Cuzzie

@Quatschmacher could the Source Audio C4 do something like this?

 I would check mine, but I have loaned it to someone!

Arrrrghhhh!!!!!

The compression roundabout goes again!!!

No one has a perfect technique no matter how good they are, but IF compression is used properly across all instruments in whatever band the clarity of each instrument and the mix can be perfect (or as perfect as possible within subjectivity).

Properly used compression can help lead to lower volumes all around, ear fatigue lessens etc rather than volume wars which happens.

Having great technique aids good compression to still let dynamics flow.

A glass of Red now and again is good for you (in general), a bottle a day (heavy compression) is not.

Orchestral music - yes live is a different beast compared to recorded (which I bet has compression), but, depending on the piece and make up you will have critical numbers of violins, violas, cello’s Double basses plucking vs bow, percussion, a plethora of horns and woodwind instruments (using mutes) pianos (using the dampener pedal) all hitting specific areas to create a mix as well as first, second parts etc.

Again using it is a personal preference as is EQ, jazz vs P vs big buckers, play at the bridge be play at the neck, pick vs fingers………undoubtedly it helps, if done right and effs it right up if done wrong

I think he just got bored or doing compressor reviews or reached his wits end esp as most people have no idea about it, and because they cannot fathom it shout it down as it’s easier to do that instead of learn a bit about it and apply it, despite huge evidence placed in front of them

Echo the above - great thing this is and not just a headphone amp - the cab sims are great and can be used in recording possibly live I would say - GLWTS

Lots of sage things written above by people far better than I.

Compression used correctly is there to preserve elements to let them stand out in a wonderfully folded mix pancake of song love.

Compression on drums really changes songs for example - you can list everything and that is live and recorded.

check this guy - just one of a myriad of videos

my fave band released their first album in 14 years, you can bet their is compression going on, loads of overtones etc.

my fave hit is at 1.49 where the Tom hit is obviously compressed appropriately to allow it to ring out.

Ultimately you will make your own mind up, but if there are enough examples out there of compression done well not to lose overtones, surely it’s not compression, it’s ‘THAT’ compression you heard which was naff

These are absolutely phenomenal basses - very under the radar in how good they are and the tactile feel of it is supreme as well as comfort playing

Fender Highway one series if you can find is incredible value 

Bloody ‘ell , this is gorgeous

It isn’t like them

there may be a valid reason

1 hour ago, Maude said:

 

Wire in a series switch. 

 

I've never really gelled with jazz basses purely because they don't sound like a P. 

With both pickups in series suddenly there's that rich, middy sound I prefer rather than all that honkety honk honk! 

 

Disclaimer, this is the correct terminology, despite what you might think. 😁

 

Rout the neck pick up and pop a split coil or a humbucker in

I would keep it and do a home relic job!!!

Also - I should have prolly explained a little further from my side - usual punctuated messages between doing stuff can get lost in translation

17 minutes ago, Dad3353 said:

 

It's not smuggling if it's declared to Customs upon arrival, and any relevant VAT/Duty paid. The economy would be the transport cost, including its associated taxes etc.
Not declaring the acquisition would make it liable for seizure if/when caught, plus fine. The X-ray machines used these days would certainly 'see' a bass body/neck in a suitcase.

Exactly 

m the charges would be for the bass only - don’t think they would apply the cost of your ticket…..

21 hours ago, bass_dinger said:

Is that not still importing an item, though?  Surely the fact that it is in bits, and hidden underneath your socks, does not remove the liability to pay tax and duty?

I didn’t say anything about not paying import duty.

the amount payable is based on the total cost of the instrument and the carriage (for which being properly insured someone said will prolly be more than 140).

If you were going to pay that much, and it’s the bass for you going and bringing it back either in the case or hand luggage could work out a similar value and you get a holibob out of it

20 hours ago, neepheid said:

 

No, it's smuggling!

it then is legal smuggling, or personalised delivery!

Cali poo’s on the MXR IMHO

I also have the FEA Labs OptiFET which is phenomenal - gives me a different sound with its dipswitches.

if someone you know has a Darkglass Hyperluminal - borrow it and play with it - the Cali model is fairly accurate, BUS compression and it’s own SuperSymmetry model.

That would give you an all In one box fiddle tool in how not only To work compression, but also how each sounds different and then pick the one you like 

Or

go on holiday there - take the neck off and squeeze into the suitcase on the way home

1 hour ago, Al Krow said:

I've seen figures of 15m / 50 ft used on line and that feels about right in terms of upper range based on my own use.

 

One thing I hadn't appreciated until recently is the impact of "natural audio latency" i.e. the latency arising from how long it takes sound to reach your ears from your cab. As Boss points out "the speed of sound is 343m/s. If you’re standing 1 metre away from your amp, the sound will take approximately 2.9 milliseconds to reach your ears. By comparison, BOSS wireless systems offer a class-leading, ultra-low latency of only 2.3ms."

 

So using the Boss is equivalent to standing a further 0.8m away from your cab, which is not really a problem.

 

However if you're also wandering off and standing 15m away, then the natural audio latency will now be 15 x 2.9ms = 43.5 ms, which is starting to get pretty significant. For comparison I use a short "slap back" delay setting at 90 ms. I guess the lesson for me that there is going to a trade off between being super-tight with the band and entertaining the crowd by wandering off into the audience!

have you got any positional recordings, or can do some from any of your gigs to demonstrate next to the amp and in the crowd.

Would be really interesting to hear the difference for us considering wireless and movement

One man’s raspy, is another man’s raunchy

@ped are we getting into sticky territory with what’s allowed to be said in forum - it’s getting me all hot….

Oh how times have changed, the bragging of “mine is smaller than yours…….”

Is this what we blokes have become?!

They the best

Two Notes LeBass

Hartke VXL version 1

Demon Pedals - The Pavarti

Barefaced

Lehle - Sonic Spark

Gamechanger Audio - Plasma

Verellen Meatsmoke

I get what peeps mean about sig basses, and the comment about actually their original recording Bass would be the one to find for emulation, but it can be done well - maybe the sig bass has a specific pick up - you could get a standard P and drop in the pick up they like, some people don’t feel comfortable doing that.

I have a MarloweDK from Sandberg which is a sig Jazz - neck profile is different from the standard and suits me, similarly the pick ups are in the 70s position, which is not common now - so I could spend large amounts getting a 70s bass etc. and there were some dog years there ( a few boat anchors) and also have the problems of an older bass, or get the modern (but old) sig model - there will be other examples as such

Another nod to the cloth Supertwin 

clean eloquent sounding cab that be as loud or subtle as you want

The neck is fantastic - great chap to deal with - whomever gets this will enjoy greatly GLWTS

As said earlier about the DK - it’s the body shape.

Visually I still just about prefer a traditional Jazz shape, however to play - the new shape wins hands down and I am getting used to the new shape more and more