Anyone else glad to see the Ross compressor go?

Started by afountas, December 27, 2015, 03:00:20 PM

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afountas

in my opinion, Trey's tone sounds the best it's ever sounded.  Clearer and way more dynamic. I think it's mostly from eliminating the compressor from the signal.  Noticeable difference in clarity in the high frequencies (I think why he gets more of those chirp sounds coming from the amp, when hitting certain high notes).  The shimmer from the silver TS9s is really apparent and articulated.. makes each note sound like it was shot out of a tesla coil... and I think the full Koa Ocelot is the best sounding guitar for the rig.

Thoughts?

I run two silver OD9s into a analogman bicomp (which is the best compressor I've used).  I haven't turned it off in a while and finally did.. I hear the same types of improvements with my tone.

Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope

seriesnuns

I've been having a love/hate relationship with my compressor. I get good tone with it on. After a while My tone sounds flat to my ears. Then I turn it off and do some tweaking and I think the tone sound awesome without it. Then I turn it on again and do some tweaking and it sounds really good again.

I even mailed it back to Analogman to be checked to make sure it was working right.

What I have noticed if I run true bypassed pedals before it, it sounds a lot better. The ibanez ts9 when off hindered the sound. Just a maxon od9 and earth drive now.

I bought the last guitar world. He claims its on in his chain slightly. The compressor.

But he also swears up and down he's playing a Bogner not a Mesa.


tsbot

#2
I also have a 4 knob Keeley comp and am undecided between on and off.  Sometimes I get too wrapped up in Treys board and sound that I don't do what's right/best for me.  I like the little bit of sustain it gives at lower volumes,  but it seems to flatten everything out a bit too much.  Same as why I'm selling my Mesa - sounds good sometimes, but for my room where I play 99.9% of the time I can't get it to sound like I want to hear.  I've been torn on trying that 6l6 Bogner Head.  My Vinatage sound breaks up a bit too soon and the Mesa messed with my head on how the knobs work with each other.  Another guy on The Gear Page is helping me run through my setup - maybe new speakers with my Hard Truckers cab before a new amp.

Oh and one more thing - does this mean he really is using a Dunlop wah and not a RMC wah?  Doh!

afountas

I actually go through the same struggle with my compressor.  I just notice even with it dialed down as much as possible it still takes a little away from the high ends.  So, I turn it off and am like, wow each note is so crisp... turn it on and am like wow it's fatter and makes playing lead a little easier bc every subtle mistakes doesn't sound as stark.

Interesting article. and with the compressor "backed way down", his tone sounds better.

Could you do me a huge favor and snapshot the full list of gear?  I noticed the MXR line Line Driver, and have never seen that talked about before.  Anyone have insight on that?
Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope

No Nice Guy

I interchange between on and off.   I don't believe in 'always on' anything, not even the amplifier (okay maybe that...)
Guitars:  Phred Ernesto, Michael Kelly Hourglass

Pedal Chain:  Korg Tuner > TS9 > Silver TS9 > Ross Clone > Phase 90 > Boss Tremolo > Whammy V > TC Flashback > TC Ditto

Amp:  Blues Jr

afountas

Sorry about asking for the full pic of the magazine article.  was viewing it on my phone and half of it got cut off.  seriesnuns thanks for sharing that image.
Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope

Buffered

I tend to go back and forth on compressor usage. I didn't even use one for awhile, and have since gone to a Wampler Ego for it's Ross style design with a blend knob. Even then i'll turn it off, and I use it more as an effect to fatten clean single note sections or if I am strumming and forced to sing. It's definitely got great uses in a band setting.
Gibson ES-339, PRS DGT & 408
Redplate CD2, Valvetrain Beninngton Reverb, Fryette Power Station
Little Miss Sunshine - Keeley Tone Workstation - MuFX Micro-tron III - Keeley Delay Workstation

Heady Jam Fan

#7
Hmm, I keep mine on. Love my Ross.

Considering those who said the buffer messes with the Ross... I have all my pedals in a TB Loop Switcher, so only the pedals turned on are in the signal chain. Definitely makes a difference, not sure if it specifically has to do with the interaction between the Ibanez buffer and Ross.
Headless Hollowbody > Mesa Boogie MK III > TRM Trucker 212 w/ V30's
Whammy 5 > Mini Wah > 74 Script Phase 90 > CP9Pro+ > 82 TS9 > 83 TS9 > Ross Compressor > Turbo-Tuner > 83 AD9

Walker done done

Quote from: afountas on December 27, 2015, 03:00:20 PM
in my opinion, Trey's tone sounds the best it's ever sounded.  Clearer and way more dynamic. I think it's mostly from eliminating the compressor from the signal.  Noticeable difference in clarity in the high frequencies (I think why he gets more of those chirp sounds coming from the amp, when hitting certain high notes).  The shimmer from the silver TS9s is really apparent and articulated.. makes each note sound like it was shot out of a tesla coil... and I think the full Koa Ocelot is the best sounding guitar for the rig.

Thoughts?

I run two silver OD9s into a analogman bicomp (which is the best compressor I've used).  I haven't turned it off in a while and finally did.. I hear the same types of improvements with my tone.

I disagree with the rig sounding better with the Ross off (or way down, as he says in the GW article).  I think my favorite guitar is also the #4, though I do go back and forth on this and so much of it has to do with the changes he makes.  He can say what he wants but he's not always right, including in the GW article.  He has messed with his gear far more often than he eludes too, from the early Bradshaw rack, to the Bruno cab, to the Fender Deluxe days, to the multiple amp changes between '09 and today (including the SMS preamp for a hot minute), to losing the Ross/getting it back/getting rid of it again/now it's back again or maybe it isn't, to the GD50 additions/changes.  It's not like he says, where he says he basically set his gear in '84 and never touched it again. 
Guitars: Resurrection Phishy Hollowbody (koa top/back, cedar sides, Schaller Golden 50 pups, 2 series/single coil/parallel switches), Gibson SG Faded, Dean Evo, Fender Tele, Ovation Acoustic, Fender Acoustic

Signal Path: Garmopat-modded Vox V847 wah > Emma Discumbobulator > TS808 silver > TS9 silver > Ross Compressor (grey) > Alesis Microverb (reverb) > Mesa Boogie Mark III with custom 2x12 AO cabinet (speakers: Tone Tubby & Emminence Commonwealth).

Loop 1: Whammy II > Nova Delay
Loop 2: Alesis Microverb (reverse) > Ibanez DM2000 > CAE Super Trem > Black Cat Vibe
Loop 3 Boomerang+
Tuner: Boss TU-3

Effects not in use:  Voce Spin II (leslie sim), Boss DD6, Digitech RPM-1 (leslie sim), Analogman Orange Squeeze, Keeley 4knob Comp, Ernie Ball Volume Pedal, Super Hard On (boost), Ibanez AW7 (autowah), Denelectro French Fries (autowah) - If interested in any of these PM me.  Always willing to deal.

afountas

In a vacuum, sure he's made a lot of changes to his rig.  However, I think if you compare Trey to a multitude of other guitarists, especially over a time span of like 25 years, he's been really consistent.  And the staples of his tone haven't changed all that much.   
Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope

Down_With_Sco

Ross hiding in the back of rack unit on minimum sensitivity (not my picture):

Guitars: 2006 Gibson Les Paul standard, 1997 Fender Stratocaster, 90's Fender Telecaster, Xavier and Aria acoustics

Pedals: Furman SPB-8C; Epigaze Audio Neutrino buffer > RMC Wizard > Whammy DT > Korg pitchblack > Maxon AF9 > Maxon OD9 silver x2 > Analogman 2 knob compRossor > Analogman Astrotone fuzz > Black Cat mini trem > Black Cat Vibe > Boss 500FMH volume > Boss PH2 > FL9 > Ibanez DE7 > TC Nova Repeater > Xotic EP booster

FX loop: Boomerang Phrase sampler v1

Amps: 50w Rockitt Retro Plexi, '89 Simul-class Mesa MKIII Blue stripe combo (V30) > 3/4 closed back 2x12 (C90) Mesa cab, 3rd gen 40w Fender Hot Rod deluxe, 50w Marshall MG 1x12 combo

Walker done done

Guitars: Resurrection Phishy Hollowbody (koa top/back, cedar sides, Schaller Golden 50 pups, 2 series/single coil/parallel switches), Gibson SG Faded, Dean Evo, Fender Tele, Ovation Acoustic, Fender Acoustic

Signal Path: Garmopat-modded Vox V847 wah > Emma Discumbobulator > TS808 silver > TS9 silver > Ross Compressor (grey) > Alesis Microverb (reverb) > Mesa Boogie Mark III with custom 2x12 AO cabinet (speakers: Tone Tubby & Emminence Commonwealth).

Loop 1: Whammy II > Nova Delay
Loop 2: Alesis Microverb (reverse) > Ibanez DM2000 > CAE Super Trem > Black Cat Vibe
Loop 3 Boomerang+
Tuner: Boss TU-3

Effects not in use:  Voce Spin II (leslie sim), Boss DD6, Digitech RPM-1 (leslie sim), Analogman Orange Squeeze, Keeley 4knob Comp, Ernie Ball Volume Pedal, Super Hard On (boost), Ibanez AW7 (autowah), Denelectro French Fries (autowah) - If interested in any of these PM me.  Always willing to deal.

afountas

Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope

picture_of_nectar

#13
What's that Blue pedal on top? That seems new.

I have one of those Leslie speakers. It's pretty cool. Weighs like 85 pounds though...
Guitars: Paul Languedoc, Matt Atringer, David Myka, Ron Thorn

Amps: '65 Princeton Reverb, Clark '59 Bassman clone

afountas

Guitars: Equator Mini, Fender Strat Deluxe, Tacoma Custom Build Koa (acoustic), Taylor NS74CE (acoustic)> Martin D16GT (acoustic)>

Effects:
Dunlop Crybaby From Hell >  OD9 Silver > OD9 Silver > Analogman BiComp >
Loop Master 5 Loop (w/tuner out): 1. (Korg Pitchblack Tuner) 2. Whammy 5 w/ Midi  3. Black Cat Vibe 4. Line 6 M13 5.(empty) 6. Boomerang III

Amp: 1990 Fender Deluxe Reverb Reissue w/ Weber Blue Dog 50 watt Paper Cone Light Dope