mcnach

[quote name='neepheid' timestamp='1498932495' post='3328113'] To be quite honest my first preference is ebony, then rosewood. I'm going straight to hell, aren't I? [/quote] On second thoughts... less competition! You're alright

[quote name='neepheid' timestamp='1498930933' post='3328096'] I think maple doesn't suit the BB at all, FWIW [/quote] Heathen!

[quote name='wateroftyne' timestamp='1498903582' post='3327853'] Just toying with ideas... so many choices. (The top-left and bottom-right are charcoal frost. I don't think they're as blue as that in real life.) [/quote] middle, left... classy. Yum.

[quote name='wateroftyne' timestamp='1498901014' post='3327829'] I miss vinyl, but the mix & master is more of hot topic for me than CD vs vinyl. Thankfully it seems like the art of a good mix and master is coming back into fashion. [/quote] +1 The early 2000s saw some great music being released that I just cannot bring myself to listen to anymore for that reason. It fatigues my ears.

[quote name='Jus Lukin' timestamp='1498901324' post='3327832'] The HPF in the MS-60b can be found on the Ac-BS pre-amp, it's the 'depth' control. I often use two, both otherwise set flat, to stack the filters to -24bd/Oct. Usually one will be low, bringing in the steeper slope, and one higher, rolling off audible bass a little more subtly. Followed by a comp, it's becoming my go-to setup! [/quote] There's a variable HPF in the MS-60B?????? And I sold mine???? I think I'm going to have to get another... It's a great pedal with so many different sounds. I sometimes end up needing just one specific effect I do not own, for one song, and that pedal is ideal... I've lost count of how many pedals I've sold and bought again (Multicomp, LS-2, PD7 overdrive, q-tron, boss chorus...)

[quote name='Osiris' timestamp='1498893299' post='3327770'] I don't own a Keeley Pro but I have a number of other compressors and limiters to choose from [size=4]Mcnach, good call on an HPF. I'll email the manufacture to ask if the amp in question has one built in as I can find no reference to one in the specs. I've got a Zoom MS-60B and I seem to think that there was a thread recently on that having an HPF in one of its models, I'll have look for the thread to see what was said. I can always run that in front of the amp if its suitable. [/size] [size=4]It sounds like I should be able to get away using the amp and cab together as long as I don't go mad with it, which I won't be! [/size] [/quote] There's also a thread around here somewhere about a variable HPF pedal, based on the "FDeck" one. There's a small company which will build one to order and it was something like 90 quid only, or so... Even if an amp has a fixed HPF, after I discovered the great things a variable one allows you do to to your sound (there's a nice one built in my Mesa D800+) I kind of want to have that as a pedal so that I can use it with any amplifier... I should find that thread...

[quote name='Fisheth' timestamp='1498898064' post='3327805'] Bass has literally turned up and it's been named Bass Of The Month on the Public Peace website, so I'm chuffed. [url="https://www.public-peace.de/bass-of-the-month/2230-public-peace-proudly-presents-the-bass-of-the-month-july-2017"]https://www.public-p...month-july-2017[/url] Didn't think Fed Ex delivered on a Saturday with International Economy, however! [/quote] That's so cool! I play a Stingray in a ska band... I'd like to see the look on people's faces if one day I showed up with that pointy wonder The more I look at it the more I like it.... It also makes me think of Michael Schenker's Flying V guitars. I used to dream of having one just like his with the white/black alternate pattern. Knowing that they could probably make me a bass version puts terrible thoughts in my mind. It's good that my music budget is locked for a few months due to the arrival of the new amplifier, otherwise... uf...

[quote name='Fisheth' timestamp='1498858596' post='3327674'] So I was meant to get my bass today, but because of French security, who wanted to X-Ray it, it didn't get to Stoke till the cut off time for their deliveries, so I'll get it Monday. Maybe they got suspicious because it looks like a missile? Who knows! [/quote]

[quote name='hamfist' timestamp='1496050508' post='3308332'] Also, don't get fixed on putting a compressor at the end of your chain (unless you are looking for limiting). I far prefer a compressor at the beginning. What exactly are you hoping to achieve from a compressor ?? [/quote] Do you know that I never tried a compressor at the beginning??? (well, you know now... you can finally sleep calmly ) I've always automatically gone for last in the chain... I should definitely explore, although I do rely on playing dynamics to get different levels of effect (overdrives, for example, envelope filters...), so it may not work the way I like best. But explore I must!

[quote name='Al Krow' timestamp='1496048096' post='3308291'] Having been a "compressor denier" for several years, I've been persuaded of the benefits of adding one to the end of my pedal chain by a couple of my fellow BCs. I was about to push the button on a TC Spectracomp yesterday, but came across a very timely thread on the pedal: [url="http://basschat.co.uk/topic/306380-npd-spectracomp/"]http://basschat.co.u...pd-spectracomp/[/url] A quick summary of the unresolved concerns raised by a couple of recent owners: - the pre-loaded default tone print is pretty meh from what fellow BCs have found; - [color=#282828][font=helvetica, arial, sans-serif]the downloadable ones from the TC website seem to be more of an "effect" than is required;[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]- the solution would to use the PC Editor feature (which is a bit off a faff for the less techy of us), HOWEVER it isn't [/font][/color][color=#282828][font=helvetica, arial, sans-serif]holding its Toneprint on power down/up cycles and apparently[/font][/color][color=#282828][font=helvetica, arial, sans-serif] this seems to be a still as yet unresolved issue with this pedal for some.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I'm kinda back to square one, but glad I've been saved time and wasted effort on the Spectracomp. I should probably also avoid the TC Hypergravity models if I want to avoid the faff of dealing with Toneprint issues.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I'm looking for a [b]compact [/b]compressor that is not going to take up too much space on the pedal board, good quality, [b]transparent[/b] and as [b]noiseless[/b] as possible.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I've been through a couple of other threads and seems that my choices for compact footprint pedals are:[/font][/color] [u][color=#282828][font=helvetica, arial, sans-serif]Mid price range[/font][/color][/u] [color=#282828][font=helvetica, arial, sans-serif]- EBS multicomp (£145) - apparently adds a bit of colour?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]- Seymour Duncan Studio (£159) - nice blending feature[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]- MXR M87 (£173) [/font][/color] [u][color=#282828][font=helvetica, arial, sans-serif]Mid / high[/font][/color][/u] [color=#282828][font=helvetica, arial, sans-serif]- Keeley Bassist (£199)[/font][/color] [u][color=#282828][font=helvetica, arial, sans-serif]High end [/font][/color][/u] [color=#282828][font=helvetica, arial, sans-serif]- Cali 76 Compact Bass (£279)[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Two Qs - any issues or particularly great experiences with any of the mid price range compressors or the Keeley? Is it worth spending the extra for the Cali 76 - what is it doing better, if anything, than the other comps?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Cheers BCs![/font][/color] [/quote] I only have experience of some of the midpriced ones. I like the EBS multicomp a lot... but it's got a sound of its own, it's not transparent. You may like it, but if you want transparent... I'd move on to something else. The MXR M87 is very transparent. It has the ability to adjust parameters that other compressors in this price range usually don't let you touch. That can be a good thing, or a not so good thing. It frustrated me a bit at first because I'm a tweaker and I kept fiddling with it . The good news is it's not hard to get it to do what you want it to do... and then a bit more. I still have mine... but not for long. Because I decided I like another one better... the BBE Opto Stomp. The BBE Opto Stomp is cheaper... although there are various versions and it seems the original is the one to go for, hence used... I used to own one a while ago and I just managed to get another (typically around £60). It is *very* transparent, very smooth, very subtle. It's limited compared to the MXR, but if it does what you want, then it's very nice as it just has two knobs. Can't be simpler. It suits me better than the MXR M87, which is why I prefer it, but sound wise they're both very good and affect your tone very little (unless you want it to, on the MXR). The MXR is more versatile... but for a simple good sounding transparent compressor, the BBE is great. Unfortunately, it's a little bigger than others, about 1.5x the width.

[quote name='Scoop' timestamp='1497446269' post='3318212'] Although I've played bass for over 40 years in blues and classic rock bands and I have thousands of gigs under my belt (quite literally) I've never really used many pedals. I'm a complete pedal and effects novice. I have a compressor, a Yamaha NE-1 parametric EQ, and a Boss bass chorus and that's pretty much it. I've simple never needed to process my sound for the sort of stuff I do, so it's never been an issue. However, it was recently suggested that my four piece band (guitar, bass, drums, vocalist) might cover the NIN version of Gary Numan's Cars. As the guitar player will be playing the big sustaining synth lead lick, I'm going to need something to really grit out the sound for the main riff while he's poncing about with that. I'd prefer a synthy sound, if at all possible, but what else might work? A big muff? An overdrive? What do I need? Basically, listen to the youtube clip below and tell me what you'd use to get as close to this as possible. Alternatively. Would it make more sense if I played the big sustainy lead riff using a synth bass pedal and the guitarist carried the main riff? If so, what would I need for that? When it comes to sound processing I'm an idiot. All suggestions gratefully received. [url="https://www.youtube.com/watch?v=6qlUFKFHNIU"]https://www.youtube....h?v=6qlUFKFHNIU[/url] [/quote] Oh, hola David! Someone suggested a Digitech Bass Synth Wah pedal... and it's a great suggestion. If you want a single pedal solution, it's great. It will get you very close (and sounds really nice on guitar too, better than the guitar version!). In addition, it gives you a decent octave effect and a passable envelope filter (it has 7 modes if I recall correctly) so you get to experiment a bit with different effects without having to start going crazy buying lots of different things, which is handy especially if you're after sounds you might only use in one song or two. Alternatively... an overdrive plus a phaser or envelope filter (or a wah if you want to get more adventurous) can give you some really cool thick sounds. One of my bands is a RATM sort-of-tribute band. When we play "Renegades of funk", there's the whole outro where the guitar is soloing and in the record there's all kind of guitars layered in, and vocals... so I end up kicking in my overdrive (EBS Multidrive, but lots others would work... The Ibanez PD7 'Phat Hed' is a favourite of mine which costs peanuts and is pretty versatile... use your treble control -if using an active bass- to go from gritty aggressive overdrive to softer fatter one without fiddling with the pedal) and either an EHX Small Stone phaser to add some slow swirl effect, or my bass wah (G-Labs, touch activated).... That fills in the sound pretty nicely. In fact, at home I sometimes just fire the drum machine and play with overdrive/phaser/wah until I get in a trance Jose

As others have said... no problem. Just don't go crazy with it, especially boosting lows, and listen for any signs of struggle: if in doubt, turn down a bit. But chances are you won't bother it one bit. One other thing you might like to consider is a high pass filter of some sort (HPF for short if you search for it). It may not be necessary in many situations, and some amps have one built-in already in fact, but I still often use one. It cuts the lowest lows and lets the rest through. The purpose is to eliminate frequencies that are amplified by the amplifier, and sent to the speakers, which move accordingly, but that don't result in an audible sound for us. Something like the SFX "Thumpinator" has no effect on the sound (some claim it tightens the low a tiny bit), but the speakers work less, and so does the amplifier. That could be helpful to use. There are variable HPFs, and they can be pretty cool as you can adjust the cut frequency a bit higher into the frequencies we do hear and they can be very useful when your bass sounds a bit boomy/muddy, as it happens on some stages/rooms, to tame the very low bass and as a result get a tighter clearer bass. I used to use a pair of small TKS S112 cabs a lot, which are rated relatively low, and I used the Thumpinator as an extra level of protection. I noticed that with the Thumpinator, the master volume ended up set a little lower than without it... which I liked and made me feel a bit happier about using them with powerful amplifiers. Just a thought.

Nah... they still avoid maple fingerboards on the versions I like best. My wallet is worried, but still safe

I just bought Dave's BBE Opto Stomp compressor. Easy going, great communication, nicely packed and fast delivery... it could have only been better if he had delivered it in person and brought me an icecream at the same time. Hazelnut. Thanks, Dave, it was a pleasure

[quote name='leftybassman392' timestamp='1498680798' post='3326343'] Here's the thing (as has been explained at some length by other posters already, but I'll try to keep it simple for you): Liam Gallagher is, IMHO, one of the most singularly unpleasant, obnoxious, self-important arseholes ever to have stalked the face of the earth. If he had any sort of musical talent I still wouldn't like him but I'd let it pass. But he hasn't, and never has had. He's the living embodiment of standing on the shoulders of giants, and pissing on their heads while he's doing so. [/quote] That, Sir... was beautiful. Brought a tear to my eye, it did.

[quote name='Hellzero' timestamp='1498838493' post='3327496'] Just for the record (funny, no), to record "analogue" music on that ugly noisy warping black disc, you have to compress the bass and enhance the treble. The bandwidth goes from 20 Hz to 15 KHz, when the cd goes from 0 Hz to 20 KHz. All of this being theorical. There is no compression on a proper made cd as it's not necessary. [/quote] Right, is that the RIAA EQ curve thing that is 'inflicted' upon recordings before making the vinyl records, then? (just remembering very vaguely things I half knew years ago ) So dynamic range *is* wider on CD, then, as I thought.

[quote name='LeftyP' timestamp='1498836543' post='3327485'] As someone who works in the broadcasting industry, I can certainly confirm that old vinyl records offer far more dynamic range than modern CDs. If I'm recording a vinyl record into the computer - and watching the wavy line (technical term!) to ensure I don't over record - the line rises and falls all over the place. I need to ride the fader to stop the levels going into the red. With a CD I get a solid bar with little or no variation in level. [/quote] Isn't that a reflection of the production of the individual CD? I say that with regards to relatively modern music being quite excessively compressed on purpose (re: volume wars, where dynamic range was reduced "on purpose"). I'm not saying you're wrong, I'm genuinely asking, I don't know the answer and it looks like you may have a better knowledge of these things. Also, wasn't there some special EQ curve applied to recordings prior to vinyl pressing, and subsequent inverse EQ curve applied at playback, to be able to better deal with bass frequencies which would otherwise result in too wide groove 'swings'? How does this relate, if at all, with the available dynamic range on vinyl? [quote name='LeftyP' timestamp='1498836543' post='3327485'] As for MP3s - well, they are very handy but are so compressed that most of the music has been squeezed out of them! [/quote] I was under the impression that MP3 do not add compression... the reduction in file size is achieved through a mix of *data* compression -not sound compression- and complete removal of some data that it's judged to not be noticed by the listener based on their algorithm...

[quote name='Conan' timestamp='1498823155' post='3327325'] I never did that because I would have killed music... [/quote]

[quote name='bazztard' timestamp='1498816272' post='3327221'] to be fair, it was a warm up set before midnight. It used to get packed after midnight when all the pubs used to close and we'd play til 3 am, it was a 'club'. [/quote] I have no good excuse for mine. It was just... an unpopular place with a band nobody yet knew who had not tried to promote much since we thought after the first gig that people would naturally seek us and queue for miles to see

[quote name='uk_lefty' timestamp='1498813466' post='3327184'] The demise of the cd was well in progress before the big music companies got on the vinyl resurgence hipster bandwagon. Ever tried buying CD storage these days? You just can't get anything half way decent. Since moving house my six hundred odd CD collection has remained boxed in the loft. What's crazy is having the option to buy a download album at 10.99 or buy the cd with free instant download for 4.99. Am sure in ten years my daughter will be excitedly asking me "dad did you have a Sony minidisc? Got any in the loft? They're sooooo cool!!!" [/quote] what gets me is that tape is now also considered cool... TAPE!!!!!!! I don't mean fast dense wide studio quality tape... I'm talking standard C60 and C90 slow sh*tty hissy tape. Our singer was talking about issuing our next CD on tape. I laughed very loudly... they think it's just because I'm set in my ways, being older than most of them (15 years older or a bit more! but I'm immature enough to still fit in ) however, they forget that I WAS THERE WHEN TAPE WAS COMMON. And it sucked. That's why it was dropped fast as soon as we had any other suitable portable platforms. Tape!!! (waves walking stick in the air)