Owen

I did a gig with last night with the compressor in the circuit. I turned it off for the final 2 songs and remembered why I don't like them on DB. The whole instrument felt like it just loosened up and got more responsive. I live and learn. It looks like my Sadowsky floor box is going to be pressed into service as a gain booster for arco.

You can check out, but you can never leave.....

I once had two DBs. One for classical and one for jazz. Like I was some big timer. What a pseud!

Dan had something I did not realise I needed. Now I own it. It was all good.

Take a guess. It is good.

Eh? App? Eh? Where?

I would like to speak up for the Korg G5. Old? Yes. Big? Yes. Really easy to programme and sounding good? Yes. Triggering issues? No. I think it is a bunch of filters messing with your provided note. Available for circa £120. I would have mine on my pedal board if it was a bit smaller. 9 memory slots which is nor humoungous. But actually, enough.

I mesed with a bit of light comprssion yesterday and it seemed to bring things into balance, but the gig will be different. I like to be able to dig in and get more. This is the reason I have a relatively high action. That was no problem when I played regularly. Gigs are slowing down and my practice regime does not exist. We shall see what compression does in the heat of the moment.

Thanks everyone. Plenty of food for thought. And an opportunity to buy new kit! The Realist thing is interesting. NS EUBs have a 2-way switch. One way for pizz and the other for arco. If Spiros give you the pizz sound in your head then never change. But they will never bow "well". I am fully aware that that is a strong statement, but it is how it is. Consistently drawing a good sound with the bow is the single hardest thing to do on a DB. We can (and I do) get away with all sorts of inaccuracies with pizz that the bowed note will just not stand for. The bow does not lie. I am using a Full Circle and that is adjustable for different emphasies, but I will not be doing that as we meander towards the coda.

Hi all, I am in the middle of a series of gigs where I am using a bow as well as pizz. I am very happy with my pizz sound, and with my arco sound when amplified APART from the volume discrepancy. With my rig set to amplify pizz, the arco is not cutting through at all. I am going to mess with some compression to see what happens, but I really like having control over dynamics with my right hand. I could put an extra foot-switchable preamp in there to bump it up a bit for the bow. I was just wondering what other people are doing. TIA

I applaud everyone who can solder and deal with bare wires. That is not me

So if the OP ones and the flax ones are suboptimal, what is good?

David credits us with more guile than we have.

I have a 36" Overwater 6 string tuned to bottom F#. Djent for days.

Leo probably got a batch of them at a good price and used them everywhere until the box emptied. We eulogise various aspects of the Fender story, when the reality was that they were just making a product to a price point. Am I happy that my 66J has the special machine heads (and binding and dots)? Obviously, yes

Thanks, this is the stuff. I am there in a fortnight. My students are in no way shape or form ready to hit an open Jam stage. But to get them to visit something like this would superb. We live in rural North Wales. This stuff is like access to another world.

I wholeheartedly endorse this line of thought.

Thanks This is the source of info I need!

I find myself taking a bunch of students to Barcelona. My life is so hard. Can anyone suggest any live music venues or activities there? I will look at listings, but you might just know of a venue where the music is hot etc.