The Badderer

[quote name='leschirons' timestamp='1435828140' post='2812722'] Just to add, this is not someone I play with in a regular band, it was a one off. [/quote] in that case I'd stay out of it. If someone is reacting like that, if you're not going to get through to them, you really need to have a good enough friendship that they can hear what you're trying to say, rather than just hearing criticism and reacting defensively.

In the situation you describe, I'd interpret it as someone insecure about their skills trying to palm off something that hurts them through denial "their opinion doesn't count... they're idiots and don't know what they're talking about"... He obviously knows he played a bad solo, and you obviously know he played a bad solo. Sometimes you need to get down to the actual thing that needs sorting out, which is maybe he (or she, but sounds like a he) needs to up their practice / skill level so that they feel more secure, or maybe they need to play something less challenging so they build their confidence with good performances. I'd certainly say a conversation about it needs to be had when the time is right and don't go trampling their feelings because they'll just react with denial towards you too. The more skilled and qualified you are the more valid someones criticism, but it doesn't mean that someone unskilled can't spot that you are playing a bunch of wrong notes. In fact it's a bit worse if someone with little musical training can spot that it's not right.

[quote name='bassman7755' timestamp='1435825669' post='2812675'] So ... you tell us that you have one amp that sounds great on stage but doesn't project out front, and another that is the opposite, how is that not a gear related problem ?. You did not say that overall mix was bad [b]out front[/b], if it is then that is obviously the problem. On stage mixes are often very poor because the various amps people use sound different in close proximity and at various angles than when a greater distance and mainly in front of them, so a poor on stage mix does not necessarily indicate a wider mixing or arrangement problem. [/quote] what I took from the OP was that, he has enough gear to sort out the problem, but is more wanting help in understanding how to get a decent band mix and how to find a decent place in the mix for bass, when competing with Guitar and Keys. I may have not got all the points in their but that was how I understood it. More of a "Learning to understand how to get a good mix" question, than a "I have an issue with the gear that we are using to get a good mix". A subtle difference, but I think that's what the OP was about. Correct me if I'm wrong....

[quote name='Dad3353' timestamp='1435773794' post='2812357'] Credit where it's due; this (below...) was being posted at the same time, and has pragmatic, practical advice as to how to achieve this fine balance. It can be done, quite easily, once all band members are working towards the same objective with open ears. Good luck with it all; it's very satisfying when it's all glueing together. [/quote] [quote name='tbonepete' timestamp='1435780665' post='2812449'] Yes, absolutely. I Also was responding to your post whilst others were coming through. iPad is being a bit strange today after an update. Thanks to all, I'm looking forward to having a proper gig type rehearsal to sort out the toe treading sound issues so that we can all be happy. The result of which should be a MUCH better band too, so that has to be a good thing! Cheers Pete [/quote] Ahhhhh you guyyyyys!!! Always nice to be acknowledged

If you are finding the keys and guitars are coming into bass territory and the mix is becoming muddy as a result, the most important piece of equipment you can all use, is your brain, ears and mouths. You as a band need to have a sit down discussion (not a shouting match) about what the overall aim of your mix is. It may be worth even bringing in a song or a youtube tutorial about mixing for people to understand where their place in the mix is. A lot of people like to set up "their" sound in the comfort of their own home and then bring it to band practice and refuse to change their sound because they've invested lots of time and emotion in moulding this sound to their ears at home in their room. (this is the wrong approach to sound on numerous levels) The best way to have a cohesive band sound is to have a discussion about which frequency ranges you all need to operate in for the mix to sound full but not muddy. People need to be prepared to have an experiment with the band sound, spending time changing their EQ / which pick ups they're using etc. to find the sonic spectrum that makes the overall sound work best. Also Keys players need to know when they can and can't use their left hands low down and when they need to move up the register or when to just play with the right hand. The most important thing is to work together and talk about it together. If you can't it just means your mix will never be totally cohesive.

[quote name='jonnythenotes' timestamp='1435671101' post='2811219'] Technically you have won Badderer....not sure about my use of 2 'e' s... [/quote] WAHOOOO!!! I've never had an 8 letter word at countdown before!!

and yeah Sibob I will be carefully measuring bass bodies and suitcase dimensions!

WOW! good tip. Fortunately I don't think a bass I'd be looking at is likely to have Brazilian Rosewood or Ivory in it, but I'd never heard of this. My Cello bow might have given me some issues possibly. I don't know what's in it, but it might have had some shell. I don't think there'll be any issue transporting a Squier, but good to know for future references!

Ah man I had W*nkyest too.... 8 letter score!! beaten to it

that's good to know cheers guys. i'll be less getting my knickers in a twist about dismantling the bass option now!

I don't think it's a male-female thing. The issue is that her selling point is her distinctive vocals and she is lifted up as this great female singer, but she quite regularly misses notes on the flat side. Comparing Florence to Dave Grohl is chalk and cheese. Dave is a powerhouse rock vocalist who is regularly out of tune especially towards the end of the set, but his selling point is an energetic rock show that engages the crowd and the song writing that is top of its game (in the world of rock. Many people who don't like rock don't like the Foos material). There was an thread about Kanye West that is much more derogatory than this thread and it's about a man, so I don't think it's gender specific.

his method seems quite sensible. I'd definitely think 2 half turns over the course of a few days (I may go for the period of at least a week) is sensible. The truss rod must need some adjustment if there are no strings to work against.

I normally go with the policy, if you've got nothing nice to say don't say anything at all. However, I have just watched his Bohemian Rhapsody moment https://www.youtube.com/watch?v=ao3OxBjTY00 How on earth this person gets paid money to do this is amazing.... let alone headline what used to be one of the most sought after Headline slots in the world. It's the most obvious evidence why more and more people think Glastonbury has just sold out and has lost its soul. Lionel Richie KILLED Kanye, showed him how a proper musician (plus actually sharing some of the stage and adulation with a good sized band) can put on a show.

that is something worth thinking about for my journey home! I don't really see any reason why not. I would probably seek some advice before doing it. I know the bass would need some time to settle back down once put back together. My only thought would be whether in the week or 2 before leaving, you would need to start to slacken off the strings and at the same time loosen off the truss rod so that it wasn't trying to curve the neck against the force of the strings (that are going to be taken off). Otherwise if you just take the strings off and leave it for a few days, the neck might get overly bent.

A lot of the time it's easier to get annoyed with the sound engineer than admit you wanted something a certain way but didn't know enough to sort it out with the sound engineer. However, there are also times where some sound engineers are so focused on what comes out to the FOH that the band are left unable to hear themselves. I'd say a fair bit of this lies in inexperienced bands or sound engineers not knowing enough about what goes on to get their sound check sorted properly. Some people don't realise what happens if they change their settings without telling the sound guy (with inexperienced people probably because they don't know that they're supposed to). Some people just have a chip on their shoulder having had a couple of rubbish experiences so they think all sound engineers are pains in the arse and don't bother talking with them, they just get arsey and moan.

Mix sounded alright on my Studio Headphones. Nice tight groove man.

having just skip watched a few different tracks, i think her 1st track was very nervous, you can hear the issues with breathing control due to nerves, which effects pitch in anyone if you've got nerves. Some of the tracks after that she's bang in tune and bang on, and then in others there are other styles / techniques where she definitely hits the note under. It seemed to me the most obvious one was where she was switching from a lower softer register up to her higher register. It's a difficult technique to master, but if you're headlining Glastonbury you should be able to switch from lower to higher register without hitting the top note on the flat side.

from what I've heard of her music and live performances it seems she's stuck in between 2 worlds. People who like her music and style praise her for her unique style / powerful voice etc. but unfortunately she is more out of tune than it is acceptable to be. It's great that she's singing live and not autotuning or singing over pre-recorded studio produced guide tracks like most pop stars do now, but it does also show that she has a serious weakness with pitching her notes. Unfortunately she's probably surrounded by so many Yes People and has so much money invested in her, who is going to have the courage to walk up and say.... I'm sorry love, your wailing has a certain appeal, but you need to have some singing lessons to learn how to stay in tune. Good luck being the producer who says that to a female vocalist "star"

I'm going to go to Wunjos for the first time at the beginning of July to give one of these a try!

yeah. My thoughts were, even if i buy it from new, at the end of my first, second or third year (depending how long I go for) I could just sell it on to any bass player who wants it and take a bit of a hit, or I just buy a hard case and take my chances with the airlines. I may take a $50-100 hit on it, but much less of a risk than taking a £500-1000 bass plus all the other stuff I'd put in the case, only to find I've got issues the other end.

I had been GAS free for months and months and not bought a thing!!!.... until I started this thread.... [url="http://basschat.co.uk/topic/264644-how-to-decide-which-bass-to-take-to-america/"]http://basschat.co.u...ake-to-america/[/url] and all it took was one basschat thread, one decent response from my future new local store in the States, and now I've got GAS for this.... probably comes in at £265 inclusive of taxes when I'm over there! [url="http://www.sweetwater.com/store/detail/PBassMFVwt"]http://www.sweetwate...tail/PBassMFVw[/url][url="http://www.sweetwater.com/store/detail/PBassMFVwt"]t[/url]

The filter preamp does come across as crazy at first, but once you grasp how to set it up (i'd say after the first 2-3 days of decent playing) it's really great. I get why people struggle with the concept because a lot of people are used to turning knobs for either Tone controls, or Treble / Mid / Bass boost or cut. You just have to get your head round how a filter works.... and it's such a pretty bass http://www.acguitars.co.uk/acg_admin/wordpress/portfolio/0037-finn-sc-classic-4-string/ It's OK about the Rick, it's not a clean cut posh church. I'm taking a Darkglass VMT Deluxe and a Sansamp VT Deluxe too as preamp DI options, as they have quite a bit of dirt on a lot of their songs. Well looking forward to it. I think the Matt Freeman Squier may win out in the end if it's about £265. No point spending any more on a P Bass as I could just upgrade the pups if I wanted a different sound. Most reviews are giving it the big thumbs up

dare i mention it, I did see a 2nd hand rick in mint condition for $1650 (about £1000) and a New Matt Freeman Squire for $380 (i'm guessing +10% tax) so about £265

BLOODY GAS!!!! Not 1 hour after this I found myself on Talkbass classifieds eyeing up basses..... some aren't much different in price to here.... some (especially Fenders and Laklands) are a fair whack cheaper, and some are a decent price new from online shops like Sweetwater etc.