cheddatom

I've only played in originals bands and with some pretty weird bass sounds. I use compression and EQ to try and replicate the sounds I get in the studio. I think it works well because i've always been able to hear myself on stage and never been asked to turn down. Whenever i've played boomy stages it's been amazing because the kick drum really rattles your balls. I've never struggled with muddy bass sounds on big hollow stages.

get a blender loop for the ME-50 so he can use it with his bass. If you can get one with a feedback control on it too that would create hours of fun from his existing kit. Barge Concepts do them but last time I looked it seemed they'd closed?! I do have a spare one if you're interested. £50 for a blend/feedback loop, then £50 on a nice dirt pedal - sweet!

I think you can break it down into each aspect of an "act". Is the act as a whole authentic. Is the performance authentic. Is the recording authentic. Is the song authentic etc etc. If you pay to go and see someone sing and they're miming, that's not authentic, but if you know they're going to be miming, it is authentic. If you think you're listening to artist A singing on the CD but you're actually listening to artist B then the recording isn't authentic. People seem to be relating "authenticity in music" to "quality of music" - although it is subjective, I don't think many musicians would agree that Britney Spears produced a higher quality of music than Beethoven. However, in terms of authenticity, she doesn't pretend to write her own songs - what's not authentic about Britney Spears? (besides any cosmetic surgery) Or is "authenticity in music" the same as "artistic integrity"? In which case i'm not sure Britney Spears ever produced any "art" at all (in that picking a song off the shelf and singing it as instructed is not an artistic expression in my opinion).

deffinitely my own (link in sig) There are other tones I have loved in the past though: Dirk Lance from Incubus, Timmy C on Evil Empire, a lot of the tones on Muse's Origin of Symmetry, Justin Chancellor, the guy from Karnivool. Now i've managed to surpass all these and I literally have the perfect tone(s) for me.

[quote name='JakeBrownBass' timestamp='1332246304' post='1585405'] How do you take aliases then, artists that change there name for an image or marketing purposes? [/quote] I'd say an alias for a solo act is just like a band name for a band. If they have chosen the name because they think it will represent anything other than themselves or their art, then it's not authentic. So, if I call my band "total *****" because I think we're total *****, or because I feel it represents our sense of humor, or our music, or whatever, then it's authentic. If I call my band "total *****" because I think it'll get us more attention, then the name's not authentic - unless the whole point of the band is to grab as much attention as possible, in which case that would be authentic, but only if we were honest about our intentions. I was in a band called "The Premature Ejaculators". Only 3 out of 4 members suffered from the condition, but we felt it represented our band in that we always left our audience wanting more.

Well, in my opinion, you simply have to be yourself to be authentic. If an artist is dressed up to create an image which was not their design, but then dno't make it clear that this is not their own image, that's not authentic. If an artist sings someone else's music with no creative input, but they give the impression that they are creatively involved, that's not authentic. just two examples, but to me it means a sort of "honesty" so if anyone is "faking" in any way, it's not authentic.

cool. To make that tone.... line A - guitar compressor > ODB3 (low gain bass boost) > EQ (cutting above 800Hz) line B - EQ boosting high mids > Ibanez SS10 (tube screamer type) Blended about half and half, and then all of that into a Boss limiter with a bass big muff on dry mode at the end.

I got a loop logic second hand to do exactly this and it works really well! My only complaint is that my shoes are too wide to operate the switches independantly. I'll have to find something slimmer to wear for gigs.

I know it's arrogant but I love my tone at the end of this song [url="http://soundcloud.com/kilta/the-optimist"]http://soundcloud.com/kilta/the-optimist[/url]

I really didn't like the GT-6B, I just couldn't get used to it at all. I've not tried the Korg. Have you looked at the newer Zoom units? I find these more intuitive.

[quote name='JakeBrownBass' timestamp='1331715780' post='1577447'] I used to have tempo changes in my originals band. Because they were there naturally before we started using sampling we worked out the changes. If its an actual tempo change as appose to speeding up in the chorus because your excited it shouldn't be an issue with a bit of practice. [/quote] yeh i'm sure you can work it out with a sequenced tempo track, I've never tried, we just don't bother with a click for some songs! Pretty lazy I suppose

Having played a lot of drums to click - yeh, you can "push and pull", but that's not the same as tempo changes which can really contribute to the "feeling" of a song.

I almost always use a dirty tone and (if I do say so myself) never have problems cutting through guitars. I have no problem using tweeters too, as long as I have a graphic EQ. You probably do want a clean blend or a dirt pedal with one built in.

I use my BBM on dry mode and I don't get the volume jump others talk about, but i do have the volume set quite low..?

I think if you're loud enough the scoop can work for you, especially for a clanky pick tone.

well he wants two different volume settings and a footswitch to change between. I guess you could build that pretty easily. I have seen LS-2s go for £50 used and it's not like they're going to break.

At last I am back in a band on the bass, it's called Kilta. Admitedly we've only done one gig, but I'm hopeful for more this year. We're an instrumental 3 peice and have added some samples in on recordings which are here: [url="http://soundcloud.com/kilta/sets/kilta"]http://soundcloud.com/kilta/sets/kilta[/url] It's a recording of one of our practises. We actually had the samples live as well, synched to some video. Any comments/criticism welcome!

you could use an LS-2 for that I think

that's kind of harsh on the drummer - you think they could have done that at rehearsal!

You could use compression with a slow attack to try and kill the sustain I find playing with my thumb over the end of the fret board on the bridge pickup seems to work better than what I can do with pedals.

i've been playing with some pedals at the weekend. My favorite sound is still blending a lo-passed ODB-3 with my Ibanez SS10 (a tubescreamer with some sutble chorus). However, as far as single pedals go I really like the Tech 21 XXL and LOVE the Red Llama

I like the BBM on dry mode. It does have a volume control, I just have mine set very low. I use all sorts of blending and dirt pedals but this is one I would never bother blending. How strange everyone else seems to have struggled with the dry mode!?!

[quote name='bartelby' timestamp='1330698175' post='1561808'] Yep. I discovered that when my band's drummer quit and I started programming drum machines, using rehearsal recordings. Some of the songs drifted my 5- 10 bpm from verse to chorus. You couldn't really tell listening to it. but the idea of sorting click tracks for all the songs makes me break out in a cold sweat... [/quote] yeh I just use it for songs which suit the same tempo all the way through. I would never try and program tempo changes, deffinitely not live!!

[quote name='mike257' timestamp='1330697109' post='1561785'] That's what I mean - long sections with no drums need something from the drummer to keep you in with the click! [/quote] Well the way you emphasised the word "always" made me think you thought the drummer had to play in every part with no beat. For example, we have a song with such a section which is 26 clicks long. We'll regularly play this without any input from me, but very occasionally i'll have to start pedalling hats half way through.

[quote name='mike257' timestamp='1330691189' post='1561631'] That's the one thing I forgot in my last post - drummer has [i]always [/i]got to be playing something, so even in the bits where the drums drop out, he's got to give you a bit of hi-hat or something to keep in time with. Forget about that and it all goes tits up! [/quote] I do it with my band and we're tight. I only start pedalling the hats if there's a very long section with no beat, or if the guitarist gets a little too excited, which is almost never.