| Author | Message | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 232 Registered: 8-2008 |
Thanks Gabriele. It's an honor to be on a record with some of my musical heros! Melodrome?! That's funny! Not sure if you mean mellow, melodic, or melodramatic. Ha!! Jimmy J | ||
| gbulfon
Junior Username: gbulfon Post Number: 14 Registered: 4-2010 |
Hi again  I was wondering if we can have a talk about your way of approaching music, harmony, melody and so forth I'm always transcribing Allan's music, and I'd love to have a pale view of your approach on his music. May I write down examples here to analyze with you? | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 239 Registered: 8-2008 |
Gabriele, I don't think this is the place for a lengthy back and forth about my personal approach to music so let me summarize it for you: Our individual voices on our instruments are the sum of all of our musical experiences. I studied clarinet for several years so the literature written for that instrument certainly effected my sense of melody and how I approach soloing. I have been exposed to a good mix of musical styles ever since I started playing bass so each has influenced how I approach playing in a rhythm section. I have no "formal" musical education and so no ability (nor desire) to analyze anything. I play by ear. That's my whole story, I hope you enjoyed it. Now a question for you - how is it that you heard Gary's record before it was released? Cheers, Jimmy J (Message edited by mica on November 23, 2010) | ||
| gbulfon
Junior Username: gbulfon Post Number: 15 Registered: 4-2010 |
Hi, first the answer to your question. The simple answer is that Gary's album was released in Europe at the beginning of November. It will be released in January in USA. More, Abstract Logix were so nice that for those who bought it before release (as I did from their site in the middle of october), they provided us a secret link to download mp3s before receiving the package. So I could pre-listen at the end of october. More, I also bought Ranjit Barot release together with Gary's one, as a special bundle provided by Abstract Logix. I understand you didn't like some of my actions on this blog, but no need to be so suspicious. I love music, that's all. Back to my question, I was more interested in the way you may approach sheets, this time. I was not talking about your improvisation, but the way you solve some kind of Allan's chords. But I understand you don't like to talk about it. Pity. Cheers, Gabriele. | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 240 Registered: 8-2008 |
OK, thanks for explaining that. I was confused because the record was released in the US on Nov.16 and according to Gary's website wasn't due to be released Worldwide until the following months. Apparently it was available everywhere at the same time and with your "secret link" you were able to hear the completed record before I could. Ha!. Anyway, thank you for supporting it. About Allan's chords - I can tell you that he thinks in scales and not in normal chord voicings. The charts he makes for himself do not have standard chord notation but instead contain symbols referring to which scale fits at what moment. Often he is not particular about the root or bass note as long as it fits with the tonality. This is why sometimes, in a solo section for instance, there will be an alternate bass note for the same harmonic moment. My way of approaching this? I just play by ear. As he shows us a new song I will listen to the chord, find a note and ask "how about this one? No? Maybe this one?" etc... until he likes the "set" of choices and then that becomes the bass part. It's a very unusual situation but this extra participation in shaping the music is really a kick! Thanks, Jimmy J | ||
| jacko
Senior Member Username: jacko Post Number: 2796 Registered: 10-2002 |
Whatever the approach, it works REALLY well ;-) Graeme p.s. all the best bassists played clarinet first ;-) | ||
| jacko
Senior Member Username: jacko Post Number: 2797 Registered: 10-2002 |
Hey Jimmy. I've just had a mail from the JT site saying he's touring with Ben next year. Any chance you could bend his ear and comvince him that the UK would be a cool trip? Somewhere north of Manchester would be great. Newcastle, Glasgow or Edinburgh for example. I can guarantee he'll fill at least 2 seats ;-) Graeme | ||
| muller1007
Intermediate Member Username: muller1007 Post Number: 186 Registered: 5-2002 |
Jimmy, Just received my copy of Gary Husband's CD in the mail. It's fantastic! Also great to hear how your playing style compliments the "flow" of the songs. It's something I regret to have missed during Allan Holdsworth's performance in Zoetermeer this month. Ernest is a fantastic bass player, who plays all the right notes, but the "flow" and overall sound of the music was so different from what I'm used to hearing/feeling. It was obvious to me and many others in the audience that your musical approach, playing style and bass tone(!!) largely contributes to the total sound and feel of Allan Holdsworth's music. It might be a matter of taste, but it seemed to be the general consensus in the audience. With just three people in the band, everything has to seemlessly connect and fall into place. To my taste, somehow Allen, Ernest and Chad missed this connection at some points. In that respect, Allan's 2009 performance in Zoetermeer, with Gary and you, was by far the best I've ever seen and heard. To me, that trio is magic. Glad to have been there this year though. Allan just blows my mind every time and I wouldn't miss his live performances for the world. Duncan | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 117 Registered: 7-2007 |
Hi Jimmy nice to hear your thoughts on this and I like your lack of desire for analysis, it makes for music coming from a musician which is such an obvious statement that it's potency can easily be missed. I have always struggled to do anything that doesn't just come from what I hear, so learning theory means nothing unless it's made part of what you can hear and execute. I hope James and Ben decide to make it over here to the UK next year...! All the best Jake | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 241 Registered: 8-2008 |
Thanks Graeme. Yes, it seems many bassists have transferred in from the b-flat treble clef side... As far as I know the Ben & JT tour is States only. There have been murmurs of something in the UK/EU in summer but no details or even what band might be involved. I'll try to warn you if I'm coming your way. Duncan, thank you for the kind comments. I'm glad you like Gary's record. That was quite a major undertaking and I think he did a great job of making it happen. It is as you say; changing one guy in a trio can have a big effect on the overall sound. Add to that the fact that Allan never tells anybody what to play (might be the Miles technique, via Tony Williams) and one guy can send the music in a totally different direction. Even with the different player combinations it's always a good idea to hear Allan whenever possible. Thank's for supporting the team! Jake, my "sum of your parts" idea should include any extended musical education experiences. I sometimes wish I had a bit more legit training. But ultimately after you learn scales, voicings, patterns, riffs, theory, transcribe and work out famous solos, then you must FORGET all that and play music. When a piece of music sends a chill up your spine, it's not because your brain is enjoying the analysis. HA! Thanks all, Jimmy J | ||
| white_cloud
New Username: white_cloud Post Number: 8 Registered: 6-2010 |
"I sometimes wish I had a bit more legit training. But ultimately after you learn scales, voicings, patterns, riffs, theory, transcribe and work out famous solos, then you must FORGET all that and play music. When a piece of music sends a chill up your spine, it's not because your brain is enjoying the analysis. HA!" For me this is perhaps the single most pertinent observation/evaluation on musicianship I have seen - young aspiring musicians take heed. | ||
| gbulfon
Junior Username: gbulfon Post Number: 16 Registered: 4-2010 |
True. And untrue. Sure it's not about your brain enjoying the analysis. But sure, when you reach the level to FORGET and play, your brain is doing the analysis in the background. It's not about the technical background on the instrument (that, anyway, helps). It's about understanding the music around you. And I can't believe you don't have your own idea of scales and chords when Duncan Terrace starts and you have D/C# and then Dmaj7. It's there in your bass playing, in your melodic choices and in your root bass notes. And you know what you're playing, and your choices. That's why you can FORGET and play. Sure, it's true. Just staying around scales, voicings, patterns, riffs and theory won't take you to the next level. That is Your level. But I can't believe you never did this. It's there. In your playing. Gabriele. | ||
| gbulfon
Junior Username: gbulfon Post Number: 17 Registered: 4-2010 |
Oh...sorry, I read your answer to my "allan's chords" question only now. And it's a very nice answer Yes. Allan's way of thinking is his own way. As it is another way for me, as a piano player, to think about his chords and scales, visually and tehcnically different. This is, to me, an interesting aspect to analyze (and analysis, to me, is always good): how different is the way you all three (you, Allan and Chad) are thinking and listening to the same music you create. Nice what you say about the bass notes. One thing that I learned to love is the 7th note of a major chord down to the bass note, something that I would have avoided totally 10th years ago. Now...after reading you, I'm not sure if you taught me this or Allan ;) How could I ever get used to it and start using it if I did not happen to listen and start recognizing it? Gabriele. | ||
| roycef
New Username: roycef Post Number: 1 Registered: 11-2010 |
Hey Jimmy! Enjoying reading the posts here from everyone. It's Royce, remember me? haha! I'm pleased to say that I am still the proud and humble owner of your 5-String "Spoiler" bass that you played on that tour with Allan. =) Look forward to catching up. It's been much too long. I'm living in Simi Valley now, so perhaps I can catch you at the Baked Potato sometime. All the best! -Royce | ||
| roycef
New Username: roycef Post Number: 2 Registered: 11-2010 |
Here's the bass. After looking around at other basses on the site I believe this is a Persuader 5-string?  | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 242 Registered: 8-2008 |
Hey Royce! Nice to hear from you and to learn that you still have that bass. For others, here's the story: It was a dark and stormy night ... not really but it should have been. On tour with Holdsworth in November of 1987 we played Poughkeepsie, NY. Packed the gear after the show and went to bed. In the morning it was discovered that the front of the truck had been broken into but luckily they hadn't gotten the rear doors open. We drove to NYC for the next gig at the Bottom Line and it wasn't until the crew guys unloaded that they realized we had lost two pieces of gear - through the cab of the truck (there was a small pass-through door from the cab to the box) - a speaker cabinet of Allan's and MY BASS. AC76-418 http://www3.alembic.com/img/623.jpg my original 5-string. My memory gets a bit fuzzy here but I ran over to 48th street ("music row" as it was at that time) to find something to play on the gig and ended up renting a Ya*%ha 5-string for that night. The next day (I think) I went back and purchased the above bass to play the rest of the tour. Once I got back to a series model my pal Royce here was kind enough to buy this temporary off of me. I remember it as a pretty nice axe too. Thanks for the pic, I'm sure I'll see you around town. Jimmy J | ||
| roycef
New Username: roycef Post Number: 3 Registered: 11-2010 |
Thanks Jimmy! It was interesting to read about your custom bass bridges. I still have your improvised "bridge extension" you made on this Persuader - two 1/4" jacks that were modified to hold the B and G strings out, with a piece of cardboard underneath to protect the finish. Ha! It is amazing how the slightly longer throw improved the tonal clarity and made that low B really sing! I'll also never forget you handing me this bass after that concert in San Diego and encouraging me to try it out. I attempted to play your solo from "Panic Station" and you were so gracious and kind. I nearly hit the floor a few weeks after that when I got a call and the voice said "It's Jimmy Johnson, remember me?" =) Thanks for all the inspiring musical moments and great memories, my friend. Nice to reconnect and look forward to seeing you sometime soon! -Royce | ||
| white_cloud
Junior Username: white_cloud Post Number: 16 Registered: 6-2010 |
I have recently bought the new Gary Husband CD "Dirty & Beautiful vol 1" and I am compelled to congratulate Jimmy on his playing (yet again) on this excellent release. The bass solo on "dreams in blue" is simply astounding & sublime....Jimmy, you did it again! | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 246 Registered: 8-2008 |
Thanks a lot John, The music is not everybody's cup of tea but as I said above it's an honor for me to be on a record with so many great musicians. Gary did a great job putting the project together, we'll see what happens with Volume 2... New Year's cheer to all, it's better when it goes to eleven! Jimmy J | ||
| white_cloud
Junior Username: white_cloud Post Number: 17 Registered: 6-2010 |
I agree Jimmy, this music is'nt everybodys cup of tea....but for the small hardcore of folks that love it this kind of project is a real treat! I just love the feeling & tone that you impart into the music. All the very best for 2011 - it would be great to see you over on these distant shores again soon. | ||
| davehouck
Moderator Username: davehouck Post Number: 10012 Registered: 5-2002 |
A happy new year to you too Jimmy! | ||
| richbass939
Senior Member Username: richbass939 Post Number: 1128 Registered: 11-2004 |
Jimmy, Lee Sklar had some kind words to say about you in the Feb, 2011 issue of Bass Player. It's in a thread in the Misc section. Here's a link. http://alembic.com/club/messages/449/93448.html?1294497388 Rich | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 247 Registered: 8-2008 |
Thanks Rich, That's nice of Leland, he's a good cat. Even though I've been playing with JT since 1990 it still feels like I'm just subbing for Lee. He literally wrote the book on much of this music. Jimmy J | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 118 Registered: 7-2007 |
Jimmy I think your humility is very beautifully human on this, and I agree that Leland had a profound impact on James' sound in his time in the band. The bands that emerged since your joining have taken James into another very beautiful place in my opinion, and for me the recordings of you guys from that period until now make for some of the best live performances in history, which are easy words to say, but for once I think it's true. Jake | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 248 Registered: 8-2008 |
Jake, Thanks for the supportive words. Just like a great set of chord changes makes it easier to play a nice sounding solo, JT's music and the players he chooses for the band provide a great setting to bring out one's best. I am proud to be a part of those records and live shows. I also consider Leland to be one of the great unsung pop bass guys around. I learned a lot listening to and playing along with his tracks. Jimmy J | ||
| jacko
Senior Member Username: jacko Post Number: 2840 Registered: 10-2002 |
Hey jimmy. I've just had notification that JT is coming to the UK in July and has a gig in Glasgow at last! Needless to say I'll be first in the presale queue on monday :-) The ad only mentions his 'Legendary band'. Will you be coming over? Let's hope so. Graeme p.s. Jake - there's an O2 gig july 14th. | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 119 Registered: 7-2007 |
Thanks Graeme, I'm on the JT mailing list too so was in the queue behind you :0)) I have gigs all that weekend so it's looking like I'll make the trip to bournemouth, which is only an hour and a half anyway... looking forward to another great night. Jake | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 250 Registered: 8-2008 |
Hey friends, As usual, you guys know more about this than I do (perhaps it's time I subscribe to that newsletter).... As far as I know I WILL be on that tour although I'm not sure who else will be in the band. It's usually fun though and I'm looking forward to it. It would be nice to connect with you and yours over there again, time and schedules permitting. Let's see what happens. Cheers, Jimmy J | ||
| jakebass
Intermediate Member Username: jakebass Post Number: 120 Registered: 7-2007 |
Just found out my gigs are daytime and are 40 mins from the O2, so London for me :0) Jake | ||
| jos
Junior Username: jos Post Number: 36 Registered: 4-2009 |
Hi Guys! It looks like I have to consider a trip to Glasgow in July! Jimmy rules brothers! All The Best, J-O-S | ||
| jacko
Senior Member Username: jacko Post Number: 2841 Registered: 10-2002 |
You'd be welcome to stay with us if you do decide to come for the gig jan-olof. Graeme | ||
| jacko
Senior Member Username: jacko Post Number: 2842 Registered: 10-2002 |
hey Jimmy. it would be really great to get together again. However, if that's not possible you could always give us a wave - I got in early for tickets so should be somewhere near the front :-) Graeme | ||
| jacko
Senior Member Username: jacko Post Number: 2857 Registered: 10-2002 |
Just had the email from JT giving me my seat allocation for Glasgow. Third row Centre stage. Woo Hoo. Can't wait. Give me a wave :-) Graeme | ||
| dadabass2001
Senior Member Username: dadabass2001 Post Number: 1546 Registered: 6-2002 |
Lucky man, Graeme. Enjoy! Mike | ||
| white_cloud
Junior Username: white_cloud Post Number: 28 Registered: 6-2010 |
This is a bit off topic Jimmy but a friend (big Holdsworth fan) recently asked me why Jeff Berlin never played with Allan Holdsworth after the "Road Games" recording - I replied that I didnt know, but I knew a man that might!!! Did it come down to musical differences or simply because he found an outstanding replacement? :-) | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 254 Registered: 8-2008 |
John, Thanks for the compliment but I really don't have an answer to that question. Jeff and Allan are still both playing great so ... it could still happen... I've enjoyed coming and going with Allan for many years but he is free to call anybody he might want to record or play with. Sometimes the people he calls simply have other commitments but we all appreciate his unique music and want to join in when we are able. There may be some surprise guests on the record he is currently working on.... Jimmy J | ||
| white_cloud
Junior Username: white_cloud Post Number: 29 Registered: 6-2010 |
Thanks for the reply Jimmy, you are a gentleman. I also liked the tease about the surprise guests! Cant wait to hear the new recordings :-) | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1665 Registered: 9-2002 |
Jimmy: Hope this finds you well and the book full ! Have a question: Though you've played five-string for so long now, when you do dates where you are 'replaying' tunes that were originally cut on 4-string, do you play the things that were obviously first-posititon on the recording that way, or do you come up the neck and play, say, things in E from the E on your B-string? I'm constantly torn between one or the other, and have not figured out a good plan to stick with one or the other . . . how do you approach that situation? I transitioned from 4 to 5 in the early 80's, and still remember a lot of simple tunes I played from open E or A, and I tend to go right back there, though somehow I guiltily feel I should be playing from the B-string. All the Best, J o e y | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 255 Registered: 8-2008 |
Hey J o e y, Nice question. I'm sure your low B string won't feel neglected if you don't use it. HA! If you feel like playing a tune in E all based on the 5th fret then why not? As long as you like the sound of it there then stick with it (plus, it's an easier reach). Two things pop to mind on this subject; one is that you can often tell when a the bass player has just gotten his first 5-string because every opportunity to play below E puts him right down there. It's hard to resist the option at first but it's not always the right choice, in my opinion. Sometimes it's a little distracting. The second thing is, I used to run into engineers and sometimes Artists that were so used to hearing low-E as the limit that they were spooked by anything lower and didn't want me to play those notes. Now days we're used to it more and some of the metal bands are tuned way down there all the time. I think in the end I use it sparingly. Really the low-B only in passing or maybe for the last note of a tune but rarely as part of any pattern unless it's some heavy prog music doubling synths (don't ask). Furthermore, the B string is such a thick gauge that I don't think it sounds very nice as you get higher up the neck. The overtones are pretty whacked just due to the physics. So in the studio if the song is in E-flat I'll often tune the whole bass down so I can play the longer string for a truer sounding open E-flat... The opposite of that is, if you want to play an open-D but want it to sound real thick then playing it way up on 10th fret on the E-string might be just the ticket. And I do use the B-string up high if I need to play some fast line that I can't otherwise reach. The fundamental is there but I don't linger... Excuse my long-winded reply! Jimmy J | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1667 Registered: 9-2002 |
You're excused. I ran into that 'what was THAT' with some guys regarding the 'extra' low notes. Interestingly, they didn't seem to hear D or D# as 'too low', but C's really seemed to get them. I too only use the very lowest for pedal point whole notes or the end of a song. I do see the 'OhBoy, new five-string, dig this' low notes everywhere syndrome. I'd be less than candid if I did not admit to a slight case of it myself at first. I was very flattered when a guitar player I really respect told me I DIDN'T sound like I was playing a five-string: He'd obviously spent some time with the afflicted . . . But I've always felt adding a 'whole 'nother string' just to pick up from E-flat to low B is wwwaaaaayyyy too much work. I always approach it from the idea of playing across the fingerboard rather than up and down the neck. My keyboard background drummed into my head all the notes should appear in a linear order, and with two octaves across five frets, well the little light bulb came on. Thanks, Jimmy. J o e y | ||
| jcdlc72
Member Username: jcdlc72 Post Number: 69 Registered: 11-2009 |
Oh, coincidence, I am currently rehearsing with a band where I am doing "some heavy prog music doubling synths". We' re in the middle of negotiations to be the opening local act for one of "the big ones" (not so much according to a few) in about a month. Seems like a nice moment to try the 5th on my Epic. But now you' ve got me curious, Jimmy. ;) Difficult not to ask. Not that I will, but anyway, hahaha! | ||
| richbass939
Senior Member Username: richbass939 Post Number: 1153 Registered: 11-2004 |
Jimmy, Interesting timing for this conversation about use of the low B. The May 2011 issue of Bass Player mag has a reprint of an interview you did with them in 1992. I will have to paraphrase it since it is a copyrighted piece. Jimmy Johnson - unsung heroes of bass evolution. JJ- pioneer of the low B. The 5 string Alembic was unique in the mid 70s. When someone just gets a 5, you hear only low notes. You don't have to stay on the low B all the time. Play the 4 strings and go to the B when you need to. JJ was probably the first to play a bass with the low B. He wanted to have an extended E string, but couldn't find a manufacturer who would make the extra long string. Instead, he got an Alembic 5 string (made for a high C) and adapted it for a low B, put a .120 string on it and in 1976 he had an BEADG 5 string. Jimmy, I'm sorry that my paraphrasing sounds so lame. I hate rewriting what you said in the interview. I respect their copyrighted material but wanted to share that BP is talking about you again. It seems that in the last few years they have finally started giving you a little bit of the recognition that is so long overdue. I say it's 'bout dang time. Rich | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 256 Registered: 8-2008 |
Hey Rich, Thanks for all that. Just goes to show you that I keep saying the same thing over and over again. Makes for pretty boring interviews! I'm sure I wasn't the first to go low, I just got there early. Anthony Jackson was probably the first known guy... But the funny thing is, since I got my first 5-string Series I in '76 I have not changed my gear... Most guys stay in the loop and keep checking out new instruments, builders, amps, etc. but I've pretty much just stayed right here. Must be part of my personality - I still eat peanut butter sandwiches too and have been married to the same gal for comin' on 30 years... HA!! Juan Carlos, I've been working on Derek Sherinian's new project. He says these tunes are "easy" but for me that translates into many hours of bass track "building" (protooling) to make it good. Oy! Fun though, happy to be invited to the party! And good luck with your project! Cheers, Jimmy J (Message edited by jimmyj on April 20, 2011) | ||
| jcdlc72
Member Username: jcdlc72 Post Number: 70 Registered: 11-2009 |
ProTooling is fun. Not the same kind of old-school fun we grew used to, but certainly a nice useful tool. This group -keys, bass and drums power trio- I've somewhat recently joined in, has some story in my country (Venezuela), it exists since 1976... and still does things the ' 76 way!. I recorded last year the bass tracks for their 3rd album, on a 24 track, 1 inch reel-to-reel system. The guy recorded all keyboards parts first, then a small string orchestra, THEN my bass, and last the drums and the vocals -not ready yet these last two-, WITHOUT any sequencer or click track or anything! Oh, and no score either. It was pure sweat, I had to make my own charts from the rough keys+strings mixes I was given (Hey, at least the guy can burn a CD from the multitrack tapes!), and "follow" what was recorded, pauses and all, until it somehow locked in place. "Organic" he calls it, I' preferred at the time not tell him loudly what I'd call it. The 5-string Epic got a lot of the starring role on the recording, along with my Barts-equipped Fernandes J. Now we' re supposed to close the deal -not my cup o' tea, thank you- to open for Asia next month, and the Epic will have its first huge live audience since I have it. I'm thinking on goin' straight from the Wireless system to DI, and monitor via in-ears, to keep things clean and easy. I am somewhat aware this is what you do live -not too sure about th ein-ears, though, but since I will also be singing, I chose this option to be sure of what I'm doing with my voice. What do you think? A Huge greeting from Venezuela! (Message edited by jcdlc72 on April 21, 2011) | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 257 Registered: 8-2008 |
Juan Carlos, That's a pretty inside-out way to make a prog record, keyboards first and drums last with no clicks... Challenging! I hope that tour comes together for you, that could be good. Yes, I'm DI but wired not wireless. And I use in-ear monitors, also wired with a small headphone amp driving them. There are some real advantages to using in-ears, especially (I imagine) for singing. Nice to keep the sound level to your ears under control, have a consistent sound regardless of the venue, and be able to be hear the hi-hat up close no matter where you walk on the stage. If you are used to working with headphones in the studio then it's not much of a leap. But if you are used to having an amp blow your pants legs around then it can be tough. A "shaker" on your riser can also trick your mind into thinking the bass is real loud. (I don't use one myself but know some drummers who have their thrones wired so they can feel the kick and bass). The FOH mixer will love you for going in-ears. The less bass you have rumbling around on stage the clearer it will be in the PA - the BIG amp. Good luck with it all. Jimmy J | ||
| charles_holmes
Intermediate Member Username: charles_holmes Post Number: 131 Registered: 3-2009 |
Yo Jimmy, Chalie Holmes here..What brand are you using for in ear monitor and what kind of headphone amp are you using to power the in-ear monitors? Lastly, if you have any thoughts /ideas.....The soundman says that my signal is too hot when I go direct (F1-X to the mixer). I have turned down the F1-X and my axe but still, the PA systems "gags" when I play through it. Thanks Man! !-_-! | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 258 Registered: 8-2008 |
Hey Chalie, I'm using the Ultimate Ears model 5 which is a two-way (two miniature drivers per ear - woofer / tweeter I guess). I tried their generic fit two-way and three-way models and preferred the 2-way so I had custom molds made of those. I guess now they have up to 6 drivers per earpiece. Wild. I'm driving them with a "hi-fi" headphone amp by a company called Headroom. I've got their older "Cosmic" model. It has a little processing in it, kind of softens the stereo image, but I find the sound rather nice. Since my bass is plugged into it's power supply via the 5-pin cable I just made a double cable with nylon sleeving that ends near the bass with an 1/8" headphone jack. It's a little clunky but functional. Lately I have been running my bass wide-open through a REDDI DI box so the resulting output is very close to +4 line level. If you have a regular sound guy ask him to try a line-input instead of a mic-input for your F-1X signal. But if you're club hopping and seeing a different sound guy and PA every day they will expect a mic-level from the DI. You could also get (or build) an inline pad or maybe even mod the F-1X (only with instructions from Alembic) to trim its output... Good luck! Jimmy J | ||
| bigredbass
Senior Member Username: bigredbass Post Number: 1681 Registered: 9-2002 |
Chalie: The Headroom products are built by Headroom, available thru their website at www.headphone.com. I bring this up as most of us have need of headphones / in-ears, and this is a terrific website for just that sort of thing. They do their own tests and offer everything from cheap earbuds to thousand-dollar plus audiophile headphones and everything that goes with them (gee, I never knew there were headphone amps !). A great place to LEARN about these things. J o e y | ||
| charles_holmes
Intermediate Member Username: charles_holmes Post Number: 132 Registered: 3-2009 |
Solid Jimmy J & Joey! I'm on it! Jimmy, I do use the same sound man on all gigs and will present your suggestion. In addition, if you have the time could you provide a photo of your 5-pin I'd be mighty appreciative! I'm not really that electronically savvy and I wouldn't attempt to build an inline pad but, I do know Kenny Wittman creator of(Spins) Spin Strap and I know that he can build one as well as hook up the altered 5-pin cable like yours! Hey Joey....I will indeed check out the website that you gave me! Thank you so much to the both of you! Chalie | ||
| jimmyj
Advanced Member Username: jimmyj Post Number: 259 Registered: 8-2008 |
Hey Chalie, Here's a shot of the bass end of my cable. (This photo has a slight fish-eye effect because it was taken so close, the headphone jack looks larger than life.) As I said it's not exactly the cleanest physical design but it is functional. I use the upper strap button as an anchor for it all. The other thing is, this nylon sleeving can be slippery on certain floors so you need to be careful. And eventually the individual nylon strands get snagged and break so I end up building a new one every couple years. Seeya, Jimmy J  |
