there's two approaches to consider on this topic -
1) setting your EQ so that it appeals to your ear at your amp
2) setting your EQ so that it best suits the room you're playing in and helps the sound tech to mix the room
when I was a young and immature player with mostly garage band experience, I EQ'd my amp to provide me with 'my tone' so I would have the 'most artistic potential' during practice and live gigs. I didn't take the room acoustics into account, didn't understand how my loud amp on-stage impacted the room dynamics, and errantly thought that if my rig sounded killer on stage it sounded killer in the room as well. I played with a Mesa D-180 and 215 cab and could really feel the bottom end ruffling my pant legs during a set. my tone was all I could dream for when I stood by my amp
and yet ... I never understood why I had such a bad mix in the house. clearly it was the sound tech fault since I was providing them with pure awesomeness (tonal nirvana if you will) and they were turning it into a pile of hot compost not quite ready for the mushroom farm ... and it made me angry. how dare these incompetent techs deny me the ability to cut-thru the mix! how dare they turn my perfect tone into, as Michael Anthony once said, a poorly executed fart!!
fast forward 20 years to today ... I have since learned that it doesn't matter how killer my bass sounds right at my amp, what matters is that the people who paid to see whatever event I'm playing at have a killer listenin experience. I've since learned what my role as a bassist is - both acoustically and with perspective to music theory. And most importantly I've come to know that a sound tech appreciates it when you make their job easier - and this almost universally equals a very present and tonally pleasing bass in the mix.
here's what works for me and consistently receives compliments from sound techs, band mates, and most importantly receives compliments from people after a gig ...
* EQ setting for my amp pull everything below 40Hz out of the speakers. it doesn't matter if I'm playing a 4, 5, or 6-string electric or upright bass. I give myself a +3db bump at 80Hz, and another +3db bump somewhere between 1.2Kh and 1.4Kh. This keeps the low end from bloating in the room, and gives the sound tech the ability to add more lows if they need it ... and it typically means that I get "well represented" in the FOH subs :blob7: The tech has loads of freedom to mix levels and add volume rather than having to be in more of a damage control position for EQ settings
* I keep my stage volume right at the place where I can just hear myself when wearing Hearo ear plugs. similar to above but with respect to volume ... a lower stage volume consistently gets me a hotter level in the mix, and conveys that I want to do what I can to make their mix sound its best (which means the band sounds its best) This has another benefit in the the guitars are usually quieter, which means the drummer is quieter, which means the band gets an even better mix in the room because there's room for the tech to mix instead of simply doin damage control
* if I use more than one bass, I also utilize a mini Raven Labs MBD-1 volume mixer so that I'm sending a consistent signal level for every instrument. this is critical, else you'll find you get mixed at a volume that meets your highest output bass (and if you're not following the bullets above this item, you're in simply playing expensive stage props) With the MDB-1 I can get consistent volume between my active 6, a passive 4, and my upright ... and I get a consistently hot presence in the mix as a result
* Understand the role of a bassist and don't spend unending time wanking up in the higher registers. face it, if your spending more than an occasional few notes above the 9th fret (and your name isn't Marcus Miller, Victor Wooten, or some other famous cat who has the band named after you) you need to consider switching back to one of those girly thin-stringed guitars. Unless you want to give the keyboardist justification to run around like a madman in the lower registers ... know your role and keep to it. a side benefit of this is that you'll have more booty waggin' (or heads banging, depending on your genre) than when you're self gratifying yourself by playing fills that would embarrass you if you attempted something so pathetic on a geetar
* lastly (my secret weapon) - get to know the sound tech, ask them how you can allow them to do a killer job by adjusting your settings/amp for the room they know all too well ... and don't be shy to buy them a beer (if you're in such a venue) or help them with some trivial task while the band before you is setting up. and after your set, be sure to thank them for making your band sound great (even if it didn't) - you're making a relational investment here, and you'll reap future sonic rewards when you're remembered as that bassist the tech really enjoys having in their house
all the best,
R
. But I just realized I've got no idea of how to EQ a bass guitar, which is kind of embarrassing... It depends on what sound you're after, well yes sure, but to fit into the mix?
