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I just don't have time to set up the bass amp at gigs. I have to sort out everything from helping drummer unload and get started on his kit to sorting out the PA speakers and most of the cabling for mains sockets, PA and lights. After i've done all that i try and get time to tune the bass and make sure the amp is all ok. At that point everyone else is set up and they just want to sound check and i've had a few words on occasion that i also need time to set up my own gear but i have to remind them all every now and again. Historically guitar and bass didn't go thru the PA so it had to be a decent sound. These days most of our gigs we use a PA Hire and i thought that would give me more time but i'm finding that i'm now stage arranger sorting out where PA companies kit goes on stage. Anyways i do enjoy it all but it means i struggle to get time for my own gear so my amp is left exact same settings every gig except for the master volume. I do tweak it if i decide to use a different bass. I just wouldn't get time to try out a provided backline to my satisfaction. However as time goes on i can see me falling into same thoughts as you guys. 🤩 Dave

Filmed my piece for this about ten months ago, but disappointingly was cut from the final edit.

There are standard Dave Murray strats, Janick Gers strats (who was playing a Sandberg) and there's an Adrian Smith Jackson. There is a picture of them all on Adrian Smiths Instagram. I've tried to upload a screenshot but keep getting an error code.

Here are two examples of the questions I've seen lately. Could there be one "database"?

Fawn - Tom Waits

I had two Ashdown ABM 210 cabs stacked so effectively your 4x10 cab. They never had clarity and were not the greatest cabs due to their low budget drivers used. As soon as I changed cabs the difference was noticeable and I found better more efficient cabs that made it easier to hear and got louder LFYS Monaco was one of those cabs and a single 12” Fane speaker equipped was very loud and clear. Today I use two MarkBass MB58R 102 cabs stacked vertically and they are a joy to use and carry and sound very good

I can't remember if the editor is or was a separate app to the one you download tone prints from, it's been a few years since I had a Spectracomp but I remember editing it hooked up to my PC so it might be you can't (or never used to be able?) to do it from a mobile. As for the single knob (fnarr) you can program it in the editor to simultaneously control up to three of the fifty or more parameters, and you can control the range of those parameters too. Most of the tone prints seem to use it to affect ratio, threshold and/or volume but they can be configured to control any editable parameter so if you wanted to lower one of the crossover frequencies while upping the threshold of the mids and reducing the attack speed on the low end you can. I also had a Hypergravity at one point, effectively a four knob spectracomp, with that I'd dialled it in to work as an adjustable pseudo high pass filter on the lows, a wide frequency single band over everything from the upper bass to the high mids, and a tapered high end roll off, each on individual controls and I think the other was a master volume. It wasn't perfect but it shows what you can do with it given the time and inclination.

Are you stacking the SFT with the VT or using one of the other? If you're stacking them you may not notice much benefit from adding additional compression although this is speculation and with the right tone print it could enhance things. Recommending the right tone print is tricky as they're all good in their own way, but whether they do what you want is another matter. Generally speaking, if you're playing blues with flats I'd avoid any slap focussed tone prints, the 3 individual comp engines can be used to impart some tone shaping depending on the settings and slap presets are more likely to scoop your mids while hyping the bass and treble which I'm guessing you don't want. I'd start with any that are more vintage focused or are trying to mimic an optical compressor. Beyond that, it's really a case of try it and see. And remember, less is usually more with compression, so if you're dialling it in until it becomes obvious you've usually gone too far and will likely benefit from dialling things back.

Below is a headless, fretless, bodyless and neckless bass I made, you're welcome to it.

So my second originals band, Youths, has today released its debut album. Spotify link here, it should be on all the usual streaming platforms 😎

Moose Be Something In The Water - Pokey LaFarge

Moose 'N' Me - Kenny Loggins

The Wailers Tramshed Cardiff. Fantastic ,the room moved. Anthomp