grandad

I agree 100%. That's exactly how I use Spectracomp. 9 o'clock is just perfect.

Well here I go again - Knowing what compression does to live sound is important and will lend confidence in your performance. It is not primarily an effect that you twiddle with to get the sound you want, rather a useful aid in taming dynamics and giving the audience a better listening experience. However, it tends to be employed, (and I'm guilty of this), as another effect on your sound like an extra tone control. A clear explanation: http://www.studybass.com/gear/bass-effects/bass-compressor-settings/ My plucking technique is I hope such that I can interpret a tune from pianissimo to fortissimo. And I don't want to squash out those dynamics. I use the standard Spetracomp and no other effects. From zero I turn the single knob control, (which I assume to be threshold), clockwise, until I can just hear the effect on my bass tone. The effect I hear is a slight thickening of my sound, it sounds warmer to me and that's the tone I like, warm and full, some would say a typical scooped tone as I also dip the mids. So although I use compression sparingly as an "effect" to get the tone I like, I'm also aware of the primary function of compressing my sound in a live situation which is to achieve a comfortable dynamic range of my bass in the mix for the audience.

Here here!

The thing is that I would notice if I didn't have my 1 knob compression at 9 o'clock. I doubt anyone else would. Even my brother rhythm guitarist says that bass is just bass to him and any subtleties of my bass tone brought to his attention seem to elicit little interest. As for the audience, I'm pretty sure that as has been said many times before, most would only miss the bass if it wasn't there, let alone discern any difference. The thing that folk readily notice is the volume, "the bass was loud". I think Motown did a lot to bring a good bass-line to the attention of the listening/dancing public. A few other popular songs had strong bass-lines like 'Hit the road jack' and 'These boots are made for walking'. I'm happy being part of the rhythm section, I like locking in with a good drummer and rhythm guitarist who are also good team players. But the subtleties we enjoy getting out of our instruments, thumbs & plectrums, strings, nuts, bridges, pick-ups, pedals, amps, speakers and techniques, for the most part are like trade secrets shared and assessed and discussed like new/old recipes by the connoisseurs of the art who are I'm happy to say venerable BCers.

Last year I bought my grandson a Bronco 40 as his first amp and was impressed with the overall build and tone. The Rockinpeg model sounded great. I tried a new Rumble Studio 40 out at GuitarGuitar in Brum this week and was again impressed - loud, great tones and lightweight. I think Fender are making some good bass amps these days.

Highly recommended. Bought a BF one10 in pristine condition.

She certainly had a beautiful voice.

And furthermore, I bought my TCE 250-208 new for £250-ish from PMT Brum about 18 months ago. I've seen them for x2 that price now. Is it still a budget amp?

That looks beautiful. I fancy the 1 in mahogany. I would have to divest myself of 2 or 3 instruments I think to fund it though. I hope you can give us a review especially with a rundown of the tone each individual pickup gives.

Yup, I always carried a pack of wet-wipes.

I don't think you could say they were "outside the established light entertainment business" for the first couple of years. In fact the usual path of a hit record or two, guest appearances, panto's and light-weight films was trodden by Cliff and The Shadows, The Beatles, Elvis etc, etc. It was a career path that earned money and the various managers knew it. (Correction, Presley wouldn't have done the panto bit though). But yes they broke new ground post-touring.

I am awake, it's 4 am, I know, I'll have a cup of tea and waffle a bit on BC. For you Blue: I think I know where you're coming from Blue. As a singer and bassist who was up front rather than at the back with the drummer, Paul McCartney was probably a first doing that. I can't offhand think of another. Jack Bruce and Sting were to follow but I think Paul showed it could be done. Personally I find it impossible with anything other than the simplest of bass lines. Here in the UK, late 50's early 60's it was Jet Harris as the Bass player with The Shadows, (think the UK version of The Ventures), who was probably first noticed along with his Precision bass, one of the first in England. His 1963 single 'Diamonds' actually got to number 1 over here, a first for a single with bass as lead instrument. The first Shadows LP, which incidentally was my first LP, Xmas 1961, featured a bass instrumental track called Nivram. I believe it was based on Barney Kessel's - 'Barney's Blues'. I mention this as most of us post WWII babies share seminal moments in our musical memories. The tune 'Apache', and maybe for those across the Pond 'Walk Don't Run', just triggered that "wow I've just love to learn how to play that on my own electric guitar" feeling. Well, Nivram was the first number I heard featuring bass that shared the lead. And so that is why 'Nivram' is my party piece, even though I only picked up my first bass guitar at the age of 50+ I just had to learn it. I also had to learn 'Apache' and 'Walk Don't Run' and 'FBI' and 'Sleepwalk' and 'Riders In The Sky' and etc, etc, etc. Aren't guitar instrumentals just great? My Jazz quartet just nailed 'Samba Parti'. I digress. He was not well known in the States but very influential over here, read: https://en.wikipedia.org/wiki/Jet_Harris And whilst reading that I discovered this: https://en.wikipedia.org/wiki/John_Paul_Jones_(musician) What a career! But to get back to the subject of the remarks made by QJ, they were rude, and his use of the vernacular was quite vulgar. In his exalted position he should set a better example especially to younger fans. His opinions, to which he is quite entitled, I cannot see being shared so much as the contrary. Unfortunately they will taint the pleasure I get from listening to his work. It's now 7.45 am. I can see me having a nap this afternoon as I have to gig tonight. When I say gig it's a quiet affair as in music to wine and dine to.

A hearty congratulations.

Oh yes they are.

Just read the condensed interview. An interesting read. It comes across as somewhat elitist. And that's understandable given his talent and experience. But I get the feeling that his talent and musical experience mixed with other issues has given rise to some rather blunt remarks amongst the mostly erudite. His lack of grace is disappointing.

That was a quality video demonstration.