Delamitri79

2 minutes ago, fretmeister said:

Another vote for Uptown Funk.

But for the love of dog, play it on a 5 string so it has the low end booty. Playing an octave up ruins it.

 

Runaway Baby is another great high energy tune from Mr Mars.

 

Dua Lipa is a great shout too.

We did uptown for a few years but we dropped it cos it kinda started killing the vibe. Don't regret it either. Just wasnt sitting well in our set. 

I do play a 5 string L2500

13 minutes ago, acidbass said:

Walk The Moon - Shut Up And Dance

Anything by George Ezra

Ed Sheeran

 

Etc etc etc

Shut up and dance is our opening tune. It's a bonafide floor filler 

12 minutes ago, Mickeyboro said:

To put it bluntly, classics appeal to all ages. The newer you get, the bigger the risk of losing half your audience. 

Couldn't agree more 👍👍👍

50 minutes ago, uk_lefty said:

Specifically last ten years? A lot of the bigger songs by Bruno Mars and Last Gaga are from 2000-2010. I know, it feels like they're "new"....

Yeah mainly the last 10 yrs as the manager wants to bring in stuff from very recent and current chart stuff altho I'm not convinced it'll work too well. The average person at a wedding wants to hear all the floor fillers

Well folks

I'm in a 5 piece wedding band and we are all in our 30s and 40s and we're very busy and good at what we do. 

We have a manager who doesn't be at any of the gigs. 

Our set consists of all the big numbers you'd expect to hear at a wedding and songs that we know works. 

There isn't much, if any, really modern stuff. Nothing form the last 10 years. 

Our manager wants us to throw in at least 8 new songs from the last decade but we're not sure they'll really work. 

What do ye all think when it comes to keeping the floor full at a wedding. 

Does a lot of the modern (last 10 yrs) music work in that setting? 

Many thanks 

Derek 

Thank you so much everyone. You've all put my mind at ease so I'm away now to order one. I'll post pics when she arrives 

Muchos gracias 

Hey folks

I'm thinking of buying the markbass cmd 102p for gigging with a 5 piece wedding band and a 3 piece pub band. I play a 5 string g&l l2500 tribute and I'll have FOH support on both gigs. 

Will the combo sound nice and full for a stage monitor and will it handle the 5 string low end stuff pretty well? 

Many thanks 

Derek 

Is shipping an option 

No I hadn't thought of trying that. I've been reading up on it and it seems to suggest a ground issue 

Cheers 

Hey folks 

I've a lovely g&l l2500 tribute and she kicks donkey but there's a noticeable constant buzz when it's in passive mode and I can't figure it out. 

Any ideas?? 

Cheers 

Derek 

56 minutes ago, mike257 said:

There's definitely some overcomplication of a simple concept happening in this thread.

Yes it's fine to do what you're doing
Yes there's a possibility the signals will be slightly out of phase with one another
No it's not a problem since you're not mixing the two signals together

I frequently split sources across more than one channel to process them differently for FOH and mons - even when I'm mixing mons (which is where I usually am) I'll frequently split certain channels to be treated differently in wedges vs IEMs, or for different people's mixes. What you're doing is absolutely fine and shouldn't cause you any issues.  I know someone's mentioned splitting it digitally within the desk, which is how I usually do it for my needs, but that takes away your ability to process it separately from stage, so what you're doing now is absolutely the right way to achieve the result you're going for. 

Thanks a million mate. 

TimR, you've nailed it pretty much and you've understood it.

It's very simple really. I want EQ control at my feet of my in ear bass tone. 

I don't care what the engineer does to it out front. That's his business. 

My question was, if I'm pulling a bass signal from one di into another di, will I have a phase issue. 

So, the 1st di goes straight to FOH (engineer has control of everything on that channel and i get full band mix back except the bass channel). 

The 2nd di then takes the link signal from the 1st di and runs back to a different channel which doesn't go to FOH but does get sent back to me as part of the band mix but, and crucially, I have EQ control at my feet of that bass channel specifically just so I can get a nice bass tone in my ears and have a nice band mix behind it. 

Is that any clearer. It's a very simple setup. 

1 hour ago, TimR said:

 

Two DIs to desk. One for in-ears mix and one for the desk.

 

He wants the first mixed with the band and sent to his in-ears as it has local eq applied. 

 

The second is DI from bass so engineer can do whatever he wants with it. 

Thank god someone gets it 

1 hour ago, TimR said:

 

Two DIs to desk. One for in-ears mix and one for the desk.

 

He wants the first mixed with the band and sent to his in-ears as it has local eq applied. 

 

The second is DI from bass so engineer can do whatever he wants with it. 

Thank god someone gets it 

Yeah it's kinda what I'm asking. 

What happened was, I explained my setup to a sound engineer and he said I shouldn't run it that way cos I'll get phase problems. I can't see any issue and can't hear anything wrong so I wanted to ask the question in a dedicated bass forum like here. 

The main concern is that I'm taking the signal for the in ears DI from the DI for the FOH. 

I think it's OK but just wanted to check 

It's basically so I can adjust on the fly cos I've a boss EQ pedal in the DI for my in ears. 

I'll give it a shot mate thanks 

I don't get both in my in ears. I only get channel 9 and I can EQ it from the pedal and then channel 10 goes out front but not back to me. Just wondering would there be a phase problem considering I'm pulling the signal for channel 9 from the DI for channel 10 

Hey folks 

So here's how I run my setup. 

I run a line from my bass to a boss tu3 tuner into an active DI that goes straight to desk on channel 10 and out the front, then, I take the link connection from that DI and run it into a boss EQ pedal and then into a radial sb1 active DI and into channel 9 on the desk and that doesn't go out front. 

I get an aux feed back to myself for in ears. 

So, channel 10 is for FOH and is mixed and sent out. No issues. 

Channel 9 is not sent out front but is mixed and EQ'd and sent back to me. 

So, I have the whole band mix in my ears and then I can EQ my own bass on the fly with boss EQ pedal and it won't affect FOH cos it's on channel 9. 

Am I causing a phase issue if I'm pulling the link from one DI into another from the same source (bass guitar)?? 

Cheers 

Hey 

What kind of figure would it be shipped to Ireland? 

Definitely wouldn't ship? 

28 minutes ago, Osiris said:

 

Cheers for the info. Seeing as you're already using a couple of Boss pedals I'd add the Boss BC-1X Compressor and the Boss LMB-3 Limiter to your list. Both simple to use, great sounding pedals that are widely available and, most importantly, both sound great. The LMB-3 is actually my go-to pedal that I alluded to above. It's a FET based design so very quick in its action, but is very clean and adds a pleasing punchy quality to your bass tone that I haven't been able to get from any other compressor, the only one that got close was the SS Bus setting on the Darkglass Hyper Luminal. Just don't use the Enhance control on it unless you want additional hiss and a weird synthetic artificial sounding high end. But other than that it's possibly the most underrated compressor pedal out there, it's very simple to use and just sounds great. You can pick them up used for very little money. 

 

The Boss BC-1X is a newer digital multi-band compressor with a simple 4 control layout and very useful LED metering. It's arguably a more transparent sound and has a bit more apparent low end that the LMB-3 (not that the LMB-3 sucks the lows out but more likely the band that deals with the lows on the BC-1X is causing the lows to be compressed separately which makes them sound a little 'bigger') probably a bit more of a studio sound, for want of a nebulous description. It costs a bit more than the LMB-3 but still comes in at well under £200 new.

 

So of these 2, go for the LMB-3 if you want a big, bold punchy bass tone, and go for the BC-1X if you want more of a studio style compression. 

Interesting that you go with the lmb 3. I had looked at it and said no because of the enhance knob. You say turn it off and no problem? 

2 minutes ago, JohnR said:

I've owned most of the compressors mentioned above and the Keeley Compressor Pro is my favourite.

For me, I think the keeley pro is just that little too big. A bit like the markbass comp. I'd love to have the real estate but I'm in and out of different size venues every weekend and I need to be as compact as possible. The keeley bassist looks great tho 

11 minutes ago, greentext said:

I've had the big OG Cali76 for about 10 years and it still crushes everything and i'll never need another, they can be pretty pricey now (if you look at The Bass Gallery there was one for £1,400 insane money!) but Bass Bros have one for around £600 which I think for a compressor you never have to replace, its a solid bet. Failing that the Keeley Pro also looks sweet, and even cheaper the MXR M87 I had before the Cali was bulletproof and sounded great! Hope you find the right one for you 

Unfortunately that'd be well out of my pricerange and to be honest I'd never pay that for any pedal but I'm sure it's fantastic. The mxr would be closer to where I'm at 

2 minutes ago, MartinB said:

Since I got my Keeley Bassist, I haven't been tempted by any other compressor. It just works, with the absolute minimum of fiddling about.

I can find nothing bad being said about it. It's a serious contender 

7 minutes ago, Osiris said:

 

On it, Boss.

 

 

That's pretty much the compressors job description 😉 

 

Compression is widely misunderstood and there's a lot of urban myths surrounding it but you say you've done your homework and that is the most important bit as it'll help you understand what to do with the right pedal once you have decided which one to go for.

 

There are many different types of compression and while they all do the same job, different circuit types do it in different ways and have different characteristics that you may or may not like. So the first thing to do is decide what type of compressor your looking for. For example, a lot of guys like optical compression circuits on bass. Optical designs are inherently slower and have a gooey feel in their action. They can also impart varying degrees of colour on your signal, something you may or may not want. Another common design is the FET based compressor which inherently has a much quicker response and is great for taming the initial note transient if you're a slapper or play aggressively. There are other types to consider too. Then you have single and multi band options, analogue and digital, transparent or coloured sounding. Do you want control over your attack and release times? Do you want to be able to blend in some clean signal or allow some of your uncompressed lows through to stop the high end getting dulled? Do you want a million parameters to tweak or just a simple one knob (fnarr) design, or something in between? Does it have to be a pedal? What about a rack unit? And then there's you as a player, what style of music do you play, what bass(es) you're using. Are you using something like a Sansamp or other pedal that's already adding a ton of compression to your sound? Do you need metering or have you already got your ears tuned in to hear the compression in action? And this is all off the top of my head...

 

There's so much to consider and it's very easy to go for the wrong compressor your needs which can then put you off for life. 

 

There's some good recommendations above, but what works for someone else may not work for you.

 

But what I would suggest is picking up a cheap Zoom multi fx pedal, something like the MS-60B or the B1 Four, as these have a few different compression models in that cover a few different compressor styles. Have a play, preferably at volume with the band if you're in one, and get a feel for the characteristics of each type to see which works best for you. Once you've decided you can then start narrowing down the choice of the millions of options out there. It's a rabbit hole that I got lost in for years, but I learnt a lot from trying as many different options that I could get my hands on and I now know what does and doesn't work for me. And my go to compressor these days is neither expensive nor complex but I know that it will give me exactly what I want every time I plug into it - which is always!

Hey. Wow that's a response 😂. Just a little about me. 

I'm currently with a busy wedding doing a mix of everything from country, Waltz, rock and pop. I play a 5 string g&l tribute going to a boss tuner to a boss EQ pedal to hopefully a compressor and then to a DI box straight to the desk and then a fees back to me for in ears. No amp. That's as complicated as my board is ever gonna be. I'm not an effects man. I don't want a million parameters to deal with but I want a little control/options available. I'd prefer as little noise as possible. I'm not after major compression, just a nice levelling out of my signal. I definitely want a pedal as that's how I've set out my stall for live gigging. I wouldn't consider myself an aggressive player but I do like to dig in a little for dynamics. In general I'm a journey man. I'm in it for the fun and love what I do. I'm lucky enough to be out at least 2/3 times a week. 

So far, what's tickling my fancy is the:

Mxr m87

Empress blue sparkle 

EBS multicomp 

Keeley bass compressor 

TC electronic spectracomp