Chrismanbass

I was the engineer running the show last night and the guy that legged it on stage to plug christians mic back in at the top of the show they were incredible especially the last number going through the soul hits some of those lines i struggle with on electric let alone upright plus to boot they're all lovely guys an a pleasure to deal with be interested to hear your thoughts on his bass sound?

[quote name='mr zed' timestamp='1383007103' post='2259164'] I've never been a fan of Jazz but since my better half bought herself an alto sax and started to play some basic Jazz, she has had the desire to go down to the Big Smoke and experience Ronnie Scott's. Doesn't matter who's on, she just fancied the experience. Well, last week we found ourselves down in London for a couple of days and on Thursday we got to see The Mingus Big Band who were playing there all week. The evening started really well as it looked just as expected - like something out of a 1960's London gangland movie. We ordered food and the support came on - an outfit called the Mark Gorman Trio. The compare introduced the band "and on the Bass Guitar - Laurence Cottle". Hangon, did I just hear that right? Sure enough, there was the man himself playing a rather tasty TRB5P11. We were treated to 45 minutes of pure magic by 3 virtuoso musicians. The burger and chips (or what are known as 'fries' in London) weren't half bad neither. A quick stage change and Mingus were on. A 14 piece band who are based in New York and anchored by Boris Kozlov on double bass. This guy was just brilliant as were the whole band. If you ever get the opportunity......do it. So, as someone who has no interest in Jazz, I would say that anything done well live can be enjoyed by anyone who isn't blinkered to a specific genre. (On the Friday we went to see The Commitments on the West End and again the music was impeccable. Off to see the Stereophonics on 14th Nov in Manchester). Still not sure I could get on with Opera though! [/quote] I'm glad you had such a good time. I work there and its always nice to hear good things said about ronnies (i'm the engineer with the basschat necklace on if your interested) i've found that pretty much everyone who comes in with an open mind has pretty much the same experience although listening to jazz recorded has never been that offensive to me experiencing it in a live venue with people who really care about the music they're playing is something else i've had so many great experiences working there.

[quote name='Roger2611' timestamp='1382903644' post='2257876'] I am wondering if some Perspex acoustic shields might make the acoustic kit useable in smaller venues [/quote] they only work if you full mic the kit and who knew but perspex is brilliant at reflecting sound plus its another big heavy piece of kit to carry around

buy the RCF's all day long the qtx stuff is good but as already mentioned they're made to be cheap the RCF stuff is great quality and will be built to last and you'd be surprised how much bass you can get out of them give me a pm if you have any more questions chris

hi dusty theres an alleyway round the back called berners place from what i remember you load into the club from there just be aware theres a couple of flights of stairs between street level and the club the last band i played in there with brought our own monitor desk and toured with a real flightcased rhodes as far as parking is concerned most of the on street parking around there and soho stop charging at 6.30pm however be careful not to park in the bays for residents as they're 24hr

i would do but i dont want to get drooled on

[quote name='ezbass' timestamp='1381074105' post='2234013'] I didn't want to be the first to say this, so glad I'm not alone. I have often been underwhelmed by their renditions. The MD often picks the wrong key for the singers (the guy straining on Beat It last night was not nice), the timing is often way off (not good when the dancers practice to the original recordings) except when they use a drum machine. I get that it's very hard to learn all that new stuff every week, but they're pros aren't they? As much as I don't like SR as a news person, she does seem to be able to dance quite well; I think she'll go far. [/quote] they dont learn anything the songs are picked on the monday, arrangements done by thursday and then dress rehearsal before the show its all pretty much sight reading with one maybe two runs through before the show goes live

He's the musical director on this gig and you can really tell

depends on context but for most things yes absoloutely its easy to eq out tones you dont want but its impossible to put them in if they're not there

Hi mate overall not a bad attempt at a mix not a professional mix imo and not ready for mastering (the mastering engineer probably just send it back to you) i agree that the vocals aren't loud enough and they're a little inconsistent (tuning wise) the guitars are little muddy too much low mid as much as the massive sub sounds probably sound awesome on studio monitors but on most systems (most people will listen on laptops or ipod headphones for example my mac speakers dont go below about 150hz and to my ears they're a lot better than most laptop speakers) it won't come across and will just serve to muddy up the mix. the overheads aren't really coming across properly the rest of the kit sounds nice and tight whereas none of the cymbals are coming through the mix properly the bass needs more high mids to make it more distinct and maybe a little bass cut overall i think the mix is very bass heavy theres not much definition to any of the instruments and the balance is a little off at some points [color=#282828][font=helvetica, arial, sans-serif]51m0n is a lovely guy and an awesome engineer he'll set you right and i'm sure you'll be happy with the end result [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]i hope i dont seem to harsh but i listened to the mix on 2 different sets of headphones, my studio monitors and finally my laptop speakers and the observations are consistent over all of them [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]just as a side note i love the music its right up my street if you guys have any gigs in london i'd love to see you live [/font][/color]

"[color=#000000][font=sans-serif][size=3]Francis "Rocco" Prestia has built one of the pillars which support the modern [/size][/font][/color][url="http://en.wikipedia.org/wiki/Electric_bass"]electric bass[/url][color=#000000][font=sans-serif][size=3]. He is a master of [/size][/font][/color][i]fingerstyle funk[/i][color=#000000][font=sans-serif][size=3], a technique that he interprets in a very personal way. Prestia lightly mutes the strings with his left hand to get a percussive sound with the pitch remaining clear and accurate. That characteristic sound, in combination with a highly inventive melodic approach to bass lines makes Prestia's sound unmistakable.[/size][/font][/color][color=#000000][font=sans-serif] [size=3]With [url="http://en.wikipedia.org/wiki/James_Jamerson"]James Jamerson[/url], [url="http://en.wikipedia.org/wiki/Stanley_Clarke"]Stanley Clarke[/url], [url="http://en.wikipedia.org/wiki/Anthony_Jackson_(musician)"]Anthony Jackson[/url] and [url="http://en.wikipedia.org/wiki/Alphonso_Johnson"]Alphonso Johnson[/url], "Rocco" Prestia belongs to the generation of bassists that, a few years before, made possible the great revolution on the [url="http://en.wikipedia.org/wiki/Electric_bass"]electric bass[/url] that [url="http://en.wikipedia.org/wiki/Jaco_Pastorius"]Jaco Pastorius[/url] entailed with his innovations on mid-1970s. The influence of Prestia over the great bassist, that Jaco recognized openly, is clear on classic [url="http://en.wikipedia.org/wiki/Tower_of_Power"]Tower of Power[/url] tracks as the 1973 hit "What is Hip". On the other hand, Rocco cites [url="http://en.wikipedia.org/wiki/James_Jamerson"]James Jamerson[/url] and the different musicians who worked for [url="http://en.wikipedia.org/wiki/James_Brown"]James Brown[/url](particularly [url="http://en.wikipedia.org/wiki/Bootsy_Collins"]Bootsy Collins[/url]) as his main influences.[/size][size=2]"[/size][/font][/color] [color=#000000][font=sans-serif] If you don't know who he is check out tower of power (the band he plays for) [/font][/color] [color=#000000][font=sans-serif] [url="http://www.youtube.com/watch?v=lpMW7WrUW4o"]http://www.youtube.com/watch?v=lpMW7WrUW4o[/url][/font][/color] [color=#000000][font=sans-serif] [url="http://www.youtube.com/watch?v=fcL23m9QuaM"]http://www.youtube.com/watch?v=fcL23m9QuaM[/url][/font][/color]

[url="http://www.garage57.co.uk/"]http://www.garage57.co.uk/[/url] i'm an engineer here if your interested in using our piano room give me a pm and we can sort something out cheers chris

not bass playing but landing myself the gig of doing sound at ronnie scott's is something i'm immensely proud of bass playing wise its probably playing with my current band kanobi knights doing a live web stream in front of thousands of viewers [url="https://soundcloud.com/kanobiknights"]https://soundcloud.com/kanobiknights[/url] (in case anyone wants a listen)

instead of buying a new amp have you considered using a switcher between two input sources would be a lot cheaper than buying a new amp if you only need two inputs i had a friend of mine make one up for me with led's to show which channel is active for about £40

[quote name='bigd1' timestamp='1375035022' post='2156003'] The only way to sight read is practice, I don't believe software of any type can teach this as it's a thing you can only do with PRACTICE no short cuts, sorry. Ta very glad BIGd [/quote] i think the op is asking for sources of fresh material rather than a shortcut and yes it does do bass clef you have to go into settings and theres an option to change there also have you checked out this sticky on the forum theres plenty of very diverse material in there which should keep you going for a while [url="http://basschat.co.uk/topic/155000-individual-songs-bass-scoredots-where-from/"]http://basschat.co.uk/topic/155000-individual-songs-bass-scoredots-where-from/[/url]

[url="http://www.practicesightreading.com/"]http://www.practicesightreading.com/[/url] give this site a go its well worth the fee to join for the extra features as well

[color=#282828][font=helvetica, arial, sans-serif]Hi guys[/font][/color] [font="helvetica, arial, sans-serif"][color="#282828"]i've just purchased a set of these monitors and since there's not a great amount of literature on moulded in ears on the internet and its difficult to test these products out before you buy them i've written a review [/color][/font] [color=#282828][font=helvetica, arial, sans-serif]Price - £370.00 (plus £30 for moulds)[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I think this is a fairly reasonable price for triple driver units its around the same price as 1964’s and JH Audio’s triple driver offering and way below ACS’ T1’s (I’m aware the T1’s are made from silicone which accounts for some of the price difference) the only sticking point is that they are based in the US so shipping takes a little longer that it would do with a company based in the UK and obviously if there are any problems with them they have to be shipped back to be repaired.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Feel[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]At first there is a little discomfort wearing the C3’s as I’m used to my Shure se215’s (which if anyone is looking for a cheap alternative to moulds I highly recommend I’ve used them for 2 or 3 months before I had my C3’s and they did the job) however that being said you do get used to them after a few hours and they feel snug and secure even with the cord not pulled up the back of your neck.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Sound Quality[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The sound huge! Everything is nice and defined I went for the normal C3 which have 2 low drivers and then a mid high driver as I wanted the extra punch in the low end to hear my bass they achieve this and more having 2 low drivers doesn’t muddy the sound at all its still very flat however there is just a little bit more low mid grunt which is very pleasing to my ears. The stereo spread is excellent too if something is panned slightly you hear it exactly where it’s supposed to be which is great if your running your in ears in stereo as when you hear a guitar it sounds like its coming from the amp rather than from inside your head which can happen when running in ears in mono[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Look[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I’m not big on looks to be honest I couldn’t really care what something looks like as long as it works but just a little note some of the colours on the alien ears website are not standard colours I ordered my monitors in green expecting it to be the nice neon green which is shown on the website. When I took delivery of them they came back as a darker kind of olive green, but like I said not a major issue I don’t really care what they look like.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Overall[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]First impressions of these monitors are great not many drawbacks and they sound great for the price I paid for them. I haven’t had chance to properly road test these yet so I can’t really comment on the durability of them, but one piece of advice I would give is check out the guys over at The Headphone Company these are the guys I used and the service was great I wasn’t the easiest customer to deal with and Paul took care of me and made my life easy it also means that I have a uk distributer to deal with so If I have any issues they will deal with alien ears on my behalf (international phone calls and shipping adds up) which is a nice safety net to have. So overall definitely recommend these to anyone looking to take a step up with their in ear monitoring and get moulds done. [/font][/color]

Hi guys So as promised heres my review of alien ears C3’s Price - £370.00 (plus £30 for moulds) I think this is a fairly reasonable price for triple driver units its around the same price as 1964’s and JH Audio’s triple driver offering and way below ACS’ T1’s (I’m aware the T1’s are made from silicone which accounts for some of the price difference) the only sticking point is that they are based in the US so shipping takes a little longer that it would do with a company based in the UK and obviously if there are any problems with them they have to be shipped back to be repaired. Feel At first there is a little discomfort wearing the C3’s as I’m used to my Shure se215’s (which if anyone is looking for a cheap alternative to moulds I highly recommend I’ve used them for 2 or 3 months before I had my C3’s and they did the job) however that being said you do get used to them after a few hours and they feel snug and secure even with the cord not pulled up the back of your neck. Sound Quality The sound huge! Everything is nice and defined I went for the normal C3 which have 2 low drivers and then a mid high driver as I wanted the extra punch in the low end to hear my bass they achieve this and more having 2 low drivers doesn’t muddy the sound at all its still very flat however there is just a little bit more low mid grunt which is very pleasing to my ears. The stereo spread is excellent too if something is panned slightly you hear it exactly where it’s supposed to be which is great if your running your in ears in stereo as when you hear a guitar it sounds like its coming from the amp rather than from inside your head which can happen when running in ears in mono Look I’m not big on looks to be honest I couldn’t really care what something looks like as long as it works but just a little note some of the colours on the alien ears website are not standard colours I ordered my monitors in green expecting it to be the nice neon green which is shown on the website. When I took delivery of them they came back as a darker kind of olive green, but like I said not a major issue I don’t really care what they look like. Overall First impressions of these monitors are great not many drawbacks and they sound great for the price I paid for them. I haven’t had chance to properly road test these yet so I can’t really comment on the durability of them, but one piece of advice I would give is check out the guys over at The Headphone Company these are the guys I used and the service was great I wasn’t the easiest customer to deal with and Paul took care of me and made my life easy it also means that I have a uk distributer to deal with so If I have any issues they will deal with alien ears on my behalf (international phone calls and shipping adds up) which is a nice safety net to have. So overall definitely recommend these to anyone looking to take a step up with their in ear monitoring and get moulds done.

[quote name='mike257' timestamp='1372895159' post='2131483'] Little bit of a stretch to your budget but has 16 mic pres, full recall and iPad/iPhone remote capabilities is a used Yamaha 01v96. I'm using a first generation 01v with my function band (we had a limited budget and I bagged it for under £200!) and whilst its possible to bodge wireless control with a laptop and a router in between, I do think the 12 mic pres will be limiting for bigger shows, so I'll be hiring in on anything large. Easy to navigate once you get a feel for where everything is though, and (as with all the decent digi stuff now) all your outboard is, err, onboard! [/quote] we use one of these for our function band and as long as your not running horns or anything like that you should be alright with a regular 5 piece on it even if you want to full mic the drums. i'm expecting delivery of a set of alien ears c3's on monday (their triple driver models) i'll do a review of them once i've had chance to road test them on a gig

[quote name='cloudburst' timestamp='1373403704' post='2137283'] Did he sing "I Really Don't Wonton Know"? I'll get my coat. CB [/quote] jailhouse wok?

Having skim read through this thread (sorry if this has been covered already) i figured i'd post this up here for you to gain some insight from the other side of the desk this is the process i go through when sound checking bass as an engineer first off i speak to the band about their general sound then i will ask each of the band members if there is anything specific i need to know about their sound. after this i'll explain what mic's/ di signal i'm using and why with the bass player generally its a pre eq di out of the head and if they're feeling really extravagant an RE20* on the bass cab although in the venue i work in its really not necessary after this and once i've sound checked drums i'll ask the bass player to play whilst i have nothing turned on in the house (this is the big mistake most engineers make) this way i've heard what his bass amp sounds like on its own and i have a fairly good idea of how its supposed to sound after this i'll turn the bass on in the house and start eq'ing my aim being to get as close to the sound original sound the bass player was making whilst doing this i'll be muting and unmuting the bass in the house to check that there is no difference in tone after this i'll move on to the other instruments (at this point i havent established whether the bass tone i'm using will work in the context of the band but at least i know what the bass player wants) when the whole band are playing i'll sort out the levels of the band and any general niggles and then check everybody's tone if they work then don't mess around with them its only if they don't then you start changing the sound as little as possible to get the desired effect (if the bass sounds thin then there isn't enough 75-125hz in your eq, if its not cutting enough then around 700hz to 1k is where you need to look if you want more of what i call clank i.e string and fret noise its around 2.5khz**) and then in theory you should have a sound which you and the bass player can live with. imo the main points to think of are this 1. its the bass players sound not yours of course you have to mould it a bit but they know the band better than you 2. communication is key and giving the feeling that you are both pulling in the same direction 3.knowing what frequencies do what is key as it makes life very simple some context of course i'm speaking from my own experience and luckily i'm spoilt at the venue i work at i have all the toys to play with and this makes my life very easy (digital desk, very dead room, mic cabinet stocked with expensive mic's) however this process works just as well in a venue with a crappy behringer desk and knackered pa it also assumes that i have the correct amount of time to do all this notes *[url="http://www.electrovoice.com/product.php?id=91"]http://www.electrovo...oduct.php?id=91[/url] (electrovoice RE20) ** [url="http://www.independentrecording.net/irn/resources/freqchart/main_display.htm"]http://www.independe...ain_display.htm[/url] (chart which is useful for knowing what frequencies instruments produce)

£1.09/ lovely mark bass watts

[quote name='tedmanzie' timestamp='1372518966' post='2126737'] any TV sound engineers here? i'd like to know how they mix for broadcast. i'm assuming they get the dry stage mix and blend it with the 'sound out front' to create a similar sound to being in the audience? i usually think it would nicer to here a bit more of the stage mix and less of the out-front sound. the glasto Chic performance to me sounds exactly like being in the audience - i.e. huge kick drum and gigantic frequency filling bass. [/quote] IME its all run from 4 way splits on stage so one incoming signal in splits into 1. foh 2. monitors 3. recording 4.broadcast n then they have someone mixing it for broadcast so they're working with the same signal as the foh guys but obviously having to mix it differently cause its being transmitted and played through different speakers

we do 2 or three medleys in one of my function bands they are blame it on the boogie/superstition/i wish (all songs in eb makes for easy transitions) one love/stir it up/three little birds (all songs in A so again easy transitions) abba medley (dancing queen/does your mother know/money money money/mamma mia/waterloo)

thanks its saved my ass a few times when i've gotten weird and wonderful instruments thrown at me edit: what i tend to do with a kick drum is roll the high down until it starts to affect the sound. Turn the mid frequency selection to around 5khz this is generally where the sound of the beater is and then use the mid and low (usually set to around 50hz on a 3 band eq) to find a sound that works for me. Low will give you more boom and chest thump and mid will give you the click sound which will help to make the kick cut through in a mix too much of either sounds bad but it is possible to get a good kick sound out of a 3 band eq (even on a behringer mixer) this is just what works for me n i've tried to explain what i do in laymans terms feel free to give me a pm if you want