stingrayPete1977

It was a long time before I was convinced that taking things away is better than adding more and more, same goes for volume, I've started to make the guitarist turn down after he inevitably creeps up during the first set, everything is in the p.a. that I control so I can easily bring us up to suit but if there's only one thing that has changed since the correct sound check it's better to put that back where it should be! Guitarists

Five string bass, job done.

Most bands will be pulling more than a home studio all from one cracked socket behind the gambler soaked in beer in your local tickled trout

I'm sure someone here will have seen Bernard live?

If you don't like it then you don't like it, I didn't like it

I've got a couple of bars of bass notation, I had it done before I could read notation! It's a bluesy swing on my chest

Ah what about the stage bleed though......

Plenty of folk enjoy stomping along all night with ACDC without any silly frills or trebly clank.

[quote name='Conan' timestamp='1498566211' post='3325543'] It's a bass player's online forum. We're not allowed to talk about bass playing now? I thought he overplayed, and showed some (IMV) quite questionable taste in places. Still a great player though and I wish I had half of his chops! If Nile Rogers likes his playing then who am I to slag him off? Bizarrely though, it seems that some players are fair game for the criticism all the time. Geddy Lee? Flea? Mark King? Janek Gwizdala? I don't see why Mr Barnes should be above that? [/quote] Exactly, it's not like I've gone onto their twitterface or whatever to slag them off. My wife came in during their set , "ooh I don't like that plunkety sound" walked out.

I don't see the problem with people expressing an opinion either way on it, you don't have to be jealous of something to not enjoy it, also the ability of the person posting has nothing to do with it either imo. I enjoyed it overall, I watched the same set last time they played there and I enjoyed it then too, I don't want a 'Nard replica or even a Stingray player but I fail to see why my opinion and that of others is any less valid, I don't like his tone so that's a really bad start and at times I'd rather that enthusiasm be compensated for with a semi tone up or down in places, I don't care what people here might say if I pulled some of those licks ending on questionable notes and filled every gap down the tickled trout you'd be slating it on you tube!

Congratulations to both x we'll have to have some wedding cake at the next double bass bash

I think Nate Watts is probably fatter than Jerry and a better bassist imo, I'm quite fat but maybe I need to be fatter still to really nail it.

Royal blood are smashing it!

[quote name='Phil Starr' timestamp='1498119652' post='3322578'] If only there was a simple solution. I'd love to be mixing for a bassist (or guitarist!) who came to me with all their fx sorted out along with amp and speaker sims. In practice they often come along with a collection of separate fx, don't even think about how they interact, have any idea about gain structure or even which of their interconnects was the dodgy one last week. Even with multi fx they can set thing up so the tone is what they want but the noise levels are horrendous. Not a problem with a band you work with regularly but in one of these multi band things you've got minutes to decide whether you are dealing with a sublime technician or a flaky ego. Miking up a speaker isn't ideal, ever. Moving the mic even a couple of cm across the cone will change the tone I'm picking up, I'm not going to get much sound from the ports and the mic itself will alter the tone so it's never going to sound the way it does to you. Even once I've got the tone close I've watched the musician who can't hear the PA decide they know better and move the mic, or just trip over the stand! Every mic on stage adds to the general noise floor and the risk of feedback from some weird resonance so most engineers try to keep mic's down to a minimum. The biggest problem though is always the human one. Drummers who will move an overhead to put in their favourite cymbal, guitarists who soundcheck with one guitar then use a different one for the gig, singers swapping vocal mics. People wandering off stage without a soundcheck. It's all a bit like herding cats. So, if you are happy with a generic (vanilla?) bass tone you're probably best served by a DI. If you use a variety of tones tell the sound engineer and offer them a post eq DI. Most decent engineers will be perfectly happy with that. Personally if someone has programmed in all their patches I'm going to be fairly confident they know what they are doing, if they are doing it on the fly with a load of gaffa taped stomp boxes then less so. [/quote] This is much closer to my personal experiences.

[quote name='cheddatom' timestamp='1498118098' post='3322564'] If I was playing with one of my bands in particular, and the soundman refused to take the DI from my pedalboard, and demanded a clean DI from the bass, I'd just walk. The sound of the band would no longer make sense, [/quote] What if he asked for one before and one after?

I'm no expert but those are not inverted commas, you didn't say you were "tipsy", you were 'tipsy'? Take it away Douglas

Thumbs up

Heft?

That would probably be my preferred choice these days, clean di for clarity and a nice even mix then blend the micd amp in, if it's good the sound guy can always put more amp ratio out front. Also saves you looking an idiot when both your SVTs fail at the same time and you've got nothing during a Soundgarden gig too

Again exactly, I'm not saying it can't be done but often it's just time you haven't got on the gig these days I'm happy to go with this so called vanilla sound for what I do, my awful playing will hold me back more than my awful tone anyway

Daisy Dukes?

[quote name='BigRedX' timestamp='1498044285' post='3322164'] I've never got this idea that instruments need to "cut through" the mix. IMO the only things that need to cut through are the lead vocals, and possibly any instrument carrying the main melody of the song when there are no vocals. Everything else should fit together to form a coherent and balanced sound. [/quote] Exactly so a muse style song with heavily processed bass needs to cut through to carry the melody, even the pro bands struggle to achieve it sometimes so a multi band gig in the tickled trout are always going to struggle ime, I'd probably rather hear the songs with a couple of bass sounds that might not be as epic as they are at rehearsal than not hear the bass at all, or an overly loud fuzz from the stage because the backline has been cranked above the foh.

[quote name='cheddatom' timestamp='1498044390' post='3322165'] I'm using pitch shifting, delays, fuzz, wah etc. it's just not an option to give the soundman a totally clean DI. Obviously if you've never used anything but a straight clean bass sound this might sound weird but try to imagine Muse or Royal Blood with a straight clean DI to the desk [/quote] I used to use a zoom fx back in the day with auto wah,fazer,fuzz etc the results varied from venue to venue, often there just wasn't time to alter the gain and settings for each patch to suit each gig.

[quote name='BigRedX' timestamp='1498044144' post='3322162'] If the band has spent the time in the rehearsal room fine-tuning the individual sounds of the instruments, so that they form a coherent mix then all the sound engineer needs to do is make everything louder (if required depending on the overall gig volume). That way any EQ on the desk should be just to compensate for the characteristics of the PA speakers. [/quote] Every room has totally different characteristics, you can't always set up where you want, different band members use different kit to suit the venue size, hollow stage and an empty room or a packed marquee, if it was as easy as you say we wouldn't need a sound crew, just a master volume knob!

Probably nail varnish, lol.