mario_buoninfante

basically what I was trying to say is that, if one knows that they want to have compression, they might as well have it while recording too. but again, that's subjective!

the only thing about applying compression (or any other effect tbh) after the facts (ie post-recording in a DAW) is that one most likely played without getting that "feeling" in real-time, and this would have affected the way one plays. this is the only issue I have with re-amping (both in recording and demo situations). the player had a really clean sound when recording and adapted their playing to that. not trying to say that re-amping is bad though

I think compressors as pedals/fx (aka something you put between your bass and amp/PA/whatever) are no different from any other effect. one might need/like them, one might not. in terms of what a compressor actually does, I think there a few things that can be added to everything else already mentioned on this thread. it does affect the volume/amplitude of the signal sent to its input but, being a non-linear processor, it introduces distortion of some sort (not to be thought as a fuzz sound!). distortion per se (via pedal, clipping, etc.) adds harmonics to the sound. in order to change the amplitude of the injected signal, a compressor needs to "analyse" the input signal, and that's usually done with an "envelope filter" (particular low pass filter). this to get a signal that's unipolar, a bit smoother and easier to work with than the original signal at the input. then this analysed signal goes through a comparator where is checked against a threshold (usually not hard threshold, but a series of thresholds - ie hysteresis). so, if the analysed signal (and not the actual input) crosses that threshold the compressor reduces the actual input in amplitude in accord with its settings (attack, release, ratio, lookahead, etc.). from this, it's clear that also the way a compressor analyses the signal affects the results. the comparator too (hard threshold, a soft-knee one, etc.). and last but not the least, att/rel and other parameters massively affect the final results too. one last thing, one might not want/like a compressor on their pedalboard, but somewhere between their fingers and the listener's ear there is going to be some compression, this due to pickups and the way they transduce, the amp, other pedals/fx in the chain, the mixing/mastering process, the headphones or speakers on the listener side, etc.. Just keep in mind a turntable generally has a signal-to-noise ratio of 50-60 dB, one's bass most likely has 20-30-40 dB more of dynamic range. so in order to be put on vinyl it'll get compressed somehow. compression happens regardless one having a compressor pedal/fx or not. that said, I totally understand those who don't want to use one. like with everything else, it's matter of tastes. but I think it's important to understand that compression happens anyway.

If I'm not mistaking, most of the Spectors (almost all Euros, with the Dug Wimbish signature being the exception I believe) are >40mm. and G&L L1000/L2000/LB100 Tribute and Fullerton made have either 1 5/8" (41.275 mm) or 1 3/4" (44.45 mm) necks. The G&L Kiloton series have 1.5" (38.1 mm) necks and the Spector Legend/Pulse/Ethos series have 1.57" (39.878 mm) necks though.

you also have G&L and Spector

just saw @Sonic_Groove already shed some light on that, sorry

yap, the Massive Attack one contains the sample from Stratus by Billy Cobham

drums and keyboard riff too! it's basically a sample from the original track, that is awesome too

thanks for sharing. it all makes sense. about the bass setup, I partly agree and partly disagree. I wouldn't care too much if the action is a bit off, since it's a subjective thing ("off" means too high for some but too low for others). But intonation is a different matter though. it's not about tastes. something it's either in tune or not. BTW on mine the action was OK, just a little bit of buzz on the E string (solved now), and the intonation wasn't miles off, but it was off though. and that is more important to me.

@40hz thanks for sharing your experience, sad to hear though. I have to say, that despite all the things I reported here, the bass sounds and feels really good. but again, as @Ralf1e was saying, this shows the lack of quality control more than anything else. things should be consistent within an acceptable tolerance. (without trying to blame guitarguitar) at the same time, I'm surprised that at the shop nobody noticed these things though. I believe they should check the goods and report issues like these.

Not a Euro or US made, but I own a Spector Legend Classic 4 that has Bartolini PJ by default and I think it sounds really good. It's mellower than the classic Spector EMG sound, but has common traits for sure. It's as if it's a bit more vintage (despite being and sounding like an active bass). Getting back to the main topic (Are Spector Bass Great Basses?), I'd like to add my 2 cents based on my experience with a Korean made. While I do appreciate I never played a Euro or US made one, I can say that the Legend Classic punches way above its weight. It is really well made, I didn't find a single defect on it, the finishing is great and it just sounds great. It was new at Bass Direct for less than 500£ and it definitely sounds like a way more expensive bass. The only thing, it took me a while to get used to the Tone Pump Jr (mainly because pots aren't centre notched), but not because I didn't like it, instead simply because it is different from any other pre I ever played with (also I mainly had passive basses in my life). It does boost your lows and highs quite a lot (12/16 dB I think). Here's also a video with a Euro fitted with Bart pups

That makes sense. In fact, GK have the most highs I've ever seen on a bass amp! Even on their DI out. But again, it's clearly not for all the use cases

For a clean and scooped sound, I'd definitely check out some of the GK amps. They are (can be) really bright and clean, while preserving a solid low end and sound good with distortions too. Defo a different sound from Ashdown (rounder/mellower) and Ampeg (more pronounced low-mids). They all have their own sound, and they're all good if that's what you're looking for. Just my 2 cents.

Yeah, I got in touch with G&L, their reply is above. Again, nothing is really a major issue, but I was surprised by all these little things I found on the bass. It's OK though. Thanks for sharing your experience

I decided to write G&L and ask about the bridge and here's the answer: I replied that in my case I believe it's borderline, but OK. I also believe that this is an issue though. All instruments have tolerance, and on some other basses this could be a bigger issue.

Reggie Washington and David Gilmore (and others) at Clapham Grand in London in a couple of weeks

I think I know what's the issue with the saddle-lock. They use (at least on this bass, I don't know if it's true on all the lefties out there) the same bridge they use on the right-handed version! The screw is on the same side (towards me on my bass, towards the pots on the RH version). The problem with that is that the E string saddle usually is closer to the bridge that the G string saddle, so the peg is not located at the right height! @JottoSW1 I think you bought an L2000 tribute, right? Could you let me know if your bridge has the same issue? And if the saddle-lock screw is on the top side of the bridge? I got to know about the guitarguitar deal via your post on the Southpaw Spotted thread, that's why I'm asking

Hi all, I just got a G&L L2000 Tribute (Lefty) made in Indonesia, and wanted to share some thoughts and get some feedback too. First thing I'd like to say is that, I like the bass. I really like it. Both sound and feeling (I'd have never thought I'd like so much that chunky neck!). That said, one thing I was a bit surprised was the overall quality, especially after reading so much about it all over the internet. Again, before I share the things that surprised me a little bit, I'd like to also say that in general I think the quality is really high for what I paid, and also more in general is a good quality instrument that feels solid, playable, etc.. So, here's my findings (most of them with attached picture) the nut isn't well finished and is a bit "worn" around the strings (the inside is fine) there was quite a lot of white dust in most of the 6 bolts (not a big deal for sure) next to one of the bolt edges there was something like a sticker residue (easy to get rid of) 1 of the 3 switches has the washer mounted in a different direction compared to the other 2 (they have a little "tongue") the fretting job isn't really excellent - frets themselves are good (no sharp ones), but on the side of the fretboard you can see some marks there are at least 2 indents, 1 on headstock next to the 1st tuner machine, 1 on the body where it joins the neck the action is good but I had to work on the intonation a little bit once I setup the instrument (I moved the saddles in order to work on the intonation, that is really good now), I noticed that the bridge lock (the little peg that pushes the saddles) barely touches the E string saddle (that I had to push a little bit towards the bridge) the 3 knobs are a little bit "askew" As a benchmark, I also have a Spector Legend Classic 4 (maybe slightly more expensive, but roughly in the same ball park), and there I haven't seen any of these issues. I was just curious to see whether or not this is something other people have found on their G&L Tribute too. For the records, none of these things are a show-stopper for me. I'm fine with instruments not being perfect, as long as there aren't major issues and the functionality hasn't been affected/compromised at all. Also, I think something in my list might have been done at the shop, but certain things are definitely things that came with the instrument.

Ok, I see! I think we just keep misunderstanding each other. But, don't be sorry I appreciate the thought.

@Baloney Balderdash that's quite a reply, isn't it? let's recap and see what I (have not?) understood I never expressed an interest in going "amp-less" (with amp here I mean the amplifier circuit), so I was clarifying that. what is "this" that I'd need to work? and why would I need anything that simulates amp and cab. actually since my initial post I'm saying that I'm after a "neutral" amp (amplifier circuit), so I shouldn't have to simulate anything there at all. I do have a studio, so professional mixer, headphones, studio monitors, etc. this is not the problem, and that's why I believe my initial post might have been misunderstood and hence why I replied to you before trying to clarify what I meant. then, about your last kind reply: again, what is "that"? I don't think I ever mentioned a "regular" amp anywhere. but also, could you define what "regular" means? I never said I want, this whole post is started with me expressing an interest in not doing that. honestly, I'd invite you to be a bit more polite and less "hostile". I did read what you wrote, and am also sure I understood what you wrote. but even if I didn't, please just be polite. no need to be rude or aggressive, seriously. the beautiful thing about this forum is that people can freely talk and share experiences and knowledge. so, if there is something I don't know or understand, help me understanding it, teach me, but don't write things like this, because it's just counterproductive. couple of things about the cabinet. that has never been at the centre of the conversation, I mentioned it because I do wanna use one, and yes a full range (just for the records). but I wasn't thinking I want to mic that up, atm at least. anyway, the cab thing is one for another time.

I see what you are saying @Baloney Balderdash, but just to be clear, I'm not trying to get rid of the amp. I would simply like to find a neutral amp (to pair with a cabinet) that doesn't affect my bass+preamp+pedals sound, if that makes sense. At least on paper, I just find redundant going through 2 preamps (pedal and amp preamp). Not because you won't get a good sound, thousands of people do, but because I'd like to have 1 sound, whether or not I'm using the amplifier. Hope that makes sense.

ok, just found out about this now and couldn't not share it https://www.thomann.de/gb/stompenberg_devices.html#

more dub than reggae, but I recently bought this and it's really heavy and good

interestingly enough, I got in touch with Laney to ask about the Digbeth Pre, since I have one, and they told me the output level is +10 dBV. unless I'm missing something obvious, that seems quite a bit to me. (I also sent a second email asking to confirm it's +10 and not -10 dBV, they confirmed it's +10).

I never tried one myself, but I'd like too. one thing I don't particularly like is the 3 band EQ. I'm a big fan of 4 band ones