SH73 Posted April 11, 2016 Share Posted April 11, 2016 [quote name='Dave_the_bass' timestamp='1460281065' post='3024229'] I can see that would work really well in a full band mix and be nice and clear sounding. That's not a laughable eq setting at all,[b] it's the kind of setting we of the bass chat community advocate[/b]. [/quote] What works for you or for "we of the bass chat community" does not work for everyone. The OP does not state what venue the gig was at, carpet floor, pub furniture, stage layout, acoustics he. Therefore the guitarist in his band may have been correct with the settings. Quote Link to comment Share on other sites More sharing options...
PaulWarning Posted April 11, 2016 Author Share Posted April 11, 2016 [quote name='SH73' timestamp='1460365249' post='3024910'] What works for you or for "we of the bass chat community" does not work for everyone. The OP does not state what venue the gig was at, carpet floor, pub furniture, stage layout, acoustics he. Therefore the guitarist in his band may have been correct with the settings. [/quote] as I stated before (in the middle of a post so easily missed) it was in a pub, in the corner of the room on a raised hard wood area, a difficult sound check with lots of hard surfaces for the sound to bounce off, then the sound altered as the room filled up Quote Link to comment Share on other sites More sharing options...
TimR Posted April 11, 2016 Share Posted April 11, 2016 Low E is c40hz. Low B is c30hz. 30hz won't do anything unless you have a 5string. Quote Link to comment Share on other sites More sharing options...
Ghost_Bass Posted April 11, 2016 Share Posted April 11, 2016 You should really try cutting that 30Hz knob. I believe that in every TE manual they even say that it should be used for cut only To remove boominess you could cut everything below 100Hz and you probably wouldn't need to get to the extreme of having 40 and 60 Hz almost completely notched. that explains why you had to turn the 180 Hz so high as you removed a lot of punch going so low on 40 and 60. The rest of the EQ is self-explanatory to me seeing that you were using a precision bass No need for 10k and 15k and the rest is the common "V" colour. Quote Link to comment Share on other sites More sharing options...
Ghost_Bass Posted April 11, 2016 Share Posted April 11, 2016 I also see that you have the EQ blend half way, if the clean bass signal is already boomy you need to blend in more of the EQ section in order to cut it. That will also explain extreme settings. Quote Link to comment Share on other sites More sharing options...
PaulWarning Posted April 11, 2016 Author Share Posted April 11, 2016 cheers for the imput guys, a few things to try, regarding booming, it's funny old thing, I get it worst when playing E on the A string Quote Link to comment Share on other sites More sharing options...
KevB Posted April 11, 2016 Share Posted April 11, 2016 End of the day it doesn't matter what the hell the EQ settings [i]look[/i] like, it's what the sound that is coming through in a live gigging situation is like that matters. If you are getting compliments about the sound from your audience then it's worked, job done. With my TE combo I have elements of the 7 band EQ going on but also use the preshape and the inbuilt compression but also have a Hartke bassattack pedal in front of all that as well. Some of it may well be cancelling each other out but it seems a bit pointless fiddling about even more just to prove that to myself, the final product is a sound that works for the bands I've been playing in and I know it well enough to know what to tweak if required in certain live situations. Quote Link to comment Share on other sites More sharing options...
Japhet Posted April 11, 2016 Share Posted April 11, 2016 The only time I have had to do anything drastic with EQ is when playing on a raised stage which can make everything boom like crazy. Quote Link to comment Share on other sites More sharing options...
luckydog Posted April 11, 2016 Share Posted April 11, 2016 Different sound when playing the same note on different strings is probably due to overtones/harmonic content being different and the way the instrument or the amp/cab/room behaves with those overtones....... Different tonal quality of the same note on different strings is normal to an extent, it's part of the instrument. If overtones resonate that is when it becomes prominent. Try different gauge/brand/wind strings HTH! LD Quote Link to comment Share on other sites More sharing options...
bassjim Posted April 11, 2016 Share Posted April 11, 2016 Its a long one so sit down and get comfy................. Pretty much every room = different eq for me. Also empty room at soundcheck will need something different to when there is an audience in it. Also volume of other band members and their eq in relation to where they are positioned ect ect. For example, this just gone weekend I was playing a 30th birtday party in a club that had a nice raised stage area but the rest of the main room was wooden floor and flat walls. If I boosted the lows on the amp..... (bass = passive with tone full up or just shy of full up. Pick ups from back to both to front depending on tune being played)..... with the room empty = boominess = dont boost the lows. Once the room filled with people = now safe to boost the lows cause they are soaking it up. Floor empties = more adjustment and so on. Mids and highs = change on the fly for same reasons as above. Also if the drummer gets suddenly over enthusiastic or maybe the gitard enevitably turns up, this will/could destroy a great tone because what was perfect at the previous volume has now changed. I may well turn up to compensate or wait till end of that number and wave to the offender, smile and point to the ground whilst mouthing "you are f***ing loud." and hope there is enough respect to turn it down. Or turn up and be louder. If you are standing almost on top of the amp what sounds right here is different to just a few feet away. You dont always get a few feet if its cramped for space so if someone says ..turn it up/down this could seem wrong from where you are standing so maybe go with that advise if you trust who is telling you this. All in all for most venues I havent played in before, if its a difficult room it could be tweaking as we go along. If its a known difficult venue, I know in advance its going to be a tweak night and just get over it. If its a good bass player friendly room, minimal eqing required, and the audience stays pretty much where they are...eg: packed pub it will be a good one. For my money its a case of know your gear, know your bass and know what you can expect to get out of it which also comes from experience of gigging a lot,like most weekends at least..... which may not help in the short term as this is not an easy one size fits all fix. How to use the gear effectively in all situations is as much the learning process of actually playing it I think because if you cant translate what you want to say live when ever possible no one will ever appreciate what you are putting into it. If its all going through a PA....rules have changed and now you need to........... you get the idea! Theres' soundcheck volume and then theres' mid gig volume. All band members are having their own personal issues with volume and tone along the way so sometimes its constantly evolving and sometimes its great from start to finish. EQing.........bass tone.......all a bit of a nightmare really.. All the above from personal experience over 30 years gigging. It works for me personally so if any of it helps...... Quote Link to comment Share on other sites More sharing options...
PaulWarning Posted April 11, 2016 Author Share Posted April 11, 2016 [quote name='bassjim' timestamp='1460372519' post='3025004'] Its a long one so sit down and get comfy................. Pretty much every room = different eq for me. Also empty room at soundcheck will need something different to when there is an audience in it. Also volume of other band members and their eq in relation to where they are positioned ect ect. For example, this just gone weekend I was playing a 30th birtday party in a club that had a nice raised stage area but the rest of the main room was wooden floor and flat walls. If I boosted the lows on the amp..... (bass = passive with tone full up or just shy of full up. Pick ups from back to both to front depending on tune being played)..... with the room empty = boominess = dont boost the lows. Once the room filled with people = now safe to boost the lows cause they are soaking it up. Floor empties = more adjustment and so on. Mids and highs = change on the fly for same reasons as above. Also if the drummer gets suddenly over enthusiastic or maybe the gitard enevitably turns up, this will/could destroy a great tone because what was perfect at the previous volume has now changed. I may well turn up to compensate or wait till end of that number and wave to the offender, smile and point to the ground whilst mouthing "you are f***ing loud." and hope there is enough respect to turn it down. Or turn up and be louder. If you are standing almost on top of the amp what sounds right here is different to just a few feet away. You dont always get a few feet if its cramped for space so if someone says ..turn it up/down this could seem wrong from where you are standing so maybe go with that advise if you trust who is telling you this. All in all for most venues I havent played in before, if its a difficult room it could be tweaking as we go along. If its a known difficult venue, I know in advance its going to be a tweak night and just get over it. If its a good bass player friendly room, minimal eqing required, and the audience stays pretty much where they are...eg: packed pub it will be a good one. For my money its a case of know your gear, know your bass and know what you can expect to get out of it which also comes from experience of gigging a lot,like most weekends at least..... which may not help in the short term as this is not an easy one size fits all fix. How to use the gear effectively in all situations is as much the learning process of actually playing it I think because if you cant translate what you want to say live when ever possible no one will ever appreciate what you are putting into it. If its all going through a PA....rules have changed and now you need to........... you get the idea! Theres' soundcheck volume and then theres' mid gig volume. All band members are having their own personal issues with volume and tone along the way so sometimes its constantly evolving and sometimes its great from start to finish. EQing.........bass tone.......all a bit of a nightmare really.. All the above from personal experience over 30 years gigging. It works for me personally so if any of it helps...... [/quote]add to that a tone alters a lot as you get further away and without a sound engineer and a separate mixing desk you're relying on people you trust to advise you what you sound like, like you said a nightmare really Quote Link to comment Share on other sites More sharing options...
gafbass02 Posted April 11, 2016 Share Posted April 11, 2016 It's got that 'dammit I can't get loud enough' look about it Quote Link to comment Share on other sites More sharing options...
PaulWarning Posted April 11, 2016 Author Share Posted April 11, 2016 [quote name='gafbass02' timestamp='1460377543' post='3025094'] It's got that 'dammit I can't get loud enough' look about it [/quote]sussed! Quote Link to comment Share on other sites More sharing options...
luckydog Posted April 11, 2016 Share Posted April 11, 2016 [QUOTE]add to that a tone alters a lot as you get further away and without a sound engineer and a separate mixing desk you're relying on people you trust to advise you what you sound like....[/QUOTE]Good FOH engineer operating good PA who knows what you're aiming for, and as quiet bass sound as works pointing across the band for monitoring so that FOH engineer actually has control of what it sounds like at the front......that's the way to fly IMO. Discipline in the whole band as to levels. Even for pub gigs that's what we do these days, and it helps keep FOH level relatively quiet and under control. Takes the strain out of getting good sound, and can focus on playing, no twidling as the gig wears on, just focus on playing. It means thinking of the FOH engineer as part of the band - that's what we do. LD Quote Link to comment Share on other sites More sharing options...
sunburstjazz1967 Posted April 11, 2016 Share Posted April 11, 2016 Unless you have superior cabs and play dub step I'd cut below 60hz completely. A low B still sounds just fine without the fundamental sucking the amps power and flapping your cones about for no reason. Quote Link to comment Share on other sites More sharing options...
SH73 Posted April 11, 2016 Share Posted April 11, 2016 [quote name='PaulWarning' timestamp='1460367724' post='3024934'] as I stated before (in the middle of a post so easily missed) it was in a pub, in the corner of the room on a raised hard wood area, a difficult sound check with lots of hard surfaces for the sound to bounce off, then the sound altered as the room filled up [/quote] You could've chuck some people around to make it sound better. Quote Link to comment Share on other sites More sharing options...
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