Leaderboard

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.

I'll see if I can get hold of them. Can't promise though. I'll let you know.

... and you're 'available' any week-end or weekday, for the next few years. Am I wrong..?

My wife: 'Are there any photos of you?' *Edit. Just spotted my receding hairline poking out out from behind someone's head at the Yolanda showpiece.

I make up for my poor musicianship by having no stage presence or appeal whatsoever. I sit with my back to the audience, I wear dirty old clothes, and I pull terrible bass faces at the drummer whilst moaning about his playing. I drink brown ale and smoke crack on stage. If people don't applaud when I take a solo, I turn around and spit on them. I threaten men and make sexy growly sounds at the ladies. I often get so absorbed in the music that I soil myself on stage. I play mellow jazz standards in an intimate wine bar, on a yellow 1987 Kramer with a pick, going through 34 dirt pedals into an SVT and an 8x10 cab.

I should caveat the above with - assuming you’re convinced you want to try this? To echo what others have said, there’s no guarantee that it’ll sound any better, and every possibility that it’ll sound different

Yup great Album, Mr Bowie was never afraid of pushing off in directions new for him. I know what I'll be listening to in the car later.

Drew's retired but the GBBL lives on - the stock and business was transferred to a new owner, based in Congleton - and the first pics look a bit like a lounge setting too, so expect more of the same I imagine!

Hi. Folks just an update on this, I used UPS and had the bass insured for £5500 by a 3rd party,. Thanks for all the advice and special thanks to Grangur for the kind offer!

That`s a shame, Athens is great, was there a few weeks back, played at Tres, great gig and a great audience, def should be more music shops there.

got to agree having a front man with personality is most important, and I always say if the band don't look like you're enjoying it how do you expect the crowd too? even if you can't jump around a lot there's nothing to stop you dressing up a bit, black T shirt with some bands name on it, scruffy blue jeans and dirty trainers just don't cut it IMO, if the level of musicianship is excellent but there's no show a disco would do the job

What, spinning plates on sticks on a slack-rope whilst thumping out AC/DC..? Maybe we should try that.

Very tasty playing as usual. Nice tone too! Preamp flat with a bit of tone knob rolled off?

My lad Dan got this for his Christmas present a couple of years ago, I sprayed it blue and got Scratch-It to make a Pickguard of his favourite team... Started as a Harley Benton 3/4 lefty. Mores the pity he’s got his hands on the wrong way - a very serviceable little bass 😑

Hi, My wife recently showed me a video she had taken of our 3 year old grandson playing my jazz bass, on its stand, like an upright whilst she played some music on the stereo. "can you do something for him" she asked. So I bought a secondhand Gear 4 Music 3/4 precision. For the money its not bad but it did need a fair bit of work to make it anything like playable. The neck has no finish at all so I gave it 4 coats of tung oil and lemon oiled the fretboard. I had to lower the nut, shim the neck, adjust the truss rod and then set it up. So he will get it four his fourth birthday and we'll see what happens. Regards, Doug

I think Youtube among others has created a lot of insta-musicians. Impressing themselves in their bedrooms (oo-er) but quickly finding out that playing in an actual band involves a lot more than just hearing how to do it. This means there are a ton of poor quality bands around and either really good musicianship, or some great stage presence/gimmicks can get your head above the rest. I have mostly played original stuff for most of my playing life, and in that scenario you really need both to do anything other than what is essentially playing for friends imo (though its hard to believe, looking at a lot of up and coming 'professional' bands).

I always liked the idea, concept, and time of The Bay City Rollers. I liked the sound too. I think I look at the value of a gimmick, hype and the non- musical feature a lot different than I did back in the 70s. Blue

"You can lead a horse to water, but you can't make it drink".

@tonyxtiger i’d Be happy if you stick in some tablet and a wee dram, that’ll do me

That looks really good. Many of the budget instruments available are amazing value. With improved electrics and a bit of work on the frets they can be really great.

Thanks all. Just seen a secondhand Squier VM Jazz on FB for £170 which seems pretty good, so may go and see that.

bit of demo and chat about the pedal, but wise words in general from the big man

Rich, if you cannot find them, I have them.

Session 25a.mp3 Session 25b.mp3 Session 25c.mp3 Session 25d.mp3 Session 25e.mp3

Session 19a.mp3 Session 19b.mp3 Session 19c.mp3 Session 19d.mp3 Session 19e.mp3

Session 18a.mp3 Session 18b.mp3 Session 18c.mp3 Session 18d.mp3

Session 15d.mp3 Session 15e.mp3 Session 15f.mp3 Session 15g.mp3

Session 15.mp3 Session 15a.mp3 Session 15b.mp3 Session 15c.mp3

:eft to right: 2002 Fender Standard Jazz fretless w/ epoxied fingerboard, Lollar pickups & Gotoh bridge 2005 Geddy Lee signature Jazz with Antiquity II pickups and vintage style bridge 1966 Jazz, refin & refret 2001 Blade B2 Tetra Bass with Nordstrand pickups and Aguilar OBP-1 preamp 2013 De Gier Bebop 5, custom order