Ghost_Bass

Now that's some hard compression!

Does this answer your question? 5.5HP isn't enough to drive a high SPL cab!

I like my compressors to be german made! Not the best piece of gear to drive an 8x10" though...

I've tried lots of compressors and i came to the conclusion that the more controls i have available, bigger is the chance of screwing up my tone. I settled with the EBS Multicomp, it's perfect for me, not only its a multiband compressor but it also only has two knobs and a switch plus the two internal trim pots for those that like to use screwdrivers. I have mine set at multiband, Gain at 0 to balance the volume on/off and compression around 11 o'clock. In the internal trim pots the high is set higher than the low so it affects the peaks whilst retaining all the dynamics in the low end. It's simple and effective, wouldn't trade it for any other, it's allways on in the pedalboard. Lots of people may not get into compression because it's a bit hard to understand and setup properly given the amount of pedals cramed with knobs, switches and LEDs out there...

To answer the thread: If you know how to set up a compressor properly nobody in the audience will notice it's working. If you have decent technique nobody in the audience will notice if you turn it off, but people that are aware about sound/eq/tone, normally other musicians, may notice the subtle differences between on and off.

Not mid song but in the beginning of a gig the footswitch on my compressor made it stop working. Band members commented on my bass sound being harsh in the highs in stronger parts of songs that night.

No problem, it's solved now, i've got one on it's way to my local store and they got me a very nice discount.

I play at a very sensible volume but with a bit of gain in the amp and use a TRB wich has presence in the mids and highs with some very bright prosteels (can you tell i don't like thump?) When switching OD/Fuzz on the highs can mess with the guitars. In reality the B3K is the best OD i've found that doesn't get the highs sounding over the top (i.e. i had the Pickle Pie B that was fuzz heaven but managed to blow a tweeter in my cab in a wreckless night). In any case it's nice to have the reassurance that any unwanted peaks are taken care by the comp, should they appear.

I think he's talking about Rhonda Smith. She played with a 4-string with Prince but uses 5/6 basses in other projects. I suspect the reason for the swap back to 4 had more due to with Prince's control-freak personality and the will to retain a job than with Rhonda seeing him as musical guru... btw, here's a pic of her:

£12 P&P from R&D so too costly also. Just traded some messages with my local store and they can get it for my with a bit of discount for 60€ new with waranty. No need to think it through, just placed my order and it will arrive next monday. Haven't found a cheaper place online and now can stop searching. Thanks for the tips.

I prefer the comp over the limiter because of the way it decays the peaks instead of just cutting them out abruptly, makes the note sound more natural. The way i use my comp makes it useless in 90-95% of my gig but in those couple of harder moments when i kick in the B3K at full drive or push the odd pop it's reassuring to know that i won't be blowing anybody's hears or my tweeter.

That combo had the luck to be own by a sensible player with ears in his head and carefull to check the driver before adding the ext. I don't think many other combos with similar MANUFACTURER ERROR had the same luck and suffered a worst fate... more savings for Ashdown...

It's true, i've seen it happen with my own eyes. A friend of mine started playing bass with a cheap behringer (can't remember the model), bridge was fender-type chinese crap. When i met with him to give him some lights about bass i saw that the bridge was bent by the screws line and the back part was lifted. If he tried to bend it back it would break by the screw holes line. He wasn't even using a heavy gauge string set.

Well Al... fortunately i don't slap the hell out of my bass but if i did and i switched off the Multicomp mid song people would notice the difference and cover their hears as my sound, as i described earlier, has a bit of gain for headroom and i use a flat EQ on a TRB stringed with fresh Prosteels. The peaks in some highs would be unbearable if the comp wasn't decaying them. EDIT: but all is fine because i don't really slap a lot...

GAK is £13+ for P&P so it's more expensive than Thomann, i've sent a message to R&D to see if they ship to PT and the cost. Thanks for the links

Those particular genres of music aren't known for having dynamic bass lines so it's natural that compression is used to achieve a uniform bass track. Try apllying the same compression to a classic band or a Richard Bona (i.e.) recording and they wont be happy with the end result as they use dynamics as way of expression in their music styles.

The bridge plate shouldn't be shaved as you loose thickness in the base and it can became prone to bending with the force of the strings (like the cheap bridges in behringer basses). Trimming down saddle height is the safest route IMO.

Thanks for the link, i've been on e-bay looking for them and this one didn't come up. Now i know why: Item location: Middlesex, UK, United Kingdom Postage to: Europe Excludes: Asia, Central America and Caribbean, Middle East, North America, Oceania, South East Asia, South America, Algeria, Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Central African Republic, Chad, Comoros, Congo, Democratic Republic of the, Congo, Republic of the, Côte d'Ivoire (Ivory Coast), Djibouti, Egypt, Equatorial Guinea, Eritrea, Ethiopia, Gabon Republic, Gambia, Ghana, Guinea, Guinea-Bissau, Kenya, Liberia, Libya, Madagascar, Malawi, Mauritania, Mauritius, Mayotte, Morocco, Mozambique, Namibia, Niger, Nigeria, Reunion, Rwanda, Saint Helena, Senegal, Seychelles, Sierra Leone, Somalia, South Africa, Swaziland, Tanzania, Togo, Tunisia, Uganda, Western Sahara, Zambia, Zimbabwe, Albania, Andorra, Austria, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Republic of, Cyprus, Denmark, Estonia, Finland, Germany, Gibraltar, Greece, Guernsey, Hungary, Iceland, Ireland, Italy, Jersey, Latvia, Liechtenstein, Lithuania, Luxembourg, Macedonia, Malta, Moldova, Monaco, Montenegro, Norway, Poland, Portugal, Romania, San Marino, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Ukraine, Vatican City State Says it posts to europe but in fact i think it only posts to UK... strange way of listing this! I'm in Portugal soi'm afraid i'll have to pass on this.

Do you really need relief in the neck? It's one way to bring it down. Failing that the best is to file either the grove or the bottom of the saddles. If you can get some brass saddles it will look better after filing down, if you file down the chrome it could end looking very botched. If filing chrome saddles is the way i would remove the bottom of the saddle, not the grove, to hide the hack job.

OK, let's see if i got this right... The facs: - Ashdown originally released the 400W Mibass combo with a single (presumably 400w) 4 ohm driver and no extention out. - After some time they decided to add the ext. out and swap the driver for a 250W 8 ohm driver. - Aparently your combo got caught in a transition period where they fitted a 250W 4 ohm driver in your V2 combo with ext. out capability. The questions raised: - Were did that 250W 4 ohm driver came from? Logic says it was from one of the old V1 combos but why is it only 250w? Could it be that they sold the first V1 batch to the public with a driver not suited for the amp? - In the e-mail replys they admited that your combo was a product of their manufacture error. Aren't they liable for it, there must be laws the make them repair the error at their own expense, even after waranty has expired (in reality you couldn't know the driver was 4 ohms without taking it from the box, thus voiding waranty)? Asdown is at fault here, a big fault. You could have blown your combo simply by pushing the volume or adding a ext cab just by having faith in the product you bought. You're lucky to still have a working combo. I think they got caught with their pants down and are trying to avoid the shame of admiting that they put a underpowered driver in that combo, i now also believe that every V1 combos out there are fitted with the same 250w driver, until Ashdown comes to prove it isn't true and that particular driver came from somewere else. Use every weapon at your disposal, demand for the correct speaker to be installed in your combo at their expense, don't pay them a cent, threaten them with exposure of this situation all over the biggest bass players forums/pages/sites/magazines/etc. They owe you a fully working product. IMO Good luck

Hi, the title says it all, i'm looking to get a Mooer Sweeper to get that bassballs reso-wah type of sound. I think i remember some time ago people over here getting them cheap - either that or i'm mistaken it for the Joyo pedals - and would like to know if somebody knows the best place to get them and have them shipped to PT. Thomman has it for 65€ and i could get free shipping when buying some sets of strings that i need, so that's the benchmark. I've looked in the marketplace, haven't found any, but if you know of a store selling them second hand, i don't mind if it isn't new. Thanks

IMO, when you hear the compressor working you're using it wrong! Compression can be used in two ways: 1 - When you want your sound to be constant, allways at the same volume with the same punch you can use high compression setting to disguise your poor right hand technique. This will make every note sound at he same level raising the volume when you hit soft and lowering it when you dig hard. It's great for those players that use the same sound for everything and don't use dynamics in their playing; 2 - When you want to use lots of dynamic range on your playing, normally people set the gain high to have more dynamic headroom but that comes at the cost of getting loud and harsh sounds if you slap a high string. A touch of compression here, preferably dual band so it can focus on the highs, can help tame those peaks whilst allowing to to retain all the dynamic range in your playing. I'm in the nr. 2 cathegory and i use the EBS Multicomp as i find it to be the best compressor (IMO) to obtain that desired result. Only times i can tell it's working is if i'm slapping a bit (normally on soundcheck) and bypass the pedal to hear the diference. In every pedal i have on the pedalbord all volumes are matched to the bypass volume because if that particular pedal packs up during the gig i can bypass it and keep on playing the song at the same volume.

Try this: Remove the wires from the internal speaker from the amp's PCB. Connect those internal speaker cables to the external speaker out - you'll need to fashion a cable with a jack/speakon to connect to the ext speaker plug ans bare wires on the other end to wrap aroung the internal speaker wire lugs - try it. If it doesn´t work: - bad speaker or wire, needs fixing or replacing. If it works: - problem with the PCB not sending signal to the internal speaker >>> ckeck for dry solders or take it to a tech. - problem with the headphone jack, most likely the lug that mutes the amp when connecting the headphone has become loose ang got stuck in a mute position >>> probably not this issue as you said that the ext speaker out is working, it should be muted too.

Is it really broken? From the pic looks like it can be inserted back in the grove and have the tuning axis tightened with some pliers. that hole in the peg seems like it would fit in some kind of tag in the grove to prevent it from slipping out. Can you post more pics of the back of the headstock? It'll be easier to link you to a link on e-bay if we know what type of tunning peg you have there.