geoham

Harsh... but probably fair!

Mostly in the IEMs. I'll have a little kick going to FOH, but never any more than this in small venues.

The thought has crossed my mind... especially when comments seem to suggest that root cause is poor mixing rather than a pair of loud speakers barely 4 feet from a cranked vocal mic being pointed in all directions. Just turn down the gain and tweak the EQ. Easy. Until I hand over the iPad to someone else obviously!

You're probably right on the drum screen. The guy can play quietly, he does so in his much more serious folk originals band, where he also uses a smaller kit. I think he sees our rock/pop covers band as an escape from this. I'm frustrated for sure, but we do want to keep him on side. To be fair, he's a good bandmate overall. He learns all the material properly and plays it with enthusiasm. He shows up on time and stays sober a gigs. As bassist, I feel I can lock in with him really well. Almost the perfect drummer! We had other drummers before and it hasn't always been the case.

A very good point. I'd love to, but that's a whole other conversation... One pub in particular which I can't stand is owned by our singer's neighbour. It's tiny and they've got no business having more than an acoustic duo playing really. But our singer is a bit of a local celebrity, and the bar does well when we play - so it's going to be a mainstay for the gig for the foreseeable unfortunately.

That's definitely slimmer than I was expecting. Do you know the make & model by chance?

We've joked about this - but don't they take up quite a lot of floor space?

I play in a pub-band, and also run sound - mostly from the stage which obviously isn't ideal, but what can you do in a pub when playing for beer money? We've no amps on stage, the whole band is also using IEMs except one member who uses a floor monitor. All generally works well is larger pubs, but I am really struggling with feedback in smaller places. You know type of place.... you can feel the crash cymbal whooshing past your ear and the singer is almost sitting on bass drum! Ultimately, our drummer is very loud. He's a hard-hitter, and it seems his kit is designed to be loud - large shells, cymbals etc. By the time I get a good balance between drums, guitar, bass and keys - I need to really crank the vocals meaning feedback if the vocalist even slightly moves the mic. The alternative is a drum-heavy mix - which is my go-to at the moment. In the past I've suggested that the drummer use a smaller kit (he has a few), or perhaps use a lighter hand. It didn't go down well. Basically he'd rather not play than compromise his playing or equipment choice. He's a very good drummer, and a long time friend of two band mates - so replacing him isn't an option. I've got a feedback destroyer on our main outputs, which has helped. I know it's not ideal, but the alternative of ringing out feedback in a pub full of punters when we've got an hour from unloading the van the set starting isn't really feasible. Do any of you have any advice mixing around a loud drummer, in particular eliminating vocal feedback in tight spaces?

It's a really good point. Positive delivery experiences definitely make me more likely to use a company - simple things like providing you a delivery slot in advance and sticking to it. I'm not the type to say I won't order from a company that use Evri, but I have a few examples of companies where Evri have 'lost' things that I haven't purchased from again. I know the retailers will always make things right eventually, but it's the inconvenience I can't be dealing with. Like, I purchased a lawnmower and strimmer set in the summer. Arranged to work from home so I was in for it. Doesn't turn up, it's status is 'delayed'. It will allegedly be with me the next day. Several interactions with Evri's online support, two emails and a call to the retailer and I eventually get my delivery about 10 days after it's original delivery date via a different courier. I can't fathom how such large boxes get 'lost' by couriers when everything is tracked by technology The company is almost certainly out of pocket, and I'm not buying from them again.

No surprises at all. When I get Evri tracking details for something, my heart fills with dread. I've had so many things marked as 'lost' with them, some fairly high value. I know that companies will build in a certain amount of courier loss to their pricing, but I do wonder how much they are actually saving by using Evri to save a marginal amount per delivery. I wonder if someone has actually run the numbers?

Reading this thread again after it's recent resurrection got me thinking about the situation with Delain. (Dutch symphonic metal band) It's a modern band, rather than the classic examples discussed here - but a similar situation. Short version of events: It started as a solo project by keyboard player Martijn Westerholt. Rapidly evolved in to an actual band, with several line-up changes over the years, but with the same lead vocalist, Charlotte - who was also the main lyricist. After about 15 years, Martijn decides he wants it to be his solo project again, suggests the band continue as session members. The band all quit. Martijn recruits new members and continues Delain. Charlotte launches a solo career. All of the final lineup of Delain - other than Martijn - now play in her band. We have the slightly absurd situation both the new Delain lineup and Charlotte's band are touring simultaneously. Both playing in the UK in November, sometimes in the same venue within a matter of days. They don't in fairness, seem to be playing the same material.

These explanations do make some sense. We have a couple of powerful subs, and I can make myself be felt as well as heard by cranking the bass control on my preamp - although, it's typically not the kind of sound I'm after. I use a good bit of drive and my tone often goes in to 'fake rhythm guitar' type territory, especially when our guitarist is playing lead. I also normally high-pass my signal to reduce muddiness, but not at too high a frequency - perhaps 50hz from memory. Punters... who'd have them!?

I had a rather weird interaction with a punter at a pub-gig on Saturday. To set the scene... myself and the guitarist plug in to the PA via modelling rigs, and the band mostly use IEMs to monitor. It's a well powered system with subs. I'm mixing from the stage - obviously far from ideal, but what can you do in a pub? We've got a digital mixer and settings are saved between gigs - generally meaning only minor tweaks are needed in different venues. The singer will pop out to have a listen during instrumental sections, and I will do so a few times at the start of the night -I'm using a wireless system. Anyway, during the first song I've got a punter complaining that he can't hear the bass. I pop out front and the bass is clear as day. I stop playing for a second - and let him know when I'm coming back in. "You're not even plugged in! Where's your amp?" was his response! I return to stage, have a quick look at my my iPad to visibly check my levels and get back to to it. I confirm with my singer that the bass sounds okay in the mix. The punter is sitting with his fingers in his ears. He explains to me at the end of the first song that you are supposed to mix bass with your fingers in your ears. If it doesn't sound clear that way, then you need to turn it up. I play a couple of notes without the band - 'Much better - I can actually hear you now'. (I've not touched a thing!) I'm not a quiet bassist by any stretch of the imagination. I do try to keep the band level as low as possible to avoid having to crank the vocal mics and the feedback issues that this gives in a small pub. Not that low though - we've got far too noisy a drummer! I guess my post is part anecdote sharing - there's always a punter with a view on the mix, and I often wonder if they've been to too many gigs without hearing protection. However, bass isn't normally what folk ask to hear more of. Have any of you ever encountered the 'fingers in the ears' technique before? Seems incredibly weird to me...

The only thing I've been able to find myself is the dual-concentric pot, which also has a 4 pin connector. I know the basics of how a potentiometer works, and can't quite figure out what a 4th pin would do. (From https://cs.hoshinogakki.co.jp/pcw.nsf/item.xsp?documentId=0C425671AE1BCBD449258A580032410A&strItemKey=3VPVM44A__5C_01&curSuffix=5C01&curFromYMTX=&curToYMTX=&strMode=newpage#) What I though would be a straightforward mod may be a little more complex. That little crimping set does look like a useful tool though, it would also make swapping the pickups a much easier task - thanks.

I do indeed like a challenge. Although replacing the pre-amp with something a bit more capable is probably a good idea. I may even do the pickups too. This is my main gigging bass now due to its light weight and it didn't cost me much, so don't mind spending a few quid on it. Cheers, George

Having spent some more time a bit more time trawling the internet, I've found the parts I need for the mid-frequency mod. However, I've no idea where (or if) I can buy these! Dual concentric pot: https://cs.hoshinogakki.co.jp/pcw.nsf/item.xsp?documentId=0C425671AE1BCBD449258A580032410A&strItemKey=3VPVM44A__5C_01&curSuffix=5C01&curFromYMTX=&curToYMTX=&strMode=newpage# 4 pin connector cable https://cs.hoshinogakki.co.jp/pcw.nsf/item.xsp?documentId=0C425671AE1BCBD449258A580032410A&strItemKey=3CH4075HH__5C_01&curSuffix=5C01&curFromYMTX=&curToYMTX=&strMode=newpage There's a link to a parts catalog on the Ibanez site. From there, I could find the same pre-amp module - then other basses it was used with, and found one with a sweepable mid. Regarding the bypass - it appears that this is a non-starter. There are two almost identical versions. Mine, which says 'Bypass short' and another that says 'W / Bypass'. It appears that all basses with a bypass switch use the latter. I tried simply shorting the pins, but it has no effect. Following the PCB tracks, it looks like they are shorted on the board. Seems a weird design choice - probably done to keep manufacturing costs down. @lemmywinks Below is a picture of the 4 pin connector for the mid-frequency control. If I can't find the above part, I may just use a generic pot if I can find the correct connector type. (I'll also need to figure out how to wire a 3 pin pot to 4 connectors - 3 are labelled "SIG' and one "BIAS". But that's a problem for another day!)

Thank you, I'll get in to again and see if I can get a good picture.

Thanks, that's helpful about the 2 mid frequency options. I do like the Tonerider P pickup - one transformed my old Mexican P immensely. The red one look the best though - lovely.

Hey guys, I've been using an Ibanez305E as my main gigging bass for the past few months. While it's fairly entry level, the weight of it means I avoid backache the next day. It plays well enough, but I miss the safety net of a preamp bypass and flexibility of switchable mids that my last bass had. I also don't really need the coil-tap, but no harm in it. I had a poke around inside, with a view of perhaps upgrading the pre-amp and maybe the pickups too. I noticed the pre-amp module has unconnected mid-frequency and bypass sockets. I'm wondering how best to utilise them? Ideally I'd like to replace the volume with a push-bull to control the bypass and a dual-concentric mid controller - both with drop-in parts similar to the solderless connections already in there. Presumably they do exist and are being used on other models, but the power of Google isn't helping me find what I need. Alternatively, I know I could hack something together with regular pots - I'd just need to know where to find those little push-in connectors to attach to the PCB. I'm really keen to hear from anyone with any knowledge, or experience in upgrading the electronics on these basses. Thanks, George

Perhaps nobody will care! I'm forever saying I care more about getting folk up dancing than the opinion of so called 'musos' hanging out at bar nursing a pint. Very sensible advice you've given too, thank you.

So, the pub band have suggested Level 42's Lessons in Love. Great song and will work well in our set. However... playing the slap bassline is another matter! I can play it right through with regular fingerstyle playing, but slapping I'm sounding quite messy and can't quite keep it up for the whole song. I've never played a great deal of slap to be fair, although it's not totally unheard of. The guys in the band are saying nobody will care and just play it with my fingers, but I disagree - I think it is one song where the bassist's technique will be noticed! Does anyone have any advice on technique or stamina, other than the obvious one - PRACTICE! Thanks, George

My family use it as part of Apple One. It works out decent value, given it gives us all music, Apple TV+, games and storage. I was a long time Spotify users, but got sick of waiting for them to introduce a higher quality service. I'd probably never notice in a blind-test, but I do like to listen to music in lossless when I can. I read that even if you can't really tell the difference, it can be more fatiguing to listen to lossy music as your brain fills in the gaps. In any case, I'm of the view that there's no practical reason not to make lossless music available now - bandwidth and storage limitations aren't what they once were. Where I can tell the difference for sure is with spatial audio / Dolby Atmos. These mixes sound great on my headphones, and even better on my Sonos setup at home. It really does breath new life into some older material. I'd previously tried Tidal and Qobuz. I liked them too, but the lack of a family plan at the time left me paying that for my own lossless needs along with Spotify for the family. I also gave Amazon music a bash - which offered lossless on a family plant at a good price.. There was a good enough selection and I had no issues with the quality - however I found the UI wasn't great, the app buggy and the integration with Sonos a bit flakey. My family really didn't like it at all. So, I think I've tried all the main platforms except Deezer over the past few years. I've had Apple Music for well over a year, and it's the one that ticks all of my boxes. George

Purchased a gig bag from John. No fuss transaction, responded to messages quickly and very easy to deal with. Item sent almost immediately after payment and arrived in perfect condition. George

I think the above answers are correct. Any active bass I've had has been passive pickups and an active preamp - and they've always had the earth wire to the bridge.