BBE opto stomp

The Opto Stomp should do that just fine; I use one to even out the volume between my finger style and my slap, which it does perfectly. The Opto Stomp will not squash your signal much, but it will even out the volume. I have my volume at about 4 o'clock and my compression at about 11 o'clock, and the volume of my finger style and slapping even out quite nicely there.

 

The first thing to try is a new setup, particularly adjusting the string height versus the pickup height. I have used a comp to even out my string volumes, but I got better results from a pro setup.

In order to get more volume from the D and G by using a comp, you need to squash the E and A pretty hard. So I would switch off the 15dB pad switch, and turn up the comp knob. Then play, and keep adjusting, until you can hear that the E & A have very little dynamic range. At that point the D & G should be much more audible.

Again though, I'd only do that if I was unable to solve the problem with a setup; you might want to try new strings, too.

 

I'm also facing this problem... I'm using a compressor - EBS multicomp... my E and D strings sounds really strong, but when it comes to parts in the song where I have to play some fills and counter melody notes on the D and G at the 12th position while the vocalist is singing, I can't hear myself at all....

 

So, while again a setup is the first and best answer, and proper level setting going into the compressor is the second answer (don't assume- check your levels with a reliable VU meter), I would also recommend using a stompbox EQ for solos. If you're going to spend so much time on the high notes, and if they can't be heard during the solo, then use a stomp EQ to boost the highs and mids during the solo.

 

An alternative to using an EQ to boost dring solos is to use a light overdrive. I use a modded Bad Monkey; it boosts the upper mids and raises the volume of quieter notes like a compressor. I've seen the stock one go for as little as $25, so it w!on't exactly break the bank either!

 

A word of warning, a compressor can actually make "dissapearing G-string problem" worse if you combine it with EQ the wrong way. If you have a really bright sound going into the comp, the D & G will actually be squashed harder then the E & A. If you then cut treble and boost bass after the comp (ie. on the amp), it will just further accentuate the low strings.

To really get the D & G up there, boost the deep bass, or cut mids and highs, before the opto stomp. Then do the opposite on the amp.

 

This is certainly true, but...

It would have to be a pretty extreme case of this, as the low strings already tend to have higher amplitude than the high ones, and if that weren't the case with the OP then he wouldn't have the stated problem. So even if he boosted the highs pre compressor, much of the time he'd just be evening things out, and it would only get to the point you describe at an extreme EQ setting. So while you're not "wrong" in theory, it's kind of backwards from the actual problem at hand.

The way a comp works for evening this sort of thing out is you set it up so that the lows are peak-limited and the highs are not compressed at all. Turning up the deep bass pre-comp won't increase the ratio of the compression, it will only make the signal cross the threshold sooner, bringing the highs down with it for the duration of the compression envelope.

 

Edit:
Possibly bad wording on my part. The D & G aren't necessarily squashed harder than the E & A in absolute terms (but often they are, according to my comps meters). Just harder than they otherwise would. The other way around for the E & A. The end result is still "disappearing-G" problem. More so because you cannot as easily use dynamics to compensate for it, as you can with an uncompressed signal.
/Edit

The compression has to be fairly heavy (low threshold, high ratio), but the sound doesn't have to be that extremly trebly for this effect to be noticable. Especially if you have already adjusted the pickups to combat "disappearing-G-problem". Sometimes pickup adjustment isn't enough to combat that problem, depending on the tone you're going for. Put new rounds on pretty much any modern sounding active bass set up this way and set it "flat". Let's say you want some deep thump on one tune and you walk up to your amp and cut the highs way down and boost the bass. You'll get a "non-obvious-but-noticably-different" string-to-string response than if you do simillar adjustments before the comp (the pre on the bass), Provided that the the bass control is centered deep enough (or has narrow enough bandwidth) to not take alot of low mids with it. Another situation when this effect can come into play is when mixing a heavily "frequency slotted" recording with heavily compressed bass. Comp before or after the slotting EQ can be just the subtle difference you need to actually hear those upper register passages when the low notes are just right in the mix. I'm not theorizing here. I've experienced this, and also played around with the effect on purpose. (Now, what I REALLY want is a comp pedal with a sidechain to put an EQ pedal in, but that's another story)

Of course the highs will be compressed whenever the lows are, but that's mostly an issue if you play:
1) chords
2) high notes while holding a low drone
3) very fast big intervals.
In other words, Im not claiming that this "trick" will give you different compression caracteristics for different frequencies like a multiband comp does. It will give you a different threshold characteristics for different NOTES, depending on their frequency "content".

Of course multiple tone adjustments in the signal chain that counteract each other isn't necessarily good for your overall tone or s/n ratio (hence my wish for a sidchain in a comp pedal). I'm just describing a phenomenon that I've noticed, that can be good to know about, as it can sometimes be used to your advantage.

Try it Bongo

PS: Your comp reviews are great. Thank you.

 

Another suggestion. It doesn't really have anything to do with compressors, but might help.

Boost the mids.

It might not be the sound you're after, but it will really help those higher strings cut through.

 

I'm looking for a compressor recommendation too, sorry.

I'm thinking a good comp. before my synth/octave effects might improve tracking. I'm really just after a bit of conditioning and tidying, longer sustain would be nice, hoping for maybe a bit of survivability for the notes in dead spots and so on.

I'm not too concerned about the results of the compression in audio terms, given that the bass signal is going to be completely replaced by the effects anyway - I just want something that will present a better, more reliable signal for pitch tracking.

Any suggestions?

 

The BBE is great; you might also try the Moen Unicomp.