dclaassen

Thanks for sharing this. I have mindlessly been leaving my head on standby…going to stop doing that.

Sorry, but I don’t agree. If you consider a sound energy wave, when you move the fader, that lowers the amplitude, but the sound itself is mostly unchanged. Compression take off the tops and bottoms of the waveform. Two different things, imo

I get your point!:)

This always amuses me. Unless you are in a serious covers band…who cares. I have never watched a band performing and thought “gee, that bass sounds wonderful, but does not fit the aesthetic of the group”. I did, however, appreciate while watching “Jersey Boys” that they changed guitar brands at the appropriate time.

Funny how that works…I had a L2000 Tribute and just couldn’t get on with it.

Current rig for the rock covers band…love the sound this combination produces! If any stairs are anticipated, I will rethink my amp choice…

Not to me…:)

Not to me…:)

Right there in that boat with you

I had one of these in the '80's...great bass, fantastic sound and tone...just really heavy and uuugggglllllyyyyyyy

I’ll keep a good thought for successful surgeries. Please keep us updated.

Absolutely would not say you shouldn't use it if you like it. It's like ripped jeans....I just don't get it..... And yes, I am old..:)

Yup...right there with you. I like the transient sounds and attacks and being able to provide a lot of dynamic range. I don't know why you would choose to limit that.... Agree about recording...then it makes a bit of sense, but, even then, I still don't get it, unless it just makes it easier for the sound guy....

I appreciate how you use it. I use a tube amp (Dual Showman) which, I know, adds some natural compression. What I am not sure about is why it is so important to not have your tonal parameters bleed into "other instruments'" territory. If you have overtones, you are all going to contribute additive (unless out of tune or using heavily altered chords) vibrations to the mix, creating a combined "ring" which adds to the tonal presence and depth of tone in the whole group. At least, that's how it works in acoustic ensembles. I just don't know what I am missing.....

Nope...I cannot avoid YouTube's compress, and if you remember a previous topic, we talked about the evils of data compression. I know it's there, and I don't like it either. Why are you trying to pick a fight that's not there?

Not sure using compression, which changes the wave form and suppresses both transients and overtones is the same as riding the fader. Maybe I am not making myself clear. If you alter overtones via induced digital compression (which I believe is all digital...not sure) you are suppressing overtones, which changes the basic tone quality of the instrument. Yes, an amp can do that, but not close to the degree I hear bassist and other musicians using it. Additionally, most musicians in a group use overtones to tune...what do you use if they are not there--especially singers?

I was not suggesting that compression was used for that specific experiment. I was hoping folks could make the connection from eliminating overtones to compressing them...sorry to confuse....

Okay...hear me out please... I have never really cared for compressed bass sound (or really, compressed anything sound) I don't like the way it sounds. I don't like the way the wave form is changed on a recording....and I think I have finally figured out why. When I was in music school at uni, we had a physics of sound class. The professor took various instrument samples and started removing overtones. Pretty soon, they all sounded the same. Overtones are what define what our sound. Without overtones, it's very difficult to determine what kind of instrument you are listening to. Compression squashes the sound, and, I think, severely limits both overtones and transients in the wave form. This results in a "beefy" sound, but one without a whole lot of definition. I watched a Youtube with a guy playing a Martin D-45. First, without compression...it sounded amazing..just what you want from that wonderful guitar. He applied compression, and suddenly, it sounded like any generic acoustic guitar...it that what we are after?? I don't get it.... Enlighten me... or not

Very insightful comment here. I think the hard truth is that NO instrument is right for all occasions in the eyes of all people. I don't like sightreading on a 4-string bass...personal choice. I like a fretless for most forms of jazz (to exclude fusion/funk/whatever in this genre....also a personal choice. P Bass necks annoy me, so I like a Jazz bass for covers/country/pop/rock...also personal choice. The same would be true for amps, I wager, or what the best, most universal pint is ........(running out to get some popcorn now....)

I started with a cheap semi-hollow body something…then a fretless P bass, then a Gibson RD Artist. Circled back to a Jazz. Fast forward 25 years where I only played school-owned basses. Finally bought a L2000 tribute…never bonded with it. Then I got the Pedulla 5…awesome bass with a great tone for jazz. Then I needed a fretless, and lucked out with a great guy on this site with a Spectracore 5…and I had a P bass I also didn’t bond with. Another great bass for a certain kind of music. Needing more punch, I found the J bass…circled back again and it’s now my main gigging bass with the rock covers band. Not sure I ever had a loyalty, but always ended up with a Jazz for rock.

For me, it’s a fretted jazz…

I actually appreciate it…

Why do I feel you guys are poking fun at my lovely rural home of choice?

I think it's a bit unfair (and unkind) to look down your nose at cover bands. Growing up in the States, almost every band was a cover band, and originals bands only played to a very few, usually uninterested, souls. I think they are two different animals, both very valid. Cover bands love to perform together and get the crowd moving. I think originals bands a bit more serious and are looking for a different type of validation.

Vintage, anyone? Korean Jazz 24 Red Knob Dual Showman 4 x 12 Love the sound!