Al Krow

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!

One more to add to Bilbo's list: Gerald Veasley

Chris - 100% agree that an hpf would a nice addition to any amp. There are a few on the market that already provide and it seems to add a lot e.g. Mesa D800+ vs Mesa D800 (no hpf). But my question here was much more that if compression makes such an important difference to bass tone in a band mix - and I've no issue with that assumption being challenged - why don't bass manufacturers do something at least rudimentary in the form of a one knob compressor on the on-board bass pre-amp on the bass itself. (I'm not talking about the actual amps here). It would set their basses apart and potentially give them a marketing edge. You've seen a LOT of bass players over the years, I'm sure, and if 99% are not using compression pedals that is an interesting fact which I will mentally note. The active BC'ers who comment on compression all tend to be compression pedal users but they aren't necessarily representative of bass players more generally.

Yup, I was. And apparently it's been a question that's been on far greater bass minds than my own - haha!

Yeah, fair. I do generally try to avoid Swindon... 😄 We were in Beaconsfield, and their idea of the "wrong sort" is somewhat different to what I'm used to. Lol! Funniest for me was sitting next to one punter, who asked me what I thought of the band and totally couldn't get her head around the fact that I might be in it! Lol Mk2!

Blimey gov - I need to find out the name of your establishment! I got home at 3am having dropped our singer off at her place first!

I have to be: I had such high hopes for Finn Dave on this thread... 😂

So did you finish and pack up at 11.59pm then? And when did you get paid for the gig? 😁