Remote Extension Cab: Advisability, Issues?

[matthewbrown]

When I play with a big band, I may sit to the side of the group and point my cab across the stage rather than out into the room. I use a 300w head with a 1X12" speaker. Depends on the situation, but that approach often works.

 

[Tim Skaggs]

This is one of those situations that, with a little experimentation, you might become the expert for the circumstance you describe. The reason being is because you might find something that works but hasn’t been suggested. There have been some great suggestions and evaluations of your situation, but they might not work well because of the unknowns.

Since you said “no PA, no monitors”, does that mean your bass is the only electrically amplified instrument in the room, or are there guitars &/or keyboards also playing through amps? Are most of the “two loud” group standing in front of your amp & most of the “can’t hear you” group standing behind your amp?

Those are the things that can guide you to troubleshoot the situation. It might be as simple as repositioning your amp, or elevating your amp where it is.

Best of luck!

 

[DigitalMan]

The idea that some bass players use a compressor to compensate for poor technique is odd to me. I don’t agree with that pejorative interpretation.

 

[fdeck]

My main band is a 19-piece big band. I've played plenty of gigs on both electric and upright, though upright is my main instrument. My amp is a GK MB200 on top of a homemade 1x8.

I tend to keep my amp fairly close to me, tilted back if possible. I've always figured that if I can hear myself above the band by a little bit, it helps me with my intonation. I'm planning on a tilt-back version of my cab, once it warms up and my garage becomes habitable. I figure that at 45 degrees, my speaker is splitting the difference between myself and the band / audience.

A huge thing is reacting to the band's dynamics. This has to be done by ear and feel. Maybe back off on the lowest lows of the amp. On electric, maybe dig in a bit more in order to get some of that natural distortion from the pickups. A bit of a rule of thumb for me is playing at a level where the band can drown me out during loud sections, but if they want to hear me, they have to come back down.

I'd avoid compression. Jazz is dynamic music. But I'm generally not against effects, including compression, if you're using them to your advantage.

 

[Wasnex]

The idea that some bass players use a compressor to compensate for poor technique is odd to me. I don’t agree with that pejorative interpretation.

Most of the people I have seen describing compression that way are talking about themself. So I believe them.

 

[Ric Vice]

I’ve tried this before with two matching cabinets. There were many issues. If the cabinets are out of phase you can get real bassy and out of control.
You can get a delay between the cabs. That can really get in the way of keeping good time. Just my take But bass is monophonic by nature.

 

[Stylee Mousse]

The idea that some bass players use a compressor to compensate for poor technique is odd to me. I don’t agree with that pejorative interpretation.

It's a hot button, like lined fretless and many other things on TB. I often think of the phrase "Stop liking what I don't like". If using compression is something you like why care is someone else does not?

My experiences with it started recording in proper studios back in the 80's. Lots of times in those sessions bass was almost an oversight and compressing bass heavily to tape was SOP. I didn't like those results so much I learned to record and worked as hard at playing consistently, really monitoring my playing closely for that at all times, including at rehearsals and live.

For what it's worth, most amps (especially the tube amps I like) compress your signal when you dig in, so I like compression there more than in a pedal or rack.

 

[SJan3]

Howdy,
I am playing in a 19-piece jazz orchestra which rehearses in several locations. (No PA, no monitors.) In each case, someone usually complains that the bass is too loud, or too soft--sometimes on the same tune! Lead trumpet, lead tenor (MD), even the drummer. The rhythm section discussed the possibility of adding an extension cabinet to my combo and placing them 10' to 20' apart, hoping to meet the needs of the rhythm section and the 15 horns.

(I am playing a passive 4 string through a 200w combo. I imagine trying a matching extension cabinet connected with a high quality Neutrik cable.)

Any thoughts or experiences with this kind of situation? Cautions? Alternatives?

Thanks!

Did you say what combo amp you're using? Just a guess but maybe there's another amp that can provide better mid voiced frequencies that are more audible without the excessive low end? When your bandmates say, "too loud", are they talking low end rumble or mid voice? Perhaps a simple EQ adjustment on your amp will do the trick. Maybe try backing off some bass (heaven forbid) and adding additional mid voice. This may produce a tone acceptable to more across the bandstand.

 

[eadg57]

Thank you for the many serious replies. While varied, I find them informative, relevant, and practical. (I'm surprised that no one suggested a tortoise shell pickguard!) I appreciate the confirmation that there are MANY variables in these situations, and that once the venue is chosen and the stage plot set, much of the sound of the rhythm section and band is determined. Still, I think I will focus on...

1) Optimize for the best possible hook-up with the drummer. (Our best sound and playing has been when my speaker was right behind his throne, and we could see each other's hands and faces.)

2) Pay attention to lowest frequencies with EQ, HPF (thank you fdeck), and even note choices.

3) Rather than haul another cabinet, bring some longer cables to allow some flexibility with the placement of my combo or amp and speaker. The suggestion to setup like a side-fill monitor makes great sense to me. There is no audience.

Again, thank you for your time and attention!