krispn

Burst/tort 👌🏽

Looking forward to some gigs but nothing confirmed up in Edinburgh as yet. Not sure if there's any live music up this yet?

I play in a pub band with fiddle and we’d never put any comp on her but I do feel the guitar player uses too much. I guess we hear it differently!

In his response to the "readers question" Erskine does apply this theory to a jazz gig where the nuanced and dynamic interplay of each musician might be more applicable within a more intimate setting over the Dog and Duck rock band vibe or the slap gig or a big ensemble etc etc. It would be good to know the wider opinion based on other gigging settings. There's certainly a different feel and vibe to the jazz trio gig and rowdy pub gigs - there's no denying they're two very different contexts. What's Erskine wider take on compression? He seems to value it and as an educator I think I read an article where he advised using the compressor as a way to establish feel and touch - set the compressor up then play with a consistent feel but without triggering the compressor. It's a great lesson in developing touch and consistency. It might have been Victor Wooton and I'm maybe mixing it up with his great exercises about playing a constant 8th note with a drum machine then cutting out the drum machine and trying to back in on the dead on beat when triggering it again) so apologies if I'm conflating the two. Again the point here isn't oppositional defiance for the sake of it it's just highlighting that a device which can be applied to manage the dynamics of a player could also be used to train and develop dynamic control if applied in that way. If one believes they have a great touch and feel set up the comp to be quite sensitive and play along to a track without triggering it. It's a great exercise in player dynamic control or to train it in new players especially if the pedal they're using has metering. Sure it's not everyone's go to application of a comp pedal but it can still be employed as a training/learning tool if so desired. Damien has/had a comp on his board but likely just to even out the signal for using effects... The point is not too dissimilar to what you said earlier - compression has it's uses in many contexts and for some players that's in a live setting too and not just the studio and perhaps gig dependent? As Frank of FEA Labs (and he's well regarded in the design and building of quality compressors as we all know) said compression can be used for... Dynamics control. Tone enhancement. Speaker/amp protection. For added sustain. As an effect (ie Tony Levin). Only for pop/slap. To keep filters/other effects from blasting ears. So I can use a much lighter touch on the strings

I bought a new tent instead 😀

I’ve maybe said this before and forgive me if I have. Compression can be as subtle or overt as the user determines/wants it to be in the same way any effect can be subtle or overt. A touch of preamp boost or very light dirt can enhance the bass tone - but it’s not discernible as being driven or dirty. Compression can enhance a bass tone too to where it’s not pumping away but it’s helping. Making comparisons between the impact different types of effect have and if they’ll be noticed by the audience is not really the argument but often a default- sure engage a wah or a quacky filter. It’s probably gonna be noticed (if it’s been set up correctly and the player wants it to be a prominent effect) but unlikely one would leave it on for every track the way they may set and forget a good solid comp tone. A lot of the commenters on here have compression pedals and I hope would have used them enough in isolation at home to hear what they’re doing even if a super pumping squished tone at extreme settings isn’t to their taste. We can dismiss the ‘two gigs a year’ players for telling us weekend warriors how to use our gear but if old #2Gigs is playing those two gig with their compressor pedals and has a solid understanding of how it will work for them is that a more experienced opinion over the pedal hoarders who don’t use pedals on any of their gigs -!who’s the more informed? Below is an example have a listen to the clip below and tell me if you can notice the compression working - it’s being fed off a single mic and an eq. Scoot to about 6:00 on this clip. Many folk will recognise that drum sound. Sure it’s not a bass track I just really like compression and drums 😀 As others have said it doesn’t really matter in the grand scheme, views and opinions can change or take a zigzag depending on new ideas, exposure to more home recording, you tube rabbit holes etc

*grabs popcorn*

It’s a fair point. @Al Krow have you replaced the GR ahead of the gigging season reopening? You must be quite excited to be hauling some super light gear to future gigs as I know it’s your main focus on gigging gear.

Good to know!

Yeah that’s been in the back of my mind. I’d just get my mate in Paris to arrange the deal and he’d stick it in his boot when he’s next over so I guess that’s s be ok?

Yeah I’m familiar with the model - it’s just caught my eye, love the colour, the inlays are funny but not off putting. My limited GCSE French suggests he’s up for a change and open to trades with the figure listed as his starting point. I’ve no need for another bass but you know when you get a wee notion and start thinking.

It's a fine pick up. Sounds like a P and doesn't have the mid scoop of 1/4 LB'er. One of the original replacement pick ups for the P bass. I'd be more than happy to have one in a p bass - in fact I did for a few years. If in doubt a Model P is a solid bet. If you want to agonise over marketing spiel and pick up's you 'think' you should have go ahead but when jamming with the band you really want the P bass character and the Model P will deliver. Telt!

Is that a good price or a bit high? Generally speaking

This one does look interesting glad you nabbed it.

Thanks Ben I was being tongue in cheek 😉

Would he have actually played that whole bass part on the track or was this just a look what I can play type video to sell SBL's? I mean I'm not knocking the chops and he's in no way 'gauche' but he's stepped on just about everyone else parts from Chaka to the horns. The MD would have a fit 😫

http://brimstoneaudio.com/crossover-distortion.html any use?

I was playing with my comp into my Apollo messing with some new DAW preamps and there’s that thing where the bass sound just becomes that bit more ‘professional’ like it’s already been mixed into the track when jamming along to recorded music. Obviously balancing volume counts too but with that wee push on my bass the sound just punched. I love it and f*ck the crowd! I like what my compressor does and I will gladly use it at every conceivable opportunity. If you can’t hear it/feel it/vibe it then that’s cool.