TimR

[quote name='gareth' timestamp='1472249121' post='3119888'] thats ok I think the "camera" was infact a phone and bearing in mind this was recorded 10+ years ago, certainly not hi fi! [/quote] That'll be why it sounds ok on my phone speakers then.

I can hear cymbals perfectly. What are you listening on.

[quote name='Coilte' timestamp='1472239479' post='3119793'] Nice...but...unless it's just how the camera mike picked things up.... I can just barely hear the vocalist. So, no doubt the bassist can be heard , but the vocals can not. [/quote] The camera is behind the PA speakers.

[quote name='Dave Vader' timestamp='1472211761' post='3119470'] In defence of guitarists, I play guitar in lots of bands, and I always take my old 15w Wem Dominator, it never goes above three, and it seems surprisingly loud to me anywhere above 1. I will always turn down when asked, and know just how helpful a horrid ugly tinny sound can be once everything else slots in underneath. Similarly, my bass sounds utterly dreadful solo but sits very nicely in the mix. [/quote] When a guitarist sees the light it's a pretty good moment.

[quote name='Coilte' timestamp='1472201501' post='3119323'] ...and give the guitarists an excuse to up their volume to compensate...? I don't think any gear change is required. What does need to change... (downwards...) is the volume knob on said gear. [/quote] I think your issue is TWO guitarists. I've been in a similar situation where finding a tone that fits in the mix is practically impossible because both guitarists are using 'Their sound' which is the sound that they like when playing solo in their bedroom/practice space. This leads to volume wars where everyone just tries to turn up in an effort to be heard over everyone else. As mentioned above, it may be an idea to alter the position of their amps so that they're angled at their ears which will reduce the volume. The other thing you will have to do is get them to cut some frequencies for 'Their tone' so that they compromise and have a 'Band tone', which has to be different for each guitar and has to leave a big frequency gap in the lower mids to allow the definition of your bass to be heard. You will also have to compromise as well. Bass is not just bass there are other just as important frequencies. You will need rehearsal time specifically for this excercise. I promise you the time spent doing this will improve your band 200%. .

Just play what your practiced. Everyone is looking at the guitarist and singer anyway. The difference between a pro and and amateur is - the amateur practices until he gets it right. - the pro practices until he can't get it wrong. Although all my pro friends say practice is cheating.

I've never used a backup. I have had a failure that I got round and since then take a backup but 1 failure in 30years? How high profile are the gigs?

European Tour Dates 2017 Sun/Mar-12 Cardiff, UK Cardiff Arena Mon/Mar-13 Birmingham, UK Birmingham Symphony Hall Wed/Mar-15 Brighton, UK Brighton Dome Thu/Mar-16 Bournemouth, UK Bournemouth International Centre Sun/Mar-19 London, UK London Hammersmith Apollo Tue/Mar-21 Nottingham, UK Nottingham Royal Concert Hall Wed/Mar-22 Edinburgh, UK Edinburgh Usher Hall Fri /Mar-24 Glasgow, UK Glasgow Royal Concert Hall Sat/Mar-25 Manchester, UK Manchester Apollo

[quote name='lojo' timestamp='1471282355' post='3111809'] We do this in our 80s tribute, its one of those that when you get it the rhythm really kicks, but it can also be not quite right easily if your not careful [/quote] I seem to remember trying to play it in the late 90s with a drummer who 'didn't get it'. I think we tried for about 15mins before giving it up as a bad job.

Yes. The only people who know what you're supposed to be playing are the people playing it.

I'm a firm believer that a bass will speak to you when it's the right one. Until then, just keep trying different ones and don't worry, if it's not the one, it's not the one. Play sales, arpeggios, and have a 'guitar shop special' piece that you always play so you're not sat there with red light fever. Doesn't need to be flash, no one is listening.

[quote name='luckydog' timestamp='1470726798' post='3107885'] Well, there is practicing retuning so that it becomes like an Olympic sport - make it quick ? Guitarists should be [i]encouraged[/i] to check tuning throughout a gig, not many rehearse doing it to make it slick though! Same with pedal reconfigs. For string breaks, the rest of the band can have a good well-rehearsed groove thing that is worth listening to, and gets reeled out each time guitarist has some complication ? Thing is to make it strong, and easy to stop once guitarist is ready. It's better than radio silence, and peeps get to know what is going on and recognise it without the band saying anything in the end, seems like part of the act which it is ! LD [/quote] Yes. They should be rehearsing the breaks with the detune and be using silent tuners. You can get away with a slightly longer pause if the singer has a pre-scriped 30second chat. No one will know the guitarist are doing anything. Get the singer to write down some words if he's not able to talk on the fly. Tell him to go watch some successful bands and steal what they say.

They need to learn how to tune their guitars quicker.

[quote name='arthurhenry' timestamp='1470604867' post='3107100'] There are several differences on the YYZ track. It's certainly not the Moving Pictures recording. [/quote] Yes. They're not what's on the final cut. I think if I'd been asked to find some recordings of me playing bass 35 years ago I'd struggle to find the final mix, let alone individual tracks and remember which parts had drop outs and overdubs. They're certainly not what's on the recording of Moving Pictures. Exactly what they are it would be interesting to know. My money is still on a complete re-recording by Geddy for GarageBand. That's what I would have done. .

[quote name='JTUK' timestamp='1470575432' post='3106808'] My bass will go into the DI box and then be fed back to my amp which is my stage monitor. [/quote] So if you were using inline effects where would you take the DI? It would have to be after the FX. Compression would be part of your FX chain rather than being used to compress the signal. I don't see the soundman would have any problem with that. If you were using compression on your pre-amp stage in your amp then that wouldn't be fed to the PA anyway.

[quote name='JTUK' timestamp='1470243901' post='3104456'] Invaribly thru a DI box so amp is bypassed in that regard for signal. I'll have a chat with the Engr and give him a demo of the sound I'm using. My stage monitor is primarily the stage monitor and it will be run loud for the stage. If we have a stage mix Engr my main concern is the stage sound still. [/quote] Are you saying you don't have a backline and you're using the PA monitor or that you're using backline as a monitor? It really depends on the engineer, the size of the stage, the type of PA. Too many variables. I've had engineers who won't put any bass in their monitors and engineers who'll blow you off the stage from the monitor. .

The rule of thumb used to be 2W to each person in the audience. Rule of thumbs are interesting things. As mentioned above it's SPL but most modern speakers are fairly efficient now and pretty much of a muchness. The problem with owning your own PA is you need to get a good all rounder for different situations and you need somewhere to store it all. The problem with hiring is arranging to borrow each time, collecting and dropping off. It's a trade off.

[quote name='wateroftyne' timestamp='1470482767' post='3106300'] Can you provide specific examples of differences? [/quote] 24seconds into Limelight he plays up the octave. There are discussions in the comments about this being the way he plays it live now. It could be that he popped into a studio and quickly ran up these recording especially for Garage Band, it may have been easier and quicker than trying to piece together the original, which is probably stored away in tape somewhere.

If it is Geddy they're not the final edits as per the finished album tracks. Maybe it's just the best single take they had plus some overdubs to complete it. Apparently reading the comments it's what Rush supplied for Garage band.

I'm quite happy with how sloppy and different isolated bass sounds thanks. I didn't think 2 days to reply was particularly quick.

I don't think they're original. It's not him. There are some on YouTube that are though.

[quote name='mentalextra' timestamp='1470416550' post='3105901'] Nice 'French' villages? [/quote] Irony.

The thing about consumer confidence is that as Dad says, if it drops then the shops still have to cover rate and rent. If people buy fewer instruments. Then there has to be a premium added to those that are sold. eg overheads of £1000 a week. Sell 10 basses at £1000 with 10% profit then you cover your overheads. Consumer confidence drops and you only sell 5 basses at £1000 you have to make 20% profit on them to clear your overheads. So a combination of exchange rate and a depressed market is causing price rises. The answer is forget about buying the £1000 bass for £1300 and find yourself a £700 bass that's now £1000, or save up. Better get used to the new prices, they'll be staying for a few years yet.

and don't mention the Beatles or Milwaukee.

[quote name='opticfibre' timestamp='1470311322' post='3104983'] My Pleasure to join, took a couple of days to get approved by the admin Don't think i should compare basschat to guitarchat [/quote] You'll be ok, just try not to get dragged into bizarre arguments. There are a few people who can get a bit 'overzelous'. Would this be better aimed at the PA market? A 64 core snake would be lighter than the usual copper balanced one, and more relevant for your application. I think your hardest job is selling it on the strength of clearer signal. The majority of us play standing next to drummers and opposite guitarists. .