danlea

Perhaps this section could do with something about multi-band compression/limiting, the classic examples being the Trace Elliot dual band compressor (also found on Ashdown stuff obviously, and on the dreadful DigiTech XBS Bass Squeeze) and the multi-band limiting essential for good mastering.

[quote name='chris_b' post='14204' date='Jun 8 2007, 02:11 PM']- Use a Fatfinger, to increase the mass of the head. It does work.[/quote] I'd just like to say I bought a Fatfinger and it made not one iota of difference, to either my Fender Jap Precision or the American Fender Deluxe Precision I had for a short time (which incidentally had several serious dead spots that were just shifted around when adjusting the truss rod).

My 2x10 Trace Elliot cabinet has developed a bit of a 'whisp' on one of the cones (and also the internal cover for the jack socket has come loose - just needs regluing) and although it's nothing major, it's a bit of an annoyance. The problem disappears if I press on the offending edge, so I'm guessing it just needs some adhesive to sort it out. Does anyone know of any places on London I could get it sorted cheaply (or anyone with experience in such matters that could help out for a small fee)? The cabinet is stored at Premises Studios in Hackney, so anywhere that isn't too far away from there would be fine. I know there's an amp repair place on Denmark Street, and I'll get an estimate from them, but I expect them to be fairly pricey. Dan.

Hey fellas, Just noticed this forum and thought I may as well try and plug my band's music. Four of the tracks from an upcoming CD are mixed and provisionally mastered and are available for download at lights.4shared.com (high quality mp3s). They were mixed by Richard Rainey (who works with U2 and consequently has two Record of the Year Grammy's for Beautiful Day and Walk On) in a small room at Olympic Studios (check out the bands that have recorded and mixed there!). That was a great experience for us in itself. I should start by saying that I'm no showboater and I don't write my parts to stand out, but that's not to say I've not put a lot of thought into them - just don't expect many leading basslines from me! Just Say Goodbye is a fairly typical driving indie track - the bass has a wonderful clear precision tone in this one. Welcome To The Real World is a dark jazzy take on indie music and features two pops (as opposed to slaps) and a little bass run in the second verse (go me!). Losing the Proof is a dancy track with a punctuated bass line written around a great drum beat. Lastly, The Fear is simply a great 'anti-ballad', and without anything of interest in the bass part, I'll note that I play a short violin part in this one! All the bass parts were recorded with my standard setup (see signature) using a 10" speaker cone as a mic on the 1x15 cab and an SM57 on the 2x10. Recording was done over about a week with one of the engineers at Fortress Studios, namely Ed. We've recorded three more tracks at Urchin Studios (with some recording done elsewhere) and these are being finished off over the next week or so. They should be available for download (at the same URL) soon after that. On one of the tracks I use the DHA pedal for certain sections and for one glorious extended burst/rumble of bass feedback at the end. Whilst I'm on the subject of feedback, anything from you lot is very welcome. Dan.

Hi guys (and gals?)... I've read posts encouraging people to introduce themselves, so here's my "Hello (bass)world!" I'm 25, have been living in London since I came here for uni, but am originally from North Wales. I've been playing bass in a band called Lights ( www.lights.mu / www.myspace.com/lightsmu ) for over a year and half now. You can download four high quality tracks that I've been a part of from lights.4shared.com and there are three more tracks on the way. I play (finger style) a Fender Japanese Precision with a Seymour Duncan SPB-2 (Hot) pickup and heavy Orange strings (those strings take a real battering from me) and this goes straight into a Trace Elliot GP12 SMX 1x15 combo (early 90's) with a TE 2x10 extension cab. I also have a DHA VT2 Dual Bass pedal cranked to the limit for occasional overdrive (I use this in a forthcoming track in some sections and for bass feedback at the end - it's monstrous). The main thing that defines my bass playing is the fact that most of our music fits around the piano part, and my setup allows me to complement the sound of the piano (Kawai MP5 + effects + synths, extremely weighty live - no bass roll-off). I'm no showboater, and I don't write my parts to stand out, but that's not to say I've not put a lot of thought into them. The best way for people to get to know me, my sound and my style is simply to listen to the tracks ( lights.4shared.com ). Just Say Goodbye is a fairly typical driving indie track - the bass has a wonderful clear precision tone in this one. Welcome To The Real World is a dark jazzy take on indie music and features two pops (as opposed to slaps) and a little bass run in the second verse (go me!). Losing the Proof is a dancy track with a punctuates bass line written around a great drum beat. And lastly, The Fear is simply a great anti-ballad, and without anything of interest in the bass part, I'll note that I play a short violin part in this one! As a band we've played a few gigs at the Borderline and elsewhere, and supported Puressence (anyone remember them?) at the Islington Carling Academy, but we're just little guys - unsigned and hard working! Finally, I guess I should say I'm a physicist (now of the medical variety), so I have a reasonable knowledge of electronics and general technical stuff. If anyone wants to know anything about the recordings, or anything else for that matter (within reason), I'd be happy to respond to PMs.

Hey there, I bought I a VT2 Dual Bass pedal around Christmas '06 and never really got back to you on my thoughts, so that's the first part of this post. When used in full overdrive mode (I mean cranked with both valves to the point just shy of valve squeal) it really does give a fantastic sound - something I'm using on a track we're currently mixing, in chorsuses and for bass feedback at the end (I'll post a link once it's finished). I have to say I don't find any use for the single valve setting due to the great difference in output levels. I'm running it into a GP12 SMX amp (valve/ss blend input stage) so I don't want to overdrive the this preamp, hence the output level is set pretty low. Unfortunately, this means the single valve setting on the pedal is too quiet. For me it would be nice to have separate output levels for each of the settings so I could have both options, but as it happens I'm happy with using it purely in the dual valve mode. The other issue I have with the unit is that there seems to be some capacitive coupling (or some other form of electrical connection) when in true bypass (noticeable when the valves are cranked, as they are for me). I've gotten around this by putting it by itself in a true bypass effects loop (which I use for its tuner mute anyway), but I thought I'd let you know about it. Now, I've gotten this silly idea of whacking a piezo bridge onto my passive (Fender Jap) precision bass. Now, my precision pickup must remain passive, but naturally the piezoelectric transducer would need it's own onboard preamp. I'd probably send the two separate signals via a stereo cable and split them to two mono connections close to my rig. Now I'd like a valve on the end of the passive connection, so would Bob the Blender be a decent option for mixing the passive and active connections? I ask because I'm not entirely sure how the signals are blended in context of the valve (I don't think I'd want them being mixed passively). Dan.