EBS_freak

Not much love then eh?!

Indeed - although somewhat more lo tech than the DSP solutions with their seemingly infinite things to configure and twiddle. Mind you, as is often the case, the less to mess with, the better. Incidentally - I'm going to have to read back into the Red Box stuff. I used to play in a band where the guitarist used a Red Box and I seem to recall that it's meant emulate the sound of a cab rather than a miced cab. But then again, I may be mistaken. To be honest, either is viable - and if people want the sound of their cab, then yeah, the Red Box is perfect for the job.

Validation. *phew*

Seriously now... I can understand wearing a Vulf tee... but a Joe Dart tee? That's some niche uber bass geekery. I can picture it now. "Hey, nice tee. Who's Joe Dart?" "A bass player." "Riiiggghhhht."

One of the original dinosaurs. RIP.

Don't start 😜

Those speaker logos though. Still... at least no overhang.

Ah yes, the interchangeable fuzzy felt - in case you felt like changing brands.

Joe Bonamassa?

Doyouthinkheheardus more like!

Rumour has it, that they've stumbled upon this thread and are no commissioning a set of Bonamassa earplugs for the unlucky people in the audience. Basically, a bit of amber with a mosquito in them.

You just have a traditional cab carcass and stick your 745 into it!

Forgot to comment on this earlier - Two Notes have pretty much got this market nailed. If you still want to lug around that heavy valve amp, you still have options of running it silently - with their load boxes and speaker modelling tech. It's all very, very smart - and very convincing. Again, in a live situation, you would not be able to tell.

And is it still love?

I wouldn't go as far as that - they can mix what they want FOH - but perhaps what you are saying would put some people's minds at rest!

Modelling isn't limited to the Kemper. A Helix Stomp can be had for the price (or even less - I think they are circa £430 at the moment) of a decent 1x15 cab. Plus it'll give you a load of fx that will help go towards nailing the Muse fx. I would even wager that the Zoom B3n would give you a decent platform to build off. A lot of people however, will be put off because the Zoom or Line 6 names don't fit with their idea of boutique branding. I think I am not alone when I say there are IEMs and IEMs. A set of 215s wont give you the powerful bass that you crave... and as such, leads to a lot of people saying that theyve tried IEMs and they are cack. That's like saying I've tried PAs and the 50w Tandy special proves that PAs are crap. Granted though - IEMs again, depends upon a quality mix... but if you give the sound engineer less to worry about, the greater chances of getting good mixes that are representative of what you want to hear all round. If you're that concerned, with a DI setup, you could even carry your own cheap (XR18) monitor mixer and two way split (to FoH) to do your own mix from... then you can only blame yourself!

What's up Youtubers... (that's how it goes isn't it?). Anyway, decided to add another pile of musical theory stuff out there onto the wider Internets... OK, it's not totally bass (will be coming in later episodes)... but I hope that people can take some stuff away from this. This is the first time that me and my mate Steve have ever done anything like this so be gentle. Any feedback, subscriptions, likes or whatever happens in the world of Youtube would be greatly appreciated. Enjoy x

We're seconds away from mentioning Paul Anka Rock Swings 😛

Absolutely. I'd say Lemmy's tone is one of the easiest to cop. Of course, Lemmy was probably playing the gigs where he could have stage ornaments and run his massive rigs in an isolation box off stage anyway. But then Lemmy was deaf... so his amps were probably his IEMs anyway.

Are there really any signature bass sounds that could make or break a performance... when I say that, sounds that can only be obtained from micing up and amp and speaker?

Indeed - with things like the Helix and Kemper our there, I really don’t know why people are so eager to use something that they have a lot less control over. Tech has moved on - keyboard players don’t have to lug around Hammonds anymore... in fact, they can take around a whole lot more modelled instruments that are now indistinguishable from the real thing (and a lot more reliable too). Lugging heavyweight amps was cool (not that that there was much other option) in the 60s and 70s, not now.

So what about all these bands that are using shared backline on all these originals gigs? Wouldn't it make sense to get your DI right to eliminate that variable?

You'd hope that the sound engineers in the venues you play at would know the requirements of mixing bass for different genres... but to be honest, if they can't do that, thats still the least of your worries! To be honest, with the tech available today, you should be able to rock up with a DI feed that outputs exactly that you want. If you need to carry around a small monitor do so... but if your sound is that important, get your pedal board in line, get a speaker emulator on it... and work on your tone being right out that DI. Then anything you need on stage, FRFR it. I still don't understand why people are so reluctant to make use of tech that will actually make them sound better... or correction, make the whole band sound better. Exactly - the biggest benefit you can get from IEMs is in small, problematic venues. Less bleed into mics, you can lose the monitors - which gives you a load more headroom before feedback. Experience is defo a large factor here - having been on both sides of the equation, the benefits of low stage volume is defo rewarded at FOH. I can't understand why any band would want to compromise on their FOH sound just because they must have their on stage racket (and still complain they can't hear properly). At the end of the day, these are the folk that have all got tinnitus coming to them... The best thing I ever did was buy a set of IEMs that cost more than my rig. And you know what, they sound better too. And I don't have ringing ears after the event. And I can hear everything else on stage... and I got talk back so there's no shouting trying to get heard.

I'm sorry... Ashdown... transparent?

Fieldy clearly chooses his sound... and is pretty adamant what comes out of foh... much to the despair of... everybody.