krispn

That's for the inevitable "What makes a band enjoyable to listen to thread" not Live band compress bass ... but the points are valid for an enjoyable night out - the decent lighting feels like some has recently bought a party bar but otherwise

It's like saying a band doesn't need to know how to eq. An experience I had a while back... Having had an onstage dispute with our singer/soundman (his claim not mine) on how to mitigate feedback from the fiddle one look at the desk and his eq'ing of said fiddle proved he didn't have a clue. He was boosting lows to give the fiddle more low end oomph (a fiddle doesn't produce lows below 200Hz ish etc - from that day I have described him as a volume man not a sound man - he understands how to make instruments heard but beyond that....clueless. Now when he finally was agreeable to taking another opinion and advice we managed to fix the issue and since he's been open to advice on eq'ing drums etc (less is more, cut first before boosting and some general frequencies to use as a basic starting point for each instrument) and we've had little to no issues since and those we have have been quickly sorted. Compression doesn't have to dialed down to the 'nth degree' on every source but some basic understanding and judicious use where needed, rather than plastered all over every instrument, will not hinder a band. Not every band will need or value it or have facility to use it but it's another live tool should one feel comfortable employing it. It's not too long ago a fellow BC'er disregarded HPF'ing as being pointless and the band complained it took away all the bottom end to that person nearly custom ordering a HPF from a well known UK pedal builder! Once we have a better understanding and application of an effect or tool we're better able to decide if it's needed. Most of us lack the luxury of a long and involved sound check or a sound engineer but if we all understand how to mange our own instruments sonic space thats no bad thing be that volume, eq or dynamics.

I'd echo what @51m0n is saying - it's not until you start getting into mixing, something I'm still at a very early learning stage of, but I've really enjoyed messing about with compressing drums and just playing around with using various mic's etc to get the sound - using compression to get 'that' snare sound or messing with the whole kit using eq and comp. I think compression makes a bit more sense overall when mixing and in isolation it can sometimes seem a bit redundant - unless you're after a really specific sound - squished country guitar or on a drum mix. I'll be the first to admit I'm a total novice but having access to stems from a host of various online tutorial sites has been great fun.

Just a thought you could use the inlay dots as the metering lights... I’ve gone too far!

Dingwall Super P and J both have the 35” scale and aren’t as ‘clinical’ as some of the other models. The necks on the Super’s feel great so if Ibanez can match that good on them.

Can we appeal to the mods better nature to close this thread now before 51m0n has a melt down

“Ooh Suits you sir!’

Let’s face it compression live is like wearing a belt with your trousers. Generally most folks don’t need a belt, trousers on their own work just fine but some of us like to feel everthing just tightened up a little, be it a security thing or you just feel better in a belt. Will anyone know you’re wearing one or will anyone really care. That’s unlikely! Now if the soundman is the tailor he’s always gonna recommend a belt. “Yes yes sir you might not feel the need but trust me sir It’ll tie the whole look together!” Now some tailors might suggest braces but generally they’re overkill unless you want the effect too.

I should add that when discussing the Mo West designed Alien Audio on board pre and it’s standalone Tidal Wave pedal version of the EQ Chopper does mention that he thinks there’s compression going on within the circuit. I’ve not seen nor could I easily read a schematic but it might be worth a look if you were seeking a pre which had built in comp.

It might get a bit confusing what with all the controls. One could be looking at at least 4 or 5 stacked pots, maybe push/pull pots too and switches especially if combined with an active circuit. I know some folk can struggle getting to grips with the most basic of active/passive set ups and this would be quite daunting for some! It could all get very confusing and as identified above no one really needs a compressor. The other question is do you think you’d have gravitated towards an instrument with these features? I know of one brand of on board eq which features a drive which seems like an easier to execute/more useful feature for the masses but that’s for another thread!

I was just about to say the same thing!

Dua Lipa - Don't Start Now - grooves along nicely Attention - Charlie Puth - also grooves nicely Sigala/Beck Hill Wish You Well - might need to be a bit guitar heavy but easy to do the quiet/loud thing on verse chorusI'd say there's rock or 'versions' of these on line. Wrecking Ball - Smiley Virus Also check out future idiots for many's a rock cover of pop hits We tend to pick a song we like and rework it to fit in with our line up/instrumentation.

It’s not Birdseye those are freckles! It’s all the rage for 2K20!

You'll have to give us an update of how the cab performs live

I'd agree a 212 just does more - a lot of the super 112's are quite intoxicating on their own and I find in the right context hard to beat but many of the posts over the years when talking about a good 112 is that two are nearly always better than one. I have a db Embee 112 I use for smaller stages and in the flat - it's 8ohm so just needs that extra volume to feel like it's keeping up which is totally fine and expected. With the 212 the additional speaker (more so than being 4ohm) always makes a difference. There are still a couple of venues we occasionally play where the 112 is better due to the wacky stage, and our drummers cajon/ drum pedals set up and as a bonus the fiddle players amp fits neatly on top! If it works, it works!

No they have others which are the original Jamerson ones I think it is

Pedant away. It still sounds great no matter what he used 😀

LaBellas can be a bit stiff and tiring to play initially.

Did you trade back with your normal gear dealer or did you just fancy a change? I thought the F112 was meant to be a really great one cab solution? In saying that I have a great wee112 cab but just prefer the 212 as it feels/sounds better and if I can squeeze a 112 onto the stage I might as well bring the 212. It’s why amps have a volume control right but honestly it just seems to fill out the sound better with the 212 ime. Same for you or?

A year or more? More like a lifetime 😀 flats get fuller and offer more thud the longer you have them on. It’s also advised to go eat fried chicken and immediately play your bass to nail the early Muscle Shoals p bass thump and good clogged up greasy strings.

Tecamp M212 if you can find one. I've been using one for years and it's great. Lightweight, easy to move and has a versatile range of tweeter settings if you need them - the tweeter can be turned off too.

I’ve never had an issue with them and a wee pick up tweak could help if you were to find them lacking but honestly I’ve had many brands of flats over the years but always snap up the TI’s to have on a bass when I can. I kinda flit between rounds and flats and at the minute I’ve got Fender flats (which I quite like and that’s a bonus as they’re quite reasonable), GHS flats (I had the Lakland JO flats and really liked them too - heard that GHS made them and figured their own brand flats wouldn’t be a million miles off) and a LaBella 5 string set from my old P5. My go to are the TI’s and the Fenders!