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Multiple basses - Do you use several live?

#24
Thunderthumbs73 said:
I might change basses once in a set IF there is a moment in the show where changing basses is possible WITHOUT interrupting the momentum of the show.

I think that is the thing that is most important- to keep the show going so the beinning or end of every other song isn't like a musical instrument chinese firedrill.

Or pick up a P/J config and play on both sides of the fence as best you can.
Click to expand...

+1
I used to use 3 different basses but, it messes up the momentum of the show fumbling around trying to untangle another cord.
More basses= more moving parts= greater possibility of something going wrong.
Remember K.I.S.S. applies to gear too.
 
#25
I bring two...use one for the first two set, the other for the last two. Has nothing to do with the playlist or material. I'm just trying to get even wear out of all my fivers...kinda like rotating tires.

I did take exception with one TBer who couldn't make it through a 30" set (showcase, battle-of-the-bands, whatever) without switching out 3 different basses. I thought that was a bit excessive but to each his own.

Riis
 
#26
Zooberwerx said:
I bring two...use one for the first two set, the other for the last two. Has nothing to do with the playlist or material. I'm just trying to get even wear out of all my fivers...kinda like rotating tires.

I did take exception with one TBer who couldn't make it through a 30" set (showcase, battle-of-the-bands, whatever) without switching out 3 different basses. I thought that was a bit excessive but to each his own.

Riis
Click to expand...

I would agree that's excessive with your example above. But FWIW, I would play the Jazz for probably the first 3 or 4 songs, then I would play the P for the remainder. So I only need to do one switch, one time. I just want that one switch to go smoothly and have an even sound after I change.
 
#28
newwavefrank said:
You can be sure you are the only one in the room who notices the difference.
Click to expand...

puddin tame said:
You hear a difference, bet the audience doesn't notice a thing
Click to expand...

Both true..

ONLY time I may rotate are if there is an upright or fretless tune.... IF the entire band is switching vibe (keys to grand.... electric to acoustic.... drums to cajon)

I'll pull out an acoustic, fretless lineless or upright.

It's totally ghetto to change 30 times for most gigs.

The reality is the audience can't hear/feel the difference.
 
#29
This is a great thread. Usually, I bring my Stringray HH and Schecter 004 to a gig. The 004 acts as a backup. I've never had to swap em' out, but I know if I did, I'd have to adjust the settings to accommodate - the Stingray brings out the lows and the mids a little better, but nothing that my EQ settings can't change. I've never really found it necessary to change a bass to get a different sound. I play reggae, so it's a pretty stationary sound - however, if I was playing a lot more slap and funk stuff, I might considering swapping out a bass. Good luck!
 
#31
I will usually use either my fretted and fretless for shows, or my fretted and EUB. To manage this, I use a Radial BassBone. It is the best pedal for what you want to do, in matching both basses signals. It's also got a couple other useful tidbits that the soundguys that I work with rely upon (mainly the DI).
 
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#33
I often bring a fretless and may swap out for the entire set. I used to swap basses between songs, but quickly realized how impractical it was.

My amp is an Epifani UL502 with dual channels, so I can level-match both channels and then EQ accordingly.

As far as different sounds go, my secret weapon is my G&L L2500 w/single-coil option. It has it's own thing going on, for sure, but I can get a very convincing P-bass, Jazz, and MM, plus combinations with some EQ. Convincing enough that I fooled a professional bassist/engineer/producer friend of mine who thought a recorded track was "obviously a Pbass".

Even with all that, does anyone notice when I switch pickups? Only the most musically attentive folks who are actively listening (i.e., a couple guys in the band). Otherwise, no-one but me notices a thing.
 
#34
While I agree that most people in the audience will not consciously notice a change I still think that changing the bass can make a big difference.

Your bandmates will notice the new sound and get inspired to play in different way.

And - even more important: YOU will play differently. At least I do, even if I go for the same "feel" (eg. "funky 16th-notes") I will play very different things on a Jazz w/ Rounds versus a Precision w/ Flats.

That said, I still play 90% of my gigs on ONE instrument, changes to contrabass (double bass) not included.

About the M13:

You could use the EQ and volume FX to make switching the basses painless. Of course, you would sacrifice at least one slot for that.
 
#35
...and trust me, I'd LOVE to bring out more than just two basses and play each song with a different one, much in the manner that I occasionally do when jamming along to CDs at home... ...but I keep on thinking about the show and the flow...

Maybe when I become big and famous and I've road crew to hand me basses already to go that does not interrupt things so much...
 
#36
christoph h. said:
While I agree that most people in the audience will not consciously notice a change I still think that changing the bass can make a big difference.

Your bandmates will notice the new sound and get inspired to play in different way.

And - even more important: YOU will play differently. At least I do, even if I go for the same "feel" (eg. "funky 16th-notes") I will play very different things on a Jazz w/ Rounds versus a Precision w/ Flats.

That said, I still play 90% of my gigs on ONE instrument, changes to contrabass (double bass) not included.

About the M13:

You could use the EQ and volume FX to make switching the basses painless. Of course, you would sacrifice at least one slot for that.
Click to expand...

Your point is exactly what I'm thinking. I hear the difference and that affects my playing. It's the same argument with tone. Everybody wants to hear their tone, it just seems to make you inspired to play better. .

I only need two slots on the M13 and so I could use the EQ. I don't have a pedal just yet so I can't use the volume slot. I think this is going to be my best solution so I better get that pedal. But I won't be able to by this Sunday which is when the gig is.
 
#39
JimmyM said:
ya, you make a good point, mike. if it makes that much of a difference to him and the band, he should do it.
Click to expand...

I'm just going to make the change once, near the beginning after 3 or 4 songs, and I can do it pretty quick so it shouldn't disrupt the flow. So for this one change, I just need to be conscious of the output. When I go from the Jazz to the P, I don't want the sound guy to be like, whoah ***....

I think I'll try to talk to the sound guy before hand and give him a heads up.
 
#40
For the rocky celtic band I played in until recently, good quality Patrick Eggle fretless fiver with a cheap Squier fretted fiver as a backup.

For the loud classic rock band that I'm going to be trying out for in a couple of weeks: my 4 string Palm Bay active P/J tuned EADG and because they play 3 Thin Lizzy tracks tuned down a semitone and a black stone cherry song in (c#,G#,C#,F#) I'm going to claim back the cheap Encore Precision copy that my son left dismantled and abandoned when he left home 5 years ago and whack on the Badass II and the quarter pounder that I have in my parts drawer, get a hipshot detuner and string it up with 45-105's to give me similar tension when drop tuned as my normal 50-100's
 

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