roman_sub

As the joke goes... we like to have standards in pro audio - that's why we have so many of them! I had to work through issues with most paid software providers I've dealt with: so, many reinstalls and once a 3 hour call with Waves support. Not sure as to causes - perhaps chaotic marriage of industry and art?

To the OP: at matched / equal volume, how would you compare the tones of the Mesa and the GK? thanks

[quote name='Osiris' timestamp='1510254407' post='3405124'] I've not heard the argument that compression is needed less when playing in passive than active before. And I'm not sure that I agree with that, although admittedly I don't know the detail of the arguments either way. [/quote] I suppose one could make an argument that active circuits buffer and feed a lower impedance signal downstream, which better preserves transients (signal spikes). If you then add active pickups to the mix, which normally have weaker magnets (with less deadening magnetic pull on strings) but have their own amplifier circuits, that would further increase the available dynamic range.... more dynamic range = arguably greater need for compression. Entirely passive circuits may be more naturally 'lossy', albeit, perhaps in a rounded and musical way.

Lots of great points here - I would add that compressors were originally designed, and IMO are best seen as problem-solving devices. Are the peaks too loud? Does the sustained note die too quickly? does the initial attack of the note need more definition? Do you want similar volume when slapping vs playing with fingers? is the playing somewhat uneven? do the low notes overpower the higher notes? If so, a compressor may help. A compressor may even *purposefully* colour the sound - e.g. 1176-style compression (like a Cali), or perhaps a tube compressor. Where it gets complicated is the different types of circuits and setting the parameters.... but I'd say if you can't hear a problem, and aren't looking for specific compressor colour, leave it off. p.s. Ovnilab is indeed a superb resource.

I hear bad murmurs about current comings-and-goings at Gibson, I wouldn't buy this without properly testing it out first...

incorrect link...?

6 days is too long to spot a bargain.... IME price goes up 20% in the last 20 mins alone

/ or could be a problem with the strings themselves... did you go up a string gauge by any chance? in case the nut slots need adjustment.. sorry that's my brainstorming of ideas done!

Hmmm, I suppose you could try measuring the tuning if you fret as lightly as you can? if that significantly improves the situation, this may be (partially) a technique issue. You could try changing the string height (and intonation) to see if there is a way to improve it. You said the lowest frets are sharp - what about the higher frets? If the entire fretboard is off, then I think it may still be due to how intonation is being set. If it's only the lowest frets (and rest of the fingerboard intonates seems fine on these strings), typical wisdom suggests mix of: excessive fretting force, nut being cut too high, or, in the extreme case - incorrectly placed frets.... Maybe consider taking the bass to a good local luthier to assess. Or at least have someone else play it for a second opinion? Or maybe have a look at the saddle spacing - is something funny happening with which saddle 'slots' you are using?

Yeah I'd say 2k is a tad much. Then again, depends on buyer and the bass...

blending with clean makes me think of Darkglass stuff - B3k or B7k may do the trick...?

John East really knows his stuff, but unsure if he'd take on repair of a Warwick preamp! I normally deal with Guitar Aid in London - maybe they could look at it, if you post it? If you do go down such a route, maybe send them the whole harness (pots etc) so they wire it up and save you some time in process. TBH I never thought Warwick electronics were that good, so consider direct replacement for East / Aguilar / Bartolini etc etc... may be quicker and simpler.

I would say that 20 cent is quite a lot! (assuming we're talking about the same tuning inaccuracy). I think that would clash noticeably with guitars. I think up to 2-4 cent one could live with (providing it's gradual and neighbouring notes are offset by similar amounts), but if we are talking 20 then that would be an issue in my book.

+1 for Ditto x2. Having separate stop / record buttons makes it really easy to use!

Two things I can think of - 1) check you are not fretting too hard and pulling strings out of tune. You may be fretting too lightly on the 12 fret when checking intonation versus how you fret normally? 2) check nut is not cut too high. Assuming neither issue is responsible for the sharp (how sharp are we talking by the way?), then yes try adjusting intonation accordingly. It's a compromise either way, so if there are no other problems, i'd suggest it would be sensible to try to get these notes in tune.

IME effective fretless playing is about tying up your muscle memory with a clear sense of pitch. Singing actually helped my fretless playing, but also vice-versa. I tend to practice much more on my fretted bass, especially when working on right hand techniques. Any of the Bach cello pieces would be good for fretless - though watch out for any chordal stuff or double-stops, or finger-barre stuff - may be more of a challenge keeping these in tune. Plus usual classic fretless lines - Pino, Jaco etc etc. To pick up on your point, fretless does seem to lend itself to more expressive, more vocal (normally meaning slower) lines. re: lines / unlined - I think lines are a great aid, but you still have to [i]hear[/i] each note. The way fretlines fall in relation to your fingers means the positioning for accurate tuning will vary somewhat (e.g. just behind the line, exactly on it, etc(- so not just as simple as eyeing it up and leaving it at that, IMO. Gary Willis has some great pointers on this. Unless you are willing to put in serious amounts of fretless practice, you will probably be out of tune more often on an unlined instrument. Apart from 'clean DB' looks, I don't personally see any advantage to fully unlined instruments. I changed my mind about this last point, having started out on an unlined instrument. These days I enjoy the lined fretless much more and worry less ;-)