DESCRIPTION

The Seymour Duncan Studio Bass is a studio-style VCA compressor built specifically around the needs of bass players. It can go from light, transparent dynamic control to much heavier compression, but the feature that really separates it from a basic compressor pedal is its parallel Blend control combined with a selectable Low / Full / Mid dry-signal frequency range.

That combination gives you much more control over what compression does to the feel of your bass. Instead of simply compressing the entire signal and living with the result, you can bring your natural uncompressed signal back into the mix and choose which part of that dry signal receives the most emphasis. That makes the Studio Bass especially useful when you want more even dynamics without completely giving up your original attack, low-end weight or playing feel.

The Studio Bass uses soft-knee VCA compression with an exceptionally broad adjustable ratio of 1:1 to greater than 20:1, plus an adjustable 8–27ms Attack control. It can handle everything from subtle always-on compression to strongly controlled slap dynamics, aggressive rock settings and clean boost applications.

Seymour Duncan recommends trying the Studio Bass near the beginning of your signal chain, although placing it after dynamic effects such as an envelope filter or auto wah can also be useful. As with most compression, there is no single correct setting or pedal position—your playing style and desired feel should determine how you use it.

HOW DOES THE STUDIO BASS COMPRESSOR WORK?

BLEND
The Blend knob controls how much of your original uncompressed bass signal is mixed back into the compressed signal. Increasing the dry signal can restore more of your natural attack and dynamics while still benefiting from the more even level of the compressed signal.

LOW / FULL / MID
This switch works together with the Blend knob and determines which frequencies receive emphasis in the dry signal being blended back in.

• LOW: Emphasizes dry-signal frequencies below 200Hz. This can help retain more of the natural weight and low end of your bass while the rest of the signal remains more heavily controlled.
• FULL: Gives all frequencies in the dry signal equal weighting for conventional full-range parallel compression.
• MID: Emphasizes approximately 150Hz to 1.5kHz in the dry signal, allowing more of the bass's natural midrange articulation and presence to come through.

COMPRESSION
Compression determines how strongly the Studio Bass limits your dynamic range. The available soft-knee ratio extends from 1:1 to greater than 20:1, allowing everything from extremely light compression to much stronger limiting.

ATTACK
Attack controls how quickly the compressor responds to the beginning of each note. The Studio Bass provides an adjustable range of 8ms to 27ms. Higher settings allow more of your initial pick or finger attack to pass before compression begins, preserving more of your natural playing dynamics. Faster settings control the initial transient more quickly.

VOLUME
Volume controls the Studio Bass output level. It can be used to match the pedal's engaged level to your bypassed signal, or Seymour Duncan notes that the available headroom allows the pedal to function as a clean boost when output is increased and the amount of compression is reduced.

TRUE BYPASS
When bypassed, the Studio Bass uses a hardwired connection between the input and output jack to remove the compressor circuit from your signal path.

WHERE SHOULD IT GO IN THE SIGNAL CHAIN?
Seymour Duncan generally recommends starting with a compressor near the beginning of the effects chain. However, the company specifically notes that compression can sometimes work better after dynamic effects such as an auto wah or envelope filter. Experimenting with pedal order will not harm the Studio Bass and can produce substantially different results.

POWER
The Studio Bass can operate from a standard 9V battery or a regulated 9V to 18VDC power supply with center-negative polarity. Current consumption is 21mA while operating and 19mA in bypass.

Seymour Duncan also publishes useful starting-point settings for Subtle Compression, High Compression, Sharp/Fast, Reggae, Round and Fat, and Punchy Rock tones. These can be useful starting points before fine-tuning the compressor for your individual bass and playing style.

New to compression or want to better understand attack, ratio, blend, and how different bass compressor designs compare? Check out our guide to compression pedals for bass players.