[QUOTE=gaslight;18172327]What do you play that makes you guys outcasts?[/QUOTE]

Oddly enough, what I would probably classify as a mish-mash of indie rock and sort of folk? with touches of punk rock à la Fugazi, post-rock and progressive amidst our influences.

It's not really music with which to be outcast, however the vast majority of the listening public in Fort St. John are fans of either country, bluegrass and blues (hmm, that sounds familiar) or classic rock and hard rock. Kids around here are either into punk or rap. It's sad to have (for the most part) people who stick to one or two genres exclusively, but that's the town I'm stuck in. Most people who come out and listen to our/my stuff just kind of sit there with their heads cocked and go "uh?"

fuck, anywhere else we'd be just like a billion other bands.

for the full meal deal experience just type white star parachute into the youtubes. One of our shows is up there... it actually portrays us in a bit of a bad light, but whatever. The best thing about it was that we started with literally just the promoter and the sound guy, and then ended up with a crowd of around twenty people, so that felt fairly rewarding. but anyways.

Aguilar TLC compressor coming my way tomorrow :D.

For the not-so-gear inclined, what's it do?

but hey, right on. Getting new stuff is always awesome.

my jazz bass tortoise pickguard is perpetually on hold :(

The TLC is probably what I'd look into if I was buying a new compressor, it looks pretty neat :)

And if Justin Meldal Johnson was on the Scott Pilgrim soundtrack, that'd explain a lot. There were some pretty bitchin' bass tones going down!

[QUOTE=FlamingCouch;18173240]For the not-so-gear inclined, what's it do?

but hey, right on. Getting new stuff is always awesome.

my jazz bass tortoise pickguard is perpetually on hold :([/QUOTE]

It's a high quality compressor in stompbox form instead of a rack unit, costs a lot less than the really expensive kind of studio rack units. Sounds great on the site samples.

how important would you say the compressor is to your live sound? Do you think it would be more or less important to have a compressor with your rig if your a bassist who often uses their Low B a lot as opposed to someone who plays a 4string?

Two answers:

A) IME Low B's can be very uneven over the fret board, might be cause I've played shitty ones though.

B) It doesn't really matter, a good compressor, set up well, will help your tone immensely.

I've never used one live before so I can't say honestly, I'll let you know how it ends up fitting in with my live set-up.

I can tell you frome xperience that you should start with a medium attack time and fast release. Maybe 4:1 ratio, it'll all you'll need. Then adjust the threshold for the desired amount of compression. Then adjust your release time till you like what you hear.

Lol assuming your pedla has the archetypal compressor settings.

Go for transparent level management. Rather than smashing it.

Yeah I'm just looking to set it up with a subtle sound, I want it left on as part of the amp rather than for effect.

[quote=Convectuoso;18173492]Two answers:

A) IME Low B's can be very uneven over the fret board, might be cause I've played shitty ones though.

B) It doesn't really matter, a good compressor, set up well, will help your tone immensely.[/quote]

It's pretty true for most basses production basses. Your most consistent-sounding low B's are generally found on short-scale basses (due to producing more prominent fundamentals), or the super awesome Ritters & Foderas.

Yeah, I'm not 100% sold on the low B of my Ibanez SR706, but I'm thinking a decent set-up might brighten my view of that bass quite a bit.

[quote=Duncster;18173435]how important would you say the compressor is to your live sound? Do you think it would be more or less important to have a compressor with your rig if your a bassist who often uses their Low B a lot as opposed to someone who plays a 4string?[/quote]

The string doesn't matter so much as your technique. Compressors help to balance the output.

I have a 2-channel compressor in my rack. I use my FX loop in channel one to tame it down just a bit, and then I go from my DI out into the second channel. I do a bit more in the way of limiting here. The sound guys, I've found, don't really take the time to set up the compressors and will more than likely just turn you down. It makes their job easier, which means they'll spend more time making you sound better.

Necessary live? Nah. Courteous? Definitely.

In the studio, though, they're necessary.

[quote=gaslight;18174203]Yeah, I'm not 100% sold on the low B of my Ibanez SR706, but I'm thinking a decent set-up might brighten my view of that bass quite a bit.[/quote]

A good set of strings will help too. If yours is too floppy for your tastes, it means raising your action higher and ultimately bending the string more (increasing pitch) to fret notes. Lighter attack helps with intonation as well.

Yeah, it's not that I think it's too floppy, just that I don't think the sound is as fat as it could be.

They've set it up out of the factory a little too low I think. I do like a low action but not super low.

[quote=Sablate McNuff;18174209]Necessary live? Nah. Courteous? Definitely.

In the studio, though, they're necessary.[/quote]
I'm inclined to disagree. Totally unnecessary in studio as far as your rig goes, if that's what you mean.


Let the engineer do their thing with their $2-10k compressor.


Live. Yeah they're gonna worry about compressing the bass lol

[QUOTE=gaslight;18174218]Yeah, it's not that I think it's too floppy, just that I don't think the sound is as fat as it could be.

They've set it up out of the factory a little too low I think. I do like a low action but not super low.[/QUOTE]

not bass-related at all, Sir. but being that it's midnight in Canadia and you are online, I'm wondering out of curiosity what time it is in Sydney.


EDIT: Shit, and/or Joel, beiing that you too are online, Sir.

PS - dang I'm half-sad to see your name changed from Joelbassman. although I definitely sometimes consider changing my username on here. but hey.

[QUOTE=Convectuoso;18174410]I'm inclined to disagree. Totally unnecessary in studio as far as your rig goes, if that's what you mean.


Let the engineer do their thing with their $2-10k compressor.


Live. Yeah they're gonna worry about compressing the bass lol[/QUOTE]

Your engineer won't always have a great compressor, especially if you don't have an engineer because you're recording at home :).

[QUOTE=FlamingCouch;18174411]not bass-related at all, Sir. but being that it's midnight in Canadia and you are online, I'm wondering out of curiosity what time it is in Sydney.


EDIT: Shit, and/or Joel, beiing that you too are online, Sir.

PS - dang I'm half-sad to see your name changed from Joelbassman. although I definitely sometimes consider changing my username on here. but hey.[/QUOTE]

It's 5:26pm here buddy.

Woah. Wild, wild, wild. amazing what a difference a world away makes.

Lol yeah but usually, if you have any confidence in them, they will have a decent compressor. Most decent plug ins are better than your average pedal or cheap rack compressor by a long shot.

Plus compression on bass is usually more about it sitting in the mix with the rest of the song than the dynamics of your playing. So non destructive compression is (i.e. don't track unless you know it will work) usually the best way to go.

It's only 7:53pm here FC! I changed it for security reasons and cause it matches other forums, but ofc you can still call me by name :p

Pfft, plug-ins don't have tubes or analog street cred :p. Haha.

Lol most tube compressors unless they cost 5k are probably shit :( Don't operate on high enough voltages to due shit to color the sound.

But lets not go down this road gaslight :P

I dunno, I've heard plenty of great things about the Countryman DIs and the A-Designs REDDI. Maybe they're hybrid designs or something but they both have a tube and are both under a grand.

[QUOTE=Convectuoso;18174433]It's only 7:53pm here FC! I changed it for security reasons and cause it matches other forums, but ofc you can still call me by name :p[/QUOTE]

have to, your bio still states yer name.

one of my favorite MX bios to be honest... I do hope one day you'll get to be a lion. :)

The key is to set realistic goals and achieve them.

If you can't [i]be[/i] a lion, you can be [i]like[/i] a lion.

ie; find a girl you desire as your mate and kill her current husband and children so she is forced to breed with you if she wants new ones

[QUOTE=gaslight;18174455]The key is to set realistic goals and achieve them.

If you can't [i]be[/i] a lion, you can be [i]like[/i] a lion.

ie; find a girl you desire as your mate and kill her current husband and children so she is forced to breed with you if she wants new ones[/QUOTE]

..... o.O

That's something that lions do.

Lots of wild animals actually.

[quote=Convectuoso;18174410]I'm inclined to disagree. Totally unnecessary in studio as far as your rig goes, if that's what you mean.


Let the engineer do their thing with their $2-10k compressor.


Live. Yeah they're gonna worry about compressing the bass lol[/quote]

No, I just meant a compressor in the studio is necessary. Whether or not the engineer has one is not my problem, mine is always in my rig.

Live, it's far better to have one for the FOH. The sound engineers will let the guitars and vocals clip all night long, but if that bassist lights up the second yellow bar, it's a 20dB cut without hesitation. :lol:

Didn't have time to get one :(.

yeah thats actually how i found my mate gaslight. shes always bit[size=2]c[/size]hing about the whole "ate her children" thing now though. says we dont communicate enough. i might eat her.

and uh yeah, thanks for the input. Sounds like for a broke guy like me it isn't really necessary to buy a compressor. Im always DI'd at gigs so a good sound guy would have me compressed decently i suppose? Im pretty newb to the whole "sound" thing.

Another problem arose though. Had a pretty important show last night and I broke my E string. This has become soo common at gigs that we actually have a backup plan for when it happens. Its getting rediculous. The obvious solution is not to play like such an [I]animal[/I] at live shows (I never break strings at practice), but if I want to, you know, enjoy the show and feel the music I can't help but destroy the strings. I am aware my tone goes downhill and everything but I'm in a sort of metal band with a lot of changes so I kinda have to let go to put on a decent performance, its not like the crowd are a bunch of musicians judging my tone right? Anyway Its not always the E string, I've broken my A, B, and D. I've tried filing the bridge but I never really felt like I got much accomplished as I couldn't identify any specific burrs.

My question here is, is there any certain way that you have found successful in repairing your bridge to prevent this, or would you really just suggest getting a new bridge. I spent $2400 on this bass (im a sucker) so I cant see there being anything wrong with the hardware.
It is a 2007 modulus quantum 5string.

Oh and of course I will work on refining my technique while keeping up the energy at live shows.

ty bass forum
- a concerned bassist.

The DI doesn't do much except give the sound guy a great sound to work with. A lot of them will try to mic the cab, but the close mics really cut out a lot of low end. I doubt he'll have more than a limiter on it. He's a house sound guy, he just has to make sure the mix is okay and generally sits back from there.

Modulus always has a great reputation for quality, so I doubt the issue is really the bridge so much as the strings and your playing technique. If the strings are breaking at the bridge, I'd suggest grabbing some 400- or 600-grit sand paper and running it along the grooves. Also, I'd switch to a heavier set of strings. They vibrate less, so they will keep your output a bit more consistent with heavy playing and, usually, break less.

Also, do you have the ability to run your strings through the body and through the top? Try loading them in through the top. The break angle isn't as drastic and, since there is arguably no difference tonally from a string-thru method, the top-loading will likely only improve the life of your strings.

we're auditioning a new drummer, and i think he might be a keeper! he buys us food for practices ^_^

[QUOTE=FunkMetalBass;18175137]The DI doesn't do much except give the sound guy a great sound to work with. A lot of them will try to mic the cab, but the close mics really cut out a lot of low end. I doubt he'll have more than a limiter on it. He's a house sound guy, he just has to make sure the mix is okay and generally sits back from there.

Modulus always has a great reputation for quality, so I doubt the issue is really the bridge so much as the strings and your playing technique. If the strings are breaking at the bridge, I'd suggest grabbing some 400- or 600-grit sand paper and running it along the grooves. Also, I'd switch to a heavier set of strings. They vibrate less, so they will keep your output a bit more consistent with heavy playing and, usually, break less.

Also, do you have the ability to run your strings through the body and through the top? Try loading them in through the top. The break angle isn't as drastic and, since there is arguably no difference tonally from a string-thru method, the top-loading will likely only improve the life of your strings.[/QUOTE]

Alright thanks, I'll try the sandpaper idea. Not actually sure what you mean by through the top but i'm sure i dont have that ability or i would be aware of it.

http://www.google.co.uk/images?hl=en&q=thru%20body%20stringing&um=1&ie=UTF-8&source=og&sa=N&tab=wi&biw=1366&bih=582

The strings go all the way through the body.

[quote=Duncster;18175318]Alright thanks, I'll try the sandpaper idea. Not actually sure what you mean by through the top but i'm sure i dont have that ability or i would be aware of it.[/quote]

Some basses have holes in the bridge so that you can load the strings through the back of the body. This is referred to as "string-thru." If yours doesn't do that, it's referred to as "top-loading."

[QUOTE=Duncster;18174841]yeah thats actually how i found my mate gaslight. shes always bit[size=2]c[/size]hing about the whole "ate her children" thing now though. says we dont communicate enough. i might eat her.[/QUOTE]

"Ever since I killed her kid she been actin' shady."

[QUOTE=Duncster;18174841]
and uh yeah, thanks for the input. Sounds like for a broke guy like me it isn't really necessary to buy a compressor. Im always DI'd at gigs so a good sound guy would have me compressed decently i suppose? Im pretty newb to the whole "sound" thing.[/QUOTE]

Yeah man you don't need to buy a compressor just for your live rig. Only if you really want one. I don't really need the one I'm buying, I just want it to have in my bag of tricks for home recording and I'll experiment with it to see if I want it in my rig live.

[QUOTE=Sablate McNuff;18174209]
In the studio, though, they're necessary.[/QUOTE]

I wholeheartedly disagree.

[QUOTE=Convectuoso;18174410]
Let the engineer do their thing with their $2-10k compressor.[/QUOTE]

Yeah.

So I want some new strings. Sick of Ernie Ball.

What will help me get a fat, bass-heavy sound?

well I took your guys' advise and drilled some holes through my bass. they are kind of uneven but at least now its a string through and my problems are solved. :thumb: