Al Krow

Wow deja vu!! There's this geezer, who's not a butler, but likes playing up to Egyptian gods in his spare time who posted a review of these exact same 3 amps about 3 years back (excellent review btw). Let me see if I can dig out... The right answer, in case you're wondering. is the GM 800. (I obviously got it wrong and bought a DG M900) Here you go:

Thank gawd for that. Ok folks, we can all relax now...😁 Are you feeling lonely out there? (Btw are you Finn or Dave or Dave Finn or the obvious Finn Dave?? If the latter - what's the story?)

Don't you have to be "in" before you can be "officially out". Or is that different to what you've been told for the past few decades? 😁

For sure. But this was a really good explanation of the further discussion: And, in particular, around the subject of having a pedal board with a compressor on it which is perhaps the most relevant point for your average BC'er.

Ah but it's about the journey as much as the destination, right? 😉

Great news - well done mate! But are they really giving you a 2010 PS-6 to review? (Nice feature set but it has pretty dismal latency. There that's one done 😁).

Many BC'ers swear by compression. Others never bother and haven't lost any bookings or sleep over it. 99% of bass players can't dial in a compressor to save their lives. 99% of the bass players @chris_b has come across in 40 years of bass playing don't use one live. @51m0n has the patience of a saint. Mostly. Did I miss anything? 😄

You just got a new piece of gear to try out? Haha you're defo out 😁 As Dave said, though, spill the beans and post a pic!

The only question I'd have relates to the trades point - which seems to be the most controversial area by far! Where you trade something for another piece of gear that you actually want and are going to be using => clearly you've just got yourself a new piece of gear! ("Trade to keep") That seems to me to be quite different to where you have something up for sale but the buyer only takes it off your hands in part-ex e.g. cos they don't have the £readies and no else has made you a decent full cash offer. So you take a piece of kit as part payment knowing that you're not really going to be using it and will be moving it on as soon as you can. ("Trade for payment & move on traded item") What say we peeps?

Congrats! Oh dear on hitting exactly the same question I did a couple of months into owning my first Spector, also a Legend. It didn't end well for my wallet!

@krispnnot sure that you and I are saying anything different here? My point is that we are foolish to think that becoming a competent sound engineer is something we can do overnight. It seems to me you're saying you've got there over 25 years. No conflict whatsoever in those two statements!

That sounds like a really good idea. I think @bassfan is about to be doing something similar. Dunno if there's a way of capturing what your guitarist's mate is doing differently e.g. maybe by you guys setting things up in the fashion you normally have and taking a pic of your mixer and compressor settings and then seeing what the sound engineer changes? I'm of the view that becoming a very competent bass player is something that takes consistent effort over a period of years; there's an element of arrogance to think that we can become competent sound engineers in a much shorter period and without equivalent effort. I guess we can get to "good enough" on the mixing side in a shorter span just as we can on basic bass. It then becomes a matter of our priorities as to where our passion lies and where our time gets spent.

👍

Simon - I would offer you my spare (cheapo) one. Except that it was consistently a little bit sharp or flat (can't remember now) - but fine when you made a mental note to adjust. And it's a plug in not a pedal. If you're interested despite the health warning PM me and I'll pop it in the post.

No tougher than the treatment of your Aggie DB751 the moment a HB100 showed up... 😁

Don't think anyone (not even me - haha!) is going to begrudge you a replacement tuner.

Nope. I would describe the 1025 as being both more 'civilised' and with additional harmonic richness. I found the 1025 to be very close tonally to the P35 pups. So if you compare your 425 to your P34, Dave, you'll have a pretty good idea of the difference between the 425 pups to the 1025 pups.

I think we concluded that trades unfortunately were out a week or so back. Can't have one rule for Walshy and one for the rest (or can we? 😂) So it's nice been knowing ya @ead, thanks for stopping by, mate.

^^ this. My experience is that the following are, by some margin, the key factors here: 1. Do your vocalists have any personality and can they engage with the audience (and related to this can they comfortably hear themselves through the monitors)? 2. Are the volumes of the instruments and vocals balanced and appropriately loud for the venue and the event? 3. Is the band tight and plays with groove? 4. Do you have decent lighting? 5. Are your sets full of material that audiences love? Get that right and IMO you'll be 95% of the way there. For me the rest is tinkering at the edges and which as you rightly say: "A tiny part of which is learning how to use compression in a live mix properly..."

Depends on the Y cable. They are typically either current doublers (leaving the voltage the same) OR voltage doublers (leaving the current the same). But not doubling both at the same time. The cables should specify which they are when you buy them, or be colour coded with a guide if they come with your power brick.

Does make good sense. And kinda confirms what I've been thinking for a long while - compression is best left to sound and mixing engineers to be done well / properly. That's a resource that pro / semi-pro touring bands will / may well have; much less likely to be available for most of the rest of us BCers other than at certain venues with in house PAs and sound engineers. We have one such set up we regularly play at, the rest is down to our own paltry resources with a 10 minute pre gig sound check! As Simon so eloquently put a few posts back: most of us are not going to be able to dial in a compressor to save our lives.

What we know so far... DG 212N Barefaced ST Power Handling RMS 1000 Watts 1200W Impedance 4 Ohm 4 Ohm Tweeter Action Frequency 2 kHz N/A Weight 19.7 kg | 43.4 lb 17 kg | 37 lbs (cloth grill) Dimensions 29" high x 18.3" wide x 17.1" deep 74cm x 43.5cm x 61cm 29" high x 19" wide x 13.4" deep 74cm x 48cm x 34cm Price TBA £1,099 with cover Usable frequency range TBA 37Hz - 4kHz Max continuous broadband & LF SPL "This cabinet can produce very loud sounds" 133dB How good does it sound? TBA A LOT of BC fans!

Ian spent his entire ill gotten gains from the sale of his (fantastic) Boss SY-1 pedal on a bit crusher. The boy has no sense. Although, tbf, he makes better use of bit crushers than just about anyone else I know! However, he is a complete pleasure to deal with and having now both bought and sold pedals from/to him, I have no hesitation in continuing to recommend Ian to my fellow BCers.

@51m0n do you have a pic somewhere showing an uncompressed and a 'decently' (i.e. something you would approve of!) compressed bass signal side by side, showing the impact of compression and where it is hitting the transients etc.? I suspect that might be a very useful summary of what this topic is all about!