Osiris

Oooh, a spare compressor, now there's a thought.....

I'm looking for a new paperweight for my board. Must be true bypass and transparent. Any suggestions?

I picked up a used FuzzDog Juicy Blue earlier in the year from the BC classifieds and can confirm that it is a thing of pure brilliance. No idea how it compares to the real thing but it's still a great pedal in its own right. Mine, as far as I know, is the stock boutique version and while it is a little dark sounding I actually prefer it to a shrill drive sound. Do the mods brighten it up significantly or does it still retain some of its dark charm?

I've been gigging regularly for 30 odd years now and in that time I have had a couple of incidents of amp failure on a gig; it was the same amp that was first repaired under warranty and then later had another issue with the power switch cutting out. In addition to regular pub gigs my band does some private work too, parties weddings etc. so I feel it a professional obligation to be able to get through the night regardless of any technical issues. That being the case I always carry a spare amp, usually a spare bass, always spare stings, cables, fuses etc. Pretty much a spare everything other than a cab, but on the above occasions I was able to plug directly into the desk/PA to get through the night so I could limp my way through the gig without one. Some people might consider this to be a bit over the top but the way I see it is that if you're being paid to perform, whether it is in a pub or at somebody's wedding, you need to be able to deliver the music.

I tend to play open strings as often as I can depending on the song and the position of my left hand on the neck. But I have nerve damage in my left arm so the fewer fretted notes I can play the less fatigued my left hand becomes. Needs must and all that.

For me it's got to be this. Great intro but once it gets going the rest of the song seems a bit flat in comparison.

I've just plugged a bass (via a pre-amp) into the Magellan 350 aux input and can confirm that it is indeed controlled by the master volume. Is that what you're hoping it would do?

If that is indeed the case then I can see the logic behind the choice even if I'm not a fan of the name myself I guess it's more memorable than the usual mix of acronyms and numbers.

You're right, there's no fx loop on the 350, only an aux in. I don't use fx loops so I hadn't even noticed! As to whether it is controlled by the master volume I don't know, I'll try and have a look over the weekend if I get a chance.

I've only ever gigged mine with my 4 ohm 2x12 but even in the rehearsal room with my 8 ohm 1x12 it has never lacked for volume, and that's with a 5 piece band including drums, keys and guitar. I guess it depends on the situation you want to use it in? Unless you're doing anything at extreme volume I think it ought to fine particularly with a Barefaced cab which are notoriously efficient.

Likewise, Bass Grooves is also well thought and easy to understand. If I remember correctly I got my copy new for around £5 or so from either Ebay or Amazon marketplace and it's possibly the best bass related purchase pound for pound I've ever made.

The Genzler Magellan 800 fx loop return goes directly into the power amp according the manual. I've been gigging mine for several months now and can't fault it, more of my thoughts about it here. Edit, I missed your budget of £4-500 In that case I'd suggest the Magellan 350, I've got one of those too and it has more power than you're ever likely to need on a typical pub/club type gig.

I've spent a lot of time playing in rock bands over the years where driving 8ths are often what's needed from the bass. As such I hadn't put too much time in over the years working on counting, but that is something that I have been working on the past few years. A great, simple to understand book and CD set that has really helped me to get to grips with counting over the years is Bass Grooves by Ed Friedland. The book explains the theory and the CD contains some examples so you can listen and play along to really understand what's going on. It has certainly been a massive help to me so might be worth a look, perhaps?

Hats off to you guys for all your hard work updating the new site! Part of my day job involves the validation of post migration systems from an end users perspective, so I fully appreciate the complexities of the behind-the-scenes 'fun' that you've all been having

[quote name='Jus Lukin' timestamp='1510327779' post='3405657'] That is how they are most used! They can be used to noticeably alter the envelope of the sound, but most of the time a comp is used to make the bass more consistent in the mix, without a perceptible change in the 'sound' of the instrument. The majority of compression is [i]very, very[/i] subtle indeed. A good way to get a feel for the difference is to play half a set with one on, then turn it off half way through. You may not notice much when you turn it on, but you may realise what you lose when it's gone. Nothing wrong with not feeling the need though, if you don't experience any benefit, just ignore them! [/quote] This sums up compression (at least the way I use it) perfectly Al Krow, in response to your post #34; (1) I've never been entirely convinced by this point of view. Yes drive pedals compress your signal but I'm not convinced that they do it in the same way that a dedicated compressor does. Or at least not as efficiently. No doubt someone with far more knowledge on the subject can explain the differences, if indeed there are any A dedicated compressor will give you much more control and will allow you to get clean compression without any colour from the drive circuit. (2) I agree with the first half of your sentence but not the second half. An even touch is all well and good but I'm yet to be convinced that a good technique is as efficient as a good compressor for keeping things even. But I'm happy to be proved wrong on this. (3) You're in the right ball park with this one . A limiter is a compressor with the ratio set to infinity i.e. the ratio acts like a brick wall that no signal spike can smash through. So yes a limiter is perfectly suited to slapping.

[quote name='elephantgrey' timestamp='1510303966' post='3405388'] I think that every compressor worth its salt would have: input volume, threshold, ratio (atleast a switch, but preferably a pot), attack, makeup gain (output volume), and metering (either a row of LEDs or one that changes brightness). I don't know how you could set up a compressor to do what you wanted without any of those. [/quote] I've used a number of compressors with metering over the years but I much prefer to use my ears to find the sound I'm looking for.

That's possibly the funniest thing I've seen all year

[quote name='Al Krow' timestamp='1510247245' post='3405009'] There's also an argument that compression is needed less when playing in passive than active mode. [/quote] I've not heard the argument that compression is needed less when playing in passive than active before. And I'm not sure that I agree with that, although admittedly I don't know the detail of the arguments either way. [quote name='Al Krow' timestamp='1510247245' post='3405009'] Like Funkshui I like to have the freedom to play more loudly or quietly without a compressor unduly tying my hands. [/quote] If you've set it up sensibly you're hands aren't tied at all I use mine to tame the big peaks and generally even things out but I still have tons dynamic range for when I need it without any sonic compromises. [quote name='dave_bass5' timestamp='1510247536' post='3405016'] Yep the Muscle comp is the one i use already and i too keep the knob under 11 o'clock. I do liek the top end boost, although it can be a bit harsh when i kick in a dirty tone. Just have ot back the top off on the amp though. [/quote] Definitely, too much top end into a drive pedal sounds horrendous on bass!

[quote name='dave_bass5' timestamp='1510240385' post='3404927'] I have the same feeling. I also play with a pick most of the time and yes, a compressor makes things sound good (when set up right), but to my ears its really just a volume boost with a bit of something else on top that gets lost when the band strike up. My latest comp is a Spectra comp, and i can definitely hear a difference in the different presets (tone prints), so as an effect i can see the point, but a lot of what i read says when a good comp is working its transparent so i dont understand why some people obsess about them unless they are used in a non transparent way, in which case get it. I also find the phrase 'kills all your dynamics' to be a bit of a generalisation and not true at all unless thats what you want. [/quote] I agree that when a compressor is set up right that it makes things sound great. But to say it's just a volume boost, although it can be, is to miss out on what a good compressor can deliver when it is set up right When set up right it will make the bass more prominent in the mix so if you're getting lost it sounds like your signal is too squashed. Try lowering the threshold and ratio until the bass begins to punch through. I'm another Spectracomp user and I absolutely love it! Next time you're gigging or rehearsing, try using the MuscleComp tone print. That's the one I love as it adds masses of punch to the bass in the mix. It does add some top end to the signal, you might like this but I prefer to eq it back out. For me, setting the control knob on the pedal to about 10 o'clock makes the bass punch like Tyson

Compression is something that I think is widely misunderstood by a lot of people. When used in moderation it is the icing on the cake of a great bass tone, in my opinion of course. Because it isn't an obvious effect as such in the way that something like a drive pedal is, some people (and I'm not saying that you are one of them ) have a tendency to set the compressor so that they can hear it working, at which point you're invariably adding way too much squash to your tone and killing all dynamics. The secret of great compression is to use it in moderation so that the peaks are tamed but you still have dynamic control when you're playing. A little goes a long way. Compression is more obvious in a band mix that it is when it's just the bass in isolation. Once you have found the compression sweet spot, the bass will be more punchy and even across its range in the mix that without any form of compression. I find the best way to find the compression sweet spot is to set it up at a rehearsal while the rest of the band are playing, it is more obvious in the mix and at a louder volume than at in-house levels. I prefer to use my ears rather than any sort of in-built metering in the compressor itself. I used to play a lot with a plectrum and used a touch of compression. These days I play more with my fingers and still use compression and I do think it is more obvious with finger playing that with a plectrum, but it is still a subtle effect to listen out for. As with everything in life, there are people who won't like it and you might just be one of them. Nothing wrong with that at all I personally won't leave home with one

[quote name='M@23' timestamp='1509998371' post='3403167'] Try to slap 'through' on the G, rather than bouncing off it. [/quote] Can you clarify exactly what you mean by this, please? Are you saying that rather than slap in to the string perpendicular to the fret board that I strike it more parallel to the body?

That's certainly an interesting looking and sounding pedal. I liked the brief sounds of it in the clip where the gain is at 12 o'clock or lower.

I can't be the only one who's been hankering for a bass with an integrated barometer, can I?

Cheers guys, there's some interesting points for me to work on. [quote name='NickA' timestamp='1509727700' post='3401254'] I'm now having your harmonics problem trying to tap (ie hit the strings with finger tips) which allows for great percussive chords - but get a totally different chord from a a tap than from a pluck ... [/quote] I tend to play finger style like that a lot of the time, it's a combination of bad technique, a failed attempt at the John Entwistle typewriter style of playing and a perverse love of fret clank (despite never really warming to slap as such). [quote name='ped' timestamp='1509729144' post='3401270'] I find slapping a G string sounds better with a lower tension string. That gives the string a bit more bounce and flexibility which helps sound the note rather than sound like a harmonic as you say. It's also about technique - practice slapping very lightly across the strings and let the amp do the work. If you are getting a good slap sound from your E but thumping it hard you'll never balance the G. Use a light touch and lean on your amp. I also favour a super low action and flat neck so this enhances the 'clank' which helps define the note. Again, a light touch is required for playing with this setup, but when you're done, you'll probably find your slapping is quieter than your finger style playing. [/quote] Sounds like there's a couple of key points where I'm going wrong; First off I prefer 50-105 gauge strings which I'm guessing are higher tension that the lighter gauges that I understand slappers prefer. And also I'm tending to slap quite hard on the lower strings so backing off the attack to balance things makes perfect sense. However a flat neck and low action are something I like in my basses so that should help. Fortunately it's still very early days for me yet so I should be able to stop myself getting into any bad habits - unlike my finger style playing!

I've been playing bass for more than 30 years but have never learned to slap. To be honest it's a sound and technique that has never really done anything for me. However, I've recently decided to give it a try to improve and expand my playing. But in doing so I've come to realise that it's actually the octave pull sound that grates on my nerves. I appreciate that it's an integral part of the slap technique but it's one aspect of it that I'd like to avoid. However, I'm struggling to get a successful slap sound on the G string, it comes off sounding more like a harmonic than a slapped note! I appreciate that it's still early days and that I'm still working on my technique, but am I right in thinking that I should still be able to get a usable slapped sound from the G string? And if so, has anyone got any pointers, please? I appreciate that I really ought to be learning to do octave pulls too, but I find the sound really irritating and that it puts me off learning to do thumb slaps. Maybe once I've got to grips with slapping in earnest I'll revisit the pulls but for now I want to give it a miss