fretmeister

High Pass filter and also EQ to suit the room even if it's a bit bass-light.

The battery life is the annoying thing. I just take a OneSpot with me if I’m just using that alone.

That compressor has impressed me so much. I sold all my others, aside from a cheap backup Marshall ED1. Ive had most of the silly money compressors and I’d take the BC-1x over all of them.

My current Nano board. It's quite fun. The Ultra Wave is a great overdrive as well as being able to do the silly stuff.

Doh! I had forgotten Sandberg will build anything as a shorty!

What would you fine people suggest for a short scale jazz type? Ideally a low weight option. ta

What Bill said, I reckon. Speakers really are a low pass and a high pass filter in a box. My own cab tops out at about 4-5Khz (no tweeter) but if I plug into something else with a tweeter I get all manner of crap at the top I don't want. Have you tried running an IR of a suitable cab in the DAW? Record it raw, and then add the IR after. Then you can change the IR as much as you like without re-recording. It's always a good idea to record a DI track at the same time too. That way you can completely change everything. Amp / FX / Cabs etc etc.

I’ve used the regular EMG J pickups for years. I’m now reading about the JA (and JAX) options that use an alnico magnet. Has anyone used both? Is there a noticeable difference? I’m tempted to try the JA / JAX but they don’t seem to be in stock anywhere and might be a build to order thing.

I drop octaves like that sometimes. Often I’ll decide during the gig depending on whether the room has a woolly low end response.

very kind. Alas I’m in Northants. I get to Sheffield sometimes, but that about as far north as I get these days.

I put the Aguilars in my shorty fan fret I used to have. They were a big improvement on the stock Barts.

How are you getting on with it? I keep looking at them, but I'd have to order a Superlight version.

Don't think I've ever seen pink silks before.

No idea. Same stuff on their IG.

That Electra sounds fantastic. Especially as there's about over £1000 price difference. What is your signal chain for recording? You always get a great sound.

Here's the full tension chart https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf

That cab is capable of silly volumes. What amp is being used with it?

No. It should be in the sea with anyone who likes pineapple on pizza.

Peanuts are a legume so I'm covered. You can have all the pineapple though. Horrible stuff. I'll swap mine for those mini picked onions.

This version obviously

Blue cheese, peanuts, chocolate and a load of red wine. Just organising a healthy saturday night..... 😎

Placement of a compressor often overlooked too. Makes such a difference. If I want a saturated drive sound - like a proper zero dynamics 1980s widdly guitar > Tubescreamer > Raging valve amp type thing then a load of compression with a high output hitting the drive is great. But that means I would not be able to control the drive amount with my right hand. The signal hitting the overdrive would remain pretty constant due to the compressor. So for a more hand-controllable approach I can put the compressor after the overdrive. So the amount of drive can be controlled by my right hand, but the compressor then equals out the volume. Digging in then gives me control of the drive only and controls the dynamics so digging in doesn't cause notes that are too loud. With a valve amp running loud that compression is done by the amplifier. Bass amps tend to have a larger dynamic range and don't do that as much so an outboard unit is needed for the same effect. There's no difference really, the work is just being done by a different box in the signal chain. Placement before and after EQ is probably even more important. EQ into a compressor can - with a lot of compression - render the EQ settings pretty useless as the compressor mashes all the frequencies into a narrow range. So compressor and then EQ gives back that EQ control. Billy Sheehan's rig goes even further - there's a vid on it somewhere. In his old rack he had a minimum of 2 compressors running in a single path and sometimes 3. Before pedals, after pedals but before the amp, and then sometimes in the amp FX loop as well. All doing different things depending on the placement. And no doubt the FOH guy was adding more. The only place where I've seen compression get used less is on drums - but that seems to be because more and more drummers are using triggers rather than the acoustic sounds of the tubs. Just trigger a perfect sample every time instead, and no worries about mic bleed from the other stuff.

Just compress the fosters out of it. [/running for cover]

Try playing with fingers and then going to slap and have it within the same range. The fingers will sound great.... and the slap and pop will come hammering out of the cab twice as loud as the finger style stuff. Drowning out the rest of the band and ruining the mix. The thumb impact of slap has a very limited range as it is. The string has to be hit hard enough to make contact with the frets - so it automatically has a higher minimum volume than fingers do. But that contact also massively limits how loud that can be as it interferes with the natural decay of the string. If you thumb the note as quietly as you might for a finger plucked part you won't get the slap sound as the string won't hit the frets. So the dynamic range of slap is small - but that range has a higher volume than most fingerstyle playing. Effectively the lowest volume of slap is all louder than almost all fingerstyle. Lighter touch doesn't work in this situation as it needs a bare minimum to sound like slap that is much higher than the bare minimum for fingerstyle. I'm guessing you don't have to swap between fingers / pick / slap within a gig or even within a song? This is obvious to those that do.