OC2 - pitch not clear

[Winton]

My band performed “Cure” by Moonchild in one of our sets. I wanted to emulate the sound from the recording so I chose the OC2’s -1 setting. However, during our performance, I couldn’t really hear a clear pitch in my bass line, and most importantly, neither could the vocalist! So I ended up bringing in a little of the dry signal so she wouldn’t sing off pitch anymore.

Any suggestions on what I can do to bring focus to the pitch while keeping that liquidy -1 only sound that the OC2 is known for?
Dirt? EQ? Comp after the OC2?

 

[NKBassman]

I think you already answered your question. Forget trying to match the tone on the album 100% and blend in as much of the dry signal as you need to make it work on stage in the context of your band.

 

[gregmon79]

This is the main reason I stopped using the OC2 was because the output was way too mellow for my uses. It just went away in my bands mix. Sounds great on its own though. I use the C4 or the octave in the quad cortex modeled after the OC2 now.

 

[meisi]

When added to taste dry sounds like a harmonic. Just don’t over do it.

Just -1 has no frequencies that cut in the mix. Even just boosting volume will just muddy your mix.

Trick the audiences ear with the dry signal as a harmonic like you did. They’ll perceive they hear the bass in the mix louder than it is.

 

[FullumMusic]

If you're losing volume, perhaps turning up the volume, even if it's a perceived volume loss from a frequency response curve change, not a gain drop.

Different groups of tones and levels require a different mix. Changing an instrument's tone/level partway through a set and leaving the mix for the old set of tones is likely to leave you with a bad mix. So when you have your bass tone all night, and then all of a sudden an Octaver -1 100% wet tone, all the balance of the band is gonna be off. Of course, most sound engineers aren't sitting there working the boards all night, re-mixing for every song, unless they're touring with bands like Taylor Swift, Beyonce, or the Rolling Stones.

Another option is to use some heavier-handed compression so that both your clean tone and your octave -1 tone are both pushing into that compressor and outputting fairly in-your-face tones and levels. But that could open up a bunch of other tone and mix problems you need to figure out.

Also, since a -1 Octaver tone is fairly fundamental-harmonic heavy, and not much above the second partial, make sure none of the other instruments are taking up any of that space in the mix. Guitars & keys should pull back on their lows on their EQs. Keys should avoid the low notes, and if they have to play the low notes, they should be using a tone contrasting to the bass's tone with more harmonics and less fundamentals.

 

[JazznFunk]

I'm not at my OC-2 right now to verify, but the 'level' control should allow you to effectively give your volume a boost when the OC-2 is engaged. That, or the level control effectively acts as a dry blend knob. I can't remember exactly because I never touch it - I like my off/on volume to be 'even' all things considered, and I like a lot of dry signal still mixed in with the OC-2. I've never used just the effect with no dry signal at all - that definitely would be 'undefined' in a busy mix. I never use the super low sub harmonic on it, which can get really muddy really fast. The higher harmonic is usually pretty clear, and the fundamental is not lost in my experience. It's probably a masking issue or an overall volume issue as others have mentioned. I'd find a way to 'boost' that effected signal and use some dry blend for sure.

 

[jasonmitsch]

If you're losing volume, perhaps turning up the volume, even if it's a perceived volume loss from a frequency response curve change, not a gain drop.

Different groups of tones and levels require a different mix. Changing an instrument's tone/level partway through a set and leaving the mix for the old set of tones is likely to leave you with a bad mix. So when you have your bass tone all night, and then all of a sudden an Octaver -1 100% wet tone, all the balance of the band is gonna be off. Of course, most sound engineers aren't sitting there working the boards all night, re-mixing for every song, unless they're touring with bands like Taylor Swift, Beyonce, or the Rolling Stones.

Another option is to use some heavier-handed compression so that both your clean tone and your octave -1 tone are both pushing into that compressor and outputting fairly in-your-face tones and levels. But that could open up a bunch of other tone and mix problems you need to figure out.

Also, since a -1 Octaver tone is fairly fundamental-harmonic heavy, and not much above the second partial, make sure none of the other instruments are taking up any of that space in the mix. Guitars & keys should pull back on their lows on their EQs. Keys should avoid the low notes, and if they have to play the low notes, they should be using a tone contrasting to the bass's tone with more harmonics and less fundamentals.

I use this approach with my SA C4. I took one of the many OC2 settings you find on the neuro cloud and beefed it up. I add a -1oct Sine and a +5th Monophonic voice. I use the filter and volume on the 5th to make it sound like a harmonic and part of the other voices rather than independent voices. It winds up not sounding quite like an OC2 anymore, but just my preferred octave tone without any dry tone.

 

[ole Jason]

How's your technique when playing with the octave? Were you playing up past the 12th fret and shifting it down from there?

 

[atquinn]

My band performed “Cure” by Moonchild in one of our sets...

Your band has good taste!

 

[Five or Six]

A lead vocalist singing off the bass tone? Hmm, any singers I've ever played with gathered pitch off a guitar or keyboard player. Unless you don't have guitar or keys? The other thing. How loud is your band? That in itself can have a bunch to do with the outcome. Play your own tone. Trying to emulate someone elses can be a daunting task. Just an opinion, and you know.

 

[bassbrad]

I almost always mix some fundamental or dry tone with any effected tone especially in a live setting.