Cuzzie

7 minutes ago, Naigewron said:

Nah, the cheat line is clearly drawn at 13 or more strings.

I’ll wear my big panties then

Oh and sometimes I use a 12 string bass - is that cheating?

Forgot to mention The Cult as well esp the tambourine.

Alternative to the tambourine would be those eggs which are like mini maracas - they really cut through and add a dimension.

21 minutes ago, Dan Dare said:

I don't think it's possible to "fill the gaps". I agree with those above who say don't change or do so minimally.

If you're not happy to do that, maybe suggest to the others that the band recruits an additional musician. Fwiw, there are very few guitar bass and drums line-ups that really work live for me, but that's just my 'umble opinion.

I can promise you Kings X does and Living Colour, old Alice in Chains before Duval comes in and out

I pretty much only play in a 3 piece a bass sound - bit of compression and a bit of drive (whatever your flavour) and it will all stay knitted together.

My fave way to achieve this the tech21 dUg Ultrabass amp or the Tech21 DP3X pedal - it was made for this

That one may still need the neuro hub as well.

I think the only ones that work via the USB port are the disaster area ones, but I am sure someone will confirm or deny 

Congrats to those who have actual gigs - it is worth pointing out everybody wanted music back live when it’s safe to do so, some people will still have genuine concerns for whatever reason and it’s shouldn’t be glibly washed over.

Happy again for live music and a move to normality - break a leg!

4 hours ago, Al Krow said:

Amused by references to "the truth" in a universe where we literally understand 4% of what exists and have no real idea what the remaining 96% is about.

Should I Use A Compressor with My Bass? – No Treble

 

Talking about what we do and don’t know about the universe obfuscates and deflects the issue, we are not talking about universe misconceptions, it’s Compressor misconceptions and I am pretty sure more than 4% is known about it (not including myself in that btw)

The article is interesting, but the key points were:

Control your sound

Dont let the FOH be the one to ride faders and control too much for you.

In certain situations he can see its use despite being not for him.

Focus on your own playing (universally agreed by everyone)

Learn to use your compressor properly

Despite being not for him - he has pretty much agreed with what the ‘fanboys’ have said 

6 minutes ago, BadHands said:

Now we're talking. Never thought about using side chain in a live context though. 

FEA Labs Opti-FET compressor - it’s very good

13 minutes ago, BadHands said:

I think you're misunderstanding my stance on this.

I'm not saying it's untrue.

I'm not saying that the majority MAKES something true.

I'm not saying, "Agree to disagree?"

What I'm suggesting is that if Al hasn't changed his stance after 10 pages of analogies, stories qualifying knowledge, and being told he doesn't understand it, he's probably not going to now more people are seeing the thread and adding more, so let's discuss which amount of knobs on a compressor is best?

It’s not about 1 person, it’s about sharing knowledge, dispelling untruths, false myths and baseless assumptions for anyone out there who cares to know, wants to know more and newcomers to this - fortunately there are people on here with good knowledge who put a lot of effort in to demonstrate this.

Don’t tell me you can’t taste as well....

9 minutes ago, Happy Jack said:

 

I'd go beyond that. Most of the time, when I use FX live even I struggle to hear that effect in the mix and it doesn't get much better when I listen to @Silvia Bluejay's high quality recordings later.

I still use them, because I know that in isolation my chosen FX sound great so the chances are that they are a net benefit to the band sound overall, but can I hear the exact moment at which I kick in the octaver or the distortion? In the main, no.

Did I mention that my hearing is pretty poor these days?

 

Classic example of adding ingredients to a musical soup for a better result.

11 minutes ago, BadHands said:

I see your point. In Al's defense, he has a bunch of reasons for not wanting to use them, that's just one of them - However it's the internet, and I can't see everyone suddenly starting to agree, so perhaps we should all be like Fonzie, and let this rest?

Does everyone have to agree for it to be true?

Does it have to be a majority for it to be true?

People can have good reasons for not wanting to use them/it - but to dismiss something as useless/not required etc. (In the fave of good evidence to the contrary, which was asked for and shown)Without proper knowledge of how to use it isn’t the correct basis to make that statement.

I repeat tho, this is about misconceptions this thread - talking about how it is useful is trying to help those that want to hear about it deal with misconceptions, plus, it has been bumped because someone is demonstrating how they are trying to use it and listen to what can happen, trying to submerge it under false pretences is not correct.

7 hours ago, Al Krow said:

And still it goes on, and on, and on... 

Must have been one of those old 50p coins ..😂

The thread actually got bumped because a person went out to see what compression could do and started hearing the effects of its benefit and posted about it.

I’ll say this from a neutral position (even though some may say I’m not).

To dismiss something’s lack of importance properly, it can only be done from a point of genuine and decent working knowledge on it, not apparent by just quotating buzz phrases and words - I see this all the time in my work.....

5 hours ago, Downunderwonder said:

I believe you but I also believe the audience was likely having too good of a time to care even if they did notice something off.

On the other hand, if I can't make a rehearsal it gets resheduled. Anyone else and it carries on.

I think your challenge is only applying well to very loud bands where it's hard to hear much of anything for all the everything louder than everything else. Any jazz player knows what dropping out the bass does!

And would the band be too loud because they fail to adopt the use of compression as a way to help make sure the sound is balanced and this could play at a lower volume instead of the continual turn up war that can happen?

Surely it’s no lesser question/request than the one asking for compressors to be turned on and off during the song and proof of sound change/audience reaction?

The Cadillac Three are a reasonably successful country/rock band who have no bassist, I don’t think anyone tells them they need a bassist to be successful (as an example)

It’s simple then - one of the bass bashes (when they happen again) needs a cab shoot out.

Weight range categories decided and best sounding to be judged no matter what cone size, specs, tolerance etc.

it’s the only true scientific way

Firstly - nice playing

Secondly - it’s an obvious difference between compression and not

Thirdly - not right or wrong on level of compression, maybe release it a little and see how it sounds and feels. It’s what is right for you

V Moda crossfade

2 minutes ago, Sarah5string said:

I generally play fingers, but I can't do that intro that quick or get the attack right without a pick on this one. Also I have no nails, I'm a chronic nail biter LOL

Haha - I play pick - there is enough nail to give a clack if you flick your 3 fingers - just gives another type of sound if you want to change it up

6 minutes ago, Sarah5string said:

So I had a go at playing bombtrack for the first time in ages and with the no bass backing track.. A little bit rusty in parts but nothing I can't iron out. The question is, is it the rightsong for an audition.. it's got palm muting, slides, bends, chords, dynamics.... 

hmmm

Why not - if you like it you will shine - good work you played it well.

You could maybe add hammer offs into it and you could play the chords not with the pick but with the nails of the fingers as you would if you had no pick, could show variety?

But you don’t need to

Good job

Playing Bombtrack gets you in if I was watching - great track.

The first bit can be quite technical actually and expressive moving from quieter to louder or palm mute  with a pick and open up and drop into a pace change, then making the tiff groove without being robotic and metronomic

I think it’s a great choice and good luck

4 hours ago, Reggaebass said:

I thought about doing that to a P I had once, I would only buy 100% original now , so I think it might devalue it 🙂

Get you on that - it was if the right but wrong neck came up if you get my drift, but I love a bitsa and you could always keep the ‘original’ neck to save value

1 hour ago, Reggaebass said:

Yeah there’s not many around, I missed one on here, still kicking myself 🙂

Left field but could you get one chunkier than your demands and have a skilled person shape to preference?

This is a very very good mic

GLWTS

Afraid that is pretty much the case if I remember when I had mine......