krispn

I’d love to try a Super P4. I’m familiar with the 5 string version but comparing the 4 like for like with a Fender would be fun. I really dig what Dingwall have done with the Super P. Classy update to a classic design.

Tiny bit of chorus might do something similar too,… maybe use both one with chorus and one on a parallel path with a tiny amount of slap back

I'd be keen to know if anyone is getting Little Dragon type tones outta one of these pedals.

I think more of us are not back to gigging than those who are. t could be that we just don't play venues which have outdoor space so nothing is on the horizon as well as there being varying levels all over the country. I'm happy for those who can play but don't see any real chance of gig's for quite a few months yet.

good to hear some real world clips!

It’s not a wattage war or anything else simply listing the spec of the head but it’s rated RMS

@AndyTravis I should add that the top amp in my pic above is a slippers delight. It’s super clean and the eq can be dialled in to be an absolute slap machine. It has a contour button which is instant slap in and of itself but then three bands of semi para eq. If you see one going up for sale give it some consideration. It gets compared to the ThunderFunk heads and for good reason. 1200w at 2ohm 😧 plus you can bypas the eq for a more neutral ‘sound of the bass’ sound.

Are those ports and a tweeter? That’ll do it!

My advice is get the manual loaded up on and take your time. The UI is pretty intuitive but a little bit of time spent understanding what the Stomp can do will be well served. Figure out if you need it to be an all in one gigging solution or an ex unit of both. It can do all these things and much more. Get familiar with the layout of the system so you feel comfortable making changes on the unit itself but don’t overlook how handy the HXEdit software is. It’s really not that complicated and you’ll be up and running in no time. 😊

I think owning and playing a 5 string is a good thing and it won’t have a negative effect. It makes going back to a4 string that bit more enjoyable or at least that’s what I found. I very quickly went from 5 to a JMJ so you can imagine how easy playing the short scale felt! Your Lakland is a cracking bass though.

There’s few greater feelings than supporting a band/artist you like in a venue you love. It just makes the whole thing more magical. I miss that 😊

Let us know how you get on with it.

I can see the logic of that. I had the Broughton HPF/LPF its a great unit but you could still try in the fx loop of the marknbass pre if it has one (I think it does?)

As has been said neither is right or wrong but you may prefer to have the comp after the HPF so the lows aren't triggering the comp, -you could have it in the amp effects loop and see what it does for you there especially if you have a series or parallel option -you could have it in the MARKBASS preamp effects loop and see what it does for you there or just try it at either end of the signal chain. Just wondering is the HPF/LPF built into the amp or a standalone pedal? I know the spec on the WD800 is pretty fully featured as is. Cracking looking feature set on those!

Burst/tort 👌🏽

Looking forward to some gigs but nothing confirmed up in Edinburgh as yet. Not sure if there's any live music up this yet?

I play in a pub band with fiddle and we’d never put any comp on her but I do feel the guitar player uses too much. I guess we hear it differently!

In his response to the "readers question" Erskine does apply this theory to a jazz gig where the nuanced and dynamic interplay of each musician might be more applicable within a more intimate setting over the Dog and Duck rock band vibe or the slap gig or a big ensemble etc etc. It would be good to know the wider opinion based on other gigging settings. There's certainly a different feel and vibe to the jazz trio gig and rowdy pub gigs - there's no denying they're two very different contexts. What's Erskine wider take on compression? He seems to value it and as an educator I think I read an article where he advised using the compressor as a way to establish feel and touch - set the compressor up then play with a consistent feel but without triggering the compressor. It's a great lesson in developing touch and consistency. It might have been Victor Wooton and I'm maybe mixing it up with his great exercises about playing a constant 8th note with a drum machine then cutting out the drum machine and trying to back in on the dead on beat when triggering it again) so apologies if I'm conflating the two. Again the point here isn't oppositional defiance for the sake of it it's just highlighting that a device which can be applied to manage the dynamics of a player could also be used to train and develop dynamic control if applied in that way. If one believes they have a great touch and feel set up the comp to be quite sensitive and play along to a track without triggering it. It's a great exercise in player dynamic control or to train it in new players especially if the pedal they're using has metering. Sure it's not everyone's go to application of a comp pedal but it can still be employed as a training/learning tool if so desired. Damien has/had a comp on his board but likely just to even out the signal for using effects... The point is not too dissimilar to what you said earlier - compression has it's uses in many contexts and for some players that's in a live setting too and not just the studio and perhaps gig dependent? As Frank of FEA Labs (and he's well regarded in the design and building of quality compressors as we all know) said compression can be used for... Dynamics control. Tone enhancement. Speaker/amp protection. For added sustain. As an effect (ie Tony Levin). Only for pop/slap. To keep filters/other effects from blasting ears. So I can use a much lighter touch on the strings

I bought a new tent instead 😀

I’ve maybe said this before and forgive me if I have. Compression can be as subtle or overt as the user determines/wants it to be in the same way any effect can be subtle or overt. A touch of preamp boost or very light dirt can enhance the bass tone - but it’s not discernible as being driven or dirty. Compression can enhance a bass tone too to where it’s not pumping away but it’s helping. Making comparisons between the impact different types of effect have and if they’ll be noticed by the audience is not really the argument but often a default- sure engage a wah or a quacky filter. It’s probably gonna be noticed (if it’s been set up correctly and the player wants it to be a prominent effect) but unlikely one would leave it on for every track the way they may set and forget a good solid comp tone. A lot of the commenters on here have compression pedals and I hope would have used them enough in isolation at home to hear what they’re doing even if a super pumping squished tone at extreme settings isn’t to their taste. We can dismiss the ‘two gigs a year’ players for telling us weekend warriors how to use our gear but if old #2Gigs is playing those two gig with their compressor pedals and has a solid understanding of how it will work for them is that a more experienced opinion over the pedal hoarders who don’t use pedals on any of their gigs -!who’s the more informed? Below is an example have a listen to the clip below and tell me if you can notice the compression working - it’s being fed off a single mic and an eq. Scoot to about 6:00 on this clip. Many folk will recognise that drum sound. Sure it’s not a bass track I just really like compression and drums 😀 As others have said it doesn’t really matter in the grand scheme, views and opinions can change or take a zigzag depending on new ideas, exposure to more home recording, you tube rabbit holes etc