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Tapesat is a Becos USP, in that I am unaware of any other compressor that quite does this. It's a germanium based overdrive circuit, which is not unusual in and of itself, the unique part is that it is only applied to the not compressed part of the signal. So you can do parallel compression with at least some of the Becos range, and the more complex units allow you to add saturation to the uncompressed part of the signal. It can be very subtle or really not so much and the balancing act between wet/dry compression and saturation and saturation level and amount is endlessly tweakable. There are a lot of different possibilities, and any clips I made would be further complicated by the fact that the Twain has two entirely separate circuits and the set up of those has a huge effect on the output. I'd be at it for weeks 😃. I still owe everyone a comprehensive review of the Twain, but haven't got the time right now, work is at a very very full on stage in a project I am lead architect for, and it hasn't let up since I got the damn pedal, to such s degree that it isn't even on my board yet 😳

I reckon genre has a lot to do with how much real use your 5 will get. I play in a band with horns, somehow having a five string means it all works more easily. A lot of flat key signatures to keep the brass happy 🤔

I've exclusively played five since I got my Roscoe, over 10 years ago. Just like you the fact it was very light for a five and felt and sounded amazing made wanting to pick it up every day. Still occasionally make a flub with right hand not quite being on the same page as my left, but it's rarer than ever and only really when I'm freewheeling a bit too much. It's so good I've got a fretless sister coming as a 50th birthday pressie to myself 🤩

Not used a Trickfish cab, but ended up returning their 1k because it wasn't as loud as a markbass sa450 IME. Just my experience, and no doubt not everyone else's, it did have a great tone mind. I also really didn't like the way the eq centres reset every time you power it on. In fact I'd say that that was one of the shitiest eq interface designs I've ever used in that regard. Not really helpful in the thread but hey, maybe I love the sound of my own fumbly typing 🤔 Went to a EA iAmp Classic, hell of a tone, very very loud, pushes a huge amount of air with a Big Twin 2. The big change tonally from the sa450 was how much more depth gets thrown out. It is harder to hear on stage as a result sometimes if I'm honest. Sorry for the derail 😆, I'll get me coat....

An unhelpful and facetious git would say "It's a Peavey,cwhat else would you expect from it?". Sorry, I'll get me coat....

Can't really be done. But I've gotten very close in a DAW using a parallel channel with ludicrous levels of filtering, eq and compression. Just as an experiment 🤩

Michael Manring in a little London pub about 10 years ago. Chic at Love Supreme. Both amazing, for completely different reasons 😆

Still playing with my Twain. It's an absolute beast 🤘 I'm not much help to the op though I think...

First impressions, it's a lot of fun 🤩 Very easy to do super super transparent compression in dual band mode. Put it in series and you can start doing all sorts of overt compression effects. Actually finding a tiny bit of saturation can be cool too in dual band mode with some dry in the mix. More to follow 👍

The Stella is a cracking compressor. My only slight reservation about the twain is the lack of manual attack and release controls. Only because I'm a tiny bit of a compression control freak 😆 Ever since Robert Trujillo's tone on the third Infectious Grooves album I've wanted to have this kind of compression set up....

Who knows, could be a huge mistake on my part 😆

Yeah, the less I say about that the better IIRC 😆

Yeah I'm going to spend some quality time with it over a couple of weeks then post my findings!

Oooh going to take some time to get this dialled in 🤩

Got to add this chap's channel is really informative, do have a good mooch about in there...

Ok so I bang on about compression too much I know, but this tutorial here actually shows a few things I keep on about really well. Namely compression is only evident within the context of a mix, and it doesn't wreck your dynamics. Now this is all very much from the perspective of s mix engineer, but honestly, that's how you should be thinking about compression anyway. Enjoy 🤩

Bootsy Variety of Sound Great set of free vsts there. Love the saturation plugins and compressors, but my favourite is NastyDLA, brilliant tape style delay plugin. Reaper's built in vsts can be had separately IIRC and are absolutely superb, Reacomp and Reaxcomp are brilliant compressors, and reverb is about the most fill featured built in reverb I've found, being capable of loading convolution verbs and so on. Tokyo Dawn also has some superb freebies including a fantastic dynamic eq called Nova. TAL have done lovely simple plugins that sound killer. Molot is a killer drum buss parallel compressor. Phat as f... I have spent years selecting free vsts and try and stick to about a hundred that I use almost exclusively.

Sorry but that's slow for catching a transient about to cause havoc to your pa... Or the transient of a metallic percussion instrument, which you need to tame in a mix. Or the transient of your thumb striking a string, or the pick transient edge. Plus it's 5ms after the RMS level goes over the threshold, because it's a compressor not a limiter.

Superchunks are a very popular method. They can also be made more effective by positioning them a couple of inches away from the walls, since it is barrier traversal that uses up most energy. Another interesting and pretty good compromise is a design with a 4" deep layer across the corner, with another 2" to 4" different density layer behind it across the corner with a 2" air gap. It's way harder to build, but uses less gear. You should be checking out gearslutz acoustics forum for more info!

Reaper does video too... It's a tad basic but it works

IMO the absolute best way to record your band from home is to live here:- https://manifoldrecording.com/

A zoom interface will get you out of the box. Within a couple of weeks you'll want something better. If you get bitten by the bug you'll want an update to that to improve the quality (less drop outs, more solid USB implementation, better preamps etc).

Day job these days is Software Architect for a Fintech/Regtech firm. Currently implementing a global anti terrorist funding/anti money laundering system. By the middle of this year it will be in production, and by the year after that there is a fair chance most of you will be in its databases... Pretty cool tech involved to be fair, most interesting thing I've ever been asked to design. Scales to literally global proportions, very very big data indeed.

Weird one. 50th Birthday party, got asked to play, punter knew what to expect (we aren't your typical party function funk covers band). We arrive, set up - very reverby splashy sounding room, sprung floor to boot!. Soundcheck has some challenges, but we get through them no worries. Play the gig for the surprised birthday boy and friends and family, who pretty much ignore us throughout, no clapping to speak of. Really weird atmosphere for us as a result. Afterwards we tear down and politely say our goodbyes assuming we had gone down like a lead balloon - the only people dancing were three 10 year old girls after all... Apparently they all loved us and thought we were great, and the music was superb. Well you could have let us know that!!!! Sheesh.....

A slapped/popped bass note has a huge amount of info above 300Hz, most bass rigs output more harmonic content rather than the fundamental frequency of the note played. Certainly on the lowest 5 frets of the B, E and A string. The entire point of the dual compression is to control the 'meat' of the signal with the low compression separately from the info in the transient spikes and harmonic content. The top end can be set for a faster attack to catch the transient if desired, without stomping on the low end.