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Virtual Decadence Virtual Decadence

«  Pretty good but ... »

Published on 08/31/11 at 02:15
Opto-electronic compressor with a fully analog channel "correct" for light saturation (3 preset color) and 3 presets of filters at the input (side-chaining?).

Powered by a 9V adapter type Boss / Ibanez. But be careful: on my copy, the plug to the power supply is too deep in the box and some cards (on octopuses) are too large.

UTILIZATION

With two knobs: gain compression and output switch and two, that's a lot of opportunities to experiment with but few settings to make the cabbage. Especially a setting for a guitar not be suitable for another. It's not a compressor neutral.

SOUND QUALITY

Everything I read here or elsewhere on this compressor has proven true.

1) With the P90 or center position (split humbucker in single + P90) of my Duesenberg (on my Vox AC15C1): no problem, the sound is beautiful (beautiful) with just the compressor.

2) Correct: The position of color "Violet" is supposed to imitate the English and then reproducing the signature tone of a Vox ... So on Vox is really not workable (and there is no need). It's far too garish. The color "brown" is not bad to thicken the sound of my overdrive (2 Mosfet Fulldrive) in bluesy lead. But mostly, I leave FLAT.

3) Input Filter: Yeah. Again the position FLAT enough.

4) With a humbucker, it is a bit forced to push the output gain up to almost the maximum (so it blows a little) to get an equivalent level to bypass. As read on a forum, they designed the pedal with single coil Fender type, so it seems that this is normal. That said it remains manageable. And to boost a solo, it's the job.
I think it should be top of a stratum.

5) With my low: So once again, with a Rickenbacker, you never know what to expect. It can be really enchanting as rotten. There, with the compression knob on top of 9 o'clock, it compresses too much, it kills the sound and pump it shaggy. But underneath, it just slightly and lowering the volume of the micro bridge the Rock, I got to pick one sound really interesting. After all is a matter of degree of attack from the bass player, and in this area, I still have room for improvement in smoothness of play the finger, same but there was less of a problem to get a little compression . But I've heard better compression for bass. And I have not tested in actual rehearsal or concert. For the saturation correction: to forget unless you want to specifically have a sound dirty and lo-fi that has nothing to do with a bass. At the end, the pedal is far from having the flexibility it has with a guitar. I have everything set flat and only uses the compression.
As I play in overdrive on the bass (a multidrive EBS), it helps to make the sound clearer in a mix which is pretty good.

Not to be overlooked: even if it's a bit expensive the buffer, I really feel that even without using compression pedal that has a beneficial effect on the rest of my effects chain.

OVERALL OPINION

The best: the next magic box, you plug it a "little something" vintage compressor which means that you do not want to play without. The different color filters and the correct make a pretty versatile pedal. A try with the instrument before you buy ... unless it was a Telecaster or a Start:)

The least: good for bass, you really try. It will not go with everything. There's more appropriate (and even cheaper) if you really want a compressor just efficient. But then it can think outside the box with a nice color .. I have yet to experience that side.


As I bought my first guitar, I'll still be 9 because I feel it will be permanently connected.
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