I didn’t realize he had archived it. I guess I got the final one as I was the only one who ordered it in March.
it is the “fuzz for people who don’t really like fuzz”. It suits my purposes though.
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I didn’t realize he had archived it. I guess I got the final one as I was the only one who ordered it in March.
it is the “fuzz for people who don’t really like fuzz”. It suits my purposes though.
This just in...
Edit: Dangnabit I have to "work" this morning on a deadline. Will have to wait until later....
Edit: Dangnabit I have to "work" this morning on a deadline. Will have to wait until later....
Has anyone ran their Omnicomp at the higher voltage setting? 18 I believe? I'd like to know how much of a difference it is. Right now mine is at 9, and I can't quiet get the "punch" I get with the monocomp at 24 volts, I know its more a headroom/how much input it can take with the voltage, but I have the pedals side by side and I still can't get the omni to snap like the mono, I will say the omni sounds better on the clean to breaking up, and the mono sounds better (at the moment) on OD, and fuzz. Looks like it may stay after all (monocomp), someone prove me wrong, I need room lol
The Omnicomp page says it runs at 30v internally, and there is no difference if you supply 9v or 18v. I haven’t tried running at 18v to see if there is any difference.
Lots of control available with the omni. You'll need to carefully adjust your threshold and ratio.
A little adjustment goes a long way.
With the blend fully clockwise:
Try a lower ratio around 9:00 and bring your threshold up slowly. Try the attack around 2:00 and release around 10:00.
Very nice comp. I'm really impressed by it.
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Yes, I'll have to compare the two settings this evening. I have them side by side in chain to compare, I was just adjusting what I could last night to get them to sound the most identical. I do find the omni controls very interactive with each other, turning ones affects the other for sure.
For sure with threshold. I'm really digging it and haven't used the Empress since the Omni arrived.
I know this is input dependent, and power supply as well, but imagine the monocomp controls all at noon, that's where mine lives.
Not relating to the compressor discussion, but I was playing my SVPre with the Bright switch on last night and I landed on a tone that I really liked with my P4/flats. I've literally never played with the Bright switch for more than 30 seconds before last night.
P4/flats>BBA>SVPre (Low Switch left, Bright switch on, bass to taste, Mids 3:00@~700, Treble 10:00ish)>Monocomp>Studio One>P15.
Glorious tone for the flats, but didn't work when I switched back to my P5/rounds so I went back to my usual Bright off but treble boosted setting, with everything else the same as above.
P4/flats>BBA>SVPre (Low Switch left, Bright switch on, bass to taste, Mids 3:00@~700, Treble 10:00ish)>Monocomp>Studio One>P15.
Glorious tone for the flats, but didn't work when I switched back to my P5/rounds so I went back to my usual Bright off but treble boosted setting, with everything else the same as above.
On my neck pickup chain I’ve been loving the solarian>sunray>quicksilver>omni>s1 boost.
turning the solarian off and on for taste.
My trebly stuff is on the bridge pickup. So I can get an old school driven sound on the neck and mix the bridge in for some clarity and craziness.
I’m probably going to end up moving a few things around but I’m having a blast.
turning the solarian off and on for taste.
My trebly stuff is on the bridge pickup. So I can get an old school driven sound on the neck and mix the bridge in for some clarity and craziness.
I’m probably going to end up moving a few things around but I’m having a blast.
Howdy! I mentioned last week I'd drop a few thoughts comparing the Empress Bass Comp and the Omnicomp after I'd spent some time with the Omni. I've used the Empress since it was released, and now I have a good number of hours in my music room and a bar gig with the Omni.
For context, my purpose in using a compressor is to constrain the dynamics a bit, but not lose the feel of my touch on the strings in a live mix. (I play fingerstyle and slap.) I don't mind heavy compression in studio recording--if that's what the producer wants--but live I need to be able to accent particular notes to bring the phrasing of a line to life, and to be competitive with the other instruments' volume; I've been through a good number of compressors trying to find that sweet spot. I'm happy to report that both the Empress and the Omni get me there.
The Empress has some features the Omni doesn't, but that mattered less to me than I expected. I figured I might miss the detailed metering on the Empress, but in practice the blinking light on the Omni works fine for seeing how much compression I'm triggering. I never cared much about the external side chain input on the Empress, but the adjustable HPF in the internal side chain is a big deal. That's the magic feature that keeps low notes from squashing the signal. I guess Josh set the Omni's fixed HPF the way I like it, because it works just fine without being able to adjust it.
I didn't mind the Empress's choice of three ratios, but it is a plus that the Omni's is adjustable. The Empress has that "color" switch with associated EQs, but I left that off. I can see how that would appeal to some folks, but I didn't use it. I want the compressor to be transparent, and the color to come from elsewhere in the signal chain. My Mesa TT-800 will give me all the harmonic color I'd want.
And of course they both have controls for all the standard compression parameters. Me, I gotta have knobs for the attack and release times, to get to my happy place. And a blend knob for doing parallel compression. An interesting thing: I didn't need as much of the dry signal as with the Empress. I liked the Omni leaning toward more of the compressed signal.
Not meaning to lapse into wine-tasting language here, but I do like the sound of the Omni a bit better. Rounder, more natural...organic, smoother, sweeter? Especially on the string pops, and some in the lowest register. As much as I like the Empress (and I'm not going to sell it), for me the Omni takes it up another notch.
For context, my purpose in using a compressor is to constrain the dynamics a bit, but not lose the feel of my touch on the strings in a live mix. (I play fingerstyle and slap.) I don't mind heavy compression in studio recording--if that's what the producer wants--but live I need to be able to accent particular notes to bring the phrasing of a line to life, and to be competitive with the other instruments' volume; I've been through a good number of compressors trying to find that sweet spot. I'm happy to report that both the Empress and the Omni get me there.
The Empress has some features the Omni doesn't, but that mattered less to me than I expected. I figured I might miss the detailed metering on the Empress, but in practice the blinking light on the Omni works fine for seeing how much compression I'm triggering. I never cared much about the external side chain input on the Empress, but the adjustable HPF in the internal side chain is a big deal. That's the magic feature that keeps low notes from squashing the signal. I guess Josh set the Omni's fixed HPF the way I like it, because it works just fine without being able to adjust it.
I didn't mind the Empress's choice of three ratios, but it is a plus that the Omni's is adjustable. The Empress has that "color" switch with associated EQs, but I left that off. I can see how that would appeal to some folks, but I didn't use it. I want the compressor to be transparent, and the color to come from elsewhere in the signal chain. My Mesa TT-800 will give me all the harmonic color I'd want.
And of course they both have controls for all the standard compression parameters. Me, I gotta have knobs for the attack and release times, to get to my happy place. And a blend knob for doing parallel compression. An interesting thing: I didn't need as much of the dry signal as with the Empress. I liked the Omni leaning toward more of the compressed signal.
Not meaning to lapse into wine-tasting language here, but I do like the sound of the Omni a bit better. Rounder, more natural...organic, smoother, sweeter? Especially on the string pops, and some in the lowest register. As much as I like the Empress (and I'm not going to sell it), for me the Omni takes it up another notch.
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Unfortunately I didn’t have chance to thorougly test Omni but my first impression is similar. Although for me, HPF on Empress is essential while I can easily live with three-point toggled ratio. The Omni’s fixed HPF is something I need more playing time to fully evaluate but I’m sure blend knob can work wonders here. And I agree that “organic” is what Omni sounds like. A very very nice compressor.
The Weather Goobii are predicting a doomsday level snowstorm starting tomorrow night and carrying on through till Friday. Current prediction is upwards of 2 ft of snow. My Omni is currently scheduled for delivery on Thursday. I'm not confident I will see a new compressor before this time next week.
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Got mine today, doing a quick comparison with the Cali but this one will be going on a different board soon.
Lowendtech
Happily trending in my own peculiar direction.
Picking up food, meds and batteries tonight. Then batten down the hatches and just hope for the best.
Lowendtech
Happily trending in my own peculiar direction.
Don’t forget to fuel up the snow-thrower
whoops… I mean make sure that the shovel is accessible
before you go to bed.
Don’t forget to fuel up the snow-thrower
whoops… I mean make sure that the shovel is accessible
before you go to bed.
Waiting on your report back between the two. The Omni sounded SO different from the Cali for me that it quickly replaced the Cali. Not saying it’s better or worse…just different.
Interested to hear your thoughts!
