- Thread starter CFA
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syciprider
Well-known member
I think it's time to show Teach this thread.
PluckyThump
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Also, I was told tonight by him that the sound coming of the stage sucked until the bass was boosted on the board a bit. I assume he means EQ, is there any reason why I couldn't have just done that using the on board EQ? My bass was up about 1/8th of the way, by his recommendation....
1/8th up from center or 1/8th up from fully counter-clockwise? If your bass has a 3-band EQ then the center detent is flat. Turning it down from center cuts the frequency, turning it up from center boosts it. So if your bass knob is only 1/8 of the way up from fully counter-clockwise, that is a huge amount of bass cut! Start with it in the center detent and boost or cut as needed from there. If it is a 2-band EQ, same idea but there is no center detent, just turn it up about half way and go from there.
CFA
Well-known member
Hm, not sure if I should be reviving this thread or not, so apologies if it bothers anyone.
I haven't been around much lately, so I just wanted to add something here. I think I may not have fully explained myself when I was talking about striking the bass hard or whatever (Ant's quote #2). I was referring to fast passages (Most of my playing), which I feel would be extremely hard to play at the neck and make sound good, due to the lack of tension. Tomorrow night I'm playing Cocaine and am playing at the neck, because for that song I think the tone is much better there. It's not that I can't play across the bass, it's that I choose not to when playing quickly.
The second thing I'd like to point out (Also related to Ant's post, quote number 1) is his exact words (More or less) were "When you play a Stingray or a Bongo over the bridge pickup, the tone dies right away." Probably not the exact words, but very close, and definitely of the same meaning.
Finally, when I said I had the bass up 1/8th a turn, I meant 1/8th the way from the center detent. I guess that means it was really 1/16th of a turn if you consider the entire range from 100% cut to 100% boosted? Anyways, point being that it was barely touched.
Once again, sorry if bringing this thread back bothers anyone.
I haven't been around much lately, so I just wanted to add something here. I think I may not have fully explained myself when I was talking about striking the bass hard or whatever (Ant's quote #2). I was referring to fast passages (Most of my playing), which I feel would be extremely hard to play at the neck and make sound good, due to the lack of tension. Tomorrow night I'm playing Cocaine and am playing at the neck, because for that song I think the tone is much better there. It's not that I can't play across the bass, it's that I choose not to when playing quickly.
The second thing I'd like to point out (Also related to Ant's post, quote number 1) is his exact words (More or less) were "When you play a Stingray or a Bongo over the bridge pickup, the tone dies right away." Probably not the exact words, but very close, and definitely of the same meaning.
Finally, when I said I had the bass up 1/8th a turn, I meant 1/8th the way from the center detent. I guess that means it was really 1/16th of a turn if you consider the entire range from 100% cut to 100% boosted? Anyways, point being that it was barely touched.
Once again, sorry if bringing this thread back bothers anyone.
TheAntMan
Well-known member
Hi CFA,
Clarification is never a bad thing.
It does feel "comfortable" playing faster passages with more tension which would make one gravitate towards the bridge position. But, I think I still would like to make the point that you will have to play, fast, slow or in between at points of the instrument to grow as a player. Of course, like everything else, it is up to the player. Just keep in mind that it could cost you some gigs down the road.
As for the "When you play a Stingray or a Bongo over the bridge pickup, the tone dies right away." quote, that is a matter of who is listening and what their definition of "right away" is. It may seem that way to your teacher and be perfectly fine for others. Again, it is a matter of taste and that is in the end your call as the musician to make, but always keep in mind what others who are playing with you are looking for as a member of the band.
Anyway, learn as much as you can and keep an open mind but don't let anyone stop you from going for your goals.
--Ant
Clarification is never a bad thing.
It does feel "comfortable" playing faster passages with more tension which would make one gravitate towards the bridge position. But, I think I still would like to make the point that you will have to play, fast, slow or in between at points of the instrument to grow as a player. Of course, like everything else, it is up to the player. Just keep in mind that it could cost you some gigs down the road.
As for the "When you play a Stingray or a Bongo over the bridge pickup, the tone dies right away." quote, that is a matter of who is listening and what their definition of "right away" is. It may seem that way to your teacher and be perfectly fine for others. Again, it is a matter of taste and that is in the end your call as the musician to make, but always keep in mind what others who are playing with you are looking for as a member of the band.
Anyway, learn as much as you can and keep an open mind but don't let anyone stop you from going for your goals.
--Ant
CFA
Well-known member
I understand what you're saying Ant, and definitely understand the value of being able to play across the instrument. I'm fairly comfortable in any position as it is, but favor the bridge position. It's how I like the sound of the bass, and it's how I like the feel.
To be perfectly honest, when I sit I tend to favor the neck position, due mainly to it's location (As I place the bass on my right leg and not my left, and I am a righty).
A final reason I prefer the bridge is the angle of the wrist. Quite simply, the wrist needs to be angled (At least as far as I can tell) more sharply over the neck then over the bridge, which I have heard can lead to a higher chance of carpal tunnel/tendinitis (I'll be honest, not sure which off the top of my head, but not interested in getting either).
To be perfectly honest, when I sit I tend to favor the neck position, due mainly to it's location (As I place the bass on my right leg and not my left, and I am a righty).
A final reason I prefer the bridge is the angle of the wrist. Quite simply, the wrist needs to be angled (At least as far as I can tell) more sharply over the neck then over the bridge, which I have heard can lead to a higher chance of carpal tunnel/tendinitis (I'll be honest, not sure which off the top of my head, but not interested in getting either).
Smallmouth_Bass
Well-known member
I use a sort-of floating thumb technique. I generally place my thumb on the B or E-string. It wasn't always this way, but when I moved to the 5-string, I had to do something about the sympathetic ring, so it helped clean things up. It also doesn't require me to be at a specific pickup position as it will work anywhere.
Playing over a pickup doesn't kill your tone. That's nonsense.
As for learning bass, I would suggest reading through some of this TalkBass thread for some important concepts about improving your music abilities and choosing the right teacher. Some people think it's controversial, I think it's mostly common sense.
Playing over a pickup doesn't kill your tone. That's nonsense.
As for learning bass, I would suggest reading through some of this TalkBass thread for some important concepts about improving your music abilities and choosing the right teacher. Some people think it's controversial, I think it's mostly common sense.
EBMM7181
Well-known member
thats what Im screamin, Jack. I have much love for those Single H's, what am I SUPPOSED TO DO!???
Vintage7
Well-known member
Teachers can sometimes be...well...full of poop!
He just wants control your playing style.
The idea is for the musician to get there sound onstage, send their signal from either a DI or the amp to the FOH mix.
Then the engineer should go for a good sound for the house from the board.
He just wants control your playing style.
The idea is for the musician to get there sound onstage, send their signal from either a DI or the amp to the FOH mix.
Then the engineer should go for a good sound for the house from the board.
