cheddatom

I've used it in this fashion and not noticed any "tone suck". It is buffered, and some people seem to have a problem with Boss buffers, but I doubt you'll have any problems I have the SFX loop logic too and wouldn't say it sounds "cleaner"

[quote name='waynepunkdude' timestamp='1423560817' post='2686213'] Drugs and a Kardashian. [/quote] I wonder if the drugs make the kardashian attractive? If so it sounds like a good life

it's more about moving round isn't it? I could go and play 7 nights in london in the same venue, but it wouldn't be a tour But yeh, Blue, next time you do a "tour" make sure to get plenty of tour photos

oh well! Poor Kanye, what will he do without my approval?

I thought the backing track for "gold digger" was funky as balls. Is it a sample? If not there's something good he's done

[quote name='xilddx' timestamp='1423493526' post='2685456'] So am I Ched, but how do you know it's 'new'? It's only new to [i]you[/i], right?... [/quote] Yeh... define "original". I don't really want to get into that debate. I got into quite a few debates about Jean Baudrillard and simulacra and all that bollocks with my bands mates. I find it incredibly frustrating and cannot accept the notion that no art will ever be "original". Not that it's not a valid debate, just I'm so tired of it! My personal approach is to try and write what I "feel" or what's in my imagination. Then if it turns out to be a fairly straight up rock/pop song I get rid. If it turns out to be a bit weird I play it to my girlfriend and she says "It sounds like martin grech but heavier", which is a great compliment (to me) but obviously compares it to someone else... Arrgh!!!

[quote name='xilddx' timestamp='1423492431' post='2685437'] Not sure originality is high on my want-list for likeable music. I think originality is highly overrated. [/quote] Although I'm sure you're right in terms of "likeable music", I personally love it when I'm surprised by something new, and I always strive to be at least a little weird when I'm writing music Anyway, I wasn't commenting on whether Beyonce or Beck deserved the award. God knows what criteria the judges use

Beck is infinitely more original than Beyonce. I'm not sure the Grammys are too concerned with originality though?

ace thread!

take loads of videos of vaguely amusing bullshit to post on facebook etc. This is what all the cool bands are doing

Have you tried recording the di from your amp, rather than straight in to the box?

that's very cool, thanks!

repetition is what gets me. I can play bass all day long if I'm playing what I want. I play drums in a reggae band, and the bassist plays extremely repetitive lines. I tried it one time and my hands were killing me! The same bassline over and over for 5 minutes just seems to cramp my left hand

[quote name='uncle psychosis' timestamp='1422969588' post='2678951'] I play bass in two different bands that only have one guitarist, and I actually find that I prefer *not* to deliberately change the sound to fill out the space (not often, anyway). One of the best things about having fewer players is that there is more contrast in the sound of the band across different sections. The "light and shade" really adds something that is often missing in traditional four piece lineups where its easy to just end up with a relentless wall of noise. [/quote] You need "space" in sections, certainly, but a guitar solo often comes after a big chorus, or riff, and it's supposed to add energy, rather than drop down a bit. I love the sound of just bass and drums to take a verse, then guitar kicks in with the chorus and it's huge! That contrast really works. But, yeh, sometimes it can sound really empty going from a big chorus into a solo. You don't necessarily need to fill it out on bass. The drummer could switch from his ride to his crash, or open hats

I learned my lesson on that. Boss DS-1 - could not find a use for it, absolutely awful sounds on every guitar, bass, every setting etc. I gave it away. Then some dude came into my studio with a rickenfaker and a DS-1 and the sound it produced was pure filth! I had to eat my words

I'm thinking you hold down the switch on the ABY, while you play the "snap shot", let go, and then there's nothing going down that chain anymore, effectively muting it I did a similar thing once. I had a delay pedal which was always on, and blended into the end of my chain. The input of the delay was running off an AB box which I modified to switch from A to B with a momentary switch. When I pressed it, it would send whatever I played into the delay, then I let go and the delay would carry on while I played through channel A it was easier to do that as I didn't have to turn the delay on and off

Well perhaps it's fortunes are changing - where are all the naysayers?!

let us know how you get on!

No wonder all the pros are so grumpy! [/troll]

I don't see the problem using the guitar rig? It sounds like OP is confident with the amp modeller. One solution not yet suggested is a powered cab, or just a simple power amp hooked up to a nice bass cab. As long as you get the EQ right on the zoom you'll be sorted!

[quote name='toneknob' timestamp='1423052138' post='2679967'] ...VJ's opinion is interesting in its generally contrary position. Regardless of his CV, it's nice to say "oh do tell more/what makes you say that" rather than "nonsense". [/quote] Yes, that would have been more pleasant

[quote name='JTUK' timestamp='1423052067' post='2679966'] I wouldn't use that term, but that is why a lot of people use it or have to use it. So, yes, you could apply it to people who don't have dynamic control over their playing.. There might be other reasons, but there might not.. [/quote] There's a difference between saying "it can be used as a crutch" and saying "it's always used as a crutch"

[quote name='JTUK' timestamp='1423050991' post='2679951'] If you have very good dynamic control over your playing, which I think should be a goal, and something you incorporate in your practice regime, then compression at your monitoring source may not be required. ... [/quote] I can't argue with any of that, it's a personal thing and I respect your opinion. However, if you were to extend that to say that any use of compression live is a "crutch" or compensation for lack of dynamic control, then I would have to disagree, and I might do so vehemently, as it implies a slight against my prowess as a player

[quote name='discreet' timestamp='1423047277' post='2679898'] ...Again a fair comment, but that knowledge would be of limited use given that most bass sounds aren't what you think they are and largely sound like they do only in the context of a particular song or combination of other instruments... which is why isolated bass tracks often sound weird, but are just what is needed in the full song. They are not produced to be heard in isolation... [/quote] I'm interested in the context of the mix and studio work. I'm not thinking that I'll be able to replicate a recorded sound live or anything like that. As a producer/engineer who spends a lot of time in the studio, I find these things interesting. This thread asks what I'd want to learn from Pros, and explanations of their sounds would be interesting. [quote name='JTUK' timestamp='1423048474' post='2679913'] ...The PRO did just that..he had an opinion that was shouted down immediately, and when he came back and said it wasn't actually his set of rules, it was the way the industry worked, he was hounded again... [/quote] I've read the thread in question, and I disagree.To argue that the use of compression when playing live is always a crutch for bad playing technique is definitely wrong. I can think of several situations where compression would be used as a sound shaping tool, and not as a crutch. Furthermore it is not an industry wide rule for professional players to not use compression when playing live, as clearly some of them do. There's nothing wrong with a difference of opinions. Obviously sometimes on the forum, people state their opinion as though it's a fact, and this does rankle, causing the sort of personal/insulting posts we saw on that thread

[quote name='discreet' timestamp='1423046432' post='2679882'] Pro bass players don't get gigs. Management and promoters sort all that out. [/quote] Right, but how did that come about? How did they get their management, and how did the ensure their gigs are of such a good standard, etc [quote name='discreet' timestamp='1423046432' post='2679882'] I believe there are any amount of pro bass players up on YouTube who go into great detail about their pedalboards. [/quote] Sorry, maybe I don't spend enough time on youtube, but most pro bassists are going to have a few pedals, and some fairly "standard" sounds. I assume we're talking about session guys, rather than guys who are just known for one band [quote name='discreet' timestamp='1423046432' post='2679882'] That would be down to the producer and engineer... the bass player has little control over the sound in most cases. [/quote] Like I said, if they were in on the mix, I'd like to hear what was done