Cuzzie

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

4 minutes ago, fretmeister said:

So far it's been silent - the manual says it only comes on when it needs to and I've had a good 30 minute thrash in the house until my teenagers got upset!

 

I don't like fan noise either.

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

This is a thing of epic proportions - you defo need it

7 hours ago, Obra said:

I have a problem with a brand new Adam 🙁

 

First it wouldn't connect with my Windows 10, and after 3 frustrating hours of trying to solve the possible drivers and usb problems, it comes to faulty usb cable that came with device. I have a spare, so it's not a real problem.

 

Second thing is that when I finally started playing through it on a headphones since it was late at night, the headphones volume pot from the back started acting weird and buggy.

It behaves like it is touch sensitive. Sometimes it's not working at all, and then I just touch it, and it starts to be ultra loud. Turning it +/- sometimes work and sometimes not. Then on a light touch it starts to work for a few seconds. Finally when I manage to found the right volume for my ears, after 15-20 seconds it turns it down all the way.

 

Am I doing something wrong here? Is there any secret for operating headphones volume pot?

 

I really like the pedal and it would be frustrating to send it back after mounts of waiting...

 

Thanks

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

20 minutes ago, FacStudio said:

Of course mate, you’ve played mine. 😁

Yup

Its a snorter corker

1 minute ago, Reggaebass said:

What did she say cuzzie  😁

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

And I can confirm having played masterpieces every word said above is gospel

GLwTS

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.....🤦🏾‍♂️🤷🏾‍♂️🤣

6 hours ago, dodge_bass said:

Of course, agreed and thanks for pointing that out as of course compression does more than just tame spikes. I guess for me that's the main thing I use it for, gently taming any errant notes / variation across the finger board rather than massively altering the other aspects of the sound hence my focus on that.

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.

30 minutes ago, dodge_bass said:

Worth pointing out that p bass and flats and a good technique is likely to provide a fairly even signal anyway - kind of natural compression I guess. I’m always astonished when recording with that setup how even and with few spikes the audio file records. So compression really may not be necessary. 

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.

One of the best singers ever and her songs are so smooth.

Someone is getting a reet good deal here - GLWTS

32 minutes ago, Osiris said:

 ......take your time, experiment with the various controls, listen and feel to what's happening to the sound, how much more consistent and controlled the bass is, how it sits better with the instruments around it, how it becomes more punchy and so on. 

Quite like this concluding statement

23 minutes ago, BadHands said:

I had no idea Doug didn't originally do COP.. You know what they say about assumptions

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

30 minutes ago, MGBrown said:

Quite agree. He explains things very well! I'll be checking out his other material.

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!

1 hour ago, Osiris said:

Sounds perfect, I'll keep an eye and nose out for the post man over the next few days. 

The smell could be me visiting 

16 minutes ago, nilebodgers said:

The irony of all this is the FOH engineer at a decent size gig would completely ignore a pedal compressor anyway. The channel strip compression facilities on any decent digital desk runs rings round any of these pedals.

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

8 minutes ago, Al Krow said:

A lot of truth in that Kev! And maybe why the topic remains so controversial?

For example, I was having a listen to this generally decent gear review of the Boss BC1-X and he recommends a setting for live use (for all the reasons that others have given during the course of this thread) at 6.29+ onwards. He plays both without (7.17) and with the comp (7.29). It's really easy to hear the difference, but personally I so much prefer the uncompressed tone which let's the playing dynamics breathe. Maybe others prefer the compressed tone and maybe it's better in the mix, but the starting point is a singularly unattractive one tonally for me. 

 

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

1 hour ago, jrixn1 said:

This is an interesting thread to read with some good contributions.  I've never knowingly used compression; am not anti-compression but more that I'm already generally satisfied with my sound so not actively on the lookout to change anything.  For years with my P bass with flats I was pedal-less (bass straight to amp); then at some point I added low-gain overdrive, initially just for the Motown tunes but then realized everything sounded and felt better when I left it on.  As I understand it, overdrive adds compression; if so, am I inadvertently a fan of compression, albeit not having the control over it that I would have if I was using a dedicated compressor pedal?

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.

On 06/05/2021 at 21:17, Naigewron said:

'bout here

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

13 minutes ago, BadHands said:

I guess my assumption is, if people are asking for advice on a first pedal, they're probably unlikely to BE in any mixes yet, so it's more a horses for courses deal. 

For the record, I started playing bass because of Flea, so unless it's squashed to death by an LA2A, it doesn't sound like a bass to me. I just find how polarising the subject is, interesting. 

 

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

47 minutes ago, Al Krow said:

The funniest is hearing from folk on BC who have comparatively little experience of playing live, lecturing others on what they should do when playing to a live audience and also what spares they need to be taking to gigs. Hilarious.

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.........