SimonK
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You haven't quite given enough information in the question. Nevertheless I would almost always go bass to pedals (if you use them) and then into a good DI with the balanced out going to the desk. You can then choose to either get an aux feed back from the desk to hear both yourself and the rest of the mix (and plug that into IEMs, a powered wedge like the Behringer you mentioned etc.), or you can take the the thru from the DI box and plug that into a bass amp, or indeed a powered monitor, to only monitor the bass signal in addition to any other foldback you are receiving.
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Sorry for the thread resurrect (but showed I did search before creating my own!). I'm after a preamp to go on the top left of my pedal board (picture below). Many years ago I bought the Hartke Bass Attack, but only because it was all I could afford at the time. It has the requisite DI out, but the tone shaping options - both the pre-shape and the valve emulator - are not really to my taste in that I can't find a way of making them useful. Given the increasing likelihood of IEM becoming omnipresent in the not too distant future, I'm thinking of getting a decent preamp that will ensure I always send a good sound to the desk. Given the Genz-Benz Shuttle 3 is my all time favourite amp (although sadly it has died on me and I can't get it fixed on this side of the Atlantic!), would the Genzler Magellan pre get pretty close in a preamp pedal? Also what's the onboard DI like - the Shuttle 3's DI was excellent and my go to recording DI as well.
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Unpaid gig mindset - playing in churches can be a funny thing. I grew up in a super-charismatic/pentacostal setting and even went full time playing bass with a worship band for a couple of years after leaving school (before realising that University was a better life-option!). Problem is that when you get used to playing in a semi-pro church music setting it makes it much harder when you subsequently (due to work & family) move to a much smaller church with all the challenges of random instrumentation, dodgy equipment and no training. So I pretty much stopped playing in church for about fifteen years, focusing on an originals/covers band in the meantime. Then my church got a new vicar who is a really talented mult-instrumentalist, as are his two teenage children, and now we have a band that is fun again - two or three other musicians including myself have since re-emerged so we now can manage a couple different band combinations. I've often mused as to whether I "should" have taken a fifteen year haitus from church music due, essentially, to the band being crap and it not being fun to play in that setting anymore...
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...this is fun - some great trips down memory lane! We did "My Redeemer Lives" last week but the bass riff isn't too hard, just a bit of chromatic walking around the normal 1-V-octave pentatonic box - great fun - unlike mourning into dancing which I haven't played for years and now need to work out again! ...edit... ten minutes later and I've more or less got it but the last six or seven notes are syncopated which is tricky - not sure I would get it right at full speed every time!
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If we are doing Christian songs with signature bass lines we must remember this one (need headphones - I've linked to just the right place!):
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Live action shot from Easter morning church service - Bass pedals on left, acoustic guitar on right, which would have been great if I hadn't accidentally plugged the acoustic into the bass pedals at one point when switching instruments - although did notice before playing anything thankfully!
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Happy Easter - long old service this morning but twelve pedals on the floor which was great until I plugged my acoustic guitar into the wrong board right as communion started which made the whole church jump!
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It's almost alway a combination of sound engineers not knowing what they are doing, and then trying to find a reasonable mix by keeping the stage volume as low as possible in odd shaped buildings, that causes problems in churches. You can take a half step there as a musician by making sure a reasonable signal is being sent to the desk while ensuring that any amp on stage is very definitely being used/thought of as a low-volume personal monitor - hence my comment to the OP. It's also not beyond the realms of possibility for there only to be one channel available for a multi-instrumentalist, and the person on desk not realising that a bass has been swapped for an acoustic guitar or vice versa - I imagine if this is the situation for the OP they can help by using their Caline preamp and turning the bass knob to the minimum when they use the acoustic guitar. But if two channels are available I would use a clean DI (and a smidge of compression if you have some) before the amp for both instruments.
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I'm playing both bass and acoustic guitar (on different songs) on Easter Sunday. I run two channels to the desk - one is my acoustic guitar that normally goes compressor into a DI then to the desk, and then my bass rig which is a pedal board (lots of stuff but also a compressor) into a Trace Amp and then pre-EQ DI out from the amp to the desk. But everything is DI to the desk with as little EQ as possible - leaving it to the sound guys to EQ the FOH mix. Mind you one FOH EQing tip with an acoustic guitar is to set it up in such a way that on its own you think it sounds a bit trebly - once the rest of the band starts it will then sit in the mix fine - certainly in church type music the acoustic guitar is as much there for rhythm as chords, especially so if you have keys as well.
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I just had a look at the Rumble 100 manual and it seem that the DI out on the back is post pre-amp with no option to make it pre - probably hence the comment of not being great with an acoustic guitar. If this is the case I would definitely run a DI in front of the amp to give a less-coloured feed to the desk for both bass and acoustic. The Caline CP 60 will do the job, but I would go simpler than that and use a passive DI box without EQ - a radial stage-bug is my goto, but if playing in church the DI box is seldom the weakest link in the system so most any DI box will do.
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8am Friday morning - all my kit ready to go for Easter services (and a dog who has just realised I'm not taking him!).
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I've got the little Aguilar 350 to use as a DI box/preamp and then some power if need be - been very happy with it especially as it is small and light enough to fit in my cable bag/case. The preamp takes a bit of getting used to but apart from that it's a lovely piece of kit. Not tried it on upright though.
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Am playing the Cajon in a stripped back Good Friday service (just acoustic guitar, keys & cajon) tomorrow morning which should be fun. I was just listening to some of the songs and reminded myself of Iona's awesome cover of "When I Survey". We won't quite be doing it that slowly or with Dave Bainbridge's guitar work - but will try to get the Celtic feel! Then we undo all the sobreity of Good Friday by having a full band practice for Easter Sunday straight after the service... "Greatest Day" etc. etc. back on bass.
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Decent power supply at a reasonable cost? Not Truetone?
SimonK replied to Minininjarob's topic in Effects
I've had a onespot for years and never had a problem - you can still plug it in without the earth pin and just pretend you are in the US/Europe! -
Someone who knows about speakers will probably tell me I was wrong, but twenty years ago I used to borrow a mates 8x10 on occasion, and as the stage had a step at the back I used to routinely lay it on its side as I thought it gave better dispersal, and it meant all 8 speakers were above waist height. The bass didn't go through the PA.
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@Richard R I've got pillar envy - yours hides the keyboardist AND the drummer! @Risk101 RE the Trace.. heh heh heh... don't think I've ever had it above 2...
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My stone pillar has been plastered a nice white colour and prevents me seeing the keyboard player at all - I feel very priviledged. It also holds up a balcony that ensures bass frequences are propagated around the back of the hall, rewarding all those who choose to sit on the backrow!
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I've got two US 3EQ Stingrays, one fretless, one fretted. I really like the 3 EQ setup as it is the most powerful onboard EQ I've played. My only regret is that neither have roasted maple necks. The necks on mine are fine, but there is something about the way Musicman roasts a neck that is just aesthetically awesome: from: https://www.talkbass.com/threads/stingray-special-hh-roasted-flamed-maple-neck-fingerboard-special-edition.1530091/
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This mornings setup - so beautiful I set my thumbnail to it and posted it on the Stingray thread as well!
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Ashdown RM 500-EVO II 500w Bass Combo, replace speakers
SimonK replied to damien b's topic in Repairs and Technical
Cheap cabs or broken combos come up facebook, reverb, ebay etc. all the time. Just wait for something local to come up and switch the speakers. Mind you, if it is a combo amp you are far more likely to have fried something other than the speakers as they are normally spec'ed to handle the amp they are with (puts on hard hat and waits to be told that combo designers are not this bright...). -
...what if everyone else on basschat is AI...
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Snapped this morning - fretless and fretted US Stingrays, with some bonues Trace Elliot - so good I used the thumbnail on my profile!
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Did hybrid IEMs and wedges in the end this morning. I downloaded the Yamaha Monitor Mix app with the hope of doing my own mix and trying IEMs again, but it seems the desk needs a firmware update before I can use it. I'm playing again next weekend (twice) so we will see what progress can be made - possibly see if I can get the app working first, and then move on to IEMs again. Mind you I thought it sounded pretty good in the room this morning and had some very positive comments - including from my son who told me I should bring the extension speaker next week so 8x10 rather than IEM!!
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Following a few further Whatsapp messages overnight I'm going to try to download an app to control my own monitor mix as the sound chaps were clearly unable to cope with both the FOH and four IEM mixes. I think in the past, using wedges, we've got things to sound OK on stage with our own amps and mainly only having just the worship leader & his guitar/keyboard through the wedges - so minimum intellectual input by the guys running the desk. Suddenly when we had four/five people actually wanting specific mixes on different channels the whole thing fell apart. I have no doubt that using IEMs well make the FOH sound better/easier to mix, but if the band can't hear anything it is net loss.
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...and that was a disaster - seems cheap IEMs sound OK for one or two instruments but can't cope when everyone starts to play - just distorted and kept cutting out. Although the electric guitarist and drummer kept theirs, I went back to my wedge and amp, as did the worship leader. We never quite got the mix right so are meeting early on Sunday to hope we can get it to work. The other learning point is that you need a mic on the acoustic drum kit to at least capture the kick and snare for the IEM feed as otherwise even sitting next to the drums you need to take an ear piece out. I struggled to get the sound guys to understand I was only wanting the feed for the IEM and not the front of house - "but the drums are loud enough"... "yes but I can't hear them clearly with an ear piece in!"
