bassman7755

Your right that is pedantic 😉, I think the key point with FRFR is that your not reliant on a purpose built bass speaker to get your tone - you get your tone from a bunch or pedals and/or a preamp (or even just the bass itself) and then just need something to make it louder.

Not necessarily. Drums you can probably hear those anyway even through the IEMs isolating pads, might possibly need an ambient mic, vocals will be going through the PA so you can take an aux out to your own mixer, ditto for any other person in the band using an amp, they will all have a line or DI out somewhere you can use. I'm not going to let the fact that other people in the band dont use them stop me from doing so.

Anyone done this ? considered it ? am I completely nuts for even thinking about it ? OK so the back story is that I have a couple of hohner jack 5 string basses that have non standard sized and string spaced pickups. Well I say non standard but they are basically 4 string jazz fitments i.e. 91/94 mm single coils but since there is 5 strings over the 4-string sized pickup, standard jazz pickup pole pieces are completely out of line as you see here: So I'm thinking of 3D printing some bobbins with the right spacing spacing and winding them myself using a cobbled together pickup winder built from an rechargeable drill. Should all that the original pickups are EMG selects which are apparently ceramic blade pickups and they sound decent enough, very punchy/dynamic but I want a bit of old school grind/clank on one of them so want some alnico Vs on one of the two bases. Yes I have approached a custom builder (bloodstone) who will do the custom pole piece spacing for a very reasonable extra £15 making the pickup set about £100 so which now I think about it is a bit of a no-brainer but ... wheres the fun in that eh ?.

Yeah that does everything but is way more complicated than I was hoping for. For a start I don't need a full range channel, also the per channel volumes are superfluous as pretty every pedal on earth has a gain (where appropriate) and a volume control. Given I only want the crossed over highs and lows I'm not convinced I need the phase controls, also the pre post filter selection is irrelevant as I cant conceive of a need for doing the filter post split. I'm presuming I could do the variable high and low pass filters with a 2nd order RC using a dual gang pot ?.

Given theres been a lot of talk about split signal setups I wonder if anyone has (or could) designed something like this: A box with 1 input, 2 "sends" and 2 "returns" mixed back to a single output. For bonus points the signal for the sends would be highs on one and lows on the other, for further bonus points the crossover/splitter frequency would be adjustable. The most complicated circuit I've ever designed myself was a single stage op amp pre amp for one of my guitars so the splitter doo-dah is well beyond my knowledge.

100% IEMs for me from now on, for me this is in addition to rather than instead of backline.

@jrix 's explanation is technically correct but another (simpler IMO) way to understand it is as a borrowed chord from the G mixolydian mode. Borrowing chords from different modes is very common e.g. Summer of 69 is in D major but the middle 8 switches to borrowed chords from D Aeolian (AKA D minor).

If its just a backup though I would the Bugera Veyron would be the obvious choice as its seems to be intended as a streamliner clone especially given the price: https://www.thomann.de/gb/bugera_bv1001t_veyron_bass_head.htm For a full fat modern replacement then Genzler is run by the guy who used to own Genz Benz I believe: https://www.andertons.co.uk/brands/genzler-amplification/genzler-magellan-mg-800-two-channel-bass-head

Interesting, I've seen similar explanation before, the big take way seems to be that you should rotate through short bursts of different things you are learning so lets say your studying 4 things, in an hours session you should do 5 minutes each subject then repeat 3 times rather than say 15 mins each subject. Takes a lot of discipline to apply though.

I have the now discontinued Akai Unibass which does this all one unit - clean bass + octave (plus optionally 4th or 5th) with distortion. Used to use it to fake a rhythm guitar when playing a 1 guitar band. Should sell it really so someone can get some use out of it.

Same applies to dialling in sounds at home as well - they tend to be way too bassy and boomy when out front at gigging volume. Weirdly I've found that sounds dialled in using headphones translate better to a good gig level sound than using my actual amp and speakers at low volume in a small room.

Thats so true, I despair every time I go to see a band in a pub/club and the bassist has his bass knob at 5'oclock or some extreme smiley face dialled into the graphic because hes stood 2 feet away from his amp when dialling in the sound. Top tip #2 use a looper rather than a long lead or radio to check to sound out front as you also hear your tone differently when not actually playing (try it if you dont believe me - its actually quite shocking how different your tone sounds when your not using half your brain on playing).

I've played in lots of covers bands and never because of the money and likewise for most of the other people playing in those bands.

I made myself a fretboard rule like you have but my attempts at an improvised fret crowner failed so I ended up buying one of these: https://www.amazon.co.uk/Guitar-Crowning-Dressing-Repairing-Luthier/dp/B07KTNBT3P

Haha hate that song with a vengeance too.

This so much. Having everyone in a band with the same motivation is a massive plus, mixing people who play purely for fun and people who have to play to pay the rent, or for originals bands mixing hobbyists with "pros" who want to make it, is a recipe for discontent and ultimately failure.

Have enjoyed in the past playing in a commitments type soul covers band and a blues covers band even though I don't especially care for either type of music (being more of a rock/metal guy). Thing is you get gems in every genre that make it worthwhile - I enjoy playing Tears of a Clown as much as I enjoy playing Enter Sandman. RE the original post, would jump at the change to play Dancing Queen for example - what a fantastic bass line.

This is kind of where I am, people definitely enjoy a band that has a good balanced sound with good sounding instruments more even if they don't consciously know why. However in this day and age theres really no reason to have to "tap dance" - just get a decent processor board and change the patch.

The money-no-object option: https://www.thomann.de/gb/eich_amplification_t900_black_edition.htm I have its predecessor the techamp puma 900, absolute beast of an amp, ideal as a small super powerful small/light power amp. I believe these amps are also design to be flat response with all the controls at 12 so you could just centre everything and plug in the front as usual. Which reminds me, I've been meaning to do a class D vs other sound test at gigging volume, see if people can tell which is which.

For a solid state amp the baked in tone is in the preamp though, so if hes going into the effects return or line in its just getting the power amp section which is usually some off the shelf module or follows a standard design.

Massive fan of Larry and Travis.

Yeah I tried boiling and it works but it stresses and corrodes the strings, only time Ive ever had a bass string breakage was with strings boiled multiple times.

I have two bases I for which I keep 4 sets of strings in rotation - 2 on the basses and 2 soaking in a methylated spirit bath. Swap out a set with the freshly cleaned set about once every 2 weeks, the 4 sets last almost indefinitely and I get a very consistent bright sound, the meths doesn't bring them back to absolute new but its good enough. Using headless bases with double ball end strings makes the constant swapping very easy and doesn't stress the strings.

So I decided to the try to get a sound on the zoom as close as possible to my sansamp VT Bass. Of course the zoom sound is based on the BDDI model so not the same pedal, still an interesting comparison though. Both were played the same input using the zoom looper function. bassexample1.mp3 bassexample2.mp3

Just bought a B1 four myself, fantastic bit of kit, cant understand why every bass player on earth doesn't own one really, at change from £70 delivered its a no brainer, even if you use to just audition various types of compressor then buy the dedicated pedal (although I recon the models are as good as the real thing in most cases ...) .