LawrenceH

[quote name='51m0n' post='1263005' date='Jun 9 2011, 06:00 PM']I wasn't trying to say a compressor wont even things out some, I was saying it will neither completely remove all dynamic expression, nor hide bad technique. As you say it will even out over abusive dynamics, but at the expense of showing up any poor technical limitation the player has. I constantly use a compressor to even things out in mixes and live, but the more work you make the compressor do the more artefacts it leaves, the more obvious it gets. This can be great, or it can be pants, depends on the player and the musical setting. You are setting up a compressor to try and take out the peaks as quickly as possible when someone gets over exuberant, you may find a limiter for the peaks and lengthening your attack gives an even more natural sound when the player isnt going mental. If they even care , lets face it punk as often as not has a dynamic range between in your face and total annihilation. I think we are saying the same thing really [/quote] Sure. I think with those types of live bands though, the other artefacts are pretty effectively hidden by the rest of the band! It's the odd notes jumping out and others disappearing that are what an audience will pick up on, and where the compressor does compensate effectively for poor technique. It's never going to work in a jazz settingof course. The most audible aspect of poor technique to be highlighted by compressors is inadequate muting IME.

[quote name='bgmttt' post='1263385' date='Jun 9 2011, 10:36 PM']75 japanese reissue:[url="http://www.fenderjapan.co.jp/jb75.html"]click[/url] 3 color sunburst is available option. Awesome bass![/quote] The Jap 75 reissues are generally nice - I have one of these in ash/maple and a MIM Classic 70s alder/rosewood, love them both. Secondhand I'd guess you're looking at £500-600 for a Jap bass, £380-400 for the Classic 70s. The one I'd choose would depend on whether you want 'standard' or 70s pickup spacing. For some reason the Jap has 'standard' spacing even though it's a 70s reissue, whereas the Mexican instrument has 70s spacing where the bridge pickup is set a bit further back. It has a small but noticeable effect on the tone, but also on the feel of the instrument if you like to play over the back pickup. Oh yeah, better pickups in the Classic 70s IMO.

[quote name='peteb' post='1263407' date='Jun 9 2011, 10:53 PM']Great post - real talent is in producing simple music that is also original and distinctive![/quote] That is one talent. But producing incredibly complicated music that's original and distinctive is also a talent! The cliches of some genres annoy me with their tedious predictability but really it's just personal preference. I love funky stuff and I've listened to enough to 'get' it a lot more than many jazzers I've heard and played with - its predictability doesn't worry me one little bit because it makes me want to tap my fingers and dance around. There's joy in artful, intricate structure and there's joy in the minutiae and meat of a solid groove. I do think there's such thing as 'better' and 'worse' in music - it's not ALL relative - but it's harder to say one musical aim is superior to another. Jaco had a coherent musical vision that he knew how to achieve, which is what makes him undeniably a great musician irrespective of whether we enjoy it personally.

Fender Classic 70s MIM is the cheapest Fender with block inlays that's available in sunburst I think. It's bloody good, too

[quote name='Bilbo' post='1261493' date='Jun 8 2011, 05:31 PM']His cliches have a rock sensibility; they are based on entertainment not music.[/quote] You do make me smile sometimes, Bilbo! I'd hate to think music was invented as some form of 'entertainment' Love the Jaco though, good clips, thanks

I don't disagree with the thrust of Simon's comments on this thread, but as a soundman I have frequently used a compressor to even out playing due to a dodgy technique, especially for those types of bands that pogo around shouting like mentalists when they play. For that I use much faster attack/release times, and a threshold of around 4:1 with a soft knee set so it's just biting on a slightly quieter than average note. Not perfect and decent technique is preferable but it does save the day sometimes.

40-16000Hz +/- 2db isn't bad at all...the original D12 was used for kick no?

Very nice! Is it just me or does that maple unlined fretless neck look far more intimidating than the equivalent in a dark wood like ebony?

That 'binding' looks like tippex

The Markbass F500 plus a gently warming valve pre. And about £250 less than the current F500.

[quote name='JTUK' post='1257638' date='Jun 5 2011, 07:20 PM']The drums have to be hit constantly... unless you have an engr attending to the levels all the time..ie, wehn the drum and the track goes a bit wild..he may blew the levels if nobody is attending them... and that will blow the band sound as it will likely be over-driven.[/quote] Not if you are after that tight,. compressed drum sound. If you use compressors on inserts with a high ratio, thresholded so they come on quite low you can just 'set and forget' - the harder he hits the funkier it sounds but it doesn't get any louder through the PA. You need to know what you're doing though, with the comps, the mics and the drums themselves.

[quote name='icastle' post='1257614' date='Jun 5 2011, 07:07 PM']there's no way anyone is going to know you did it. [/quote] +1

[quote name='crez5150' post='1257427' date='Jun 5 2011, 04:12 PM']To be honest... I'm really disappointed with this pedal. I mostly use a couple of Akai SB-1 (deep impact) and thought the Mark Bass unit would be a good unit to bolster with but the sounds are no-where in the same league. I'm looking to offload my one[/quote] I'm really surprised by this, and disappointed Markbass haven't done better. I had a Deep Impact - it tracked quite well and had a couple of decent presets, but was very limited compared to even the most basic monophonic keyboard/rack-based synth, and a lot of basic synth sounds that it should in theory have been capable of were frustratingly out of reach due to limited editing capability. It should be very easy to do better than that nowadays.

A badass 2 or a Gotoh 201 will use the same screw holes as a Fender 5-screw bridge. Some other bridges you can still use the centre screwhole for bridge placement.

The front/rear placement is not so critical since you will adjust the intonation anyway, as long as it's within the bridge saddle screw range. More important to get the bridge centred reasonably accurately relative to the neck (and pickups). What replacement bridge are you thinking of using?

[quote name='Alec' post='1255111' date='Jun 3 2011, 10:03 AM']Though the real stars of the series are the 12" + 2" ART 722As - absolutely glorious.[/quote] They're also a grand each! High end kit is better, but you pay for it.

I love cream pickup covers...but for some reason not for that - a right dog's breakfast, especially with the tort guard as well. Black'll see you right.

Because they are fugly beyond all imagining.

[quote name='Lozz196' post='1254384' date='Jun 2 2011, 06:30 PM']And there`s a really nice, non-export Aerodyne for sale on here at the moment.[/quote] They are lush. My number one bass now, if it got nicked I'd have another in a heartbeat.

[quote name='Doddy' post='1254320' date='Jun 2 2011, 05:35 PM']You're not winning me over yet. There are a lot of players who pick up a bass and join a band (or the other way around),doesn't make them good.[/quote] Doddy, are you saying that Jared Followill wasn't a genre-spanning bass behemoth after a whole month of practice?

It's a nice idea but if I was a mod I'd be concerned about the legal issues. I do think you should get on to trading standards about your case though, charging extra for sorting out his mistakes is effing ridiculous - and then making it worse woulo be a total joke if it wasn't so irritating!

If the crossover is well-designed and the drivers are of decent quality (those are big ifs) then there's no real difference between a full-range bass cab and a PA cab other than marketing. Both will use PA drivers in a reflex box. It probably won't sound as good as a true high-end PA with systems controller etc but cost-wise it's not a fair comparison.

[quote name='scottkincaid' post='1254103' date='Jun 2 2011, 03:06 PM']Dude, go and check Jared Followill's Wikipedia. He learned the bass a few weeks before recording and have a look at his basslines!? And there are a few styles i can't fully do. [/quote] Ah yes, I see now.

Declaring on an internet forum that you're up to pro gigging standard on an instrument after 2 weeks, playing any style...if that doesn't count as trolling, what does?!

[quote name='scottkincaid' post='1253441' date='Jun 2 2011, 04:34 AM']Some people are better or more naturally talented than others. For example, i have learned to play bass within two weeks, and i could now, pretty much play whatever you wanted; Funk, Indie, Rock, Metal ect. Whereas my friend has never had drum lessons, and he can play them better than most drummers i have seen. It just depends how musically inclined people are.[/quote] All hail the troll king!