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And he we are again, what are transparent compressors good for in a pub band? Not about to try and teach anyone to suck eggs, if you know this stuff, sorry for the post, if you are not really interested please skip it, if you want to know why a compressor might help you in a live situation when it apparently 'does nothing' or 'kills my dynamics' then feel free to have a read. Its like a very cut down compressor 101 chat I gave once, which some of you are still scarred by..... Originally compression was supposed to be a transparent tool to prevent an engineer from having to ride a fader throughout a take or a mix. All it was supposed to do was keep that level more even - as often as not by just slightly modifying the envelope of the input sound, hence the attack and release control. And with VCA compressors they pretty much achieved it. But before VCA compressors there were Vari-mu compressors (real tube compressors), Optical compressors and FET compressors. All these types have pluses and minuses, they all have different attack and release curves all of which do more than just transparently alter volume and help out an engineer. On top of these types of compressor there is tape compression and and amp/driver compression - no driver is completely compression free when you push it hard, no amp is compression free when you push it hard, all overdrives and distortions and fuzzes are also compressors, just totally not transparent ones. The best ever compressor you will ever experience is the pair you have strapped on to the side of your head all day. Yes your ears/brain are simply the most powerful compressor you can buy. The quietest sound you can hear is equivalent to your ear drum moving the width or a single molecule apparently, whilst the loudest sound you can hear before deafening yourself pretty much instantly is hundreds of thousands of times louder (you need to look into the way sound pressure level measured in micro pascals and decibels work as units of measurement). That amazing set of compressors on the side of your head has an unfortunate side effect, without a direct reference you are almost totally volume blind, small changes in volume are beyond you to describe, you can not reliably perceive them. Unless they are compared to a level that has not changed and is not changing. Obviously bigger differences are easy to perceive but the differences that can make or break a mix, if you aren't listening to the the mix happening at the time, nope, not a hope. So a deliberately transparent compressor you can't hear working on your signal in isolation, until you are doing way to much with it, and thats about when you feel your dynamics disappearing, because you are doing huge amount of compression in order to hear anything much at all. In a mix way less compression would be 'enough' to change the envelope of your signal to make your instrument be easier to hear, but you aren't in a mix so in order to hear anything at all you put way too much compression on. Thing is, a studio engineer has the time and choice to select the right type of compressor for the particular part of a track he/she wants it for and then set it up just so. What it does to an instrument in a mix then is help prevent 'masking', this is where the envelope of the signal drops in such a way, either because of the player's technique or their instrument or their preferred tonal choices that some other instrument makes it hard to hear when it plays at the same time. Near the end of a mix when two instruments are masking each other I have found that a change of as little as 0.1dB can sometimes make a real difference to the way a pair of instruments sound in a mix. Back to live then. If you are trying to use a compressor to help you be heard in a mix you need very very little for it to make a difference. If you are using compression for a definite effect then you may need bucket loads. If you like your tone as it is but feel you sometimes 'disappear' in the mix and are constantly turning up, then a transparent compressor, set just right, could be the answer to the fight. But you need good critical listening skills, you need to do this 'in the mix' unless you have great metering on the pedal to help you out otherwise you probably will put too much compression on the sound in order to hear it happening. Compression is difficult to master when you are in the safe space of a mix down with no distractions and lots of time to experiment. In order to make it 'easier' to use many pedals have no 'confusing' metering and not all the required parameters to really control the compression. This is a double edged sword, no metering and 'doing it by ear' are nigh on impossible with a transparent compressor unless you are setting it up in situ in the mix. On the other hand a full featured compressor is waaay to complex for an average bassist to get the best out of, and also remember that little detail about setting it right for a particular song? Well you cant with an always on compressor, so you have to set it to help you a little bit all the time, and that's another skill. Ultra low ratio (1.5 to 1 even), very low threshold, slow-ish attack (50 to 80 ms) and fast release (less than 30ms) giving not more than 3dB total compression on the loudest parts is probably a good target for a general touch of compression type of setting on bass live IME. No you cant really hear or feel it if you are just playing solo (dont be concerned if when playing normally the 3dB light doesnt light up at all, you are still getting some compression if your threshold is set right). In the mix you will be easier to hear, whether you are a loud or quiet band. Not because of tonnes of compression but because your individual note envelopes are changed just a smidge so that the post transient part of the note envelope is a touch louder than before. Hope that makes some sense, probably not though

My BB2024X arrived I was worried for a short while that it'd be just the same as my 1024x ....and I'd be a few (!) quid poorer....but the more I've played it (only had it a few hours) the more the differences really show. First thing was the weight, noticeably lighter than the 1024x. The neck on 2024x is slicker with slightly less clunky dimensions (I've not measured! Just my initial feel), the neck near the heel is finished much more smoothly meaning access higher up is a lot easier, quite noticeable. Finish much much nicer (to be expected though given price difference). Frets are also not as 'tall' which certainly adds to the playability. Sound-wise, there isn't a lot in it as has probably been expressed elsewhere, and they are currently wearing different strings so not an accurate comparison, but the 2024 seems a bit more articulate and even across the board....but maybe only the player can tell! Overall, couldn't be happier! Merry xmas to me

I had a Mesa Boogie RR 2x18 that stopped the UK from lifting off into the air.

Now then. Some of you may recall the Smitten Kitten thread from a while back. I fell in love with a five-string Mike Lull NRT5, sold a bunch of basses and put in an order. Six months on, the photo below dropped into my inbox today with a brief message saying Mike Lull will be building it this week, so hopefully I'll see it before Christmas. I guess it's pretty rare to see his work like this, so posting here. I am heartedly excited. P

I've had a look and can't see mention of this elsewhere. Alan Cringeon is a valued friend. I've followed his career as a luthier for at least 11 years, from the early days. Many of you will know him and his work, either directly or from various bass resources. I won't go on but I would like to offer my congratulations as a Salace 5 String E-Type has just been awarded the accolade 'Fretless Bass of 2017' by Bass Guitar Magazine. I know how much time, effort and pure craft Alan has devoted to building both basses and guitars over the years and I for one am dead chuffed for him. Peter

In that case, I can only conclude that most bass players are unaware of what a comp is for and what it really does - and therefore don't know how to use it properly. And the effect of proper use in any case is likely to be so subtle that it will be less than the difference to be got from using a different bass or a different set of strings. So in the chaos of your average pub gig it's hardly worth bothering with a comp pedal and therefore you can save yourself a considerable amount of cash by not buying one. So I will do what I have done for decades, rely on professional engineers and producers to do their thing, and save myself a ton of mental grief and anguish simply by not thinking about pedal comps ever again! It would seem that one would be better off directing one's time and effort into being a better bass player rather than dabbling with forces one does not understand... Thus will the geeks inherit the Earth! These compressor threads are a fecking minefield! I'm out!

We've just got an early Xmas present! The Contour is one of 5 instruments cited in the 'Best Acoustic Basses' category of Bass Guitar Magazine's 'Gear of the Year' round-up for 2017. According to the citation: "...the tones can't be denied." The Contour is the only electro-acoustic bass guitar to be selected from the premium £1500-plus price bracket. We're well chuffed with that!

You'd be best off to replace the 1/4" in the cab with Speakon, or have it done for you. 1/4" is fine in its original intended application, telephone switchboards, but where speakers are concerned there's nothing about them to recommend.

I'd put the percentage who hold that belief to be closer to five. Don't confuse religious fundamentalism with political conservatism. Even on that the percentage of American voters who are true conservatives is nowhere near half. As with true liberals it's more like 15%. The vast majority are actually centrist, with leanings one way or another, but not strict agendas. OTOH the percentage of Americans who are numbingly stupid probably does approach half, but occasionally something happens that reaffirms the potential for hope that we still have a future, yesterdays election result in Alabama, for instance.

Mine arrived yesterday, it sounds amazing out of the box so I can't wait to get fiddling with the settings!

It's good to see you publicly embracing your inner Bill Oddie Maybe you could change your user name to Owl Crow in homage to the great man? PS - you forgot Freebird.

Was it still functional afterwards?

Hi Chiliwailer I have spare strap extension that you are welcome to have. No charge. Let me know if you want it. It might be better to wait until the new year before posting due to the Christmas rush? You'll have to drill two holes in the extension piece, one at each end, (easily done) and one hole in the guitar for the extension to swivel on. It rests against the existing strap button to stop it in the correct positon. I'll send a pic. Frank.

I would stick with the spector, I've never found a rick I can get on with and also find Ricks to lack versatility

Adam tried to impress Eve by 'doing a Jaco' but she said it was aimless noodling.

Bit of fun - I wanted to see how the Harley Benton would sound. Not bad as it happens. Its a very functional bass! I fret dressed it and set it up and it plays great. Baseball bat neck. Compared to what was kicking about 25 years ago, cheap basses these days are great !

So I just acquired this from hen barn of this parish - a top fella he is! I heard Mick’s Elf at the SE bass bash and was impressed, I think this will be perfect for my gig in a rock band for kids, and for rehearsals etc. Saturday I’ll find out for sure... He she is, perched atop my delightful Barefaced One10:

This way nobody can be tempted to ever hookup an instrument cable...

I do hope this brings in orders for ACG. If not swamped with work already, this will pump them up into orbit. Well deserved. ACG are up there with the most stunningly finished basses in the world. Its a small club, brilliant to know a UK builder is amongst the elite.

" My " Ex BQUAD ... Oh for a better preamp ..... Gary

Some stuff:

I'm not sure which I prefer - Mike must be chuffed to have the choice.... Good work Andy.

My main rig. Basses rotate but these two for the last few gigs. Super Bassman with neo 410, no effects etc... Sometimes when I like to scare our drummer I use the neo 810

Butterflies are a kind of a diminishing return; older you get, less excitement you feel, but yep, when that pic dropped there was a bit of fluttering! All chrome!

Yup it’s interesting and clearly shows I have too much time on my hands! Night shift can get boring!

This is why I suggest folk have a listen to some studio engineers and recording/advice on you tube...yeah it can be hit and miss but there are some great sources out there.Then via DAWor an fx processor if you have one play along to tunes with headphones and experiment with settings. To preface this my singer/guitarist in the pub band is a sound guy..claims to be anyway...we had a terrible feedback from a fiddle (an electric fiddle mind not an acoustic) on a gig and at the half time break I asked him about eq- he hadn’t a clue what he was doing...I asked him if he was using a compressor.....he hadn’t a clue. I mitigated the issue and vowed to learn a bit more about eq. I kinda knew about freqs and mids and a little bit of knowledge on compression and it got us by, found the offensive freq and dialed it out. Since then I’ve been picking up bits and pieces and now he has actually listened to me and allowed me to eq the drums and do a bit more in getting a nice mix for his in ears, using hpf on some channels etc. The only real way to figure this stuff out is to do it in some capacity and try it live when you can.

@51m0n that's a great post For me this is the critical point. I think some people assume that compression will be an obvious effect in the same way that a drive or delay is. While it can be, for compression to be useful and usable, you will almost always need to use it sparingly. Due to it not always being obvious, I think there is a tendency to dial in a sound that you can obviously hear, which as you rightly say, by that time you have squeezed the life out of your bass sound. With compression less is usually more. The analogy I like is to think of it adding salt to a bag of chips (I'm not really sophisticated enough for the spice cliche ). If you buy a Kilo bag of salt and tip it all over your chips they'll be inedible. But just add a pinch and there's an instant agreeable improvement.

Agree,i like to gig with different Basses as each takes a different approach and just keeps it interesting for me.I had a battered 4001,cream and black like early Lemmy,frets were flat and action the highest of my bunch but i loved pulling it out for half a set or whatever.Loved the slim body and neck.To get it mint and properley done would have cost too much for me but i'd def buy another

Yes. I don't need a compressor for 'remedial' reasons, but I like the Diamond bass compressor because it instantly makes a bass sound big, fat and lush.

He Hartley felt a thing.

Got an XT too. Good working bass when tat'ing with the DAW and keyboards, i.e. a home studio situation. Whilst it's doesn't have the tone of my GB, similarly neither doesn have the planet-sucking 18v to keep feeding so you can noodle with your studio to your heart's content and it doesn't get in the way. Channels 'Signals' era Geddy

Thank you Frank, that’s a blinding offer and much appreciated, after Xmas sounds like a good plan. I’ll send you postage costs and make a gift on your behalf to your favoured charity. @kodiakblair did that for me once and I thought it was a great gesture Cheers

Back in the 80s Someone kicked our door in ,so I dropped my Peavey mklll combo from the landing above the door ,followed by a cracking sound & a call of I've snapped my arm .

I was at Reading in 1991 when Cobain came out in a wheelchair........... I can't remember if the RHCP did their flaming pith helmets that year but back then, Reading was awesome.........

My last band did originals and covers. Well, they were originals for them, for me they were just covers of unimaginative songs as I didn't write them. We would do a few covers, get the crowd going, do an original which gave them time to go to the bar, and calm down, and then some covers again. I wouldn't mind doing some originals if they were actually originals that were worth doing, not just some blues or singer songwriter stuff, but I think I would only do it 'as well' because it is nice to have a crowd dancing to something they know.

Another cover band broad stroke. Opinion & Generalization Blue

The success of people like Lozz and Ambient is truly inspiring to me. I play in original bands too and I'd love to get to that point, even if I am still working my day job. Playing covers in the pub at the weekend has absolutely no appeal to me at all - nothing against it, it's just not for me. I've left many pubs because of bands playing "classic rock covers", even if they're playing them really well, it just grates for some reason. It's all subjective isn't it

I've had both and for me the Spector was superior in every way, although less iconic.

Is it not possible to hire an instrument while you're over there? Or borrow one?

Sly & The Family Stone December 10th, 1969 Madison Square Garden. Band Of Gypsys New Year's Eve 1969 Filmore East Blue

In my exerience, with some guitarists in some bands, it can help to encourage the guitarist, or other musicians, to stop calling it a 'solo' and to stop thinking of it as a 'solo'. The 'instrumental interlude' should involve all members of the band - it's not all about one instrument with everyone else doing as they are told.

Absolutely stunning!!

I use dunlop 1mm, the black nylon ones, they work well. It's amazing what a difference different picks make to the sound.

Indeed - this is just normal capitalism. The original owner could have tried to sell it at £780, but he didn't. It was his choice.

Correct. The original seller should have done his homework.

Yes, what is wrong? Looks like a smart buyer making a legitimate profit on the face of it.