Cuzzie

@tegs07 defo good work buddy - we can chew the cud on G&L sometime if you want!

It’s a whole heap of fun and easy to stack pedals into - the DP3X into that got very gnarly and cool

Good little amps then, liked mine when I had it

Sorry to hear - but Doug is pretty stellar at looking after his creations-I would make contact

Initial look of disbelief, something like “surely not - mines pretty good” I stone walled and said, no I’m sorry it’s inferior. I honestly didn’t mean to be rude, hopefully I wasn’t! She rolled her eyes and walked away - if only I played ball I probably could have had a conversation with her, but no - I am a plonker. She really is a very nice lady and it’s a great bass

I’ve played the Ida in front of Ida - lovely lady - I was accidentally rude when I told her it wasn’t the best signature bass Sandberg did and that the MarloweDK was better.....🤦🏾‍♂️🤷🏾‍♂️🤣

That’s cool and it entirely depends on the compressor you use of course as well as how you use it. If people get the chance an easy way to see how a compressor can affect the sound as well as do it’s other job is to have a go on the Hyperluminal by Darkglass. It has the Super Symmetry, FET (essentially Cali76 Urei 1176), and BUS (solid state Logic) compressor under the hood. There is a clear and obvious difference between all 3 at the touch of a button.

I don’t disagree with this on the audio spikes, but it’s worthwhile remembering that compression is not there to just tame spikes etc. It can be used to appropriately change the punch/presence/sustain/timbre of the notes as well as make it more present in a mix

If you want a Fender the Highway One series are incredible value and great basses. Also look at the Cowpoke ones with the longhorn, I think one of the above 2 has the grease bucket circuit (don’t quite me tho!) Also the Fender Cabronita is a great different type bass, I miss mine. A further option would be get a good Fender of any variety like a Mex or Jap one and then pop a different pick up in, maybe slightly boutique like a Creamery or Lindy Fralin, Ulyate Tic Tac etc. Have one for one era for example the one you have and then a 58 P from creamery for its different windings and sound and you have 2 subtly but justifiably different P basses with strings of choice.

Quite like this concluding statement

You assuming I know what they say.....?! I Love Living Colour and Doug Wimbish (he has a pedal or 2!) but Times up and Vivid with Muzz Skillings playing is just out of this world bass wise. When you get to Stain you start seeing a slight move in direction which is still good - but I love Muzz. They are still awesome live and Doug sounds great with good old Trace elliot

Honestly I’ve listened to a load of his stuff and it’s trance like and very informative - he is not a guy to leave alone with your wife, she would defo run off with him!

The smell could be me visiting

I don’t disagree, but if it is in the chain before they get there signal surely it’s not unpicked and ignored?

A slight aside but for me I would like to highlight where I think something is overly compressed and processed - love both songs Same band Few years apart overly compressed Original back in the days remastered and changed.... Granted it’s via poo tube, but I don’t know if everyone has spotify or whatever. There are subtle differences but I prefer the raw-est sound Granted the original was Muzz and the recent Doug

To be fair that’s exactly the point - i often play compressor on and then off when trying to get something - it’s really useful at the start of getting something tricky where there could be a lot of string jumping to get it nailed - do it again compressor off, check evenness of attack and playing so you aren’t fooling yourself, and then gently back on again for how I like something to sound

We all look to Ovnilab for the reviews - but his explanation pages are gold dust and the geek in me would say that each page is worth reading once in your musical life, more often if it grips you http://www.ovnilab.com/faq.shtml

It always going to be horses for courses, and agreed it sounds like it’s great for you. I don’t think that even the PB compression users say it’s mandated nor are we against those that don’t use it, rather that if used correctly it will make a difference however subtle and slight - I don’t think that can be disputed. Granted if using pedals some of it will be how it is set up, inserting it into an existing chain may require tinkering all along the chain. I often happen to use more than one lot of compression - once it’s there it’s done and we happily chug along.

That is the minimum legal height - low is the way to go

No - I get you and get where you are coming from totally - believe me I all for expression and soundscapes and creativity, I certainly journeyed through a few and settled on where I know I need to lie - I guess that for the main part bass lends itself to be played with other instruments. No harm in noodling and messing about alone and actually I would probably recommend something simple like Garageband which has a few different effects (including a compressor!) which for no money at all allows you to mess around before taking the plunge - I still have fun doing that

Misconceptions are a funny thing - just because what you buy, sell, use, not use and play is not plastered over forums/Facebook etc. One shouldn’t assume. If you want to talk about performance to a decent standard, what it takes, what is required, what it’s like across different genres/activities to a large audience I’d happily go toe to toe with you based on personal experience and also experience of very very close people to me. If you slay what I have done/gleaned, congrats and kudos to you - certainly you would have worked hard for it. The decision Cilla is yours.........