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What gear is recommended for playing in a pit orchestra?

MSK_Bassist

MSK_Bassist

Jan 9, 2014
47
24
West Milford, NJ
#1
So, I am getting in to playing in the pit for theatre productions. At my community college, I played bass guitar for Rocky Horror Show in 2012, and most recently I played bass guitar for my college's production of The Drowsy Chaperone. So I guess my question here is: does anyone have any recommendations for what kind of gear to get for playing in a pit. For The Drowsy Chaperone, my rig was: SX JB (old headstock) with bartolini jazz bass hum bucker pickups and nylon tape wound strings, an Eden WTDI, and a Fender Rumble 15. the rumble 15 was so I could hear myself, but I had support from the subs.

I know I could use a larger amplifier, any suggestions for what would be an acceptable upgrade?

Also, any basses I should look for to add to my rig?
 
#2
A louder amp would be good, but nothing too big (no SVTs!). The MD / conductor would probably always ask you to play quieter, depending on the situation of the stage vocals.

If you want to stay with Fender amps, a Rumble 200 might suit you well.

If you and the conductor are happy with your sound, you should stick with what you have.

Keep the Eden DI!

I did a lot of shows with a GK 150 MB (1x12, 150 watts), which was never tied into the the theatre sound system. Guess it was loud enough, but I'll never know since I never heard it away from the pit. The conductor was always happy, and that was my main concern regarding the volume.

Regarding another bass, you can let future shows dictate what bass you may need. If you play "Rent" you'll want to put roundwound strings on your current bass. If you get called for "Motown", obviously you'll need a Pbass with flats and an upright bass. If it is "Crazy for You", "Oklahoma", or a similar classic show, it's upright bass all the way.

One final thought -- learn how to get as many different sounds as possible with the gear you have. Use palm-muting to emulate a plucked upright, for example. Or experiment with just the front or back pickup of the bass, and different tone knob settings.

Curious to hear what other folks have to say too.
 
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#4
pitplayer.jpg
 
#5
Lots of good advice here. I do anywhere from 6-12 shows a year for local theatre companies, in a variety of theatres. (Rocky Horror is one of my favourite shows to play!)

The common theme for your amp is smaller is better. In typical pit orchestras, you're playing with woodwinds and brass. The music is often VERY dynamic, going from dead quiet under onstage dialogue, to loud and punchy. It doesn't take too much bass volume to compete.

Size is always an issue as well. Pits are never big enough, and they always try to stick more in than there's room for. My amp will actually fit under my chair if need be.

Comments on different sounds and effect are also right on the money. Aside from slap, I've been asked to sound like a tuba (JCS, another of my all time faves), or like a synth, or like the lower strings on an acoustic guitar. If you can get anywhere close to these things, the MD will love you.

Most scores I see now are written for five string. I use round wound strings, and damp the tone for a more upright sound when needed. In most theatres I play they take a DI feed, but there is one very large theatre in town with a large pit where they don't run me through the PA. Because of the acoustics, I'm told I have a great sound, and I have to be very careful to keep the volume down.

My current show, starting next week, is Shout!. Lots of 60's songs. The show wasn't written for bass - I'm doing it from the left hand of the piano part. That's another plus. It pays to be flexible!

Enjoy your shows. I love the challenge of playing so many different styles...
 
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#6
I've done several with a Roscoe Beck Signature V Fender and a Mesa Walkabout Scout. I keep the Mesa WAAAAAY low in the pit. Just enough to hear myself. If there are two channels available send one off the bass and one from your rig (or the WTDI). If you can hear yourself with the little combo then keep using it. The smaller the better I say. It can get crowded in the pit and volume is not an issue (other than too much).

In short, if it ain't broke, don't fix it.
 
#7
Thanks for all the replies here! Thankfully, if need be I am also a tuba player. The reason I ask is because I am interested in auditioning for the Spring Productions of In the Heights and Avenue Q, at 2 of the theatre companies at my college. I am assuming for those shows I would need a bigger amplifier, and maybe a 5 string bass for these shows. It is very helpful to me as I look more into playing shows.
 
#10
All depends on the setup, in an open pit where its my amp providing the sound I use my 210, my 115, and my 350 watt head. If I'm direct into a board I use a sansamp with a headphone amp to get a monitor mix in but if the monitor setup is sub par I use a 200 watt head with my 2x8 cab.
As far as basses I bring my short scales to be polite. Just keeping my footprint small as possible cause pit space is precious.
You do you, a friend of mine just went the apogee route and is using a laptop with sophisticated amp, speaker, and effect emulation software though and its unbelievable. Different presets for different numbers and a foot controller for effects. Its sound quality is great too
 
#11
Spent many years playing in pit and jazz bands, more often than not on house or rented gear. A good 2 or 300w solid state combo will do you just fine. I found the most important thing to be a good eq, external if need be. Trying to get a solid flat bass tone the BL is happy with can be a hassle, especially in a glorified shoebox in the ground. A solid 5 string with flats or fresh nickels, quality tuner and a seat close to the keys player are all great assets as well.
 
#13
I think this will be polarizing, but for any musical-type gigs that have FOH support (as opposed to an unmiced 'acoustic' pit) i like to have my amp mic'd... for some people and certainly some situations, i get that thats a PITA, but for music where you need to be 'polite' and 'studio-sounding' I find it intuitive to be able to understand my ACTUAL heard dynamics and to be able to control my own sound. For most common theatre situations, engineers dont have the time or interest in sculpting the bass sound and perfecting its clarity in the mix.. this can simplify that goal.

I like passive basses for musicals.. i usually dont draw lines here, but something about a smooth and simple tone with a little toneknob rolloff realllllly fits the bill as long as its not a 'characteristic' bass part/sound (a funk musical or rock opera have very specific requirements compared to something like Oklahoma). A smooth, non-boomy sound, both articulate and non-aggressive are key.

tapewound strings can work nicely at times too
 
#14
Tone hammer 350 or for more headroom in other projects tone hammer 500 paired with a Aguilar SL112.
Upright of choice (Upton for me) would be my go to in the pit. Just don't forget to plug the F-holes or reverb could be an issue depending on your volume level.
 
#15
As it has been said earlier, it really depends on the situation (desired tone, volume level, FOH?, etc.) I'm currently doing electric bass on "Singin' in the Rain" for a university. I'm running a Hofner into a Hartke LH1000 and a mic'd AK410 cab. I'm going for that very warm thump with just a hint of woodiness (somewhat like a double bass). I'm running the amp itself as a monitor with the volume set just high enough for myself and letting the FOH carry the rest.
 
#16
You are playing bass in a pit. Pick any good small amp and and appropriate bass. 5 if necessary, 4 if not. Be comfortable and play the lines. Find your tone.

You are part of a large ensemble and only you will care. As well you should.
 
#17
I usede a Bergantino AE112 with a GB Shuttle 6.2 - small & light & sounds SUPERB!!! But now I use a Mesa Walkabout Scout combo- DI off it to the house & it's only adjusted loud enough that the drummer, myself & a couple others can really hear it. The rest will probly hear it a li'l but they get most bass from the (again - QUIET) monitors.
 
#18
Jefff said:
You are playing bass in a pit. Pick any good small amp and and appropriate bass. 5 if necessary, 4 if not. Be comfortable and play the lines. Find your tone.

You are part of a large ensemble and only you will care. As well you should.
Click to expand...
That is very sound advice. Thank you for that. That being said, our sound man was a bassist, and he cared about how I sounded for the show. Definitely having someone else's input helped me get dialed in for the show
 
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#19
MSK_Bassist said:
Thanks for all the replies here! Thankfully, if need be I am also a tuba player. The reason I ask is because I am interested in auditioning for the Spring Productions of In the Heights and Avenue Q, at 2 of the theatre companies at my college. I am assuming for those shows I would need a bigger amplifier, and maybe a 5 string bass for these shows. It is very helpful to me as I look more into playing shows.
Click to expand...

Good shows. I've done Q, but I'm doing In The Heights for the first time in January. I'll be using the same gear as for almost all theatre stuff. My 200 watt AER and my Roscoe 5 string.
 
#20
MOTORHEADBANGER said:
As it has been said earlier, it really depends on the situation (desired tone, volume level, FOH?, etc.) I'm currently doing electric bass on "Singin' in the Rain" for a university. I'm running a Hofner into a Hartke LH1000 and a mic'd AK410 cab. I'm going for that very warm thump with just a hint of woodiness (somewhat like a double bass). I'm running the amp itself as a monitor with the volume set just high enough for myself and letting the FOH carry the rest.
Click to expand...

Did this show earlier this year, and had exactly the same approach. Rolled off the highs and went for a fatter sound. Only used a tiny amp, though.
 

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