EBS_freak

Bassman amp, Vibrochamp and Vox maybe the Cornford. As for the rest. Meh.

2020 - the birth of a tiered location.

Indeed - where are these gigs that you are videoing?!

Whatever you get, factor in a couple of hundred quid to have it properly set up, have the frets stoned and recrowned. Trouble is, people spend all this money on basses but dont realise that the frets are usually just knocked in and out the factory the bass goes. If you have somebody spend the time looking at the playability, even the cheapest of basses nowadays, are perfectly great. In essence, a cheap bass that has had the right work done on it can easily outperform an expensive bass that hasn't - in terms of playability at least.

Helix Stomp with a PA speaker. Then you have plenty of modelled amps and fx to play with.

But what is your measure? Put up a poster with Newfoundfreedom bass lessons, or Keavu Reeves bass lessons... who is going to have more business? In this game, there's more than to it than being able to play. There's loads of people out there that can play ridiculously good... but depending upon the gig, you'll have to bring more to the party, as I commented above.

Ive been pondering on this. Now don't get me wrong, I think Scott is a great player. But part of the thing that makes Flea, Flea, is that he's appeared in BTTF. He plays naked. He looks the way he does. He acts the way he does. He plays his bass low. Half of being in a band like RHCP is the theatre. And that's why Flea is a perfect fit for that particular band. And that's before we even talk about his bass playing. If the majority of capable bass players that could ape Flea's band didn't do half of what flea does both on and off stage, RHCP wouldn't be RHCP. So for me at least, that's a key consideration. But maybe all of this is a different discussion. I suppose its the same with Gene from Kiss. Nobody really goes go to see him because of his bass playing - but I can't really think of anybody that would do that role in that band as good as him... and again, that's before we talk about any note that he has played.

To be honest though, trying to do anything on kit that isn't up to it, as a learner, is going to make you throw the towel in. It's liking learning bass (well, historically anyway) - those cheaper, crap playing basses were actually holding up your learning... you only realise that after the event (assuming you didn't give up before hand)

Ha ha. GPU GPU GPU lots of GPU Thing with video, it's like photography - but much, much, much, more expensive. More CPU, GPU, GPU, GPU lots of GPU, RAM (and lots of that too), super fast SSDs (especially for lots of videos on your timeline)... and then storage, hell, all the storage! Basically think of a computer with no scrimping on any components - and you're there.

Ah, I run a Dante clock so it's never really an issue in my setup... but could see that if the above is happening, it would be a little frustrating. In which case, if I was requiring retime, a tempo change to conform to a known time length would fix you. Cheapest (free) way of doing this would probably be in a tool like audacity. Not saying it would be a nice workflow - but could get you out of a spot.

You could always go the Hackintosh route. I only included it for other people who have got Macs I guess. But again... sorry

The audio is not really a problem as it can be easily transformed between formats without issue. It's when you try and mix 24, 25 and 30 fps that things gets difficult. Retiming of clips and dropping clips looks awful. You have to plan for a video - and the very first decision to make, is get the fps sorted.

Multicam in FCPX rocks - it syncs it all for you, then you simply click which angle you want as you watch it through.... but alas... mac. Sorry, I know that's no help.

Hitfilm express is probably where I would go for free on a PC. Gives a straightforward editing experience and the ability to updgrade features if required. It's not as well supported as the mainstream editors... but unlike the mainstream editors, in it's raw installation, it's free. Disclaimer: I'm on Mac. Resolve is probably my complex editor of choice - my camera shoots in BRAW so it's a natural choice for me but I do use the full fat version, not the freebie. It is however, a more convoluted editor compared to most out there - but once you have got your head around it, it's very powerful, especially if you are into colour correction in grading. It's available on PC - as you've found out, but win 10 centric I believe - but most of the cool advanced features are only available in the full fat paid for install. Final Cut Pro is probably the best in terms of simplicity but power. But alas, Mac only. The biggest thing though, when it comes to editing video, is having a beastly machine. Anything that is underpowered is going to be immediately apparent in the editing experience and the time it takes to do an final export. For those that are on anything but the most powerful machines, you'll start getting better results if you optimise your media - instead of using the off the camera recording, or set up proxies (essentially you are then editing with lower grade media for a more responsive editing experience but then the full res stuff is swapped back in for the final render. Having said all that, if you are just looking to top and tail, add some titles, or just put together a few multicam clips, most machines of the last 4-5 years should be able to handle HD ok. 4k+ maybe a different story however! And remember, storage costs start to rapidly rise for higher res!

Stay away from the Soundcraft SI - it's pretty long in the tooth and continues to be a bit buggy. A&H SQ5 with DX168 (96khz) would be where my money is going. I don't know how much IO you'll need onstage but the 168 gives you 16 ins and 8 outs on stage. You'll have local IO on the desk for things like matrix mixes out for video and other rooms. If you already have (an) analogue snake(s) in place, you can make use of what you've got I guess too. Add extra digital boxes in the future if needs be.

I wonder if the tickled trout are putting bands on

Cody - indeed, he'd never popped into my head but yeah, can get with your comments. For me, there's something about his personality that doesn't come across too well on social media. That's true for a quite a few bass players... some are absolutely loathsome.

Well, that killed the thread didn’t it?

As artists, whether it be music, or painting, cinema, they are all open to criticism, rightly or wrongly. Goes with the territory of the job.

Bela Fleck and the Flecktones. or when he plays with The Dave Matthews band. He can sit in with a band perfectly and play what I think you expect from a bass player. But it’s Victa - people want to see tricks. And it’s the tricks that surface on YouTube - purely because it’s stuff that he has innovated or most people simply can’t pull off themselves.

There's a prime candidate... but I'm not going to go there. Moving swiftly on before this thread goes south...

EBS HD350 - I don't know why but it sound slightly sweeter than the TD650. Bags of attack, sparkly, airy highs and a bit of drive brings in the warm and grit if required. Despite it's modest output, it's plenty loud of enough with loads of headroom due to the shelving of the subby mess in the low end. Use one in a band and you'll see what I mean. Old school maybe - but they aren't too big and heavy. The only thing I like better, is the HD350+ which is effectively the front end of the HD350 with the power amp of the TD650. Never was commercially available - but was commonly used by the likes of Marcus Miller.

I have to say though, my DJ5 Skyline was pretty good - no problems there. I think for the price I paid for it (I think it was about a grand at the time) was pretty decent value for money.

How I dream of having a house big enough in which to have a workshop!

I'm amazed at the prices Dan Lakin is commanding with new basses too, especially when he's so open that it's basically parts that he gets, then sends on to his assembler... to then chuck a massive price tag on it.