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Hi everyone, I'm posting this story because it reinforces what a close-nit community that we musicians, and in particular, bass players are. Some of you might have noticed recently I advertised on basschat a lovely Paul Everson Caiman bass for sale. I acquired the bass through a trade about a year ago with a guy who advertised it on Facebook. We met in a service station. I swapped a very nice 4 string Shuker bass for the Everson, had a nice chat with the fella who bought it and returned home. Whilst we were talking the lad confessed to me that he had found the Everson Bass in one of those second hand chain stores that have 'cash' in the title. He knew next to nothing about basses but had liked the look of it and bought it. He then tracked down Paul Everson on Facebook to get some info about the bass. I loved the bass. It appeared to have been treated quite badly. The electrics were shot and it was covered in a weird thick dust. I had it cleaned, sorted and set up and quickly picked up another Everson that appeared on Facebook. That was around a year ago. I recently decided to sell the caiman. Id always had a little niggle in the back of my head about 'Cash _________' and wondered if I'd been a little naieve in my trust. So to put my mind at ease I contacted Paul (Everson) who told me he had sold the bass through the great British bass lounge. I then contacted Drew who was running the lounge and asked them both if any Everson basses had been reported stolen. They both did some digging and came back with a resounding no. Drew had a record of a sale to a lad called 'Justin' who lived near Bradford (I'm in Macclesfield). So back to present day. After advertising said bass on Facebook and BC I received a message from a lad called Justin who explained to me that this was his bass and that he'd had it stolen in early 2016. I immediately phoned him and we discussed at length what to do. Now the dilemma. Justin hadn't been insured and had lost the bass along with a whole heap of equipment. He had been scouring the Facebook sites to try and recover the bass for the last 2 years. I had essentially swapped a 900 quid Shuker with it. The lad who had bought the bass oringally had moved the Shuker on. We were all victims of crime and it was a difficult puzzle to unravel. Justin had contacted Yorkshire police for advice and they had said it was a civil matter. Anyway the final result is that we met the following week and Justin got his bass back. It was a great end to a saga and needless to say Justin was chuffed! Just a big shout out to Paul Everson and Drew for caring enough about this story to help me with my clumsy detective work and a big shout out to Matthew who contacted me on behalf of (current) BBL. The photo below is of Justin (on the left) recieving his beloved bass back! Moral of the story. Cash ___________ are a store I like even less now and Bass players are awesome folk. Andy

You dip it in washing up liquid then wave it about to make loads of small bubbles.

So, Just because I can, thought I'd "improve " the head amp cabinet of my BTA300 ashdown, spurred into action by the aquisition of MatampGt1Mk1amp'n'cab that is wine coloured with gold faceplate and corners. Besides many hours, this stands me at ninety quid so far, and I think will be great in the lounge on its Orange cab, yes, that's next after this !

That's because you're confusing a compressor with trousers. Again

I regularly gig without a compressor. It invariably ends in hordes of incredulous gig goers RIOTING IN PROTEST because I've ruined their night.

For crying out loud, has this turned into a Barefaced thread?

Long story but my ABM didnt have an HPF, so Ashdown sent me one (for free!) They had a spare fully populated board, from an ABM1000 I think, so I'm going to get it fitted. That way it's all inside the head and is custom designed for the amp. Cant beat Ashdown for service! I would stress that although I'm hugely appreciative, I wouldn't expect they'd do it again as I think it was the last spare board in the workshop. So, still feel the 'need' for an HPF but I've had a change in amp circumstances, rather than a new amp really!

Now you're just meshing about

To be fair, it must be a horrible job working in a guitar shop. Went into the local emporium the other day to find four jibber-jabbering teenage Italian tourists gaggled round their mate who was playing ham-fisted metal licks at earsplitting volume on a £1500 Fender. The sales guy was stood behind his counter, rigidly immobile from the top of his head to the tips of his toes. The only thing that betrayed his utter dismay was a wildly twitching left eyelid. Sensing an imminent and possibly catastrophic customer service failure I made my excuses and left.

Come on, tell us - I didn't expect to have to grille you about it.... Sorry.

A new letter box to stop junk mail?

Not all Squier Affinity basses pass muster. A friend brought me his because the neck was bowed. However much you adjusted the truss rod it just stayed bowed. Concluded the truss had broken. There are a lot of budget basses out there, look at Spector Performer series, or lower priced Ibanez, you may do better than a Precision.

Ah - the Dave Swift move.

Is it the start of a bee hive assembly ?

Perhaps i'm thick skinned, but I wouldn't let this experience let me cut off my nose to spite my face, and not get the product I wanted at the right price.

Oh that's good. It's good to be specific, far better than having it and then going around looking for an amp it looks right on

My tip for BV's: First get the bassline off pat so your hands can play by themselves and you can dissociate your mind. Then I learn the notes of the BV's by playing them as a pattern of notes on my bass. That way I can remember them as a bassline and always remind myself of what i should be singing. For LVs and BVs, some notes resonate with your chest, some in your throat, some with your sinuses, find out which notes are resonating which part and imagine you are singing through that part of your body. Sing through your nose and mouth at the same time. If you struggle to hit the high notes, imagine you are singing through the top of your head or your frontal sinuses. If you need dirty bluesy sounding vox, tighten your vocal chords. Practice and Fishermans Friends will extend your range.

This comment allows me to hopefully explain some of the misunderstanding around compression, so if you don't mind I'm going to dive in a dissect it a little Firstly, and with respect (not wanting to single you out), this type of response suggests that you don’t fully understand the purpose of compression. And I’m not trying to be deliberately patronising here! It's just an unfortunate by-product of me trying to explain all this. So apologies and please bear with me. Unless you are slamming a drum kit with hard New York-style parallel compression, it is very unlikely to ever give someone “a boner” as you put it. Boner causation is just not the purpose of compression, I’m sorry to say. It really is the 'bass player' of audio effects in that respect. Quiet and steady, doing its job, holding things together; no real glamour or glory. That's a compressor. Great! And you can pretty much stop right there, because you've got it - that is precisely the purpose of a compressor. And helping you sit better in the mix should not be understated. It’s the difference between a great-sounding band and indeed, one with potential to bring about boners. Even amongst the female members of the audience. And that's the part where the misunderstanding sets in. Other than very hard compression, which can be done for effect, there really isn't "any other application" apart from helping even out your signal so that it sits better in the mix. And maybe it's because you expect compression to do something else that you find it underwhelming. It's great that people comment on your tone and they most certainly do so because you’re a competent bass player and you use nice gear. But if you were to give me a bunch of your band's recordings and asked me to mix them, I guarantee there would be moments on each song where your bass is noticeably too loud or too quiet - and this would need fixing if I were to do my job properly as a (albeit unpaid amateur!) mix engineer. I could approach this by trying to automate or ‘ride the fader’: manually adjusting the level of your bass to compensate for loud and quiet notes. Or I could use a compressor to do this automatically. And the important thing to note here is that a compressor doesn't just apply to the solo instrument: it's about helping that instrument sit well alongside others playing simultaneously. It's a tool for helping to mix the whole band; not a tool for drawing attention to any one player. Does this matter in a live context? If you, your band and your audience are happy with your sound, then no it probably doesn't. As I’ve said before, compression is rarely essential, but it's nearly always beneficial. If you’re an obsessive like me, who likes to squeeze every % of quality out of a performance (live or recorded), then yes it matters. And that’s why the bass guitar on nearly every recorded song - and played by nearly every professional musician - has compression applied either at source or at the mixing desk. Such pro players have technique in spades and they use compression: because they want to attain the best sound possible. Does a pub band need to do the same? That's a question for you to answer. But if you're spending good money on your instruments and obsessing over string types/gauges, maple/rosewood boards, etc, then you're already obsessing over things that arguably have a lesser effect on your band as a whole than compression. TL/DR: you can mix your porridge smooth, or you can mix it lumpy. It's still porridge. But if you want to add other ingredients, like some blueberries and bananas, then it's best to mix it smooth for a better overall experience. Simple, right?

I've done it before and, health permitting, would do it again. Why the question..? Is it so hard to 'get'..? Some folks travel half-way round the world to play a round of golf.

Me - cos it always kicks off a great bass chat thread.

Well here I go again - Knowing what compression does to live sound is important and will lend confidence in your performance. It is not primarily an effect that you twiddle with to get the sound you want, rather a useful aid in taming dynamics and giving the audience a better listening experience. However, it tends to be employed, (and I'm guilty of this), as another effect on your sound like an extra tone control. A clear explanation: http://www.studybass.com/gear/bass-effects/bass-compressor-settings/ My plucking technique is I hope such that I can interpret a tune from pianissimo to fortissimo. And I don't want to squash out those dynamics. I use the standard Spetracomp and no other effects. From zero I turn the single knob control, (which I assume to be threshold), clockwise, until I can just hear the effect on my bass tone. The effect I hear is a slight thickening of my sound, it sounds warmer to me and that's the tone I like, warm and full, some would say a typical scooped tone as I also dip the mids. So although I use compression sparingly as an "effect" to get the tone I like, I'm also aware of the primary function of compressing my sound in a live situation which is to achieve a comfortable dynamic range of my bass in the mix for the audience.

It's surely just part and parcel of the proliferation of satellite TV and internet-based entertainment - along with the huge increase in viewing and listening choice, comes the user's expectation of an entitlement to certainty. There's such a huge quantity of available content out there that Joe and Agnes Average expect to be able to see and hear what they will enjoy with minimal risk, money and effort. Less and less people are willing to take a chance on something that's untried and untested. Add to that a generation that's grown up viewing music as a virtually free commodity that they can access on any device whenever they want, and you've got the perfect conditions for the slow death of original live music, and an increasingly difficult environment for every other kind. I'm in the middle of a theatre tour with a soul/funk band who had a number of chart hits in the 70's. We're sharing the bill with another similar act, and most of the gigs so far have been sell-outs. Even last night, on a rainy Mother's Day evening in the midlands, it was 70-80% full. It's a good show, but the main factor that's bringing in the punters is they know what they're going to get. Minimal risk. Even so, the promoter's twitchy about whether he's turning a good enough profit overall, and has cut costs to the bone, so there's no way he's going to take a risk on something that isn't a dead cert to put bums on seats. The guy's been doing it for years, so put someone less experienced in your local pub/club/venue, and you've got a recipe for disaster. Add in the current economic uncertainty, and the big 'name' bands (who make most of their money from touring now) soaking up a big chunk of the disposable income of the remaining gig-going public, and it's no wonder audiences are thin on the ground further down the food chain. It's rather depressing, but I've no idea what the answer is, or if there even is one.

then that is the fault of all of you for not supporting original music. If EVERYBODY played in cover bands, who is gonna write the music for them to copy? Original bands here get more than half a dozen friends, don't be so condescending. Go out and see one yourself, you might hear something new lol

My lovely old Selmer Treble n Bass 50. Loud as a loud thing.

Bought a bass from Duncan, great transaction, kept me informed every step of the way, goods arrived very well pàcked and exactly as described. Thanks Duncan!

Well I tried to summarise the visit, so there is a lot more I could have said and haven't. Said organisation hasn't answered my email as yet but I'll give them a week. I'm actually quite an accomodating personality as those who know me well will attest. So it takes extremes to rock my boat. This was such a time. I don't think the lad was having a bad day, he seemed quite happy with life. He just didn't make any effort to sell! Problem is a sales professional myself (selling engineering equipment in seven figure sums) I do know a thing or two about good sales practice. If that makes me a pedant so be it!

Here are my two... Octaver is Japanese and s/n 171300, the Octave is Taiwan and s/n ZA02357. Both in Newcastle!

I don't mind sifting through the options

Approach #1 Sell the BJ and the Kemper. Buy a Clapton Signature EC Vibrochamp or Tremolux. Crank it up and maybe roll a bit of treble off your guitar. Approach #2 Stick a bog-standard Boss EQ pedal between your guitar and your BJ. Roll off some of the bass end, crank the 1.6k fader. Turn your BJ up. See below: In either instance, craft your lead tone first with the guitar volume set to full. Then turn the guitar volume pot down for rhythm passages. If everything sounds a bit muddy when turned down fit a treble-bleed cap / resistor across your volume pot(s). In any event, it still won't sound much like it does on the recording because you won't be hearing it through a high-end mike and desk with studio compression and EQ.

@51m0n it’s by no means serious, I like compression, I see it’s uses and I use it and I try to keep educating myself as best as I can on it, but am not in guys like yours league on it. I have to say I am not a fan of the question in the thread, and mine was about as silly as that, intentionally

@tonyxtiger email received today and responded to. I’m very excited about this one. The only doubts I have @Tech21NYC is that when I had the (disappointing) Bass FlyRig the knobs kept coming off the pots. I hope these are better. BFG was also disappointing because of that OctaFuzz and a mediocre chorus. Everything else was very good. The Valeton Dapper Bass is disappointing too because of the crap tuner and luke warm amp section, pale next the Sansamp. VDB has a good Boss CE clone and a nice comp with a useable Octaver. The Bassballs clone it has is also too focused. I hope the T21 BFR Mk2 ticks all the boxes. sorry for the deviation. Looking forward to the dUg...

If you are still saying you 100% don't need a compressor or anything that compresses your signal live and in some way people doing so are lesser players (still? really?) or kidding themselves, and you don't have an FOH engineer and a monitor engineer to do this for you, you almost certainly don't understand what compression actually does for the sound in the context of the mix both FOH and in your band-mates' monitors. Which is cool, but if you don't get that then you really are probably not best qualified to comment on whether they have a use live maybe?

It's probably because they are failed, jaded, wannabe rockstars who believe that we are lucky to be breathing the same air as them.

You might like this too ! Not Wetton though - John Weider IIRC.

There are a number of builders on this forum, @Bastav , who are my inspiration and act as my aspiration to improve certain aspects of my own building. To do carves like this without a single lump or bump evident is what I presently strive for. I haven't got there yet and will look at these photos as a reminder of how close I'm getting - or, looking at them here, how far I am away.

Mark sold me Bass Tuners. Nice and easy transaction plus posted in no time!!! A+++++

Sounds like he's determined to nail that coffin lid down then

I will. But it's really less combative than it might seem. The necessity for using compression is borne out of the laws of physics and well-recognised good practice in sound engineering. It's not something subjective, like whether a new set of strings makes your tone sound 'better'. It's proven by the measurable behaviour of sound traveling through air. All quite dull and predictable, really. The short story is that every bass player should use a compressor. Because the bass guitar is an instrument capable of producing extremes of both low and high frequency energy, and there's not a cat-in-hell's chance that anyone can compensate for that by 'good technique' alone, least of all during a live performance. This is why 100% of sound engineers apply compressors to bass, to compensate for the 50% of bass players who apparently don't. Ultimately it's not essential. Just like changing your strings regularly isn't essential. But the question as to whether it's beneficial has been answered long ago, which is why I find threads like this a little tedious (no offence). Compression is complex and very different to the majority of other FX we apply to our instruments, where we plug something in and turn a dial until we hear a noticeable difference. And I think that is partly why it confuses some people and leads others to believe that it's a case of the Emperor's New Clothes. What I find odd is how this confusion seems most prevalent amongst bass players - the very people who stand to benefit most from compression. You just don't get threads like this appearing on sound engineering forums. Instead, you just get endless debate about 'which compressor is best for bass'... and that's just as tedious! Anyway. Next time I record some bass I'll post some clips of the dry signal and the same signal (at the same volume) run through a compressor - and also both again in the context of a mix with other instruments - so you can hear the difference. Until then, my advice would be to cease tilting at windmills

BC Quote of the month?

Janek's style isn't well represented there. He's a Jazz musician first and foremost (as are JoJo and John Davis). Nerve is just one outlet they've both been involved in. He uses the Frantabit with a TC Nova Repeater and the octave up on Boss PS5 to create something called 'the baby elephant sound' there's a how-to on youtube. It's one of his signature solo sounds. He's big into looping too in his solo sets. There's quite a lot of footage on the net due to him doing a Vlog a day for about a year. John Davis is known as a double bass player in addition to his production work.

Well... I've got the bass. Today I was home at 4pm from work (today it was a very early start but literally 4min away from home, so it was nice to be home before the traffic even really got seriously bad). It was doubly nice as I had arranged online to have the bass stay at the depot and for me to collect it. I received a confirmation with a note stating that they were open until 8pm and that if not collected today it'd be sent back. Well, they attempted to deliver anyway, and ended up leaving it with a neighbout. UKMAIL... I can't tell you just how many times you've failed me like this in the past... at least this time they actually left it somewhere I could get to it quickly, so l was lucky, but I'd have been really annoyed to go to the depot (13 miles away) to find they again said one thing but did another... Anyway... I got it out. I haven't weighed it but it's not heavy, which is a good thing. It does look as nice as in the photographs... or better. Mine has a very nice grain and I love the tint in person, very nice and warm. It had a rather high action for my liking, so before I even plugged it in I changed that. I had to lower the saddles quite a bit and tweak the truss rod more than I expected... so I was worried the high action was hiding uneven fretwork... but nope, I got it really nice and low and it looks like the frets are all nice and even, the nut is well cut, and it's a very nice neck to play. Pretty shallow profile. Then I plug it in, with the preamp (Bass/Treble) set at the centre detent which I assume is flat, and both pickups on (blend control set at the middle) And it's ok. Not great, not bad. OK. I'm very underwhelmed here, especially after all the anticipation. There's some funky harsh midrange going on that I am not loving, especially slapped. Bass end of the P pickup was a bit too overpowering, perhaps due to my lowering the strings? I bring that side down a bit and things get better... but it's not a lovely tone. The bridge pickup... reminded me of why I didn't like a 75RI Jazz bass I had, which was equipped with a set of EMG J. They really are not my thing, and boosting bass a bit doesn't really make it thick enough, it still sounds way too clean for my liking with a lot of top end and some added low end on top... The neck pickup... hmm. Ok, I actually like the neck pickup a bit more. It's aggressive, and it has that mid-growl that I love on Precisions... but it's still a little 'unrefined'... so I turn down the treble a bit. NOW we are starting to get somewhere. This bass comes with Ernie Ball nickels 45-105. They are not high tension, but when I use these strings I prefer their 45-100 set and only really after I've played them a bit. I really dislike the brightness they have when new. I generally hate new strings. I don't want them dead, but I struggle when I change strings until they are tamed a bit. So here we have a bass with strings brighter than I like, and pickups that are probably brighter, or at least with an extended top end compared to what I prefer... so not the best combination to impress me on a "first date". I played a little more, turning down treble almost to max, and it is nicer but I'm not fully feeling it. I miss having a semiparametric mids control... the treble frequency is quite well chosen so when I cut it works the way I want it although it doesn't cut quite enough. The bass... I don't really feel like adding or removing. I wish it had a passive pone control and a semiparametric mids control instead. At this point I look at it, put it down, and go away to do something else. I'm thinking that I should be very careful with it, not mark it in any way, because there's a good chance this bass will be returned: it is a perfectly fine bass... but I'm not really loving it and I don't see myself using it that much after the "novelty" wears off. ... I'm pretty much sure that I will return it. But I decide to give myself until Monday to make up my mind (it just leaves me tonight and Wednesday night, and Sunday night, as I'm busy the rest of the time). ... Then I have another go, after I've eaten. This time, crucially, I'm using backing tracks (some random funk/rock/reggae ones I find on youtube, as well as stuff from my own band). And now things start sounding better. About an hour and a half later... I'm leaning towards keeping it, but I'm still 100% sure. These are my thoughts at the moment: The bass feels very nice, the neck is just my kind of neck (I could do wider, but it's wide enough and it's shallow so it doesn't feel chunky but it's got "meat"). Cosmetically and physically I have no issues here. It's not the lightest bass but it's not a heavy bass at all, probably a bit lighter than my Stingray. The preamp... I'm not a big fan of. The stacked knobs don't feel that great, a bit 'gritty' even if the operation is noise-free. The treble is just right in terms of the frequency centre that I like to cut, especially with new strings. I wish it cut cut a bit more than it does. The bass... seems a bit lower than I'd like... but then that's usually how I feel with most preamps. I miss having control over the mids. I'm used to the John East mids module, or the 2-band Stingray preamp which after years of use I instinctively know how to set so that I get the sound I want. This preamp doesn't seem as interactive as the Stingray one, but there's still some degree if interaction and I'm not yet familiar with it. As it is, I still would like to have a bit more control on the mids... and if this bass was to stay, I can see replacing the preamp in the future for a John East mids module, and using a passive tone control. But not in a hurry. I'd imagine most people would be more than happy with the EMG preamp, I think it's just me being almost obsessed by the John East preamps, of which I have a few :D) The pickups... I still don't love the Jazz bridge. It's too clean and thin and I can't thicken it the way I want by adding bass to it the way I can on a J-Retro preamp with any other standard Jazz pickups I've tried. However... with both pickups on, you get a nice sound, with a bit more midrange than usual for a P/J combo but still somewhat scooped... but here is where the blend knob comes handy: just turn it a bit towards the bridge... and you gain clarity very nicely, still sounding fat and punchy. For THAT reason alone, the EMG Jazz deserves to stay. I'd never use it on its own, but it allows me to control the midrange when using both pickups, and it's what makes me not too worried about keeping it stock. It's a sound that on its own wasn't that nice.... but when playing along to backing tracks it started to make me smile. It sits very well in the mix, but it still has a nice presence. The EMG P pickup... now, this is a LOVELY sound. It's not a traditional vintage Precision type of sound at all... but it still sounds like a Precision, and it has that low midrange growl... hmmm... This is a very good sound! No more to add... it's just a really good Precision sound. Aggressive, but taming the top end just sounds incredible. In the mix it sounds really really good. Powerful, strong presence, but not overpowering. It's the EMG P that probably swayed me the most towards keeping it. I'd probably use this bass as a Precision most of the time, and sometimes with both pickups on. But it makes me wonder... what if I just put an EMG P into my cheap but lovely to play Squier Mike Dirnt Precision? I suspect I'd end up with something I really like, and save a bunch of money. So, is it really worth it? Should I keep the Model T? I'm not sure. It will not replace my Classic 50s Fender Precision, because this one has THE classic Precision sound. It will not replace my passive Maruszczyk Jake P/JJ, because this one has righteous funk and reggae sounds and the JJ pickup at the bridge is a very useful sound by itself... although it doesn't do very well the classic Precision sound. But the EMG P on the Model T is completely grin-inducing once I tamed the treble a bit. I think once I put a set of stainless steel DR Fat Beams, and let them get 'funky' for a couple of months, the Model T could sound pretty awesome. But... the tonal adjustments onboard are not my favourite options, and I'll never know 100% until I use my preferred strings for a bit... Some argue that if you say "this bass is great but... " and then start saying how you'd shape its sound with EQ etc, that it's probably not a 'keeper' bass. And in my experience, the basses that are surviving any culls are the ones that felt and sounded right from the start, regardless whether the strings were my favourite, new or old... It just seems that £700+ may be a little too much for an instrument that doesn't completely floor me (as nice as it is) when I really do not have a need for a bass like that right now. So... I'll retire and meditate for a bit, then play some more... and see how I fee in a couple of days.

Here's a good one. Might not be your style. I think it rules. I have a Malekko Scrutator in the post...