essexbasscat

[quote name='Thurbs' post='1350305' date='Aug 24 2011, 02:45 PM']I got one of these: [url="http://www.samsontech.com/products/productpage.cfm?prodID=1696"]http://www.samsontech.com/products/product...cfm?prodID=1696[/url] and it's perfect, you can create your own mix of vox + band or vox + bass, depending on your set-up. How much for perfection? £35.[/quote] That looks like a really handy tool. How do you use yours Thurbs ? the output is for headphones, but there's more than one way of processing that signal of course.

[quote name='dood' post='1349597' date='Aug 23 2011, 10:08 PM']Yes! Infact I positively rely on my ER15/25's for singing! I've not used a vocal monitor for my own voice since using these 'plugs and my fellow musicians have reported that they have noticed a dramatic improvement in the tone and pitching of my voice. Ok, so I'm no Myles Kennedy, but even so - I can run my own harmonies without getting confuzzed! Here's my trick - I select the value of filter so that the music 'outside of my head' is near to the same volume or a bit quieter than my 'voice inside my head' if that makes sense. I can hear my bass clearly and I pitch my harmonies against my bass NOT the other band members. Thus I can concentrate on getting my notes right and leave the other guys to concentrate on theirs. Its particularly useful as I am 'one of those' who loves the sound of 3 and 4 part harmonies, but whilst I am busy enjoying them, I screw up - so sadly, it's best if I cant hear what the other guys are doing as much as what I am. I therefore ask for no vocals in my monitors at all! Hang in there with the plugs, I had a similar problem, but I found listening back to recordings helped me identify what I needed to adjust when I sing. Hope this helps![/quote] Hi again Dood, how you doing ? Yes, like you, I enjoy playing bass and being part of some 3 + 4 part harmonies, Silence is Golden, That Boy and Nowhere Man - The Beatles etc. The more harmonies the better ! Sometimes, we end up busking tunes and creating harmonies on the fly. Other times it's a quick "You doing the high or the low ones ?" we all know where we are with the well practiced numbers, but we're often listening to what's going on and sorting things out in real time, or changing things in the moment to keep things interesting. In that kind of environment, I'm listening closely to the other singers for cues, so clarity is really helpful. That clarity also helps me to create the tone of voice for a given part in a certain song, something I'm working on more than ever. Not great at it, but working on it. Which is why I struggle with the muting of certain frequencies with ear plugs ! It's also one of the reasons why I find it easier to play at quieter volumes. I've tried leaving the one earplug in for the ear that's closest to that high hat and cymbal (ouch !). It's a compromise, but not best of neither. Do earplugs always muffle frequencies to protect the ears or are there models / brands out there that just lower the volume levels without sounding muffled or flattening out selected frequencies ? Thanks for your post Dood, it helped with sorting out this topic in general Also, thanks to everyone else for your thoughts on this, it's appreciated.

[quote name='Doddy' post='1349501' date='Aug 23 2011, 09:15 PM']Yeah. Although most systems have a volume control on the receiver,and most wireless ones have a limiter. I use a wired system which has an volume control on it which is not set too loud. To be fair though, the soundman must be a bit of of dick if he fiddles with your monitor volume.[/quote] The soundman is the guitarist in control of the PA. He likes to turn the volume of the whole PA up for the second half and some other times too, so erm .....

[quote name='Doddy' post='1349420' date='Aug 23 2011, 08:32 PM']You can hear the band fine with in ears......most times it's even better because you can have your own mix of whatever you want. Safe limit? I don't know.......I just turn the volume up to where it's clear but not uncomfortable.[/quote] Something about in -ear monitoring. If the soundman suddenly turns up the monitor volume without warning, does the volume correspondingly rise in your ears ? are your ears vulnerable to a clumsy hand on the monitor volume control ? pardon ?

What people are saying so far is really beginning to dig into this topic for me. I'd like to ask a few questions though; - Nottswarwick. Was there some realisation for you that made it easy to pitch vocals without external feedback ? or was it a case of practice, practice, practice ? Also, while you're singing, where's your focus ? is it on your 'internal voice' ? or something else ? how do you discern your vocal volume level in the greater context of the band as a whole ? - Monckyman. If you're wearing in -ear monitors, can you still hear the rest of the band clearly ? How do you know when you've reached the safe limit for in-ear volume levels ? Really curious of Essex here...... thanks all

There's some interest in another thread about earplugs elsewhere. I didn't want to hijack that one with my question, so here's another thread about earplugs. Does anyone sing while wearing earplugs ? I have a pair of ER15's which have been a blessing to have in case the guitarist cranks the volume again However, singing with the earplugs in is a bit of a challenge, as some frequencies tend to be muffled by the earplugs. As a result, I tend to modify my singing voice, which just makes singing more difficult. I'm also not clear about the kind of sound my voice is creating, which leads into cycles of doubt, which in turn hinders performance. I've ended up removing the earplugs to get around these problems. I'm much happier with the clearer feedback I get for my voice, but it's back to square one on the earplug issue. Any thoughts BC ? Thanks

OBBM. He's on here. Check the feedback -says it all.

Not the run of the mill corvette that one, so difficult to say. 4 stringers usually go for a bit less than that, but that one is different. Warwick enthusiasts will probably know more

[quote name='Chris2112' post='1339738' date='Aug 14 2011, 04:36 PM']I suppose this is the benefit of transcribing parts for all instruments to bass, not just transcribing other basslines. That means you can play them live, in situations like this, where necessary.[/quote] It was busked on the spot !

[quote name='JTUK' post='1339416' date='Aug 14 2011, 10:55 AM']I agree.. In my case, this is a very recent thing (maybe new girlfriend thing..which is UNEXCUSEABLE, anyway. but the reason I am annoyed about it is that he knows all this full well. His excuse isn't because he doesn't have the experience, and he can be the epitome of taste, plus a very fair player, but if it carries on, he will have to leave. At the next band meet, it will come up for sure. I don't agree at all with shutting down a song at a gig or replying like for like...but I'd be tempted. [/quote] I agree it's less than professional to snatch someone else's line in retaliation, I'm certainly not proud of it. But the other night really was the last straw, as the point had came up in conversation many, many times before. I'm not in a position to dictate who plays in the band, so the choices are a bit limited while avoiding drastic measures.

[quote name='BigRedX' post='1339112' date='Aug 13 2011, 09:22 PM']Actually if done well it can be hugely effective. With Dick Venom we do this quite a lot especially if the song is in E, I'll play some of the bassline an octave higher in the guitar range range rather than where you would expect it to be so both instruments are playing in unison. With the right guitar and bass sounds and with sufficient practice to get it tight (we spend a lot of time playing the riffs at three quarter speed to ensure that our timing is completely spot on and then gradually speed back up to the "proper" tempo). To pull it off requires musical discipline, but that's a skill I tend to value and expect the other that I play with to also value.[/quote] If the song is arranged for the bass to play in unison with another instrument it can sound really cool. Quo made a career from it. What sent me to the dark side was a.n. other playing space invaders with all the sensitivity of a herd of rhino.

That's what I did last night. The keyboard player mimicked my bassline in Alright Now. So I stole his keyboard line in the instrumental section of Whiter Shade of Pale. Got some strange looks, but it sure made the point.

Mission, If the audience can't tell what a bassline is, then the only thing they'll hear doing that line will be my bass and not another instrument doing it alongside. The bass guitar will be distinguishable from the rest.

Thought I wouldn't be the only one ! I've decided the next time it happens, I will tweak the frequencies sub 150 - 250 or so, then turn the volume up. That way, the audience will hear the bass guitar line played by the bass guitar and distinguishable from the imposters.

What do you think would happen if the bass player started copying everone else's lines ?

Thing is, I'm not averse to other people playing in the frequencies usually occupied by the bass guitar if the song is written for that to happen (bass and keyboard doing question/answer for instance- there's many more potential ways of doing it and it can be quite musical). The one that draws my attention is other band members doubling the bassline where that's not supposed to occur. For the guitarist - learn about rests For the keyboard player - you have soooo many other options at your disposal, why is it necessary to double up another player's line ? unless orchestrated to be so, it can sound muddy and conflicted, as others have mentioned here. Apologies for the rant, but this topic does get my attention from time to time. Just goes to show the value of the arranger. Oh, and as for untouchable basslines ......... PAH ! who are you kidding ? T