Pirellithecat

For my sins I have ended up as the "sound idiot" for my band! Of course everyone in the band is a sound expert, but someone has to provide the gear, set it up, get the volume right, get the monitors right and avoid feedback (FOH and Monitors) .... i.e. me. Then there's the intra gig stuff of - "can't hear", "not loud enough" , "feedback", "my Mics not working" etc etc. Whilst the least capable musician (me) is trying to remember and play the set! So - anyone any tips and does anyone know of any internet based tutorials on doing the sound from the stage whilst playing? (rather than a sound engineers view of the world where the sound can be done before the audience get there and the slider can be "ridden" during the set. We have an analogue mixer, which rather ties me to the stage and I'm learning as I go along. At the moment I tend to set up all the gear. Then - 1) FOH sound levels from the individual Mics plus drums 2) Check monitors and adjust individual levels across 3 monitors for 3 vocal mics, 2 guitars, bass, kick drum and snare. 3) Sound check with full band on a trial track, using all instruments/vocals - to do this I just take my bass for a walk in the audience and dash back and change stuff as far as I can to balance the sound. The key issues are getting monitors right without feedback, ensuring the FOH volume isn't too loud (in defiance of shouts of "turn the vocals" up!) and trying to control the onstage volumes. Only the Vocals and the drums go via the FOH at the moment the rest just go through the monitors - eventually I'd like to get more through the PA in order to reduce stage volume before I go deaf. I've started the IEM selling job - I use them intermittently, and the Drummer finally tried some last rehearsal, but it's a tall order! So any veterans out there with the best routine to get a great sound, keep everyone happy and not go deaf?

Yes - using Roundwounds. Unlike my other basses, this one doesn't respond well to EQ - I certainly reduce the low end and boost the mids, as you say, but all that really happens is it sound just as muffled, but "thinner" if that makes sense?? However, I do find semi parametric mids problematic as in controlling the things I want, a lot of the adjacent frequencies which I actually "want" get lost too. I am a simple chap though ........

Hi, I'm without my gigging bass for a few months so rather than buying a "new" bass, I'm trying to get my "spares" into shape! I have a very playable Made in Japan, Squire Silver Series which has a great 40mm neck which is a joy to play. But for gigging in a Covers band it just doesn't cut through - kind of muffled. I can't solve this with EQ-ing as I suspect the frequencies just aren't present from the bass. It's been round the houses in terms of mods (different pickups, different pots, different pot rating (250k/500k), different Strings, new Hipshot tuners, Gotoh bridge, String tree, etc) none of which seem to have fundamentally changed the sound so I've put it back to "stock" except the tuners and the pots. So 2 questions really. 1) Have I missed something that I should try? 2) Given the neck is so nice to play, is it worth trying it on a different body? (or could it be the neck itself which generates the dialled in tone?) Previously I've used it with TI flats for bluesy stuff and its fine for that genre. I'm reluctant to sell it as, compared to P basses I've tried recently, it is FAR nicer to play and the 40mm neck is great. I don't really want to butcher it in any way, either, as its a fine example of the series. (eg - Pick up route is fairly shallow so some replacement pickups eg Geezer Butler won't fit. Thoughts welcome.

Couple of comments. I suspect US Pubs are larger than the Dog and Duck. It is not the case (in the UK at least) that there is room for a sub as well as the drummer at most of our gigs. Last weekend, there wasn't room for the neck of the bass without hitting the Alabaster Lion's Head on the wall! Ditto at the previous gig (without the Lion's Head). The second point is that, in such small spaces it is common (routine) to have the PA close to the wall so I guess the sub under the Tops works in terms of boundary loading? A couple more comments Whilst our "on Stage" sound needs work, the sound out in the "audience" is pretty good and is definitely better with the sub (so says our Drummer's tutor). It may be that, given the low level of anticipated quality (in't Dog and Duck), the sub, used under the PA tops, works. And Finally! The issue with Subs behind the Mics (or even mic'd kick via drum monitors) is feedback, as the mic's (especially the Drummer's) pick up the low frequency "noise" giving very problematic deep resonant feedback. Difficult to work out what it is at first (omnidirectional?) but by a process of elimination (turning the drummer OFF!) that's what it is. I am not in any way technically competent and do not question the theoretical aspects of this debate. However, in the real world there are many factors which frustrate technical expectations ... I suspect this is one. Oh and Al said it much better and is far more emotionally intelligent than I (or is that "me"?) 🤪

Just for the record - in case anyone else finds themselves in the same situation. The EMG ABC, does NOT include the necessary tone pot. You have to buy one separately. This NOT the Active VLPF (@ £70+), but the EMG 25K Solderless Tone Pot (passive) @£15. Once I've finished modding my bass, I'll be sure to update this thread with the outcome i.e. does it work as intended. Might be useful for future reference. By the way, EMG have been excellent in terms of customer support - even offered to send me the tone pot FOC, (but as I'm in the UK, it didn't make sense to send one from the USA). Rapid, friendly communication and very helpful. Full marks!

Update. It's not the Active Tone pot I need ......... it's the 25k passive one. Which is Good News from the financial point to view.

EMG confirm that I will need the Active Tone Pot in combination with the ABC. So there you go - so, all in all, it ends up a pretty hefty upgrade for a "scrap" bass, but, I do like it, and I only have further mod "available" and that's to refinish it in Fiesta Red! Thanks everyone for you input.

Based in The Duddon Valley - a few miles from the bottom of Wrynose - so shortest route to Keswick (tourists allowing) is over the top!

At the risk of inciting a riot, the EMGabc and the Bartolini offering seem to do be fairly similar in what they do. The fact that I cannot successfully e-mail EMG demonstrates my lack of technical prowess, so one more quick question if I may. The EMG abc product information refers to an Active Tone pot. Does anyone know if this is something different to the Tone Pot supplied with the GZPJ pickup kit? Alternatively anyone have Alex (from emg)'s email address. Using the Contact section of their web Page just tells me that my CAPTCHA reputation is too low to be able to submit my enquiry!

Well, not wishing to put a cat amongst pigeons, it seems that both manufacturers believe they have a solution to the insertion issue. However, as I need to get a router into action for either solution might it be better to consider all purely active options at this point. What's the downside ??

Biased I know, but if you can find a Squire p bass Standard you'll have a great bass with potential to improve it as necessary. Fantastically playable skinny jazz neck Ideal for smaller hands. Dead easy to set up and to get a nice action. If you can find a "Special" then even nicer. Mine shares duties with a much more expensive bass and in terms of playability it's right up there. I reckon you'd get a nice one for £150or less

Just back from a gig. Small area for the band .... pub. Loud. Thought I'd take all the gear just to practice set up etc. But did we really need the Sub? Absolutely! Of all the improvements to the PA, the most noticeable, even in small pubs, is its effect on the kick drum. Tried it on and off and there's no question that it really solidifies the sound of the band. Not only that, but it's much better (under a PA top) at stabilising the PA when inebriated yobs fall into the band, baptising us in beer! Again. But the point I really wanted to make is that I suspect it's a much better option to buy one high quality sub that 2 lesser quality units. It avoids the positioning/interference debate, makes life easier in terms of transport and is likely to do the job well. I can fit my bass rig (2 cabs) Sub (RCF 705) 2 tops (932's) 2 bags of wires, stands, monitor, mixer me and me bass and pedal board into an ID3 (think golf with less carbon). Just. And drive over Wrynose Pass to last night's gig.

Very good cosmetic condition, but recently stopped working - got pretty hot and gave up the ghost. If anyone wants it for parts or to fix, just me know and I'll send it on. I'll pay postage and if the recipient feels like it they could donate a few quid to a suitable cause.

Plugged into the wrong charger so probably not worth repairing ........ but if anyone wants it for parts (knobs/casing sockets etc) or to have a go at repairing I'll send it on. I'll stand the postage and if the recipient feels the need they can donate a few quid to a worthy cause!

Well .... just popped out to listen to some live music and find all this. Thanks for the engagement and advice and the info via Fretmeister from EMG , and Tauzero re. Bartolini options - I'll read up on this tomorrow. Cheers all, sleep well.

I guess the other option, given the need for routing, is to go completely Active which would give the opportunity for better tone control too. All a bit daft on what is now a "scrap" bass, but it plays very well indeed - one of the nicest necks I've tried.

From the EMG product info ....... General Operation The B125 Active Balance Control (ABC) is used to pan between two EMG-HZ pickups rather than use a selection switch. The B125 features input buffer amps for each pickup, so if you have 2 Passive Pickups, 2 Active EMG Pickups, or are mixing an active with a passive pickup you can use the B125 Active Balance control. Pickups can be connected by connectors or hand soldered to the PC board. The control has a center detent (click) in its rotation. Am I missing something - maybe the X??

Thanks, yes the insertion loss is surprisingly noticeable - I have rechecked the wiring and it is as per the EMG diagram. As the terminals are push fit and the wires black or white, I'm pretty sure it's as intended - even if my ears say something's amiss. However, I have always had issues with mixing 2 passive pickup to the extent of wiring this bass with a stereo output , one pickup to each channel, and then via a stereo lead to a small preamp/mixer on the pedal board. Worked, but not really that practical in the end!! An EMG abc - even with extra routing, seems like a good idea. 😅

I have a Squier P Bass Special, Standard Series. I'm having to use it for Gigging at the moment as my main bass is off getting fettled. It's fairly well modified and plays extremely well. To beef up the sound a little I've added EMG Geezer Butler PJ pickups. They do this very well indeed but I find that adjusting one volume control has an unintended effect on the overall sound due to, I'm guessing, insertion loss. Effectively with both pots at 100% there's a volume reduction. Notch one back a little and the volume increases but with difficult to control effects on tone. I can get the controls into the "right" place for the sound I want, but, on the fly and at gigs with different acoustics it's a bit of a lottery. I prefer a blend control to 2 volumes, and wondered about adding an EMG abc control to deal with insertion loss and a blend control. Anyone have experience with these devices, or, indeed, any other solutions?

Thanks BassAdder - very helpful! I've been playing around with set-ups etc. on my "back-up" bases and keep wondering whether I should bite the bullet and bring myself to de-mod and sell them in order to get an solid, more gigable, bass. I must stick to my guns and go for a stand-in that sounds good live whether it's Metallica or Miley Cyrus! Whatever that is, it's probably not a P! (and I have one of those anyway). So Vintera GAS dissipated. 😅

So, is the Vintera better to play than the MIM P Bass or does it sound better? ..... or, dare I say it ..... is it the look of the Vintera? Interested as I'm on the look out for a back up bass!!

I've been dealing with symphony Music re. Studiomaster, and I can't recommend them enough. really good customer service (and price). Good luck!

I have been using Studiomaster Sense 12+ for over a year. I wouldn't say they are particularly heavy. They are very capable and LOUD. The customer service is excellent . Importantly, they have a small footprint as they are a concentric design . They show my Laney CPX112's a clean pair of heals!

Bit late to the party here ... but ... We recently upgraded our PA, because I wanted to put Drums through the PA. So, we moved up from 10inch active PA (1200W) to (2000W) 12inch active speakers PLUS a RCF 705 Sub. The 12 inch speakers are great (but not much louder than the 1200W) but the Sub is spectacular! It makes a huge difference to the sound. Just by adding kick and snare. Could argue it's not always necessary, but as it sits under one of the full range speakers it effectively takes no more space, and even when used sparingly it really helps provide a solid underpinning to the music. It's a revelation. (and will protect you full range speakers from the drummer!!).