Franticsmurf

Bridge pick-up on my Sterling 34HH through a Nux Sculpture compressor, Ampeg SCRDI, Sine HPF (40hz) and into the FX return of a Peavey Minimax 600 and thence into a pair of TE 1x10". I've been using the same combination for several dep gigs now as I'm very happy with the sound - punchy with a little bite and enough room to colour the tone with variations in right hand finger (and pick) techniques. I use the same signal path but DI directly from the SCRDI for my main band although I sometimes need a wider range of sounds and will vary the pick up combination and occasionally the Sterling's tone controls. Both set ups have received compliments for the sound from band members and audience members.

I was sort of agreeing with your original statement, in that I pick the bass that makes me look good in the band (in my head, looking fancy). Another consideration is the bass that makes me feel good - that I love playing, that will get me 'that' sound. When I'm in the zone with the bass, I'm probably looking as good as I ever will. 🙂

All the very best @Greg Edwards69.

I will choose the bass based on the type of gig - i.e. I wouldn't have played my headless bass at a recent C&W themed gig (Squire PJ). And an Eagles tribute night looked better (in my opinion) with me playing my Precision than my Sterling Stingray. And as they are performances, looks are important. Sadly, nothing can make me look particularly fancy. 🙂

The most I've paid for a bass was a brand new Sterling Stingray 34HH, which cost me just over £1000 in 2021 (and that was 'mates rates' from a local music shop). £1k is the benchmark figure I've used ever since. Apart from not having the disposable income or the frequency of gigs to justify paying more, I've been fortunate to find some bargains in 'B' stock or second hand instruments and I've built up a small stable of basses. My second most expensive bass is a 'B' stock American Precision which cost around £750. None of my other kit has cost more than £500 and I recently played a full gig using a £100 Squire PJ (with a £250 Ibanez semi acoustic as a back up).

I bought my only brand new bass in 2021 - a Sterling Stringray 34HH - which was meant to be the bass that would appear in all the band photos, the one I would develop my signature sound on, the 'One bass to rule them all and in the darkness bind them' instrument. Alas, my eye wandered and over the years I have bought and played other basses with various shameful excuses - it's too heavy/too big/doesn't fit the band image. I need a semi acoustic/fretless/headless/spare for stage. In my defence, the main band I pay with have such a range of styles of music (from C&W, through folk, blues, rock and heavy rock to a bit of grunge and punk although not all in the same gig thank goodness) that several types of bass seems logical and as we're a 13 piece, it's sometimes a tight squeeze on stage, so the headless basses come in handy. With a recent series of depping gigs, I thought I ought to get my act together and come up with a consistent 'signature' sound so the bands know what they're getting. Fortunately, the Sterling bears no grudges and together with my amp, cabs and minimal board it has found a place in my heart once more.

After several years of trial and error, this year I have managed to come up with a fairly consistent line up of pedals that are giving me what I consider my core of my sound. Add-ons take care of specific effects for specific songs. The signal chain is MS60B (which provides a noisegate and tuner functions, as well as any one-off effects - it's currently providing a synth bass patch for one song) > NUX Sculpture compressor > NUX Voodoo Vibe > Ampeg SCRDI. If the signal is going to my amp and speakers, it passes through a Sine HPF set to just over 40hz (and I'll adjust it as necessary on the night). If I'm going straight into the desk, I let the sound engineer handle the HPF duties.

I got the gigs through a mate I'd played with in the past. One was a band he had also depped with, and he recommended me. The other was with his current band. Initially they weren't based on my reputation or my visibility as most of my gigs with my main band over the last few years have been private functions. It's all about contacts.

This year has seen me get a few good depping roles in decent local bands. They've been on personal recommendations, too, which makes me feel great. Working with new musicians and learning new songs that I would never have looked at otherwise has given my musical self confidence a boost. If I'm honest it's also renewed my enthusiasm for playing in general, which was sagging a little. An added extra is that with the dep roles I've gone back to using backline and I've managed to get a consistent sound that I'm really happy with, and that the bands have complimented me on (as if I designed the TE cabs and Ampeg SCRDI that I'm using to get it 😂). While DI into the desk for my main band makes sense (there are 13 of us and we usually play large venues), I am enjoying the thump directly behind me.

There was a recent post somewhere on the forum about a battery tester which plugs directly into the jack socket. I can't remember where now, but it may be of some use. I've had a quick look but can't find it.

Step Into Christmas - Elton John. I played it with the band last night and it went down well. I'd never heard it before being given it in the set list about two weeks ago.

Last night was a dep gig for a local band with a big reputation and following - I was chuffed to be asked back after the last dep with them in September. It was a new venue for them that they were hoping to add to the list of regulars so there was a little bit of self imposed pressure for me to get it right, but they're a decent bunch and I didn't feel any pressure from them. It was a local venue to me, too - less than 2 miles away. Since Tuesday's rehearsal with them, they had added 'My Sharona' to the list and all I could do was try to learn the original arrangement and trust their assertion that they played it identically (which they did). Set up was into a very small space in a raised area surrounded by a waist high glass wall on my left and a wooden railing in front. It was tight, and that meant I had to get my kit in and arranged first before the drums could go in (there being only a narrow gap between the front of the kick drum and the railing). I'd brought my headless Ibanez shorty for just such an eventuality but the glass wall was just low enough that the full sized Sterling had room. I had visions of bending down to adjust an effect and smashing the glass with the headstock but, spoiler alert, it didn't happen. Fortunately, the guitarist was able to squeeze into the space by the back door and although we weren't allowed to block it to prevent people coming in as it was a fire exit, they put a sign out side to direct people to the front door. This gave the singer a little more room. Eventually, the jigsaw puzzle was complete and after a decent soundcheck, we were ready to go. It was a small pub but the place was packed and it was very hot despite windows being open behind us. We had dancers from the start - all credit to them as they had so little space to strut their stuff. There was quiet a bit of singing along too. There was a great sound on stage and apart from a few minor mistakes on my part, I think I did well as a dep. In fact, the only major problem was the guitarist starting a song in the wrong key - which we all managed to adjust to (even the drummer 😂) . At half time the band was offered several bookings in the pub (I've told them that as a dep, I expect a commission 🙂). By the end of the night the place was bouncing and we had a couple of encores. I was pleased to have a number of compliments about my playing and my sound from punters and the rest of the band. I have to say that I was really happy with my sound - punchy without being overpowering. Some of the comments back from staff and audience were that the band had a great overall mix without being too loud. The band are very thorough with sound and soundchecks, which clearly pays dividends. Kit was my Sterling 34HH through the board (MS60b for tuner and noisegate and a synth patch for 'Just Can't Get Enough' >Nux Sculpture compressor >Nux Voodoo Vibe (for Dakota) >Ampeg SCRDI> Sine HPF (set to 40hz)) and into my Peavey Minimax 600 via the FX return. Cabs were 2 1x10" Trace Elliotts. I think I've finally found a bass/board/amp/speaker combination that gets me the sound I've been chasing for years with this line-up. Footwear was, of course, by Skechers. This was my last scheduled gig for 2025. Next planned excursion is mid January.

Last night was my one and only rehearsal with the band I'm depping with on Saturday. It's my second gig with them and they have several new songs in the list that I've had to learn from scratch. Saturday's gig is at a new venue that they're hoping to add to their growing list of regulars and is, apparently, sold out. So no pressure on me to perform and maintain their well deserved reputation. 😂 They are a very tight band and the rehearsals are hard work without being unpleasant. I like that and it's something I haven't experienced for a few years. I left after 3.5 hours last night feeling that I'd worked hard, performed well and that we'd got any minor issues sorted. Sterling 34HH into the board MS60b with noisegate and tuner and for one song a nice synth patch > Sculpture compressor > Voodoo Vibe > Ampeg SCRDI > HPF > FX return of the a Peavey Minimax > 2x 1x10" TE cabs. Plus I was DI'd into their PA which they requested. On the night, with an added bass bin to the PA, I may only use on TE speaker as a backline monitor.

Yes, I've done two Christmas party gigs so far and we've had no requests for festive songs. We played four on Friday (Wizzard, Mariah Carey, Bruce's 'Santa Claus is Coming to Town' and Shakin' Stevens) and they were the least well received. We played none last night and they weren't missed.

It was my second gig of the double header weekend last night. A dep spot with a band I've played with before. Great bunch, very relaxed and very welcoming of the 'new guy' when I first played with them. Last night they also had a dep singer so I wasn't the newbie anymore. It was a golf club Christmas dinner, so quite formal and posh but we were looked after by the club - a tab behind the bar (being gig teetotal, I was gutted but ultimately it's the thought that counts). I decided to use my ungigged Ibanez SR300 and my ungigged Valeton GP5 into the FX return on my well gigged Peavey Minimax 600 and the pair of TE 1x10 cabs. Also present - Sine effect H24 HPF and Joyo wireless transmitter/receiver. At the last minute I was offered a lift by the guitarist and had to leave my spare bass (Ibanez EHB1000s) behind as it wouldn't fit into his car with all the other kit. I expect you can see where this is leading. In my defence, your honour, although half the kit was ungigged, I'd been practicing with it at home a for about two weeks so it was all tested. The singer turned up late and although he seemed a decent chap, he had been expressing concerns about half the setlist ('I haven't sung that one', 'I don't know the words to that one' etc) to the band in the days leading up to the gig. So in the soundcheck before he arrived, I had a go at singing 'Sultans of Swing', only the second time I'd sung it in front of a band. I remembered 80% of the words and was about 80% in tune that was deemed good enough in the cirumstances.😂 Three songs into the set, with the audience up and dancing, I started to notice that the volume from the amp was fading slowly up and down from the full gig volume to about half over about 10 seconds. My first thought was that I'd hit an unexpected patch on the GP5 ('Slow, Annoying Trem' or similar) but the GP5 was set on the Ampeg patch I'd set up for the night. Then I started to smell something burning. The Minimax is on it's way out, I thought. No problem, I can DI. But someone in the audience had knocked over a candle and it had smouldered on one of the napkins for a bit. Meanwhile the slow tremolo was now speeding up a bit and my bass was spending more time quiet than at gig volume. I reasoned that the battery on the bass was going and as I was due to start 'Keep On Running' with the bass riff, I called a time out. While the rest of the band played a longer intro with the guitarist covering the riff, I changed the battery. I managed to get through the song but the problem was still there. I didn't have any time to do a 'one thing at a time' test of the signal chain so between songs, I got rid of everything between bass and amp, plugged into the amp's 'proper' input with a cable and to my great relief, finished the set without any problems from my side. There were a few dodgy moments with the singer not knowing/forgetting/making up lyrics but nothing that couldn't be dealt with. 'Sultans' went well (by now I'd remembered 95% of the lyrics and scored 90% on the 'in-tune-o-meter') and got a good response from the audience. I even got a bonus on top of my fee from the band - presumably for stepping up to sing, or perhaps entertaining them with the harried, rabbit-in-the-headlights look I had as I tried to sort my problems out. This morning will be taken up with identifying the culprit, taking it into the garden, beating it with a baseball bat and burying it. My suspicion is that the Valeton was playing up, as apart from it and the Ibanez all the other components of the chain have been played 'live'. I was using the wireless transmitters at the previous night's gig with no problems. Another option is that there is some strange interaction between the Valeton and the H24 or the H24 and the FX in on the Minimax. Although the bass wasn't the issue, as the problem developed it would have been reassuring to have the spare just in case. As an advocate of bringing a spare to gigs, I hang my head in shame at the lapse. Ironically, the SR300 was purchased with a view to it being a light weight spare itself. You will be relieved to hear that my footwear of choice - black Skechers - performed admirably throughout the night. EDIT: In testing this morning, I was unable to recreate the problem but suddenly the sound cut out completely. Replacing the cable from H24 to the FX Return on the Minimax with the one I used to plug directly into the amp last night fixed it. I suspect I have my culprit. Found 'Not Guilty'.