Ottawa, CAN (November 12, 2020) -- Empress Effects is releasing two new compressors on Nov. 25th! When we released our original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals.
Compressor MKII: we redesigned our compressor based on our users’ valuable feedback, we’ve taken everything great about our original Compressor and made it even better.
On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we’ve now added a ‘tilt’ tone eq control, and a selectable sidechain high pass filter built into the Compressor’s detection circuit. Oh, and the whole package is now half the size and available in two snazzy colours!
Bass Compressor: Although our original Compressor sounded great on bass (and still does!) we set out to do even better.
On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we’ve now added a fully variable sidechain high pass filter, and a two position ‘tone + colour’ circuit which adds gentle tone sculpting and harmonic distortion, giving your bass some delicious character.
MKII
- All Analog Signal Path - no digitals in here!
- Extremely Transparent - Add dynamic control without altering the original tone of your instrument
- 3 Compression Ratios - 2:1, 4:1 and 10:1 ratios offer lots of flexibility
- Attack and Release Control - allows for ultimate control over the compression characteristics
- Mix - Blend uncompressed signal in with the compressed signal for parallel compression, New York Style!
- Metering - Meter both gain reduction and input levels on separate meters.
- Tone - New tone knob, a "tilt" sytle tone knob centered at 500Hz to nail that perfect tone.
- Sidechain Send/Return- 3.5mm TRS jack send and return for sidechain compresson.
- Sidechain High Pass Filter - No need to add a high pass filter to the sidechain, now there is one built in that can be toggled off or set to 120 or 240Hz.
- True Display LEDs - Bright multi-color LEDs always let you know what the compressor is doing.
- Power On Bypassed or Engaged - For musicians that never want to turn their compressor off.
- True Bypass - The Empress Compressor employs true bypass, so you can be sure that it's not affecting the signal when disengaged.
- Small Size - New enclosure approximately half the size of the original compressor, which is delightfully small when considering all the features packed into this unit.
- Beautiful Case - It has a sparkle you can't deny, in blue or silver!
BASS
- All Analog Signal Path - no digitals in here!
- Extremely Transparent - Add dynamic control without altering the original tone of your instrument
- 3 Compression Ratios - 2:1, 4:1 and 10:1 ratios offer lots of flexibility
- Attack and Release Control - allows for ultimate control over the compression characteristics
- Mix - Blend uncompressed signal in with the compressed signal for parallel compression, New York Style!
- Metering - Meter both gain reduction and input on separate meters.
- Tone + Color - Adds mild harmonic distortion with a mid range cut or an upper mid range boost.
- Sidechain Send/Return- 3.5mm TRS jack send and return for sidechain compresson.
- Sidechain High Pass Filter - a variable high pass filter that filters low frequencies from the sidechain. The filter frequency ranges from 20Hz to 400Hz.
- Improved Low End Frequency Response - To handle those low low sounds, completely flat down to 20Hz.
- True Display LEDs - Bright multi-color LEDs always let you know what the compressor is doing.
- True Bypass - The Empress Compressor employs true bypass, so you can be sure that it's not affecting the signal when disengaged.
- Small Size - New enclosure approximately half the size of the original compressor, which is delightfully small when considering all the features packed into this unit.
- Beautiful Case - It has a sparkle you can't deny, available in blue or silver!
The Compressors will both be available for $249 (US). It is available direct from Empress Effects at www.empresseffects.com or through any Empress Effects Dealer. For a complete list of dealers, please visit www.empresseffects.com/dealers
For more information:
Empress Effects
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
