SteveXFR

Controversial but I thought Sergio was the better bassist

Apparently Stephen Carpenter won't leave the US because he's worried about mass shootings. Seriously. I saw them on the Around The Fur tour at Bristol Anson Room. Absolutely brilliant night. I think I spent half the night crowd surfing.

I finally got around to listening to the new Deftones record and what a let down. I think they must have got Lars Ulrich to do the mix. The bass is just buried and only really appears to be mirroring the guitar part. The best bit about Deftones for me was always Chi or Sergio's bass grooves so its a real let down.

Yesterday I tuned my Euro LX4 down to C with a set of .110 - .55 strings. Played in to Reaper through my Two Notes Revolt on the Marshall (dirt) channel its sounding really very close to Rex Brown's tone in the last two Pantera records. It sounds awesome. I was surprised by this considering Rex used Ampegs and Ive not got a Haz preamp yet

Don't they usually just put a room mic inside a rotting goat carcass?

Double tracking is pretty standard but I've never heard of double tracking using an acoustic behind a distorted electric bass.

As an Alice In Chains fan and Spector player Ive been trying to get the Mike Starr tone and just not quite matching the grit. Then I see this video. Could this be right? Is it double tracked with an acoustic? Was this a stroke of genius or something used before?

Innocent question here, not judging or trying to start a fight, just curious. Why do you want a pick to sound like fingers? Is there a reason for not using fingers? I play both styles because of the tonal differences. I use a 0.88 pick and loads of bass, high mids and gain with low mids and treble cut for a really aggressive pick tone.

I'd always wanted to learn to play something so I could play heavy music. I bought a guitar but due to various old hand injuries, I struggled to make some chord shapes then a work mate and member of this forum loaned me a Peavey International bass. I got on much better with the bass. I played in a metal band but that was killed by my own issues and I left the band and deeply regret it. I now play in an alt rock band which is ok but not really hitting the spot. I really want to play in a metal band again.

Ive had a few and if you want a really thunderous B string with good clarity then multi scale is the way to go and the best Ive tried is the Spector NS Dimension 5.

I just got back from Arctangent Festival. Three days of the slightly obscure end of metal and rock. Highlights were: Green Lung - Brilliant performance of old fashioned heavy metal with a bit of humor. Battlesnake - Australian metal with more than a hint of Spinal Tap. God Is An Astronaut - very atmospheric post rock. Emma Ruth Rundle - Solo acoustic, dark and utterly brilliant. Dvne - prog metal, like Mastadon but better. Future headliner. Karnivool - Prog metal, fantastic big production headline show Kylesa - Recently reformed sludge metal legends. Utterly brilliant and relentless. Rolo Tomassi - My favourite performance, legendary mathcore band. Amazing 20th anniversary show. So many others were also amazing.

Nancy Boy = Placebo An under appreciated band with some great bass lines

Knives - Therapy?

Ainsley Harriet advises you to give your meat a good old rub - Raised By Owls

Violent pornography - System Of A Down

They're definitely learning that a big PA is very different to a club PA and it shows up things that just weren't a problem before like the occasional string touching a pickup is barely audible on a small PA but its like a punch in the face on a big PA. Fortunately, they're quite mature for teenagers and learning quickly and keen to adapt. They played another festival today and went down really well, the organisers want them back next year.

She has got a 5 but generally just uses her Fender MIM Jazz 4 string. This issue has become more noticeable since they've started playing bigger stages with big subs in the PA. Its not an issue in smaller venues, the bass cuts through nicely there.

Thanks for all the tips. The keyboard player and bass are going to work on both their arrangements and tones to give each other more space and work together better.

We're in need of some advice. My daughter is in a band where she plays bass and they also have keys, guitar, vocals and drums. The recordings work really well and everything comes through nicely but live, the bass quite often gets lost and im wondering whether sound techs are struggling to differentiate between the low end of the keys and the bass. Are there any tips to make them work together live reliably and make it easy for the sound tech? Here's an example of one of their songs for reference.

South of heaven - Slayer

Little fluffy clouds - The Orb

This is a sad one. Just like with Lemmy, I knew it would happen soon but still kind of didn't expect it. Ozzy and Sabbath meant so much to heavy metal. Without them, the music i love wouldn't exist. They must be one of the most influential bands of all time. Today I'll be listening to a lot of Black Sabbath. Starting with my favourite song, Supernaut

It does indeed have a tone pump. I'll give that a try.

I'm loving the Euro 4 LX but struggling to get the best out of it with the band. We're playing alt rock, inspired by Teenage Fanclub so fairly chilled out. I'm running straight in to an Ashdown ABM 600 but having to cut the high mids and treble and play with quite a light touch to tone stop it sounding too aggressive. Any tips for getting a bit of character back in my tone while sounding good with relatively clean guitars?