A.S.P. GEAR is a Japanese effects brand.
The designer is a strong GEEK, creating beautiful products that shine with universal value from a truly maniacal perspective.
They have a reputation for producing truly maniacal effects pedals that cohabitate the functionality bassists seek with the cool sounds they dream of.
The brand's products have been used by Tejan Tetsuya of Fear, and Loathing in Las Vegas, Yoshio Kuroyanagi of SOPHIA, and many others.
This is the URBAN COMP EVO, a development of the hit URBAN COMP.
This masterpiece has been finished with a high quality and simple look in collaboration with GIB.
It is basically a simple compressor with a modern and aggressive sound direction.
In addition to the URBAN COMP EVO, we have also released the TRIBAL GEYSER in collaboration with GIB, which also has a modern and aggressive sound.
I personally like the fact that the basic stance of the manufacturer has not changed from pedal to pedal, and that they are faithful to their concept, and I feel that this is consistent with the high quality of the products themselves.
The operation as a compressor is determined solely by COMP.
This is synonymous with RATIO in that it changes the compression ratio.
Just by setting the compression ratio to your liking and determining the balance with the original sound by MIX, the sound creation itself as a compressor is completed.
In this respect, it can almost be called a one-knob compressor.
It is fascinating that high quality compression can be obtained with only this simple operation.
The sound at this point is more energetic and taut than the original, and the overall sound image seems to be pushed.
Modern compressors often have a design that avoids too much compression in the low end.
In this pedal, I think it is sufficient to control that point only with the MIX knob.
It seems to me that the UI prioritizes pure output of the sound intended by the manufacturer rather than such details.
One of the distinctive controls of this pedal is the TONE knob.
This functions as high-cut and low-pass by turning it to the left, and high-pass and low-cut by turning it to the right.
It is recommended to use it with a nuance like adjusting the low center of gravity.
Also useful for sound creation along with it is the FRE, ATK control.
This is like a 1-band EQ, with FRE adjusting the center frequency from 100Hz~2kHz and ATK adjusting boost/cut.
The general direction of the sound is controlled by TONE, while the details are controlled by FRE and ATK, which gives a clear sense of the intent.
Straightforward and simple.
Aggressive sound creation and punchy compression can be driven by a single compact unit.
It feels like a preamplifier.
This is a masterpiece that assembles a compressor that tends to be difficult to understand with a neat UI and a pure and strong concept.
SPECS
CONTROL: MIX, COMP, VOL, TONE, FRE, ATK
POWER: 9V DC
(Incidentally, the back story is that this compressor is based on an overdrive. He said that he saw a guitarist controlling the distortion only by the way he played the guitar with a volume-following drive pedal on, and he thought it would be a good idea to replace it with a compressor. (He is an odd one, isn't he?)
Text: Shunsuke Saga
Comes with manufacturer's warranty
We ship in a sturdy cardboard box.
We can also ship to international destinations.
Contact Info
LINE : vwj2699r
email : info@bassick.jp
tel : 045 534 7133