signal rise characteristics. pre/post volume controls can be somewhat comp like tweaked properly.
"Oops... back to the SlideRIG..."
oh yeah, and the trusty slideRIG limo for the "cleans" amp.