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I am an expert here on compression, and I can categorically say that sometimes I cant hear it, out of the context of a mix. Because you just cant, not a 'transparent' compressor with a soft knee set to just pull everything up a couple of dB on the softer stuff especially in parallel. Good luck to anyone who can, you're definitely not normal. But put that in the context of a mix and if you know what to listen for you can hear the difference the compressor makes. So why bother if its that hard to consciously perceive? Because perception isn't conscious, psychoacoustics are hugely important and influential and definitely can make a band sound far more pro than the level of the venue they are playing in. Lets put it another way, would you rather an expert live engineer use everything at his disposal to make your band sound as brilliant as possible regardless of the venue, or would you prefer him to keep some of his tools in the box? Do you think your punters would tell the difference between Dave the drummer throwing some faders up on a shitty 6 channel Behringer desk and Wes 'The Wesernator' Maebe with a Midas Pro One and some choice outboard? What about Wes using the same desk as Dave and a few choice dynamics tools? I reckon Wes could make my band sound better live than I can with the same gear literally anywhere, he's the absolute canine undercarriage at his job, so I'd be some kind of an idiot if I didn't feel that. What does he use to achieve this? Simple, the basics that every sound engineer understands: good mic placement, good gain structure, good dynamics control, good spacial and additive effects, great musical understanding, great ears. He will use compression all over your bass to make it work in the mix better, think I'm kidding, check this out and especially this where he daisy chains two 1176s, the man is a master of compression, its his bread and butter. So what does this have to do with the OP question? Its simply the wrong question. It actually shows why most bassists probably shouldn't be trying to use compression, because it breaks down like this:- The audience should not generally be able to tell that a compressor is being used per se, but they will know that something is different if you turn it on and off. It depends on what the compression is for. A transparent gain riding compressor is going to work at a psychoacoustic level. On the other hand if you are using a compressor to drastically change the envelope of your bass sound then every single punter will hear the change as you swap it in and out. Its just a daft question really. Think like a bassist and you cant tell what its for, think like a sound engineer and you cant imagine a world without compressors on nearly everything.

Learn "Forget You" by something called Cee Lo Green they said. Is that a band? A person? I wondered. Never mind let's have a listen. Ah good, given my hectic learning schedule a nice repeated three chord pattern is just what I need. I like days like these, they make up for the 'now let's learn Everybody Dance' days. Then, just as I'm smiling at myself for having essentially learned the bassline during my first ever listen to the tune, just under three minutes in and the bloody bass player wakes up and decides he's bored. Never count your tofu until it curdles folks.

Just got this. Huge Kings X fan...

I wandered into Norwich PMT a while back to blag a box for a bass I was flogging. Figuring that even asking nicely wouldn't cut the mustard for a very crumbly 63 year old who looks disturbingly like Compo, I thought I'd better buy something before asking. A charming young man, helpful, knowledgeable and chatty but never patronising or irritating, introduced me to their two secondhand bass cabs. Deciding I didn't really want a Fender combo, we switched focus to an MB 121 Traveler in great nick for £280 label. He went to endless trouble to set me up with a head I liked and left me alone in a booth to noodle as long as I needed. He was so nice I could see no alternative to buying the bloody thing (but TBF it was starting to make sense to me - God I love MB tone). Once I'd got my wallet out said lad was willing to haggle but wasn't a push over, and happily agreed to work several suitable guitars boxes into the deal (what I originally went in for, if you recall). Then when he learned I was parked 400 yards down the road he carried (yes he did) my new cab all the way to my car. I almost put him in the boot too and took him home to introduce him to my daughter. Then I remembered I don't have one.

Hey all, So here's my quick and simple comparison of La Bella flats with Chromes on my Precision, and Lakland Rounds with Gold White Nylon Tapewounds on my 55-01: https://soundcloud.com/simonpoulton/sets/la-bella-vs-daddario-lakland Each track has a description of what is happening, test environment etc My conclusions are that La Bella's are quieter, across their ranges, than strings I've previously used (my Gold Flats on my other Lakland are also quieter than the rounds they replaced too, but just means my amp does a little more work, easy enough, doesn't bother me). New La Bella flats, sound like 3 year old Chromes, so more mellow out of the pack. Gold White Nylons do an excellent impression of broken in rounds, whilst feeling very smooth and lasting a hell of a lot longer hopefully (due to being tapes). All in all, am very happy with these early tests, think I've finally found a company that has a varied and interesting string roster, where I can get everything I need from one place! Cheers Si

Hi Basschat! I recently purchased a beautiful Ocean Turquoise 4-string jazz elite bass, and had our monitor engineer send a desk recording from one of our recent shows @ Alexandra Palace, I'm super happy with how its tracking in a live situation, thought I'd share it and have this thread for other people to share their live recordings of their Elite's! (precision + Jazz)

For me, it's this by a long way: That'll gleam with a coat of Andy's Magic fluid - No innuendos please!!

Was just listening to this album today and thought I'd put something on here as it's an integral part of my Bass playing influences. I can see it's been mentioned before, but you usually get a discussion about how it's divisive so I thought I'd put my two penneth in. When the album came out, I was a pure 'metaller'. If it wasn't 'eavy', I didn't like it. I was a teenager then, and had already been playing bass for a year or so in a rap-metal band (I know). I bought Earthling 'blind', having a fleeting admiration of Bowie, mainly due my older sister buying the Dancing in the Street single years earlier. (I know). The thing that struck me about the album right away was the bass playing of Gail Ann Dorsey. I appreciated the magnificent tone, and the concise, accurate yet still impressively written basslines, even though I didn't realise at the time this is what I was hearing, if you get me. The songs are amazing and yes, the album probably did sound dated for a while, but in my opinion, it has been long enough for the 90s drum and bass elements to now sound 'vintage' to younger ears and would be well worth a listen. It's easy to see why it's not everyone's cup of tea but It's the album that got me to listen to bass players, appreciate not over playing, and get the importance of a good balance between instruments/vocals, not to mention getting me to explore Bowie further, which obviously opened a pot of gold.

Shang-a-lang always goes down well at our gigs.

I'll just incarcerate any future threads you start on the topic. Job done

Thanks for all the positive feedback..!!!! Inspiring to see the other kids basses too; bands like the Royal Blood, 21 Pilots and current established groups that feature prominent bassists (Chili Peppers, MUSE etc.) appear to be driving the instrument to new popularity.. Anyway, he got to see and play it last night; he was speechless (which is a lot with him..!! ) and managed four solid hours playing Chili Peppers, MUSE, Killers, Arctic Monkeys, Green Day and anything else he could think of...!! He is at his first band practice tonight, as a bassist, so got four days to learn 4 songs from scratch - he's done it too..... They're not simple tunes either and he didn't have a hand in choosing them (Mardy Bum, My Sharona, Mr Brightside and Bet You Look Good on the Dancefloor). When he got up this morning, he went to play it before school and said "every time I open the bag, I think - what a beauty!".............. I can't ask for more really. Going to film him playing it and I'll put it up here shortly. Peace..

This ^ Are you sure it's nitro? It looks more like poly to me. Same solutions if it is poly but probably gives you more options of lacquer products you could use.

I learned about mirroring too and it really opens your eyes to peoples intentions. My experience is that when you point this out to people in Britain though is they take it very defensively. Things in Britain you can talk about: Weather, football, immigration. Things in Britain you shouldn't talk about: Feelings, death, other peoples intentions. The rumours are true.

I take it not as spectacular as your HGBM? But seriously, well done @tonyxtiger and @Cuzzie for making this happen - it's great to see BC in action like this!

Ohh.. well that explains that awkward incident then...

After an 8 hour drive to Newcastle and 2 hours back to Yorkshire on Sunday and a 6 hour journey back home to Somerset yesterday, I now have the following in my arsenal: Just need to find a key for the case...oh it's a 2003 CIJ. Big thanks to the Monkseaton Mikes who helped.

So, I’ve been listening to this band for about a year now, have bought their EP and had it shipped from the states, kept tabs on their progress as they tour America, and somehow missed the fact they are playing a short uk tour and going to Glasgow. Would love to see them, but £13 tickets are on resale sites for £100! Anyway, if you haven’t already, check them out, they bring that vintage rock vibe right back up to date with similar phrasing to Plant, JPJ and co. The bass guitar Kiszka brother uses simple effective gear with the bass frequencies cut a fair amount by the sound of things There is a gear review online with premier guitar which is pretty cool and lots of recent live YouTube action. Like this... PS: anyone have a spare ticket for Glasgow on 1st April?

I was advised against T-Cut by JayDee no less, as he said it was too strong an abrasive, especially for the inexperienced amateur restorer. Since then I bought a Gibson restoration pack, which has a finish restorer and soft cloths, fingerboard lemon oil etc in it. No problems so far.

Most manufacturers are quite loathe to reveal any information about the drivers they use. The usual reason given is that they don't want people reverse engineering their cabs. That's silly, as any decent amateur engineer can borrow a cab, measure the driver specs and get the cab dimensions in a matter of a couple of hours. The real reason is that they don't want users to know how inexpensive the drivers are that they use, and don't want people buying replacement drivers from alternate sources for much less than what they sell them for. Your best bet is to post the cab dimensions and you can be given a few drivers that are compatible, but they probably won't sound the same as the stock drivers.

If you can post the cab model you may find that someone already knows something about the cab and could suggest a suitable replacement. Alternatively if you are able to take measurements to confirm the overall dimensions of the cab, and importantly the exact dimensions (including length) of the ports, then someone will probably model it for you. In fact, seeing as I have another thread on the go here where I’m hoping for some relatively expert comment, I’m happy to put something back into the community and model the cab myself, though being relatively inexperienced I might ask for someone else to mark my homework!

That’s always vital… and this is the thing, you can get that from online retailers too. Or at least I do. For anything more expensive than cables and flimflam, I always place orders by sending an email rather than just plopping things in the ‘shopping cart’ and proceeding to PayPal. By doing so I get to build up a rapport with a member of staff, who I then contact directly next time I want to buy something from them. I always ask questions about the product to check that it meets my requirements; and I always ask for a discount due to repeat business, which I nearly always get, sometimes very generously (averaging probably 10-15%). Exactly the same principles as dealing with someone face-to-face. The only difference is I don’t walk out the door with the goods, I have to wait for them to be delivered. Works for me anyway

Gigged it again last weekend. This time I set the gain so it was flicking orange as I hit the bass hard and controlled volume via master volume control. This was in a medium sized hotel reception room with about 100 people and PA support. No noticeable compression or limiting this time. Played through a Big Baby 2. I took a pic of the settings but had to turn it down from what's pictured. Bags of volume!

Serched a little and found what they do in mine. From the web: I see you have earlier models of the TRB, mine has 2 trim pots and are for this exact reason, to balance the "phantom" coil or whaterver it's called with the pickups to eliminate noise. Take out your backplate (post some pics here of your electronics in each bass) and rotate the trim pots with the bass plugged in and see if you notice any difference.

Firstly you don't have to play , if you feel no motivation maybe you might find another activity that you love more . Selling up might not be a bad move , I didn't play for 7 years but in 2009 got back into it brought some new gear and have loved it ever since , but at the time the break to enjoy other things was right for me All I'm saying is give it a go but there's no right or wrong , you got any other interests ?

So, no love fot this no-name beauty? Something tells me to trust this Italian luthier... https://reverb.com/item/10466236-luthier-made-jazz-bass-2000s-3-color-sunburst-relic

Haha! Well according to Cuzzie's other thread on this subject there would clearly be demand for one! Or at least for Indian takeaway cars. Compression threads are dead. Long live compression threads.

Not as much as the wonky pickup. That one on eBay is made from what is probably the blandest piece of wood never to have been covered by a solid paint finish.

I think you might have misunderstood. He used in-store vouchers (not cash) to pre-order a pedal that has been delayed (as pre-order items often do, due to production schedule delays). The vouchers were then used to buy alternatives as store credit is rarely given back as cash and Thunderpaws was also quite happy with this. I doubt GG we’re at fault in any way, it’s their supplier who has delayed the product shipment.

The spec here says the body is nitro and the neck is satin poly - http://www.bassdirect.co.uk/bass_guitar_specialists/Precision_Highway_One.html

If it's poly then trying to patch it by spot filling will not work as well as if it was nitro. Poly cures to a hard finish and patched areas will leave visible fracture lines, unlike nitro which melds with the existing finish.

Hi new member here, as yet not a clue how the site works so hoping this goes out. How did I end up playing bass, well the story is 6 years ago I was playing sax and clarinet. Went to a local open mike night and rarely got an invite to play. Each week the organiser says we'll have a bass player next week, each week bass no show. So I go and buy me a bass learn Brown Sugar, turn up following week bass in tow, and when they played their usual Brown Sugar I was up, and the rest is History.

Quite, restoring this bass to it's former glory could dramatically reduce it's value. The bass world is going through a "dragged down the canal" period at the moment. On a more sensible note -

For a home cinema, music listening room or studio; with a static, seated audience and careful acoustic treatment; I would absolutely go to town applying the scientifically-correct sound reinforcement solution. Because in that environment, the variables are minimised, and the results can be more fully appreciated. But at the Dog and Duck, with a packed car park in the rain, an L-shaped-low-ceiling- room-with-a-bar-and-ante-rooms-and-windows-and-glass-conservatory, packed* with standing, moving, 'refreshed' and loud-talking punters? Then the goalposts move. If I can hear clear vocals and distinguish the instruments from the busy parts of the room then I'm happy: and if that can be achieved with a more portable set up with less trip hazards, less power strips and less footprint then that setup wins. Sadly we're not generating anything near-enough the gig income to switch, so it's teetering PA tops for the foreseeable. Mind those stand legs! * anything more than three, including dogs

What kind of DB are you using? I ask because when I tried Spiro weichs on my Duke, they didn't sound very bright at all. They were very rootsy sounding. Spiro mediums are reportedly brighter but even they didn't brighten up the bass...lol. The mediums are surprisingly less tension on the Duke compared to how they felt on my cheap hybird. As always, strings sound different on different basses.

There's none as deaf as those who won't hear.

Here you go ... John's agent ...

By the colour of the headstock i would say it isn't a vintage bass so what i would do, if it was my bass, i would simply sand the entire headstock smooth, aply a new exact reprodution decal and coat the hedstock with some layers of new laquer. It would be the easiest and fastest solution at only the small cost of the decal and a can of laquer.

Grade 8 at 9 years old? Brilliant, hopefully a star in the making

If the shop in question is the one I think it is, I was just going to add that I have been considering going for a bit and have decided against it due to several bad experience internet posts and anecdotes. They are dotted around the net on various different platforms, and although I wouldn't usually 'cut my nose off' as some have put it here, what worries me is that the reviews are all talking about the same specific issues, despite being in totally different places, from different times, and are fairly well spread out chronologically. This tells me that the problems are consistent, long standing and most importantly, not learned from after bad feedback. Interestingly, the pattern also includes a bit of smarm following each problem, with no changing of attitude, which is even worse. I would say this is a good reason to raise grievances like this. Everyone has an off day, and maybe writing off a place due to one bad experience is rash, but a consistent lack of consideration for customers walking in the door is inviting people to go elsewhere, and how else will consistent bad practices be challenged? It won't happen by just individually moaning a bit AFTER handing over your money, (that's advocating bad practice), but shared experiences being exposed on forums like this. A lot of people here probably have a good idea of the shop that's being talked about..which kind of highlights how much of a problem there is. Good on you for bringing it up AND challenging it I say.

Gigs. From experience all the bands I've been in have sold far more CDs/Vinyl/Cassettes at gigs than all our on-line sources put together by a factor of about 20. Make sure that you have an attractive merch display set up with the price of your products clearly marked and someone to stand there and serve people all the time, because your main selling time will be immediately after you have finished playing, when many bands are too busy putting away their instruments and/or clearing the stage for the next act. Every minute at this point in the evening when there isn't someone on your merch table is potentially another sale lost. For on-line sales use Bandcamp, and have the links clearly marked on all your social media pages and your band website. If you've got the skills make a merch page on your band's website too, although I've found that more people prefer to buy on-line from somewhere like Bandcamp even if the same products are cheaper on your website. You only need to have your CDs for sale on line in one place. Don't use anyone who wants to take actual copies of your CD for them to sell. IME you'll never see your CDs again or get any money for them, and you certainly won't get as good a deal as Bandcamp let alone selling them from your band's website. For digital downloads and getting onto the streaming services whichever Aggregator gives you the best deal for your projected sales. I use CD Baby and Catapult.

I have trouble with some of my own basslines! Make some, play some and everything is great. Have a break then go back and I've lost the feel or timing! It's just like someone else had written them...

Really?! Slut red in fish net stockings with prices held. What's not to like?

Fantastic I've got the text, but not the scores or mp3s. Could you add them to this thread plz?

Session 22a.mp3 Session 22b.mp3 Session 22c.mp3 Session 22d.mp3 Session 22e.mp3

Session 21a.mp3 Session 21b.mp3 Session 21c.mp3 Session 21d.mp3 Session 21e.mp3