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Favourite Compressors for Bass Guitar
Old 27th January 2016
  #61
Gear Nut
Maybe lots of industry pros have left gearsl... because:
they are nearing retirement;
have better things to do;
realise the modern industry is less revolving around gear and due to financial constraints more about getting the job done;
realising that Joe Public does not give a .... what you recorded or mixed with;
realising that Joe Public does not give a .... about audio quality;
only merchant bankers, recently signed or top acts invest seriously in analogue gear these days;
they have sold all they wanted to sell, so do not need to plug their gear on here
or they are too busy with the wife/gf/mistress.

This forum was often used for drawing attention, from the start, by those wanting to awaken interest in their products, like the latest incarnation of an Abbey Road compressor loved by the Beatles and Geoff E, or Eva's latest offering.

As for the latest crop of banter, I apologise and wholly confess. But I have been in the same room as what I talk about. And I have used it in earnest, albeit without my name appearing in Neon lights in NY or London, but a few mentions in the underground and periphery music press, who I am not pals with, nor did we share the same school

There are not many people who use an egg shaker in their productions in the corner of a disused factory and get that recording compared by reviewers to Trevor Horn productions where he took a band to Abbey Road, with orchestra. Although, at that time I had access to microphones of a quality not surpassed by Abbey Road.

Peace.

(c) 2016 Claud
Old 27th January 2016
  #62
Gear Nut
any photo optical

Peace.

(c) 2016 Claud
Old 27th January 2016
  #63
Gear Head
Depending on what I'm looking for from the bass mix wise: LA2A, 1176, or 165.
Old 27th January 2016
  #64
Gear Addict
 
nbrecording's Avatar
Quote:
Originally Posted by claud View Post
Maybe lots of industry pros have left gearsl... because:
they are nearing retirement;
have better things to do;
realise the modern industry is less revolving around gear and due to financial constraints more about getting the job done;
realising that Joe Public does not give a .... what you recorded or mixed with;
realising that Joe Public does not give a .... about audio quality;
only merchant bankers, recently signed or top acts invest seriously in analogue gear these days;
they have sold all they wanted to sell, so do not need to plug their gear on here
or they are too busy with the wife/gf/mistress.

This forum was often used for drawing attention, from the start, by those wanting to awaken interest in their products, like the latest incarnation of an Abbey Road compressor loved by the Beatles and Geoff E, or Eva's latest offering.

As for the latest crop of banter, I apologise and wholly confess. But I have been in the same room as what I talk about. And I have used it in earnest, albeit without my name appearing in Neon lights in NY or London, but a few mentions in the underground and periphery music press, who I am not pals with, nor did we share the same school

There are not many people who use an egg shaker in their productions in the corner of a disused factory and get that recording compared by reviewers to Trevor Horn productions where he took a band to Abbey Road, with orchestra. Although, at that time I had access to microphones of a quality not surpassed by Abbey Road.

Peace.

(c) 2016 Claud
lots of industry pros have left, because of tiresome posts like this.....
Old 27th January 2016
  #65
Gear Nut
Quote:
Originally Posted by nbrecording View Post
lots of industry pros have left...
Well, I did shut up, but then some people were moaning about me, so I felt compelled to respond. Although they decided to moan in this thread about bass compressors lol

Nah, they are here still, but gearsl.. filled a need some years ago, as a wave of studios closed, and the staff missed the camaraderie of working together, instead of the relative isolation of home. Gearsl... allowed them to feel they were still in the big commercial facilities, sharing the banter and laughs.

Now many producers coming through schools have grown up working from home, and a slightly more introverted isolated mix engineer has emerged. Even some of the big boys too are probably more used to conversing with their wives or husbands now than with studio personnel.

So please do not blame me.

Peace.

(c) 2016 Claud
Old 27th January 2016
  #66
Lives for gear
 

Without doubt the Purple MC77. The way it handles the lows is just amazing. Any bass I run through it seems to come out fatter, tighter, BIGGER!

Strange really, because I also find the MC77 to make vocals THINNER. I've never liked it for vocals, or much else besides bass. It certainly colors the sound in a totally different way than any other 1176-style comp I've heard. Brighter, more forward/aggressive and it seems to somehow shift the weight of the lows/lower mids.

But it also depends on genre. MC77 is my idea of aggressive/rock bass. LA3A can also be amazing for bass and is more of an allrounder. It has an incredible ability to place the bass just right in the mix.
Old 2nd February 2016
  #67
Gear Nut
[QUOTE=S.F.Sorrow;11658774]...MC77 is my idea of aggressive/rock bass...QUOTE]

Rock must be very forgiving, as I find the sort of units used for vocals often also work well on bass

Wonder why ?

Peace.

(c) 2016 Claud
Old 3rd February 2016
  #68
Lives for gear
 
vernier's Avatar
Amp to analog tape and no compression.
Old 3rd February 2016
  #69
Distressor
Old 3rd February 2016
  #70
Lives for gear
 

Neve 2254 often with TLA-50 knocking off the woof!
Old 5th February 2016
  #71
Depends

Depends on the track but for me it's either the sta level or cl1b, if either of them don't work which is very rare then an 1176 will do
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