The Dark Lord

When I say separate the vocals in the stereo field - I only mean slightly. One dead centre, one slightly left and one slightly right. It does help you to identify the harmonies from the melody and makes thigs a lot clearer and more pleasing. It's also a bit more realistic as you can identify the voice to the standing position on the stage.

Usually take a USA Precision and a USA Jazz. I decide which one is the main and which is the back up on a whim. The Jazz sounds a little brighter than the Precision, so I tweak the EQ accordingly. Sometimes I will play one for the first set, the other for the other one. If one failed, I would swap ...... I'm so used to swapping them around, it would be no big deal. Never had a bass fail though. Only a couple of times, in a long, long time, when I though one of the strings was going off, have I swapped during a set.

Yeah. That is a consideration. We could get a small secondary mixer and route all of the vocals through that, prior to the signal reaching a single processor and then main desk. The small mixer could then be used to manage the relative volumes of each vocalist. Only trouble with that one is that we like to separate the vocals in the stereo field slightly, related to where on the stage each microphone is. That wouldn't be possible like that.

I've had a good "read" here and there. This is an interesting concept. The written part of the articles appears to be shorter than a traditional mag and, for the most part, they have an accompanying video. So there's not as much to read as a traditional magazine - but it is very interesting to listen to the interactive video content. A perfect match for an iPad (when it comes out in that format) - but essential that you have your headphones with you. Very good. But different. Is that a fair assessment?

Hi There are three vocalist in our band. Two of us use vocal pre amps to improve the vocal sounds - one of us doesn't. We presently use a Boss VE20 and and a TC Helicon Harmony G. Mostly for subtle doubling plus reverb and eq shaping. We don't use the tone correction on the Boss as it can make the guitars sound strange when bled through the vocal mikes. Overall, the effect is very pleasing. We reckon we should all use the same make / model of processor with everyone on similar settings, to give more of an integrated whole band feel. Does anyone know of a multi-channel vocal processor which could take three separate inputs - probably one we could stick on a rack? Other option is we could have 3 x a single U rack processor - like a TC Helicon Voiceworks. Any suggestions on what you have used previously would be appreciated.

The bass looks great by the way!

[quote name='nick@ibassmag' timestamp='1321966600' post='1444846'] So, who would you like to see interviewed in an upcoming issue? [/quote] An interview with a regular Joe bass player - who nobody knows, but plays the pubs and clubs on a regular basis. All about what it is like to be a regular bass player.

I've read the first issue and it's pretty good. Will help when the iPad version becomes available though.

[quote name='fatback' timestamp='1321819705' post='1443493'] Why don't you try and get recommendations for a local teacher on here? [/quote] Seems to be good advice. I'll probably do that.

[quote name='fatback' timestamp='1321804524' post='1443190'] Number one priority is not to hurt yourself, and the upright is well capable of doing you real damage. [/quote] Really? How can you hurt yourself with it?

Bit of an update ...... I called a local music shop who do this sort of thing. They are happy to rent one to me for £35 for a month. Seems reasonable. They'll also stick a "microphone-style" pickup on it. I had a look and feel of it. A 3/4 size thing with a pleasing patina. Dunno if it is laminated or whatever. I'll ask later. It was a bit big and scary. I could hardly get a note out of it (with about 6 people looking on) - we all had a good laugh at my expense, but it was fun. Just the very look of the instrument made everyone in the shop smile. I pick it up on Saturday for a month.

[quote name='BigRedX' timestamp='1321695708' post='1441971'] IMO musical instrument publications are there to inform and introduce instruments and players the readers might not normally come across. [/quote] And the point of reviewing lots of products that readers won't come across, or ever use (since I guess more than 75% of basses in action are Fenders) is what exactly? When all is said and done, since the majority use Fender basses, then there should be a lot of Fender content. At least one major review in every edition. Your one in every 100 comment is, in my opinion, worthy of ridicule. Bass mags struggle to succeed and I guess this one will be no different ... if it spends all of its time commenting on the obscure as you suggest.

I think it depends, somewhat, on your status within the band. Maybe the keyboard player is helpfully suggesting that the mix of the band's sound would be better if the bass sound changed from what you're presently doing? But you could probably meet his requests in other ways - change of EQ etc. When I play in a band, I guess I have to accept all of the others' sounds. The guitarist will have a 'sound' that defines him in particular, the drummer will have a particular accent ...... and so will you. If you are a collective of like-minded individuals, then they should accept YOUR accent too ..... unless your sound is particularly poor and needs correction (which I doubt). So, you should take the keyboard guy's critique with interest, but not as a demand. You are a finger player and, if you like it that way, that's how you should stay. However ......... if you have less of a standing in the band - like if there is an obvious band leader who calls the shots, or pays you ...... or if you've just joined a long-standing band ...... or if you are the obvious weakest link and they are all far better musicians than you ....... then you may NEED to change, lest you be turfed out of the band.

I think upright basses look way cool and I've got this crazy idea that I could play upright bass on a couple of numbers in the set ...... and maybe do some acoustic sets with our guitarist and singer. I usually play Precisions and Jazzes. Before taking the plunge and regretting it, I've arranged to hire one (with a pickup) for a month to see if I can get on with. I'm fairly sure I can amplify it through my AER Amp One. I know it's a complex instrument and I know I will need to keep it simple in the beginning and I'll be lucky to get ANY sound out of it at first. Is this a feasible goal? It might kindle a love affair, or it might not work. Who knows.

Can you tell us something about how you cover bass and bass issues in your magazine? I have purchased many a bass mag (on paper) before only to find them covering TOO diverse a range of matters. It's a fact of life that a big percentage of bass players play Fender basses. I'm not sure exactly what percentage, but if I had to guess, I'd say that maybe 75% or more of the basses you see on stage are Fenders. Yet, the last two bass mags I read, one had NO Fender editorial content and the other hardly mentioned Fender. I'm not saying that 75% of the mag should be Fender based, but there should be a significant level of content dedicated so. Also (damn, I can't remember what the Mags were called) but they also spent a lot of time talking about strange bass players who the majority of normal people would never have heard of. So what am I likely to read?

A shot in the arm for original designs. Well done ... post a sound clip for us all!

[quote name='rOB' timestamp='1320764188' post='1431043'] True, most people on that thread haven't broken a string in years. I take a spare bass to gigs purely out of paranoia and nerves, same reason I turn up earlier than necessary for sound check and drive my band crazy with rehearsing new songs a million times before introducing them into the set. Anything I can do to reduce the liklihood of things going wrong on the night helps my nerves. I'd never begrudge a collector from collecting. For me 2 is enough. [/quote] It's true I haven't had a string break for ages. Although, two or three times in the last couple of years if felt a string "go". Where it loses a bit of tension during a rehearsal and won't keep in tune no matter how many times you tweak it. It doesn't sound or feel right. My thoughts on this are that bass strings, being so thick and sturdy, don't break like guitar strings. They do that "go" thing .... and probably would break in a couple of days or so you ignored that signal.

Go TC Electronic - the 1 x 12 RS112 (for smaller gigs) and a the 2 x 10 RS210 too for larger gigs. Portable, top notch build quality, great looking. In my opinion, no better sounding speakers on the market. Mid - high range price points, but what the hell.

Do you have any recordings of this eclectic mix that we can hear?