Bass Player magazine has reviewed the Distorsore, Compressore and Super Synth, and found lots to celebrate! Here are some excerpts from the review:
"The Distorsore looks slick and elegant, so I hardly expected any truly harsh distortion sounds out of the pedal. But looks can be deceiving---the TUBE DRIVE distortion is actually pretty fuzzy, and at its highest settings, it imparts a cool filter-like effect. With the mix knob balancing a clean sound and an extreme distortion, it actually sounded like I was playing through two distinct amps."
"A compressor is like a baseball umpire---if it's doing its job right, you shouldn't notice it at all. In this regard, the Compressore works exceptionally well. It evened out my signal, adding sustain to the note decay and thickening my overall sound, all without sounding artificial. The pedal also sounded good at-more extreme settings. With RATIO cranked and ATTACK and RELEASE turned down, it became a nice limiter for picking or slapping styles. With GAIN turned up, it had a warm growl that could be used to punch through a loud section, or provide an "instant-vintage" tone to a modern amp."
"Hit a note and hear an angry robot come out of your speaker cab. Change the preset, and hear the din of the factory that built that robot. Change it again and witness the epic battle of the angry robots versus the funky aliens...Most of its stock synth sounds are on the aggressive side, with a number of hard-edged filters and dramatic sweep effects that could easily stand out or cut through in a live setting. I also encountered a few pad-like sounds. Even though the synth is monophonic (allowing just one note at a time), the pads were great for texture. Tracking was a non-issue---the circuit responded quickly and accurately. The biggest shock for me was portamento: Sliding between notes produced a smooth, even sweep. After discovering that, I spent a long time playing dirty riffs with big slides. With such an interesting synth, it's easy to overlook the OCTAVER, which is in fact a very functional and musical octave effect that produces both an octave below and an octave above whatever note you feed it."
Ghadyego Carraro plays bass cover of Michael Jackson's hit Smooth Criminal.
Markbass top-artist Stu Hamm plays his interpretation of Led Zeppelin classic "Going To California" using his STU Amp 1000 and MB Classic 152 SH cabinet.
Markbass artist Marco Micheli plays "In Your Own Sweet Way" solo using his Markacoustic AC 101H combo. Doublebass by Cristiano Scipioni captured by a dynamic mic SM58 and David Gage Realist pickup directly connected to the two channels of the AC 101H. product info: http://www.markbass.it/product-detail/ac-101-h/
"Economia circolare", the new video from Markbass artist Marco Bachi and our friends of Gaudats Junk band Band feat. Effenberg for Legambiente! Enjoy and share!!!
Markbass artist Marco Micheli (feat. Paolo Birro on piano) plays "Moon and sand" using his Markacoustic AC 101H combo. Doublebass captured by a dynamic mic SM58 directly connected to the AC 101H. http://www.markbass.it/product-detail...
Markbass artist Marco Micheli (feat. Paolo Birro on piano) plays "Like someone in love" using his Markacoustic AC 101H combo. Doublebass captured by a dynamic mic SM58 directly connected to the AC 101H.
Markbass artist Evan Marien plays a classic from Jaco using his Nano Mark 300 and New York 121.
As part of percussionist Martin Verdonk’s Master Sessions Youtube Channel here the episode about a new exciting project with Markbass Artist Lorenzo Feliciati: Skunk Funk International-a tribute to the music of Brecker Brothers.