I need some advice on setting up my bass head for maximum performance. I play bass in an 80's style hard rock band. It seems that whenever we're doing a show, I find that I can't hear myself. I hear the low end notes but when I try to do a run on the D and G strings it gets lost in the guitar, so I feel as if, to the audience, it sounds like I'm just playing the root on every song and not really doing much else. I'd really like to achieve a nice bass tone that's heavy on the bottom and crisp at the top. My head is a Yorkville Bassmaster XS400. If anybody is familiar with that head, I'd appreciate any advice. If anybody has any suggestions period, they're much appreciated. I'm really lacking in the area of setting up my bass sound so I appreciate your input.
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Best Amp Head Settings for Live Sound
- Thread starter tokin20deuce
- Start date
Set all the EQ knobs flat (ie: noon) and run the Scoop knob at zero. If you still aren't cutting through, bump the mid content up like SpamBot said.
Setting up bass sound is one thing. Setting up bass sound that meshes well with the rest of the band is another thing. What works in one situation might not work in the other.
Makes sense, eh? Your band would probably agree with it, right? Now take the above sentence & substitute the word 'guitar' for 'bass' & see if the band has the same reaction to the very same statement.
With that out of my system, it help your potential helpers to know what tone controls are on your amp & bass, as well as how you have them set when you are experiencing the problem.
Makes sense, eh? Your band would probably agree with it, right? Now take the above sentence & substitute the word 'guitar' for 'bass' & see if the band has the same reaction to the very same statement.
With that out of my system, it help your potential helpers to know what tone controls are on your amp & bass, as well as how you have them set when you are experiencing the problem.
Start flat.
Boost somewhere between 400 and 1K to bring out the note definition and "growl".
Cut highs - if needed - so it's not too twanky (this cleans up the mix).
Cut low mids if the rig is overloading the room (which is common).
Boost somewhere between 400 and 1K to bring out the note definition and "growl".
Cut highs - if needed - so it's not too twanky (this cleans up the mix).
Cut low mids if the rig is overloading the room (which is common).
thanks to everybody for their responses. For JustDavid (and really anybody else), my amp head has the following knobs:
tube gain (which actually works as volume)
tube drive (set at about 3 o clock)
bass (about 12 o clock)
low mid (about 3 o clock)
parametric mid (about 4 o clock)
high mid (maxed which is about 5 o clock)
treble (about 1 o clock)
scoop (maxed)
effects return (about 10 o clock)
master (maxed).
the master and gain, i'm told, actually work in reverse on this head. the gain actually controls the volume output, rather than the master. it also has a frequency knob that goes from 150hz to 1.5k, it is set to 1.5k. there is also a compressor knob, which is set at 1 o clock, and finally a drive mix which has settings from dry to wet. that knob is currently set at about 3 o clock, close to being maxed to wet. i hope this isn't too confusing, like i said i'm pretty clueless as to configuring live sound. i dont want to overpower the other guys in the band, i just want to make sure my highs are just as crisp as my lows. thanks again to those who have offered their advice.
tube gain (which actually works as volume)
tube drive (set at about 3 o clock)
bass (about 12 o clock)
low mid (about 3 o clock)
parametric mid (about 4 o clock)
high mid (maxed which is about 5 o clock)
treble (about 1 o clock)
scoop (maxed)
effects return (about 10 o clock)
master (maxed).
the master and gain, i'm told, actually work in reverse on this head. the gain actually controls the volume output, rather than the master. it also has a frequency knob that goes from 150hz to 1.5k, it is set to 1.5k. there is also a compressor knob, which is set at 1 o clock, and finally a drive mix which has settings from dry to wet. that knob is currently set at about 3 o clock, close to being maxed to wet. i hope this isn't too confusing, like i said i'm pretty clueless as to configuring live sound. i dont want to overpower the other guys in the band, i just want to make sure my highs are just as crisp as my lows. thanks again to those who have offered their advice.
A
afromoose
Guest
I don't think it matters what your controls are, as I think it's pretty redundant to give you specific advice about how to do your setup.
I've found that every room is different, and this means that you need to do a different set up each time to get approximately the same sound. The dimensions of a room and the proportion of hard and soft furnishings will affect your sound immensely.
In short, you're not playing an "amp", you're playing an "amp in a room". The room acts as an extension of your amplification, it's the box around your amp so to speak. So you need to use your ears to make adjustments.
If somebody tells you "bump up 400Hz" then that's no good if the room is already doing that for you. Equally there may be other times when you need to do it.
I use two different eqs - a three band and a five band, and I've found that in some venues, I have to tweak about 5 or 6 nobs, in others, I can leave it pretty much flat. Sometimes I'll find that the room makes a standing wave for a particular frequency, and I'll need to try to remove that particular frequency loads.
The eq is there as a tool for you to use but you have to learn how to adjust it depending on the room, to get the type of sound that you want. The sound should be consistent, not the settings.
Hope that makes sense.
By the way, a good sound man will also do this with a PA system - adjust the PA for the room itself. It's a technique that involves pushing the system to feedback and then bringing down the bands on the master EQ that correspond to those frequencies. After pushing the system to feedback a few times, and bringing down the relevant EQs, the sound man has calibrated the master EQ to the room. This illustrates the need to treat each situation differently and use your ears.
I've found that every room is different, and this means that you need to do a different set up each time to get approximately the same sound. The dimensions of a room and the proportion of hard and soft furnishings will affect your sound immensely.
In short, you're not playing an "amp", you're playing an "amp in a room". The room acts as an extension of your amplification, it's the box around your amp so to speak. So you need to use your ears to make adjustments.
If somebody tells you "bump up 400Hz" then that's no good if the room is already doing that for you. Equally there may be other times when you need to do it.
I use two different eqs - a three band and a five band, and I've found that in some venues, I have to tweak about 5 or 6 nobs, in others, I can leave it pretty much flat. Sometimes I'll find that the room makes a standing wave for a particular frequency, and I'll need to try to remove that particular frequency loads.
The eq is there as a tool for you to use but you have to learn how to adjust it depending on the room, to get the type of sound that you want. The sound should be consistent, not the settings.
Hope that makes sense.
By the way, a good sound man will also do this with a PA system - adjust the PA for the room itself. It's a technique that involves pushing the system to feedback and then bringing down the bands on the master EQ that correspond to those frequencies. After pushing the system to feedback a few times, and bringing down the relevant EQs, the sound man has calibrated the master EQ to the room. This illustrates the need to treat each situation differently and use your ears.
Thanks Deuce.
I'd say you are scooping mids madly then strongly boosting them.
For now, don't worry about anything tube gain, master, or FX levels.
If you like the sound those settings give, write them down; a line of white electrical tape along the top of the amp & a black sharpie work great. GET RID of the scoop & get tone settings to flat (12 o'clock). Incorporate the suggestions offereed here one by one.
Play WITH the band to come up with your settings, & take it to heart that what sounds good with the band might NOT sound good when you play alone. Discuss this with them, & be sure to emphasize this is not about you working on your sound but rather about you working on the bass' portion of the band's sound.
I'd say you are scooping mids madly then strongly boosting them.
For now, don't worry about anything tube gain, master, or FX levels.
If you like the sound those settings give, write them down; a line of white electrical tape along the top of the amp & a black sharpie work great. GET RID of the scoop & get tone settings to flat (12 o'clock). Incorporate the suggestions offereed here one by one.
Play WITH the band to come up with your settings, & take it to heart that what sounds good with the band might NOT sound good when you play alone. Discuss this with them, & be sure to emphasize this is not about you working on your sound but rather about you working on the bass' portion of the band's sound.
I've had the best results for cutting through the mix on all ranges of the bass by cutting lows, boosting mids. To get a good live sound, EQ your tone so that it sounds "harsh" by itself. Often when you get a beautiful solo sound, 90% of it gets lost in the a band setting- go harsh and it'll sound smooth in the mix.
Very nicely stated and this has been my experience as well. When I'm soundchecking my rig solo I can hardly stand it cause it's so "high-middy", but when the rest of the band is playing it sounds great. I've been playing for 28 years and I didn't come upon this truth till about a year and a half ago and that was cause the TBers here put me wise.
