Linus27

Cheers Dave, you are a star, as always, thank you. I will keep you posted, I've ordered a Behringer P2 and a set of KZ ZS10 Pro's to test the water at a local gig with my other band. Once I know what's happening with the other band and how I get on I'll let you know but as always, thank you 👍

I did but I'll be honest that some of it went over my head. I've read it twice now and it's making more sense. It's not the way it's written, it's more me just not understanding the terminology etc.

Ok perfect, that's making sense, thank you and to @WalMan So DI from Sansamp to desk. Wireless Xvive from desk to Xvive on belt with IEM. Alternatively if large stage then wired cable from stage box to P2. Of course, all redundant if venues have stage monitors.

Thank you and some of your replies were things that I was unsure about. I think the bit in the link I'm not getting is the sound from the desk back to me to my headphones. I've got a DI going from my Sansamp to the desk so the FOH is sorted. How do I then get a wired monitor mix from the desk back to me and into my headphones. The first page suggests using a headphone amp like the Behringer P1 or P2 so an XLR is connected into this but what's the other end of that XLR connected to? It cant be the desk as that might be the other side of the room and that would be a very long cable for me to be connected to. I'm missing something in the chain somewhere on how the monitor mix comes back to me from the desk and into my IEM.

Hello everyone, A bit slow to the party on this one and as someone who has for the last 38 years played with the old school amp and bass cab backline, please go gentle on me and my understanding on trying IEM 😅 So I have the opportunity to play in a band and some of those gig could possibly be in central London. Long gone are the days where I would drive up, offload and park somewhere so I'm looking at amp/cab less solution and using IEM. Have read the many threads on the subject, so is my understanding on how to get it to work correct? My bass would plug into my Sansamp BDDI v2 and a DI would go to the FOH desk as normal so FOH has sound. Rather than a Jack to Jack going to my amp and cab setup, I could plug in something like an Xvive U4 wireless transmitter into the output Jack socket of the Sansamp BDDI v2 which would be paired to the Xvive U4 wireless receiver and from that, headphones from the receiver into my ears? This would give me just bass in my ears but technically the same process as hearing bass from my amp/cab setup or stage monitors. Is that correct and will it work? Alternatively, my bass would plug into my Sansamp BDDI v2 and a DI would go to the FOH desk as normal so FOH has sound. Rather than a Jack to Jack going to my amp and cab setup, I would run a Jack to Jack cable from the output Jack socket of the Sansamp BDDI v2 into a Behringer P2 Personal Headphone amplifier attached to my strap and then headphones from that into my ears? The positive would be it was all wired but the negative would be two wires connected to me, one from the bass into the Sansamp and one from the Sansamp back to me into the Behringer P2 headphone amp. I could always lose one of the cables by getting a wireless guitar system like a Line 6 G50. Sorry if these are stupid questions or obvious questions. Have I understood the process and how this would work correctly and does my suggestion work. Any corrections or better solutions?

I've bought a few basses and amps from Bass Direct and to date, everything has gone very well. I also buy all my strings from them as their prices have always been the most competitive and delivery has been very quick. Interestingly, I've just dropped them an email asking a few questions about a certain bass so we'll see how they respond but I'm not expecting any dramas based on previous excellent service.

I tried one of these a year or so ago and I thought it sounded and played amazing. Way better than I was expecting. If I ever got back into a U2 tribute band then I would have one of these along with a Fender Jazz or Precision.

Wow, what a track. Hard to tell if a real bass as for most it does sound real but at time it does sound processed but there is a synth sub bass running under the whole track so that might be confusing it. Mega track though.

I think we need to understand what type of music you play. Many years ago, I went from two guitars, bass, drums and keyboards to one guitar, bass and drums and we were worried that our stadium rock sound would sound empty. It was the total opposite and the space was a wonderful addition to our sound and we had amazing seperation between the instruments. We went on to play Brixton Academy and many festivals and we had no issue creating a wide full sound and we never missed the other instruments. These days I play in a 3 piece which is a singer songwriter on acoustic guitar, drummer with brushes and myself on fretless bass. We play with so much space and dynamics that you have to be creative in you area, otherwise it's going to sound flat and repetitive. So to fill the sound out in certain parts, I will add an octave which just fattens the sounds and the next level up after that is to introduce a little envelope filter to the octave sound. Other times I'll use a little chorus and reverb to make a beautiful sweet tone and then some time it will just be a clean tone. So it really depends on what type of music you play and to decide on respecting the space or filling them but always try and maintain seperation between the instruments.

It was certainly one of the major nails in the coffin. John Giblin did an incredible job on Once Upon a Time and Street Fighting Years and Malcolm Foster on Real Life. However, the final nail for me was when Mick McNeil left. They were never the same since.

I asked him once in an interview and he refused to tell me 🤣 Here you go,

John was also a composer and could play piano and guitar. During his time with Simple Minds, he played the following during the Simple Minds recording era. Mick McNeil, the incredible keyboardist from Simple Minds is playing it here. John also composed the following for Simple Minds. Sadly, during the recording process of the Street Fighting Years album, John and Trevor Horn fell out in such a big way that John packed up his gear and walked out and quit Simple Minds. Its possible to tell on the album what are some of John's bass lines for some tracks but not all. I have spoken to Steve Lipson who played additional bass if he knew but sadly he can't remember.

I was super lucky to get to play one of his basses last year, in fact about 4 or 5 of his but this is very much up my street and I got to play some of his Simple Minds basslines on it 🥰

One of the greatest bass players ever and to me, the most interesting and inspiring fretless bassist ever.

I don't regret selling too much but I do wish I'd kept hold of my Warwick Streamer Jazzman fretless, my 1973 Fender Telecaster bass, my 1977 Fender Precision and my yellow Fender Japan 51 Reissue Precision.

My current board for my fretless and I'm super happy with it now. Pedals are as follows, Zoom MS-60B - Tuner and TC Electronic Corona Chorus Ampeg Opto - Compressor Boss OC-5 - Octave MXR Envelop Filter - Used in conjunction with the Octave pedal for a slight tonal variation for certain songs Walrus Audio Slo Reverb - Used to create rising swirls, pads and to replicate a cello. Mooer A7 Ambient Reverb - Used as either a stand alone reverb or with the strings pad option. Sonicake Boost - Used to boost harmonics Sansamp Bass Driver DI - Pre-Amp My ideal set up would be a separate tuner, mini TC Electronic Corona chorus and possibly replace the Walrus Audio Slo reverb with a Strymon Cloudburst. Sadly I don't have the space and I don't want to go bigger on the pedalboard.

As long as there isn't an Electrical Storm.

That's his Desire but he's only been able to grow One but it was Magnificent.

It was ok though as he thought it was quite Bad but as it was New Years Day, it actually turned into a Beautiful Day.

I also where glasses and drive a Honda for extra nerdyness 😅

Well, that's me screwed then as I play a Jazz, fretless at that and also an Ibanez EUB which is tripod mounted. Looks like I know my place 😁

I'm going to get one of these soon as I'll be switching between fretless bass and EUB this year. Can I ask what is probably a silly question, I've seen some people are running their preamp's at the start of their pedal board chain. If you do this and run a line direct to the desk from the preamp, how does front of house get your effects as they are all coming after the preamp?

Despite being influenced by Pino and his fretless playing in the 80's, I have no intention of buying these signature strings. I am more than happy with my Rotosound Swing 66 Nickel hybrid strings on my two fretless Jazz basses and my Rotosound 77 Jazz Flats on my two fretless Precision basses. Both are the best strings I've used.

The 80's was such a great period for interesting bass players, stadium rock like U2 and Simple Minds, to pop groups like Duran Duran, Talk Talk, Level 42, Culture Club, Tears for Fears, The Jam, Rock and Metal like Gun's N Roses, Bon Jovi, Iron Maiden and solo artists like Paul Young, Kate Bush, Phil Collins. They all had exceptional bass players with so much to learn from. I loved The Bass Centre in Wapping, spent a lot of money in there thanks to the record company giving me a nice advance to buy new gear. Came out with a SR4 Stingray, Status Shark, Hartke HA7500 and a Hartke 4x10 and 1x15 with the aluminum speakers. The amount of Elite Stadium bass stings I bought was unreal. Good times.

I was also worried opening this thread Great bass player and doesn't get as much credit as he deserves among the top names. I only met him once as we were supporting Stiff Little Fingers at the Forum and he came over to say hi.