I hate switching basses...who's with me?

[JimmyM]

A good sound engineer should understand when a band changes their sound. It's not usually a great experience (IMO) when a band sounds the exact same throughout an entire show. I want the band to be able to produce different tones and the sound engineer shouldn't really need to do all that much to accommodate that. Guitar players change instruments all of the time, keyboard players change patches, etc. Everyone might be playing with dynamics which also affects the tone. There's a lot that goes in to the total band sound so just changing a bass really shouldn't be of much concern to the sound engineer.

I respect that POV, but everyone owes it to the sound tech not to throw big glaring surprises at them without warning. And I can easily change my sounds during gigs using the same bass thru technique, using the controls and pickups on my bass, or pedals, so that's not much of a big deal to get different sounds out of one bass.

 

[N4860]

I respect that POV, but everyone owes it to the sound tech not to throw big glaring surprises at them without warning. And I can easily change my sounds during gigs using the same bass thru technique, using the controls and pickups on my bass, or pedals, so that's not much of a big deal to get different sounds out of one bass.

I agree. I guess it just comes down to the degree to which your change in sound (be it from a change of instrument, pickup selection, tone knob, technique, pedal, etc) affects the mix. My point is just that the engineer should be capable enough to understand when a band is purposefully making a choice to change the sound.

Otherwise, we've got engineers who are just trying to constantly keep the band sounding the exact same. To me I can pretty much imagine it as a fight between an engineer and the band. Picture an engineer working the desk and a guitar player doing his thing going from bridge to neck pickup as needed and the engineer doing his best to keep the sound from the guitar constant with no variation.

 

[JimmyM]

Well by that logic the sound man needs to adjust something any time I switch from neck pickup to bridge pickup, or middle pickup to middle & bridge, or roll the tone knob down, or pluck over the neck, or pick near the bridge, or …

Do sound guys really do that?

Depends on how big the volume difference is. If there's little or none and the tone's different but otherwise good for the mix, no.

 

[N4860]

Back to your original post, I do like to have 2 basses at a gig. I like to use one 4 string (tuned drop D) and one 5 string (BEADG). I use the 5 string most of the time and then use the 4 string for a bunch of drop D tunes. Both are StingRays so they are pretty similar in tone but it does vary a little bit.

As a band, we would try to schedule the instrument changes along with the setlist in an effort to minimize any downtime for the audience.

In regards to the engineer, one can always just do a sound check with both instruments, but for me this is usually not necessary. I can understand why for others it might be if you were going from an F bass to a hofner or something more drastic than that.

 

[JimmyM]

Back to your original post, I do like to have 2 basses at a gig. I like to use one 4 string (tuned drop D) and one 5 string (BEADG). I use the 5 string most of the time and then use the 4 string for a bunch of drop D tunes. Both are StingRays so they are pretty similar in tone but it does vary a little bit.

As a band, we would try to schedule the instrument changes along with the setlist in an effort to minimize any downtime for the audience.

In regards to the engineer, one can always just do a sound check with both instruments, but for me this is usually not necessary. I can understand why for others it might be if you were going from an F bass to a hofner or something more drastic than that.

Switching between basses that similar is cake. Even basses with somewhat different sounds can usually swap easily as long as volume levels are there and the low end response is similar.

 

[N4860]

Switching between basses that similar is cake. Even basses with somewhat different sounds can usually swap easily as long as volume levels are there and the low end response is similar.

Yeah, to be honest, I've mostly gone to all StingRays for not only the convenience of the sound consistency, but mainly because they just feel right to me. If I were gigging with 2 really different basses though, I think it is on the bass player to have their volume setup at least pretty close. I would think that should be easily achieved with an A/B box of some sort, probably a Radial product of some sort.

I guess it just depends on what the player's reason is for switching the instrument. In my case, it's for a different tuning so I use instruments with similar tone and volume and there's no issue. But if I were switching with the intent to change tone, then I would have other considerations.

 

[selowitch]

There is one situation in which I would countenance switching basses: A member of the road crew stealthfully approaches me and hands me a freshly tuned/set up/intonated bass and whisks the one I’m currently playing off with a well-executed sleight of hand.

That would make me look like a badass important bassist.

 

[Aquilador]

Ha ha! I know my place… just playing the same old blues favourites on a short scaler.

 

[TTA]

Nobody likes showing off my basses more than me. They're not super special or anything, but I used to be in love with the idea of switching basses just to show off the collection a little, plus it's cool to have different basses for different sounds and tunings. I've tried to enjoy it, especially since I spent a good many years doubling on upright on most of my gigs. Sounded like a good idea at the time.

Here's why I ended up hating it...

---It either slows the show down or it leaves you hanging and looking like amateur night because you're not ready when they start the next song. And many bandleaders don't care if you're switching and they'll count the song off anyway. So I just want to play one bass that can do it all.

---It's easy to switch basses that all have similar sound and output, but switching between a Stingray with new rounds and a Hofner with old flats is going to take some EQ to keep levels consistent and tones not so different that it throws the mix into a meltdown. And the more different basses, the more EQ's you need. Some folks will use programmable EQ's or pres and that's what I did most of the time, but it can take some effort to get it right. And I just don't want to spend time screwing with it. Once saw Heart's sound tech have to rebuild the bass mix from scratch for every other song because Steve Fossen switched every other song and never used the same bass twice.

---Two basses are manageable, but any more than that gets on my nerves during setups and teardowns. Have I done it? Sure I have! How do you think I know???

Anyway, thx for listening to me yak while I try to get over health problems. Been a while I had this much free time since going corporate. And feel free to comment either pro or con.

If my band was retuning/swapping for a song, i would also if needed. We usually tried to limit it to one swap a set, so 2 basses was what worked for me.

 

[chris_b]

. . . . . . Then again, Lee Sklar has said if there is one song that he needs a 5 string on, he'll play a 5 the whole show.

That's just common sense advice. I'm not always as logical, but Lee and me and on the same page with this one.

 

[Taustin Powers]

The only bass switch I have ever done and will ever do at a gig is fretted / fretless.

 

[David McIntire]

I'm definitely am a 1 bass per gig player.

The problem is those gig that require doubling between upright and electric. That is a major P.I.T.A. I carry two heads for those gigs separately eq'd and with a DI from each to the house. I am looking for a single 2 channel amp with enough fidelity to handle an upright and electric bass but that is one tall order.

If the gig is electric then just one bass. A Precision handles most of my work load but I am pretty impressed with the versatility of my 2012 AM Deluxe Jazz 5'er. It can go old school, funk, Motown, Jazz, etc. with just a few twists of the controls. I have 5-6 clearly different bass tones in that thing. Everything except a P bass sound <sigh> but then again, it is a Jazz bass after all.

My number one is a 2010 American Deluxe Jazz 5. It was the bass that inspired me to go to One bass for everything. I got it new, straight from the factory. And have rarely taken another bass to a show since. The exception is my number 2. My G&L fretless 5. But my Deluxe does it all. Best bass I ever owned.

 

[dbsfgyd1]

Because it's showbiz and showbiz is cool I'm not against the idea at all...I just don't enjoy doing it.

Agreed and me too.

 

[mickeyj4j]

Using more than one bass would be interesting.
Though if you have a varied pedalboard or a multi-effects unit, you can get allot of different sound options from one bass.
Though sometimes it's a pain for the sound guy if you haven't got the volume on everything the same. It can totally mess with the FOH mix.

 

[Nedmundo]

I don't like switching basses either, and have only done it a few times. For example, in 2005 I subbed in a band with a track that required the high E on the G string, and I only had one bass with more than 20 frets, a 24-fret DiPinto Belvedere. But I didn't like its ergonomics for the full show, so I switched to the DiPinto just for that track and the following couple of tracks, and played the rest on my Precision. They had similar output and both had old school passive tone, so it worked fine. The DiPinto actually sounded better IMO.

Another time, I simply wanted to compare my two J-basses in the band mix, so I switched from my Fender J to my G&L JB between sets.

I could envision switching basses in some cover bands, but so far I haven't done it.

 

[Jinbu]

I used to, I'm in a cover band and at one point we were doing songs in e standard/drop d and d standard/drop c. We would just plan out our setlists usually to drop tune in the middle of the set and switches would be between sets. Of course the singer would bring his own guitar rig just so he could play as well on one or two songs, then the drummer would come up to sing and play guitar for one song (the rythm guitarist would drum) and they even coerced me into switching with the singer for one song, we were always pretty quick about it and the crowd seemed to enjoy the shenenigans. Though I see now that such time and freedom is not available for a lot of people out there. Nowadays the current iteration of the band has decided to do all our covers in their original tunings which I think would put us in the territory of 8 different tunings so I've now opted to just bring one bass that I switch between standard and drop d and pitch down when needed with my hx stomp.

 

[Ronzo]

I used to, I'm in a cover band and at one point we were doing songs in e standard/drop d and d standard/drop c. We would just plan out our setlists usually to drop tune in the middle of the set and switches would be between sets. Of course the singer would bring his own guitar rig just so he could play as well on one or two songs, then the drummer would come up to sing and play guitar for one song (the rythm guitarist would drum) and they even coerced me into switching with the singer for one song, we were always pretty quick about it and the crowd seemed to enjoy the shenenigans. Though I see now that such time and freedom is not available for a lot of people out there. Nowadays the current iteration of the band has decided to do all our covers in their original tunings which I think would put us in the territory of 8 different tunings so I've now opted to just bring one bass that I switch between standard and drop d and pitch down when needed with my hx stomp.

This sort of stuff is why alternate tuning annoys me so much:

• How does all of the band maintain their instruments? Changing tuning changes the setup.
  
• How does the band change a setlist on the fly without confusion or chaos?
• How many instruments does each member have to bring to the gig?
• Are your audiences THAT critical of a live version of a cover song that they would care - or even notice - that the guitarists are playing in the exact same tuning as the original record?

It sounds to me like someone in the band is overly critical of their own sound. Much more so than the audience would be. Most cover band audiences in my experience might care if the song being played is performed in the original key, but not in the original STUDIO tuning(s).

For crying out loud, be a MUSICIAN. Would you tell an acoustic pianist to change tuning?

I’d be out.

 

[Jinbu]

This sort of stuff is why alternate tuning annoys me so much:

• How does all of the band maintain their instruments? Changing tuning changes the setup.
  
• How does the band change a setlist on the fly without confusion or chaos?
• How many instruments does each member have to bring to the gig?
• Are your audiences THAT critical of a live version of a cover song that they would care - or even notice - that the guitarists are playing in the exact same tuning as the original record?

It sounds to me like someone in the band is overly critical of their own sound. Much more so than the audience would be. Most cover band audiences in my experience might care if the song being played is performed in the original key, but not in the original STUDIO tuning(s).

For crying out loud, be a MUSICIAN. Would you tell an acoustic pianist to change tuning?

I’d be out.

1. Sure, but not enough to matter for our purposes. The guitarists will usually have instruments set up in different standard tunings and move to a drop tuning when needed.
2. We don't, though I suppose if needed the singer could banter and keep them entertained if needed.
3. Used to be 2 each, as mentioned, as we are with our current members we havent played a gig so i cant say for sure, probably 3-4 for lead guitarist and 4-infinity for the rythm guitarist.
4. You are correct, the audience wouldn't notice, if I'm remembering correctly the reason for all the tunings is because the current singer is learning off the original recordings and is unable to adjust.

I will add that none of us are professionals, we learn from tabs, we play at bars, we just try to have a good time, heck, personally, I don't even call myself a musician, I just tell people I play bass.

 

[Ronzo]

Not slagging on you, @Jinbu. Your band mates, maybe.

I remember getting together with a few players and trying to pull a band together here in South Florida. They added a pretty fair lead guitarist (who made the rhythm guitarist leave shortly afterwards), who had personality quirks that caused havoc. He was afraid to play out, worrying that “other guitar players will be there, and they’ll tell us we suck”. At the time, I offered to record a demo CD in my home studio; he came in, we set up his rig, mic‘s up his amp, and got what he and I agreed was a good recorded sound. He then tried to record his part as I had done and the drummer had done, using headphones (Sony 7506’s) from my SONAR DAW. He got “red light fever” badly. Couldn’t play in time to either the recoded tracks, a click track, or both. He claimed he wasn’t able to hear himself in time; I said, “The drummer and I did. There is only 5 ms of latency in the system. If you record your part, I can time-shift it to match, if needed.”

He said, “5 ms??? DON’T YOU CARE ABOUT QUALITY???”

I said, “Pack up your stuff and get out of my house. NOW.” Haven’t seen him or heard him play with anyone since.

I’ve had a number of offers to play with folks since then. Some have worked out, some have not. But it’s usually been civil. Some have worked out very well. Others were, “Thanks for the opportunity, but I think there’s a better fit out there for you.”

@Jinbu, there may be better and less stressful opportunities out there for you. I hope so.

 

[Buster Brown]

Nobody likes showing off my basses more than me. They're not super special or anything, but I used to be in love with the idea of switching basses just to show off the collection a little, plus it's cool to have different basses for different sounds and tunings. I've tried to enjoy it, especially since I spent a good many years doubling on upright on most of my gigs. Sounded like a good idea at the time.

Here's why I ended up hating it...

---It either slows the show down or it leaves you hanging and looking like amateur night because you're not ready when they start the next song. And many bandleaders don't care if you're switching and they'll count the song off anyway. So I just want to play one bass that can do it all.

---It's easy to switch basses that all have similar sound and output, but switching between a Stingray with new rounds and a Hofner with old flats is going to take some EQ to keep levels consistent and tones not so different that it throws the mix into a meltdown. And the more different basses, the more EQ's you need. Some folks will use programmable EQ's or pres and that's what I did most of the time, but it can take some effort to get it right. And I just don't want to spend time screwing with it. Once saw Heart's sound tech have to rebuild the bass mix from scratch for every other song because Steve Fossen switched every other song and never used the same bass twice.

---Two basses are manageable, but any more than that gets on my nerves during setups and teardowns. Have I done it? Sure I have! How do you think I know???

Anyway, thx for listening to me yak while I try to get over health problems. Been a while I had this much free time since going corporate. And feel free to comment either pro or con.

There was a time in my (at the time) young life that I could BARELY afford one bass. so that is what I went with. As the years went by, and as I grew up and could afford a couple of basses, a bad thing happened. We began to believe that we were "superstars" - we were not. So, carrying 2 or 3 was the usual SOP. Had them on stage all the time. 2 Fenders (a P and a J) and a Rick (4001).

So, what happened to change my mind? Tired of the whole dang thing. Sure, today I have several. What do I find myself playing 99.9% of the time? The Fender P.

New motto - If one P won't do it then to hell with it. . Get well soon James. Prayers.