krispn

You’d have to contact each one personally via their Instagram or Twitter accounts because I couldn’t say. I have seen quite a few of the guys with pedal board images with the origin kit in situ. If you’re generally interested though I’m sure you can go and look it up with a cunningly constructed google search. Hers one to get you started you heard of Pino Palladino? https://www.talkbass.com/threads/pino-palladinos-2019-board.1471058/

https://origineffects.com/artists/ This will get you started...

See my edit above

https://origineffects.com/2017/09/20/hanging-out-with-the-killers/ All depends on the player I suppose or the right tool for the task at hand. Cherry picking one example based on the fact there’s no pedal board in the stage does not in any way mean that the rack or off stage down with the road crew there isn’t a tech stomping the switching not only for the guitarist but the bassist too. Many pros have their gear midi sync’d or it’s the secondary role of their tech to do the stomping for them. Having the gear off stage means the performer can perform and any tech issues can be dealt with away form the masses. I heartily recommend rig rundown videos by Premier Guitar for some great and in some cases insightful videos.

If someone doesn’t know what pedal they’re after and are simply buying it for the sake of it then buyer beware 😀 Oh actually an eq would be a great suggestion too. But what would be a good first pedal? Something with a bit of utility that will work across many genres and styles like a comp or would you suggest a flanger? I’m being a bit facetious but it highlights a good point. * first pedal I always recommend is a boss TU-2 (TU-3) tuner! The most utilitarian pedal going and worth its weight in gold! I’m no compression fanboi but I don’t see it as an emperors new cloths item. Years ago I bought a PC-2A, liked it, it got nicked. I didn’t rush out to buy another immediately but when I did feel like trying a comp pedal I was really happy with what I got.

Mix Jesus does it again!

@Phil Starr If this clip hasn't already jumped to 2.28 forward it to hear a brief explanation and some audio mentioning use of compression. It's not simply specific to this pedal used in the demonstration - compression is compression. Rack and plug in compression may have traditionally had more features over older pedal variants but pedal compressors now come as feature laden as many of the older rack and studio units they're based on and inspired by.

One of the main things that people talk about with a good compressor or a really nice drive pedal is how the ‘feel’ changes and they’re often at a loss to quantify that. If you boost 800Hz on a bass eq you’re likely gonna get a repeatable result, broadly. In understanding you’re asking for each player with their individual technique so show where they have found the sweet spot it has been repeated compression doesn’t always have to be a big apparent effect. We’ve been over this with HPF/LPF where you only heard it working when it was doing too much and dismissed it as not for you before going down the rabbit hole, discussing a custom built pedal etc etc. What Nolly or @Kev or any the rest of us get out of using a compressor might not be translatable in a iPhone recording. I can hear the guitarist in my band’s guitar and frankly I think it’s over compressed but he’s a bit cack handed so probably best to stop his picking style sound like a fish flapping about for air on a river bank. If you heard 20 clips where a comp made an audible difference would you start using a compressor live? If yes then why? You’re working on developing your slap chops. Do you use a compressor when practicing to even things out?

P.S. I'm happy to send the basic track if you wish to use it for your own experimentation.

Tried to do a quick home recording - a track with drums, keys, guitar and bass to highlight how the compression was working in the mix with a couple of different settings and playing styles. Needless to say I've hit a stumbling block. I can get the drums and keys recorded as they're all in the DAW but I appear to be having an issue with getting sound input from my interface so no guitar or bass. Just updated the laptop so maybe that's the issue and i need to update my interface software... I have recorded the basic track so at least I can easily recall once I get it sorted. It's all I have in the meantime as we have no rehearsal planned anytime soon and no bookings on the horizon yet. I can link you to gigs where I'm using my comp but I wasn't switching it on and off mid song the same way I wasn't switching my drive on and off mid song. Anyhow on this recording I attempted this morning I can hear an audible difference in the mix and while this may not translate to a live gig I prefer playing the parts with my compressor engaged. I like how the feel of the playing changes and if I'm trying to do pseudo upright sounds on the short scale or playing tight pick style punk I can tweak the comp to suit my needs to make it bloom or nice and tight sounding. On a gig, much like my dirt, I have it set to cover the majority of what I'm playing. I don't feel the need to have a different comp setting for each song as has been suggested earlier. I also mixed drum stems from ages ago in that choir gig and compression really brought the room mic's to life and as I think I mentioned before using this sort of practice on mixes really lets the understanding of compression blossom in it's various uses. @Al Krow you have owned more compressor pedals than I have - I'd guess about 5 at least. Add in all the multifx pedals (which I think is about 7 if you include the 4 different occasions you've own a Line 6 device and the Zoom units) and they cover all the standard styles of compression FET, vari mu, optical etc etc. I'd include plug ins you have in your DAW but I'm pretty confident they've never been used. As has been said over and over in many many threads on here and on TB. What one persons settings are will not directly translate into "your" set up. You gig mainly without effects pedals (you don't want to be tripping over bass lines and a pedal board) so that's cool. You don't rate the use of compression live that's cool. @Kev sent a clip and you heard a difference @Cuzzie sent you a clip and you heard a difference. Your opinion is only likely to shift if you do this for yourself and hear something. The 8 points I listed earlier were from FEA Labs Frank and they should the many uses of compression. You may feel none of them apply to you or you may be interested to try them out. You have access to the gear to do this on/off experiment for yourself... with your band... with your gear... at the venues where it will (or will not) make a difference to your sound. I was re-listening to footage from The Century Club gigs on the Sector thread. Why not bring a comp next time you play there when the back line is all taken care of or BoxPark - venues you already have footage from where you can compare if it works for you. It's like if I gave you my eq settings for a P bass and you only ever tried them out in isolation as home you'd lose the quality of those setting by not hearing them in context. What might sound overly mid forward in isolation could really work in a band setting and what might sound like a great smiley face eq curve at home could see you totally lost in a live setting. If you really are so inquisitive about settings and rigs - who plays what bass, through what pedal ,through what amp what is the end goal of this inquisition - a spread sheet of cut and paste replies to other peoples posts? Practical knowledge to be applied on a gig? You will have your own motivations as we all do. I've just seen many posts by you which all go the same way- What settings what settings what settings.

Sure

This went up recently and does some on off comparison while actively tweaking. It's a start and by a fellow BC'er. The nuance is likely to be lost on a gig. I'm unable to record just now as I'm doing a clean up on my laptop and updating it.

I’ve listened to many players and compression won’t fix bad technique, it won’t add the notes they’re choosing not to play be that a nice counterpoint which was on the original recording (and is the most interesting bass part on the song) or a fancy riff and fill up the neck. It won’t compensate for bad slap technique and it won’t disguise poor timing. An overly compressed bass tone won’t make a good player sound bad but a bad player can’t hide behind a (tastefully mixed and) compressed tone. If a compressor can aide the player in the 7 or 8 points listed above so be it but not all players value those same aspects of their tone/technique.

Great see the whole thing has been resolved. Dibs if you decide to move it on 🙂

Hard to beat the passive tone stack and good old transformer

Yeah I’d imagine it was a short run. The bass did sound good on its own and while the geddy peda was adding something (as I alluded to earlier today) you can hear the inherent sound of you listen to the clean then ‘dirty’ version. It’s got more oomph than my jazz but I find a 350hz bump fills it out nicely. The MA does have the p character come across loud and clear much like you say a JJ won’t sound quite the same.

Sorry yes the BB1000MA I’m not fussy either way on bolt v thru neck but I do like the Misty green colour. It would look well in my pub gigs. We’re an ”Irish band” playing mainly in a Irish bars on our local circuit. The Misty green would be a nice addition to my sherwood Jazz

@gobasserk you’ll have to keep me posted if you see any more of those green BB3000MA I’m jot as big a fan of the old BB but I do like that colour and that it’s passive.

Simple trick to see what’s happening. Go via your DAW with a graphic eq on have a look and see what frequencies in the lows are being affected with the pedal engaged. You’ll know where you need to boost or cut for low loss and reduce and muddy frequencies. Im not sure which DAW you have as there’s been a few discussed- I know you’ve talked a lot about reaper and maybe there was something with a focusrite interface? Basically whatever you’re using should have the graphic so you can see what’s going on. You’ll learn more in 5 minutes about the ‘inherent signature’ of a bass or a pedal that you’ll wonder why you never did it before.

As a wise and knowledgeable engineer once wrote understanding what a compressor can do for you and figuring out if/why you need one is half the battle. The wise old engineer listed these points as some reasons one may wish to ‘compress’ their sound. 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.

That Dingwall sherwood green is class!

Four in a row could be considered “on one side” as opposed to a 2+2 etc

I can’t wait to read the “whats the impact of the linear density of my strings” spin off thread 🤗

From memory Galileo had some thoughts on it but I think that was more wave physics. I’d need to consult wiki or an old text book

Hooke's law it's a bit of a stretch