Used some of my bass gear this month and it was a game changer.
Posted: Sun Oct 22, 2023 3:10 pm
Copied my reddit post here, since it seems pertinent.
This is a long post, but after a month-long stint with this band doing this, I'll never turn back. The only real downside is the load-in, so if you're in, say, NYC and using public transportation, this probably isn't a great idea. But it's definitely worth trying for everyone who gigs on tuba outside of a classical setting. Even with jazz, the amplification can be a godsend.
So, I do a lot of jazz/funk/top 40 gigs on upright and electric bass. I sometimes like to swap out to tuba for a different sound. If you're playing in the pocket, tuba is a really great instrument for those genres.
But this month, I've been playing in a polka band. I have a lot of sound design chops, so when the band leader wanted to talk to me about a mic for my tuba, I told him to not worry about me and I'll simply send them a signal.
I've been treating tuba like an electric bass on this gig. And it's been a game changer. We did a double last Saturday. Two three-hour gigs, sandwiched between a 3-hour gig on Friday night and another one on Sunday. My chops were fine, because I didn't have to overplay to hear myself. Like electric bass players do, I let the amp do all the work so I wasn't injuring myself trying to play too hard.
The gear:
Kanstul 900-4B BBb tuba: Normally I wouldn't use such a big horn for commercial music, as it's not as punchy (and it's like 35 pounds, which sucks for standing and playing), but my 12J is getting overhauled and is out of commission this month. Smaller horns would be preferable for a brighter sound.
Mic: For live, you can't beat a Shure SM57 or 58. They're only $100, so don't bother with a knockoff or fake copy. The capsule is perfect for live music as it rejects outside sound, and these microphones are famous for being indescrutible. (And here's another one for good measure.) I actually prefer the 57 for the Kanstul and the 58 for the Conn, because the foam acts as kinda a high frequency dampener.
Mount: I use a Kelly Shu kick mount on the bell. I loathe the "throw the mic in the bell" sound that sousaphone players do. You have to EQ every bit of high end out of it because it's so distorted, meaning you get mud. In a traditional tuba, it massively affects the intonation. The Shu (Kelly Shu joked that this makes it a Shuba) puts a dynamic mic in the ideal placement for a brass instrument. Also, I prefer this to a mic stand/boom, because you don't have to worry about mic placement the whole gig, and the mic stays in exactly the same place.
Cable: I connect to a Shure wireless system when I'm expecting to play a solo in front of the band for mobility. If you're not moving from your spot, a good XLR cable works. Livewire brand from Guitar Center/Musicians Friend/Music and Arts still has a lifetime warranty that Monster Cables has basically made useless, so get that cable.
XLR signal conversion: My Shure wireless receiver has a 1/4" out, which makes the XLR conversion easy, but I'd do some kind of preamp like a DTAR Solstice if you're not going wireless. You need a device that can convert the signal into a 1/4" if you're going to treat it like a bass. There are other methods that avoid the "bass" route, but since so many of us double on bass, this is a way to use what you already have.
Compressor: This was a big thing. At least on the Kanstul on this amp, low notes were significantly louder than high notes. A compressor brings the volume of the low notes down so that you can raise the overall volume. Since we're not playing classical music here, dynamics aren't as important, so there's no real need to have small volume changes. Compression is awesome on the tuba. I've been using the MXR Bass Compressor to get the job done. If you get one, compare with the MXR Studio Compressor. They're literally the same innards, but guitar players wanted a housing that didn't say "bass" on it. So just get whichever one is on sale.
DI: I have been using the MXR Bass DI, basically a cheaper version of the SansAmp Bass DI. A DI (direct input) splits the signal so that you can send one cable to the sound guy, and one to your amp. You can EQ the sound here, but when it comes to an acoustic instrument like a tuba, it's better to not. Let the sound guy do that.
Amp: Whatever you like. Older bass amps will work fine, but newer ones (especially when it comes to speakers) will give you the full range of tuba. The upper colors sound nice...but this is personal choice and need. The beauty of having your own bass amp by you is that you can turn up so you can hear yourself without having to bother the sound guy, who, even if he's very competent, is probably dealing with a lot, depending on the size of the band. Making his job easier makes you a friend.
Now for the fun part: The bandleader wanted to add the Ghostbusters theme to our gig last night because Halloween's just around the corner. Since my compressor and DI are on my bass gigging pedal board, I also had some other toys to play with, namely an octaver and a phaser. My horn became an 80s synth machine at the push of a few buttons. Tonight I might throw some overdrive from the MXR in there, see if I can get an even cooler sound.
For anyone wanting to play in a more commercial style group, this would be a very fun start to your journey. If you're a bassist, you likely have enough gear to get started, which can just be the mic and an amp, and some way for those two to connect. Let the sound guy figure out the DI situation in the beginning.
A final note on sound guys: musicians and sound engineers seem to like to have a combative relationship. Bassists especially seem to get angry if the sound engineer's idea of the timbre of bass differs from the bassist's. What makes this job much more fun, is if you not only work with the engineer, but also learn as much as you possibly can in sound design and mixing so that you make his job as easy as he's trying to make yours. I used to think I needed to "educate" sound engineers on my upright or tuba sound, but the truth is they already know what they're doing, and usually better than you. I know more than enough to run a board, but when I get to the gig, I shake the sound engineer's hand, ask him "what do you need?" and leave it at that. They're always ecstatic that I'm sending my own signal; more so because I know what I'm doing and they can concentrate on the others. Last night's sound guy told me it was "CD quality," which I guess is still a good compliment, even if it's a bit dated!
This is a long post, but after a month-long stint with this band doing this, I'll never turn back. The only real downside is the load-in, so if you're in, say, NYC and using public transportation, this probably isn't a great idea. But it's definitely worth trying for everyone who gigs on tuba outside of a classical setting. Even with jazz, the amplification can be a godsend.
So, I do a lot of jazz/funk/top 40 gigs on upright and electric bass. I sometimes like to swap out to tuba for a different sound. If you're playing in the pocket, tuba is a really great instrument for those genres.
But this month, I've been playing in a polka band. I have a lot of sound design chops, so when the band leader wanted to talk to me about a mic for my tuba, I told him to not worry about me and I'll simply send them a signal.
I've been treating tuba like an electric bass on this gig. And it's been a game changer. We did a double last Saturday. Two three-hour gigs, sandwiched between a 3-hour gig on Friday night and another one on Sunday. My chops were fine, because I didn't have to overplay to hear myself. Like electric bass players do, I let the amp do all the work so I wasn't injuring myself trying to play too hard.
The gear:
Kanstul 900-4B BBb tuba: Normally I wouldn't use such a big horn for commercial music, as it's not as punchy (and it's like 35 pounds, which sucks for standing and playing), but my 12J is getting overhauled and is out of commission this month. Smaller horns would be preferable for a brighter sound.
Mic: For live, you can't beat a Shure SM57 or 58. They're only $100, so don't bother with a knockoff or fake copy. The capsule is perfect for live music as it rejects outside sound, and these microphones are famous for being indescrutible. (And here's another one for good measure.) I actually prefer the 57 for the Kanstul and the 58 for the Conn, because the foam acts as kinda a high frequency dampener.
Mount: I use a Kelly Shu kick mount on the bell. I loathe the "throw the mic in the bell" sound that sousaphone players do. You have to EQ every bit of high end out of it because it's so distorted, meaning you get mud. In a traditional tuba, it massively affects the intonation. The Shu (Kelly Shu joked that this makes it a Shuba) puts a dynamic mic in the ideal placement for a brass instrument. Also, I prefer this to a mic stand/boom, because you don't have to worry about mic placement the whole gig, and the mic stays in exactly the same place.
Cable: I connect to a Shure wireless system when I'm expecting to play a solo in front of the band for mobility. If you're not moving from your spot, a good XLR cable works. Livewire brand from Guitar Center/Musicians Friend/Music and Arts still has a lifetime warranty that Monster Cables has basically made useless, so get that cable.
XLR signal conversion: My Shure wireless receiver has a 1/4" out, which makes the XLR conversion easy, but I'd do some kind of preamp like a DTAR Solstice if you're not going wireless. You need a device that can convert the signal into a 1/4" if you're going to treat it like a bass. There are other methods that avoid the "bass" route, but since so many of us double on bass, this is a way to use what you already have.
Compressor: This was a big thing. At least on the Kanstul on this amp, low notes were significantly louder than high notes. A compressor brings the volume of the low notes down so that you can raise the overall volume. Since we're not playing classical music here, dynamics aren't as important, so there's no real need to have small volume changes. Compression is awesome on the tuba. I've been using the MXR Bass Compressor to get the job done. If you get one, compare with the MXR Studio Compressor. They're literally the same innards, but guitar players wanted a housing that didn't say "bass" on it. So just get whichever one is on sale.
DI: I have been using the MXR Bass DI, basically a cheaper version of the SansAmp Bass DI. A DI (direct input) splits the signal so that you can send one cable to the sound guy, and one to your amp. You can EQ the sound here, but when it comes to an acoustic instrument like a tuba, it's better to not. Let the sound guy do that.
Amp: Whatever you like. Older bass amps will work fine, but newer ones (especially when it comes to speakers) will give you the full range of tuba. The upper colors sound nice...but this is personal choice and need. The beauty of having your own bass amp by you is that you can turn up so you can hear yourself without having to bother the sound guy, who, even if he's very competent, is probably dealing with a lot, depending on the size of the band. Making his job easier makes you a friend.
Now for the fun part: The bandleader wanted to add the Ghostbusters theme to our gig last night because Halloween's just around the corner. Since my compressor and DI are on my bass gigging pedal board, I also had some other toys to play with, namely an octaver and a phaser. My horn became an 80s synth machine at the push of a few buttons. Tonight I might throw some overdrive from the MXR in there, see if I can get an even cooler sound.
For anyone wanting to play in a more commercial style group, this would be a very fun start to your journey. If you're a bassist, you likely have enough gear to get started, which can just be the mic and an amp, and some way for those two to connect. Let the sound guy figure out the DI situation in the beginning.
A final note on sound guys: musicians and sound engineers seem to like to have a combative relationship. Bassists especially seem to get angry if the sound engineer's idea of the timbre of bass differs from the bassist's. What makes this job much more fun, is if you not only work with the engineer, but also learn as much as you possibly can in sound design and mixing so that you make his job as easy as he's trying to make yours. I used to think I needed to "educate" sound engineers on my upright or tuba sound, but the truth is they already know what they're doing, and usually better than you. I know more than enough to run a board, but when I get to the gig, I shake the sound engineer's hand, ask him "what do you need?" and leave it at that. They're always ecstatic that I'm sending my own signal; more so because I know what I'm doing and they can concentrate on the others. Last night's sound guy told me it was "CD quality," which I guess is still a good compliment, even if it's a bit dated!
