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Worship Bass Pedalboards

#281
bobbybass85 said:
SteveC, you can blast fuzz during the accented hits in Our God! Whenever the band goes huge like that, pop on some fuzz, or octave. Sounds great!
Click to expand...

The intro on our god begs for chorus if you dont have keys, shimmery not warbly and played on the d and g strings around the 12th fret depending on what keyvyou play it in
If your octave tracks well and you set the clean tone bright and blend it with the octave its awesome on the verses of white flag
 
#283
Our God- decaying delay on the verses

Cornerstone- delay on the turnarounds, octaver on the up-choruses at the end

Oceans (where feet may fail)- deep chorus throughout (with the "speed" turned off), then add octaver on final building bridge

Rez Power- filter on the pre verses, turnarounds, and outro

Manifesto- overdrive on the intro & choruses, reverb in the verses, Meatbox (subharmonic) on the bridge, fuzz on the final chorus & end

Let It Be Known- octaver and chorus on throughout, added overdrive for intro & choruses, massive slide down the E string with the Meatbox going into the bridge

You gotta be creative. My favorite thing to do is to embellish something as straight as a Chris Tomlin bass line with well-thought-out, tastefully applied effects to bring a new dimension to the song. Odds are the bass lines we're all supposed to be playing are VERY straight (hillsong, elevation, Tomlin, Jesus culture, etc) and the first instinct is to drop some sick fills where we can, or, (God forbid) start slapping (please don't ever start slapping lol!). I've found a better way to add "more" without "noodling" and losing the groove is to really think about where a well-placed subtle effect will elevate the overall mix.

You also REALLY have to know what your effects do and intentionally apply new sounds. Although I've been guilty of this MANY times, it's not always a great idea to just kick on the newest, funnest toy.

Specific settings are VERY important.
I know exactly what my chorus is gonna sound like when I hit it: I intentionally set it so I get a very "deep shimmery/watery" sound but with absolutely no "warble" at all.
A momentary stomp on my Meatbox for something as quick as a big slide into a bridge really replicates an 808 drop quite well
My octaver is set to unity volume with my dry sound, so I'm only adding lower tones to really fill up the sound, not more output or a "louder" feel (although turnin the dry octave off and pegging the octave-down really is fun sometimes!)
My delay, which I use quite a lot, is set to decay after only about 4 or 5 "trailed" delay'd notes that get quieter with each repeat, so it never lasts long enough to throw off the actual groove. (Gotta LOVE tc toneprint technology!)

I am BY NO MEANS an expert, I just think through every thing probably a little too much. I have DEFINITELY been guilty of overdoing it, but I have stumbled upon quite a few things that work!
 
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#286
adamsmatthewj said:
Our God- decaying delay on the verses

Cornerstone- delay on the turnarounds, octaver on the up-choruses at the end

Oceans (where feet may fail)- deep chorus throughout (with the "speed" turned off), then add octaver on final building bridge

Rez Power- filter on the pre verses, turnarounds, and outro

Manifesto- overdrive on the intro & choruses, reverb in the verses, Meatbox (subharmonic) on the bridge, fuzz on the final chorus & end

Let It Be Known- octaver and chorus on throughout, added overdrive for intro & choruses, massive slide down the E string with the Meatbox going into the bridge

You gotta be creative. My favorite thing to do is to embellish something as straight as a Chris Tomlin bass line with well-thought-out, tastefully applied effects to bring a new dimension to the song. Odds are the bass lines we're all supposed to be playing are VERY straight (hillsong, elevation, Tomlin, Jesus culture, etc) and the first instinct is to drop some sick fills where we can, or, (God forbid) start slapping (please don't ever start slapping lol!). I've found a better way to add "more" without "noodling" and losing the groove is to really think about where a well-placed subtle effect will elevate the overall mix.

You also REALLY have to know what your effects do and intentionally apply new sounds. Although I've been guilty of this MANY times, it's not always a great idea to just kick on the newest, funnest toy.

Specific settings are VERY important.
I know exactly what my chorus is gonna sound like when I hit it: I intentionally set it so I get a very "deep shimmery/watery" sound but with absolutely no "warble" at all.
A momentary stomp on my Meatbox for something as quick as a big slide into a bridge really replicates an 808 drop quite well
My octaver is set to unity volume with my dry sound, so I'm only adding lower tones to really fill up the sound, not more output or a "louder" feel (although turnin the dry octave off and pegging the octave-down really is fun sometimes!)
My delay, which I use quite a lot, is set to decay after only about 4 or 5 "trailed" delay'd notes that get quieter with each repeat, so it never lasts long enough to throw off the actual groove. (Gotta LOVE tc toneprint technology!)

I am BY NO MEANS an expert, I just think through every thing probably a little too much. I have DEFINITELY been guilty of overdoing it, but I have stumbled upon quite a few things that work!
Click to expand...

This is a great post. It's somewhat similar to how I approach using effects in worship. So much of modern worship music is, to be frank, a little boring. As you said, you can do lots of fills and runs (and I do definitely do fills and runs when I feel like it, and/or to build dynamics in a song), but tasteful effects can add a nice layer.

Some of my favorite particular uses of effects:

(1) Phaser on the intro to "Better is One Day."
(2) Massive organ-synth sound with my Markbass Supersynth on the chorus to "Revelation Song" by Kari Jobe
(3) Some sort of chorus/delay (I used the Eventide Pitchfactor H910) on the high-register six-string part that I play on "Lead Me to the Cross" by Brooke Fraser
(4) Fuzz on songs that are supposed to rock out a little bit

I also do a lot of Pitchfactor stuff on guitar for any number of songs. For guitar, it's my most indispensable pedal (after some dirt).
 
#287
I try to stick as close to the original tones as possible. But seeing how the church I play at has been getting into the electronic vibe lately (think Hillsong NY), I have been favoring my bit crushers and synthy distortions and some modulators. I have an Iron Ether SubT and Oxide on the way that will do this very well, but I have been mostly using my EBS Octabass, Malekko Omicron Bit, and VFE Triumverate v2. For instance, On "Let It Be Known" I run the Bit with about a 50/50 blend. Sounds fantastic with the synth tracks underneath too.
 
#288
bravesaint5 said:
I try to stick as close to the original tones as possible. But seeing how the church I play at has been getting into the electronic vibe lately (think Hillsong NY), I have been favoring my bit crushers and synthy distortions and some modulators. I have an Iron Ether SubT and Oxide on the way that will do this very well, but I have been mostly using my EBS Octabass, Malekko Omicron Bit, and VFE Triumverate v2. For instance, On "Let It Be Known" I run the Bit with about a 50/50 blend. Sounds fantastic with the synth tracks underneath too.
Click to expand...

+1 to the bit crusher on Let It Be Known!!
LOVE crushing bits. I gotta get an IE frantabit sooner than later.
 
#289
Adamixoye said:
This is a great post. It's somewhat similar to how I approach using effects in worship. So much of modern worship music is, to be frank, a little boring. As you said, you can do lots of fills and runs (and I do definitely do fills and runs when I feel like it, and/or to build dynamics in a song), but tasteful effects can add a nice layer.

Some of my favorite particular uses of effects:

(1) Phaser on the intro to "Better is One Day."
(2) Massive organ-synth sound with my Markbass Supersynth on the chorus to "Revelation Song" by Kari Jobe
(3) Some sort of chorus/delay (I used the Eventide Pitchfactor H910) on the high-register six-string part that I play on "Lead Me to the Cross" by Brooke Fraser
(4) Fuzz on songs that are supposed to rock out a little bit

I also do a lot of Pitchfactor stuff on guitar for any number of songs. For guitar, it's my most indispensable pedal (after some dirt).
Click to expand...

+1 on organ/synth for Revelation Song!
Been toying with a combination of the Meatbox into a tremolo/pan for the chorus of that song, but haven't tried it in service yet since I don't have tap tempo for the trem (I'd just be guessing with the tempo knob, don't trust it to stay perfect with the click)
That's obviously an extreme example of an effected bass sound in worship, but with a song that old and that musically repetitive I feel good about going a tiny bit dubstep-ish with it lol!!!
 
#290
adamsmatthewj said:
+1 on organ/synth for Revelation Song!
Been toying with a combination of the Meatbox into a tremolo/pan for the chorus of that song, but haven't tried it in service yet since I don't have tap tempo for the trem (I'd just be guessing with the tempo knob, don't trust it to stay perfect with the click)
That's obviously an extreme example of an effected bass sound in worship, but with a song that old and that musically repetitive I feel good about going a tiny bit dubstep-ish with it lol!!!
Click to expand...

The best drummer we had at that church (unfortunately, I recently moved halfway across the country and I'm no longer there) really, really hated that song just because we played it so often. Doing a slightly crazy (yet still somewhat appropriate) effect made him enjoy it a little bit more. (He also did some crazy, crazy fills on the chorus. We just basically decided that the song lent itself to going HUGE and it didn't matter what we did.)
 
#291
Truly love Revelation Song.......my family and I have moved quite a bit over the past; that allows me to play at many different churches. My first time to play the Revelation Song was back around 2006/2007 and we played it one particular way, with slow downs and hard punches and even a keyboard produced "sound of thunder". It truly seems there have been several different versions and luckily I have several lead sheets(now upgraded to OnSong).....anyways great worship song.
 
#292
Mr. Majestic said:
Truly love Revelation Song.......my family and I have moved quite a bit over the past; that allows me to play at many different churches. My first time to play the Revelation Song was back around 2006/2007 and we played it one particular way, with slow downs and hard punches and even a keyboard produced "sound of thunder". It truly seems there have been several different versions and luckily I have several lead sheets(now upgraded to OnSong).....anyways great worship song.
Click to expand...

What is onsong??
 
#293
OnSong is an app I use on my iPad and iPhone. I have tried other apps and used PDF formats, but I have found nothing, even close to comparison as good as OnSong. Let me tell you just a few things it will do.......you can either scan or find a song online in PDF.....copy it...paste it into OnSong....and immediately be able to: change the key, shrink the words, highlight the notes, change the notes to numbers, have the page scroll up to the timing, modify the song, connect the original song to listen to while you practice, and on and on and much more. If others are playing their instruments and have this program; you can sync them all together so everyone is in the same place and if something changes....they can be immediately updated.
 
#294
We have a 3 player rotation at our church and the soundman is excellent. The church purchased a Line6 PODX3 Live. We use the Neve Preamp setting with some compression. I use the Sansamp model from time to time, but mostly chorus and delay. It sounds great. I really enjoy it through the Aviom IEM system.
 
#299
Mr. Majestic said:
OnSong is an app I use on my iPad and iPhone. I have tried other apps and used PDF formats, but I have found nothing, even close to comparison as good as OnSong. Let me tell you just a few things it will do.......you can either scan or find a song online in PDF.....copy it...paste it into OnSong....and immediately be able to: change the key, shrink the words, highlight the notes, change the notes to numbers, have the page scroll up to the timing, modify the song, connect the original song to listen to while you practice, and on and on and much more. If others are playing their instruments and have this program; you can sync them all together so everyone is in the same place and if something changes....they can be immediately updated.
Click to expand...

Sounds pretty cool. We use PCO as well and my main beef is the PDF chord charts from CCLI that are mucked up. Would be great to make the changes and have them stick instead of beating the dead horse every time we play a song.
 

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