Cuzzie

Question then. Do you have a sound engineer mixing your band when you play mainly? If it’s just your Heath and Allen Mixing desk you use who balances the sound when you use your own PA? What is the compressor type and it’s abilities on your desk and do you use it on all channels/instruments etc?

@Al Krow I did That for you a few years ago where part way through the song I realised the compressor was off, I clicked it on and an immediate difference was heard. This was defo a DM and possibly also in the on and off thread you started a while back. That was on a crappy phone video audio, you can therefore imagine how much better it was in the room - why? Because it made it all gel and sit better together. To be honest the reply from you was - there was a difference but................

And that’s just it - the ability to vary what you can do and different compressors give different things depending on their components and capabilities and using it in a way to augment your needs

I don’t really know either, but it’s probably due mainly to a lack of understanding of its use. Also maybe the view I am good enough to not use one or only used for poor technique puts noses out of joints. The thing that slightly irks me, though not enough to get my knickers in a twist is the view of compression is fine for recorded music, but live music it’s not needed and anyway someone at a desk who may or may not be good will compress anyway so leave it to them. I would say it’s even more important in live music - the more controlled and balanced a sound is and the less you could give a sound person to worry about and tinker with, surely the better the end result - everyone is always better with the least uncontrolled variables possible to manage

Ah yes I think I remember you sharing the link a while back https://fb.watch/5fZO4lEd6n/ it’s interesting how you altered the bass line to a 12 bar blues type line for a different flavour.

You may have a problem - the Schecter pocket looks to be a square heel, the P and J status necks are rounded - thats not in itself a problem, but you would have to do some pocket work for a snug fit regardless of heel width. The main problem will be intonation as I think the schecter is 22 frets and the status is designed for 20 frets. If you have a 5 string, you may get away with a MM style status neck as this is designed for 22 frets and has a square heel I think. It may not be compatible for a straight swap

That’s really high praise as I know how much you like your Yamaha to gig with. What was the main difference on a gig playing a set between the two which makes the Spector the go to bass?

LH1000 is a fantastic amp - I do sort of miss mine, but have found something which suits me even more - and it’s good old analogue

Of course good in isolation is one thing Good with other instruments or backing tracks is another Not that there is anything wrong playing in isolation, but it is likely the settings won’t be the same for each circumstance

I couldn’t care less about on paper - I never said it didn’t sound good, but it’s you that is saying it is lacking low end punch, and if something is not cutting through then there must be some mush of sounds. I know the VTDI circuit, I know the DG amp capabilities, I know the AO circuit - They don’t lack punch. If you are not getting the low end punch you desire, then something as you are combining them or using them singularly is not quite working to give that for your bass, strings and playing style - that is the main point.

Looks a bit like a recipe for a muddy sound that unfortunately and may be the issue...... The YYZ is a different pedal and will give a different sound which you may or may not prefer, but even then that needs to be dialled in right too for your playing, bass, fingers/pick, playing position etc. Which is often why other peoples settings don’t work as well as you would expect

Surely that keeps the low end without splitting the signal stuff being required

Hasn’t the VTDI got a blend knob? Pretty sure it does when I had the amp

So many misconceptions across compression it’s almost too many to go through. Why learn to change a string and use a screwdriver for pick up heights - a tech/luthier can do that? Why learn about other pick ups than the standard one in your bass and maybe change them, the manufacturers did that and surely got it right? Maybe the sound engineer should also say which bass, amp, DI box etc you should use? Compression - leave it alone but limiter that’s ok?! I often see this written to protect the speakers from violent spikes. The people that say/use this - how often are you ragging your speakers so hard they are about to fart out this requiring this? Is it poor technique being masked if your volume of playing is so widely off to create a massive jump? Maybe compression and or limiting is what is required in this scenario....... Maybe that is taking it to its nth degree - but even those who don’t use agree it is and should be used. Recording or live - which is more important? Arguably live and a more pleasurable experience, but defo equal at worst. And for the sound man - surely giving the most balanced and careful thought out signal as possible from all instruments is better to slow him/her to do as good job as possible as well as for your band

It would yes

It may look strange - but - could you get a short scale neck, lather the pocket and the bridge position and leaves you with a functional bass

I love em, compressors/compression are/is brilliant and once you get your head around using them, how it can work across all instruments and music live and recorded it opens up a whole new world of enjoyment. Had a few, current lot CaliCB, there is a another FET compressor as well in my amp/preamp pedal and I also have an FEA labs Opti FET which is the nuts

Also in Ibanez mikro punches way above its weight in price

Love North Norfolk - it’s a great place. Does it have to be short scale? If not don’t overlook a Hohner headless bass - your hand is thrown forward a little bit on it due to the shape, but it’s a cracking cricket bat of a bass. I am also going to throw the Sandberg Lionel in there for you for a short scale. How North Norfolk are you? I know it’s a bugger and probably a 2 hr each way round trip, but maybe going to bass direct may be the best thing to get it right once

@Reggaebass me old mucker, and you others may enjoy this - I did

String trees, neck break angles, volutes etc will all also affect

Every bass needs a flux capacitor

Cheers Doc

Whatever is comfortable mentally and physically for you as well as space wise to store. I would take a spare, but I use a double gig bag so it’s very little hassle and things are covered so I have no worries